BA Architecture: Spaces and Objects

2015

B A ( H O N O U R S ) A R C H I T E C T U R E : S PA C E S A N D O B J E C T S

CENTRAL SAINT MARTINS

Stage 1 ACTIONS AND OUTCOMES

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Stage 1 GEOFFREY MAKSTUTIS - COURSE LEADER

To start a period of study in higher education is a challenging and exciting achievement. To start those studies in architecture is to challenge yourself even further.

Architecture is a field of study that brings together the vocational and the academic in ways that are unique. You cannot study architecture through reading, alone. You must ‘do’ architecture to study architecture. This means that students are, from the outset, engaged in architecture; not simply studying architecture.

While many design subjects share the fact that to study is to ‘do,’ architecture adds a good deal of additional challenge. As a subject that is directly linked to a profession, the study of architecture requires that students meet the needs of both the academic and the professional. The integration of de-sign,

a supportive and challenging environment.

Design projects, developed by the different studio tutors, work to support students to learn the key skills, practices and methodologies that will con-tinue to be used and expanded throughout their time on the course. Each project represents both a new set of practices as well as a continuum of skills development that underpins the ability to communicate ideas.

Alongside design projects, students are regularly involved in seminars, work-shops and lectures that introduce them to the range of subjects that inform and integrate with design.

Stage 1 is the start of a journey, but it is not intended to be the start of a single path. The pedagogy of A:SO is based on the principle that an architec-tural education is one which opens up possi-

theory, technology, sustainability, history, and context; evidenced through creative solutions that are drawn, modelled, written about and pre-sented, is no small achievement.

This challenge begins from the first day of the first year.

Stage 1, of Architecture: Spaces and Objects (A:SO), is a combination of workshops, activities, seminars, lectures, and projects, that work together to support students to begin their journey in both architecture and higher edu-cation. Working with a diverse group of students, the Course Team seeks to provide students with opportunities to begin the process of developing their own approach to architecture; in

bilities; within architecture and beyond.

Students are encouraged to consider the role of architecture and the architect ‘beyond buildings.’

A:SO recognises that architecture is about people. Buildings are something that architects ‘do,’ but they are not the reason to study architecture. We hope that our students will see their studies as a process that leads to a new way of thinking about their future. Whether they become architects, or not, their time studying architecture and Central Saint Martins will, we hope, make them more attuned the potential of the built environment; as, of course, an industry, but more importantly the world in which we live.

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Investigate Object Studies

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For the first, short project of the year, students selected a small object from Chapel Market to investigate through drawing. Like archeologists they examined their objects - as if seeing them for the first time observing and recording in detail their material, formal and functional qualities. Objects were taken apart, the interior unearthed and mapped.

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1), 2) Nathalia Cahyo, 3), 4) Olivia Sutherill, 5) Krina Shah, 6), Jiaming Revan Li, 7) - 9) Sui Yu Au, 10) Jason Tsz Kit Ngai, 11) Whisley Filart, 12) Thea McDowall 13) Julie-Anne Czyz 13

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Shadow Observing Space for Living

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As spatial designers we are fascinated by human behavior; how this behaviour influences and is in turn influenced by, the places and spaces that surround us. However as so much of our behaviour is instinctive we often take our understanding of it for granted. But if we take time to look closely we soon see how much there is to discover about how we, and those around us act. In particular how we interact with the physical world and the objects with which it is filled.

Taking this premis as a starting point, Shadow encouraged students to observe behavior close up. They chose a subject – somebody they knew – and observed them for 24 hours. The focus of their observation was their subject’s contact and interaction with a chosen object(s), material, ritual over this period of time. Students chose their own method of recording their subject’s behaviour, for example using film, drawing, photography, casting; and the most appropriate way of communicating their findings, for example through storyboard, diagrams or mapping.

A fascinating range of projects emerged revealing the detail, subtlety and unexpected amongst their subject’s plethora of daily interactions with the world.

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1) Zuzanna Krasowska - a day in the life of a pair of feet, 2) Katie Hillel - pet dog activity, 3) Max Carter-White - a mother’s story, 4) Jason Tsz Kit Ngai - visualisation of keyboard key usage, 5) Rukshana Akthar - family interactions.

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Caught in the Moment(s) Drawing From the Streets of Somers Town For this project, students looked beyond the visible in order to discover the hidden qualities of the places we inhabit through recording an interaction, a moment - or moments - in time.

Students worked in small groups each randomly allocated a specific site within Somers Town. This site formed the focus of their investigations.

Within their groups, students exchanged ideas and began perceiving the world through one another’s eyes.

Using an analytical process of measured drawing, sketching, photography, and model-making, groups were challenged to design an effective communication of their hidden quality using multiple media.

Their discoveries, realised as a variety of installations, were presented in a public facing event at the end of the

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first term.

1) Katie Hillel - the Churchway street lamp, 2) Jason Tak Lau - Rocket elevation, 3) Rukshana Akthar street detail, 4) Naji Barri - street lamp casts, 5) Thea McDowall - street movement mapping, 6) street step study, 7) Andre Moraes - Bengal Sweets and Foods by night, 8) Thea McDowall - street facade study, 9) Jiaming Revan Li - behind the counter at City Centre Dry Cleaners.

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1) Evangelia Avramidou, Lois Goddard-Langstone, Murilo Macioski Caxile, Linfeng Ye, 2) Alicja Bedkowska, Anika Deb, Changqing Liu, Olivia Sutherill, 3) installations in the studio, 4) Sheheryar Ahmed, Emily Post, Steven Yu Zhang, Yumeng Zhou, 5) Max Carter-White, Zuzanna Krasowska, Andre Moraes, Jiesoo Shin, 6) Mina Fouladi, Sheng-Ya Huang, Jiaming Revan Li, Vincent Min Wang, 7) Nathalia Cahyo, Fiona Hartley, Hui Libra Li, Justin Stevens, 8) Siu Yee Cheung, Filippos Georgeoglou, Timea Tifan Gy, Luigi Zoppi, 9), 10) Haben Abraham Mesfun, Julie-Anne Czyz, Janusz Ferenc, Taro Sakamoto.

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The Dome Technical Studies ADRIAN ROBINSON TECHNICAL STUDIES CO O R D I N ATO R This year technical studies started with the building of a geodesic dome.

To familiarise themselves with the workshop tools and model making techniques, the students all contributed to the manufacture of timber and aluminum elements for this structure, which they then built at the end of the autumn term.

Visiting and experiencing the built environment has been an important part of the introduction to technology, and their next assignment was to analyse and present findings on buildings visited in groups. This led to the selection of precedent studies for their technical portfolios, choosing buildings to represent ideas for materials, form, spaces and environment.

In their final schemes students were exploring material, structural and environmental strategies. Each studio group has an individual way of approaching design, but in general by using site analysis, material experimentation and form, students have refined their technical proposals. This year students work has included cable-nets, space frames, trusses, foil cushions, perspex walls, solid and filigree concrete structures, and carefully detailed masonry. The placing of buildings in their site context is also crucial, and the work reflects the considerations given to building orientation, daylight and direct solar gains, prevailing winds and natural ventilation, as well as passive effects of exposed mass in their construction.

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1) testing the construction principles of geodesic domes, 2) materials and assembly diagram, 3) turning broom handles to form the rods that will become the principle structural element, 4) aluminium tubing for the joint forming pieces, 5) each assembled element is tested against the correct dimensions, 6) differing lengths are colour coded to aid assembly, 7) ‘fill’ panels made from MDF and vacuum formed plastic, 8) assembly begins, 9), 10), 12) assembly of the full size dome frame, 12) the finished dome, 13) -16) smaller scale experiments with alternative dome structures and materials

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Rome Study Trip

DECEMBER 2014

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1) St Peter’s Basilica and St Peter’s Square in The Vatican City, 2) Students draw on the steps of The Palazzo dei Congressi in the EUR district, 3) The Palazzo dei Congressi, 4) The Palazzo della Civiltà Italiana, 5) A statue’s head in Cinecitta, 6) Street view in Central Rome, 7) Central Rome, 8) Tempietto di Bramante, 9) The Pantheon, 10) Cinecitta, 11) - 14) MAXXI Museum of Twenty First Century Art. 5

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Cally Fest Transforming Everyday Interactions

Cally Fest is an annual street party bringing locals and visitors together to celebrate the cultural diversity of the Caledonian Road (London). Through participation and inspiration, Cally Fest engages festival-goers with a wide range of experiences, representative of the variety of business located on and around the Cally Road.

Students were fortunate to be able to work on a live project producing work for the festival. Cally Fest organizer Becky Hoghton briefed students about the nature and philosophy of the festival. Students (in pairs) researched a local business and over a period of 4 weeks designed and made a demountable object. The object’s purpose was to communicate the character of their business as well as being engaging and interactive for festival-goers. Several of the objects

1. 2 Friends Internet Café 2. Best Taste Caribbean 3. Buono £ Plus 4. Caledonian DIY & Paint 5. Caledonian Glass & Glazing Company 6. Caledonian Joinery 7. Cally Pets 8. Cally Pool & Gym 9. Cheque & Pawn 10. Dallas Burger Bar 11. Harold Leslie 12. Housman’s Radical Bookshop 13. Imperial Cars 14. It’s Tantastic 15. Jolie Rouge Tattoos 16. KIGI Café 17. Kings X Dry Cleaning Laundrette 18. Kobkum Thai Therapy 19. Large Glass Gallery 20. Leonard Villa Frames 21. Lewis and Lewis Electrical 22. N1 Beauty Lounge 23. NHS Dental Practice

were sited on the Cally Road during the daylong festival in June. Students experienced the public’s unvarnished reaction to their objects and delighted in the experimental atmosphere of the festival.

24. Ocean Fish Bar 25. Ocean Supermarket 26. RSPCA Charity Shop 27. Square Quarters Letting Agents 28. Sunflour Bakery 29. The Cast Iron Shop 30. The Tarmon Free House 31. Tibetan Buddhist Meditation Centre

1) Locations of the Caledonian Road business who cooperated with students in this project, 2) - 7) Jiaming Revan Li - developing ideas for a tattoo testing machine, 8) - 13) testing materials, forms and mechanisms for interactive objects.

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1) - 5) making final demountable objects in college workshops 6) Bread-Crete Table, 7) Multi-Person Massage Chairs, 8) Beauty Products Art Machine, 9) Fish Snack Dispenser, 10) Personal Meditation Booth, 11) Self-Massage Machine, 12) Podium, 13) Recycled Paint Shy, 14) Hamburger Puppet Theatre, 15) MultiSensory Relaxation Chair, 16) Distorted Mirror Street Viewer, 17) Wood and Metal Bench, 18) Domestic Interior / Exterior

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1) - 9) festival goers at ‘Cally Fest 2015’ interact with students and the pieces they created.

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Contextual Studies

SHUMI BOSE CONTEXTUAL STUDIES CO O R D I N ATO R Contextual Studies has a large remit, both in terms of an historical syllabus and in establishing first steps towards a critical and intellectually nuanced practice. While the first year of course lectures cover a huge period of time – from pre-history to the mid-nineteenth century – the aim of our discussions around architectural practice and production is to pull debates forward from the past to the present, and point out broader cultural resonances. For example, in discussing the Greek agora, students considered the recent Occupy movements and the value of public space. In the narrative of Borromini’s design for the extraordinary dome at San Pietro in Rome, there are lessons to be learned on copyright and intellectual property, as well as on the limits of technological capacity.

The transcendental mathematics of the High Gothic period may be considered alongside parametricism today. The lectures are augmented by theoretical and topical readings, as well as a programme of activities to engage with the context of the city around us – taking learning off the page and screen, and into the streets and buildings of London itself. This year, the whole year group visited the Architecture & Photography exhibition at the Barbican Centre, taking in that building’s brutalist aesthetic while reflecting on the power of the image in architectural discourse. A series of tutor-led walks through the city also allowed students to learn about

its continuous evolution through direct observation, encouraging active analysis of the spaces we live in. Each activity is followed by class discussions in which students begin to articulate their critical reflections; these exercises culminate in a formal written submission at the end of the year.

Tutors: Shumi Bose Pol Esteve Orsalia Dimitriou Eva Sopeoglou

Lectures: The Presence of History The Ancient City Architecture in Antiquity The Medieval World Gothic Glory Architecture in the Age of Print The High Renaissance Wren’s London Grand Projets of the Enlightenment Walking tours: London Pleasures

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Building For the Caledonian Road

Students were asked to draw off their newly found skills from the Cally Fest project and apply these to a building proposition, in context, using the following scenario: An ex-employee of the business you were allocated in the Cally Fest project is planning to set out on their own with a business based on their previous experience intending to reach a different audience on a new site.

Using their existing research into their identified user, students were challenged to generate and develop a detailed programme including specific spaces and processes for their business to operate on the Caledonian Road.

Through a process of mapping and exploration they were asked to apply their user and programme onto one of two identified sites, each with very different constraints and contextual qualities, one between two existing housing blocks and the other adjacent to the railway.

To complement the physical mapping, there was also a requirement to develop a thorough understanding of the building’s context in terms of social and intangible factors through considered analysis.

This infrastructure of information then provided the basis for the resulting highly individual building designs, developing concepts and ideas to best express what each project is all about.

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1) Libra Hui Li - programme diagram for studio / workshop, 2), 3) development models, 4) Ellie Johnson - Caledonian Road elevation, 5) ground floor plan of final proposal, 6) first floor plan, 7) section, 8) Hilal Koztepe - longitudinal section of final proposal, 9), 10) model of final proposal.

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1) Rukshana Akthar - programme diagram 2) - 4) Hamid Almosawy - model of final design proposal, 5) sketch of interior showing display of household appliances, 6) Cenan Afsarpour - section of final design proposal, 7) visualisation of key interior space, 8) illustration of interior amphitheatre, 9) circulation model.

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1) Sui Yu Au - final proposal model, 2) final proposal lighting demonstration, 3) development model, 4) - 6) SooYoung Bae - final proposal model details, 7) -9) Evangelia Avramidou - illustrations of activities in bell foundry, 10) final proposal longitudinal section 11) - 13) Sinan Asena - final proposal model.

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1) Naji Barri - longitudinal section of final proposal, 2) - 4) Greta Born- final proposal model, 5), 6) interior collages, 7) Alicja Bedkowska - detail of final proposal model, 8) final proposal model, 9) illustration of Interior of cake shop, 10) detail of model showing cake shop. 11) ground floor plan.

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1) - 3) Cimon Barnard Irons - illustrations of interior spaces of final proposal, 4) collage of facade concept on site, 5) illustrated section, 6), 7) Nathalia Cahyo - final proposal model, 8) analytical development sketches, 9) Siu Yee Cheung - level 3 plan of final proposal, 10), 11) development models on site.

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1) Sheheryar Ahmed - cross-section of proposal, 2) longitududinal section of art studio and workshop, 3) model of final proposal, 4) Beat Halka - site elevation drawing, 5), 6) Max Carter-White conceptual collages on site, 7) section of computer / video games club and bar, 8) CĂŠcile Christmann model of final proposal, 9) section of ceramic studio and exhibition space, 10) collage of interior space.

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1) - 3) Henry Daggett - final proposal model, 4), 5) plans of boxing club / gymnasium, 6), 7) Rihards Dzelme - model of final proposal, 8) proposal elevation of workshop for product designer with public garden 9) Jiesoo Shin - concept collage on site.

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1) Martyna Felus - final proposal model, 2) Interior circulation, 3) interior library space, 4), 5) Whisley Filart - final proposal model, 6), 7) Janusz Ferenc - interior spaces in stainded glass studio and workshop, 8) - 11) final proposal model on site.

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1), 2) Mina Fouladi - model of final proposal, 3) section of final proposal, 4) Fiona Hartley Caledonian Road elevation, 5) section of proposed Hostel and secret political protest printing press, 6), 7) Kaixiang Ethan Hu - development models, 8) plan of proposed BMX track, 9) Sheng Ya Huang - model of final proposal, 10), 11) axonometric drawings of proposed period themed hairdressing business.

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1) Batuhan Koรง - visualisation of interior of meditation space, 2) proposal model, 3) - 6) Sasha Kombos - models of proposed Meditteranean themed bar and restaurant, 7) - 9) Crystal Lam - proposal model, 10) - 12) Zuzanna Krasowska model of propsed Hungarian liquor distillery and bar.

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1) - 6) Adrian Masola - final proposal model 7), 8) Changqing Liu - development model, lighting experiments, 9), 10) proposal model for Chinese meditation and therapy centre, 11) - 13) Jiaming Revan Li - proposal plans, 14) Caledonian Road elevation, 15), 16) storyboard outlining narrative of spaces in proposed Tattoo parlour, therapy and exhibition space.

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1) Weihao Liang - Caledonian Road elevation, 2) ground floor plan of story / reading space, 3) - 7) Kan Motoyasu - proposal model, 8), 9) Andre Moraes proposal model details, 5) axonometric drawing of indoor climbing centre.

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1) - 4) Jason Tsz Kit Ngai - final proposal model for a centre for elderly people to grow and look after bonsai plants 5) Emily Post- plan drawing of final proposal, 6) section, 7) elevation, 8) Viola Pititto perspective drawing of proposal interior, 9) Charles Norton - longitudinal section through final proposal, 10) Taro Sakamoto - axonometric drawing, 11) illustraion of Interior of final proposal.

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1) Beau Read - programme concept collage, 2) ground floor plan of final porposal, 3) plan of ‘parlour’ level of proposal, 4) - 6) final proposal model, 7), 8), 10), 11) Ghada Reda - circulation model for final proposal, 9)) sectional perspective, 12), 13) internal spaces.

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1) Ginevra Sampieri - exploded axonometric drawing of a luxury hotel for dogs, 2) Manasi Sheth - Interior of final proposal model, 3) final proposal model 4) Krina Shah - model showing interior light conditions, 5) final proposal model, 6) floor plan of drone workshop for neighbourhood young people, 7) Nuzhat Shaheen - ground floor plan for ceramic workshop, 8) section of proposal.

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1) Jake Sherwood - final proposal visualisation on site model, 2) - 4) development sketches for workshop / studio space, 5) Suthata Suthmahatayangkun - visualisation of interior informal seating space, 6) visualisation of spice shop area, 7) model of final proposal for a South East Asian spice and street food market, 8) section of final proposal.

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1), 2) Timea Tifan Gy - details of final proposal model, 3) final proposal model, 4) material concept collage, 5) - 8) Jianqiao Kate Yang- development model, 9) third floor plan of final proposal, 10), 11) Interior spatial moments .

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1), 3) Linfeng Ye - details of final proposal model, 2) interior concept sketch, 4) Vincent Min Wang - site elevation drawing, 5), 7) Ankai Xu - development model, 6), 8) details of final model for Caribbean themed restaurant and bar, 9), 10) Yumeng Zhou final proposal model, 11) elevation drawing of final proposal on site, 12) - 14) Luigi Zoppi - final proposal model.

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ACKNOWLEDGEMENTS

Dean of Academic Programmes Anne Smith

Programme Director Spatial Practices Dr. Melanie Dodd Course Leader Geoffrey Makstutis Stage 1 Co-Leader Amanda Hopkins Stage 1 Co-Leader / Media Practice Coordinator Andrew Sides Stage 1 Tutors Sam Brown Andrew Friend Amanda Hopkins Maria Lisogorskaya Stuart McKenzie Andrew Sides Contextual Studies Coordinator Shumi Bose Technical Studies Coordinator Adrian Robinson Technical Studies Tutor Chris Swinburn Stage 2 Leader / Professional Practice Coordinator Gregory Ross Stage 3 Leader Oscar Brito Guest Lecturers Jerome Flinders Mat Leung Abdul Mohammed Joseph Popper Tom Raymont Louis Schulz Guest Reviewers Lettice Drake Becky Hoghton John Mbene Jennifer Mckerr Maria Meller Dinali Senanayake Katherine Spence Chris Upson Nick Woodford

Students Haben Abraham Mesfun Cenan Afsarpour Sherry (Sheheryar) Ahmed Rukshana Akthar Hamid Almosawy Sinan Asena Sui (Sui Yu) Au Ilia (Evangelia) Avramidou SooYoung Bae Cimon Barnard Irons Naji Barri Alicja Bedkowska Greta Born Nathalia Cahyo Max Carter-White Suee (Siu Yee) Cheung Cécile Christmann Jules (Julie-Anne) Czyz Henry Daggett Marianna Dallabetta Rihards Dzelme Martyna Felus Janusz Ferenc Whisley Filart Mina Fouladi Filippos Georgeoglou Lois Goddard-Langstone Beata Halka Fiona Hartley Katie Hillel Ethan (Kaixiang) Hu Sheng-Ya Huang Ellie (Eleanor) Johnson Batu (Batuhan) Koç Sasha (Sersah) Kombos Hilal Koztepe Zuzanna Krasowska Crystal Lam Jason (Tak) Lau Libra (Hui) Li Revan (Jiaming) Li Weihao Liang Changqing Liu Adrian Masola Thea McDowall Andre Moraes Kan Motoyasu Jason (Tsz Kit) Ngai Charles Norton Viola Pititto Emily Post

Beau Read

Ghada Reda Taro Sakamoto Ginevra Sampieri Krina Shah Nuzhat Shaheen Jake Sherwood Manasi Sheth Jiesoo Shin Justin Stevens Olivia Sutherill Suthata Suthmahatayangkun Timea Tifan Gy Vincent (Min) Wang Ankai Xu Kate (Jianqiao) Yang Linfeng Ye Yumeng Zhou Luigi Zoppi Publication Team Cimon Barnard Irons Alicja Bedkowska Rihards Dzelme Martyna Felus Janusz Ferenc Zuzanna Krasowska Revan (jiaming) Li Beau Read Ginevra Sampieri

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Applying to BA Architecture at Central Saint Martins Entry to BA Architecture is highly competitive. Selection is determined by the quality of the application, indicated primarily in your portfolio of work and written statements. Applicants are normally expected to have achieved, or be expected to achieve, the course entry requirements: • Passes at GCSE level in 5 subjects (grade C or above) including English Language, Mathematics and a double award at science, or a separate science such as Physics or Chemistry, and one other subject (Art & Design or Design Technology are recommended).

We select degree applicants according to your potential and current ability to: • Work imaginatively and creatively in architecture and design • Engage with experimentation and invention • Show imagination and ambition in proposals for your work • Demonstrate a range of skills and technical abilities • Demonstrate an engagement with 3D and architecture/spatial design • Demonstrate a basic ability to draw and model objects and spaces

• In addition to the requirement above, applicants must have achieved 320 UCAS tariff points (or equivalent).

• Demonstrate a basic ability to discuss ideas verbally and through written work

Student selection criteria

• Demonstrate cultural awareness and/or contextual framework of your work

We don’t just look for a passion for architecture. We’re also seeking people who are open to new ideas, informed risk taking and challenge, and who are willing to get involved in the different disciplines and practices of architectural design during their degree.

• Articulate and communicate intentions clearly

college project or in your personal work.

By creative development, we mean ideas that have originated in your own experience and research and progressed towards potential visualisation. Ideas, visual research and experimentation are more important than finished design solutions and can be shown in 2D work, or through 3D objects and maquettes. It’s important that the creative work you include reflects and demonstrates your thinking, initiative and personal commitment to a particular project, theme or idea.

Both through your work and in talking to you at a portfolio review we’re interested in you as an individual. Our focus is on your personal interests, your creativity and your initiative in finding out about your proposed area of study.

We’d like to know about your favourite designers and artists, where you’ve seen their work at first hand and how you’ve gathered more information about the work that interests you.

Portfolio and interview advice Your work should demonstrate creative development, whether for a

To find our more, read the full course description, get application forms and information, visit:

arts.ac.uk/csm/courses/undergraduate/ba-architecture-spaces-and-objects

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with generous support from:

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