Leicester School of Architecture Yearbook - 2019

LEICESTER SCHOOL OF ARCHITECTURE

ISSUE N O02

DE MONTFORT UNIVERSITY | LEICESTER SCHOOL OF ARCHITECTURE | ISSUE NO02 SHOWCASE 2019

MMXIX

CHIEF EDITORS: Sophie Hannah BAKKALI Shelby Ashley Wednesday GREEN EDITORIAL TEAM: Francesca BUFANO Joshua DUDLEY Joshua GEACH Karampreet Kaur SEERA COVER DESIGN: Shelby Ashley Wednesday GREEN Joshua DUDLEY PRINTING: DMU Print Centre ISSUE II

De Montfort University The Gateway Leicester LE1 9BH United Kingdom w: www.dmu.ac.uk T: +44 [0] 116 257 7442

//De Montfort University // Leicester School of Architecture // //Show Case Book 2019 // Arts Design and Humanities // //Master of Architecture // Bachelor of Architecture // //MA Architectural Design // Bachelor of Science in Architecture // //Leicester and Rutland Society of Architects // Love Architecture // // Proud to Be More //

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Leicester School of Architecture

CONTENTS WELCOME

06

SCHOOL WELCOME

10

HEAD OF SCHOOL CHRISTOPHER JONES

11

NEIL STACEY MASTER OF ARCHITECTURE PROGRAMME LEADER BEN COWD BACHELOR OF ARCHITECTURE, 2ND YEAR COORDINATOR YURI HADI

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SUBJECT HEAD - ARCHITECTURAL TECHNOLOGY

ASSOCIATE PROFESSOR IN ARCHITECTURE

DR AHMAD TAKI

HEAD OF PROFESSIONAL STUDIES DR JAMILEH MANOOCHEHRI

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PROGRAMME LEADER - ARCHITECTURAL TECHNOLOGY

DR LUIS ZAPATA

BA 3 MODULE LEADER GERALDINE DENING

14 15

LSA STAFF THE ARCHITECTURAL HUB DIRECTOR ROBERT SHEEN SENIOR IT SUPPORT OFFICER

SUDHIR RAO

EVENTS & OPPORTUNITIES

16 17 20 28 29

MALAYSIA INDIA ARCHITECTURE BIG EVENT BERLIN PROGRAMME REFUGEE MICRO HOUSING

STUDENT WORK

30

BA 3 UNDERGRADUATE 2018-19

76

BSC UNDERGRADUATE 2018-19

82

MARCH POSTGRADUATES 2018-19

85 86 106 120 132

SPECIAL THANK YOU TIM BARWELL

138

GROUP I :

EVOLVING ORIGINS

BEN COWD & TIM BARWELL

GROUP II : DENSITY YURI HADI & VASILENA VASSILEV GROUP III :

PHENOMENAL MATERIALS

ALEXANDER MILLS & ERA SAVVIDES

GROUP IV :

[IN]FORMAL URBANISM INTERSECTION OF

TIM BARWELL

CULTURE & POLITICS

GROUP V:

INDIVI // DUALITY

ASHLEY CLAYON & JAMES FLYNN

156 SPECIAL RECOGNITION 158 160 162 164

SOM WINNER 2018 MARGARET NDUNGU EURASIAN STUDENT PRIZE GOLD 2018 KHANH NGUYEN 3D REID WINNER 2018 ESTHER AKANNI PART2 RIBA EAST MIDLAND AWARD 2018 SIMON GREEN No02 — LSA — 005

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Leicester School of Architecture

Welcome

TO THE LEICESTER SCHOOL OF ARCHITECTURE

The Leicester School of Architecture continues to thrive and develop in the new Vijay Patel building which we have now occupied as part of the Faculty of Arts, Design & Humanities for three and a half years. We have entered an exciting phase of development with an increase in international and local activity, live projects, and the School continues to gain awards and recognition for its work.

Building on its 120 year history, the LSA’s vision is one where the School will continue to emphasise the “craft of making” whilst challenging the students to take more critical positions in their worldview of the discipline of architecture. We emphasise materiality, new technologies, and promote sustainable solutions to architecture, the community and urban design issues, rooted in a humane approach to architecture. This is demonstrated by projects that are live or placed in real situations, sited in local and international locations. For example, the second year helped to build homes for a disadvantaged community in Ahmedabad, 80 students have been involved thus far; the third years are working on live sites in Berlin and the construction of a micro living unit over the summer. Students have also just returned from Morocco building rammed earth houses. Supported by DMU Global, students have had study visits this year to Berlin, New York, Buenos Aires, Venice, Ahmedabad, Oporto, Amsterdam, Barcelona, and Morocco. We are very proud to be a diverse community of students and staff and are honoured to have Baroness Lawrence as our Chancellor, the Stephen Lawrence Research Centre had its formal opening in May. Notable achievements are the MArch achieving 100% student satisfaction in the 2018 National Student Survey and the continuing success of our students in the President’s Silver Medals, over the past 5 years DMU is second in the world for medals. This year our students gained a number of awards.

Margaret Ndungu was the winner of this year’s SOM Foundation Fellowship UK at Part 2 for her design project ‘Wild City’.

The TRADA National Student Competition 2019 for third year students was won by Isaac Palmiere-Szabo and his team and third year student Alice Owczarek and her team won the RIBA East Midlands Charrette at Nottingham. Simon Green was overall winner in the East Midlands Student Awards (Part 2), Khanh Nyugen won gold in the Eurasian Prize Student Awards for his Vertical Village, and Esther Akanni won the 3DReid Student Prize.

The Architecture Big Event with Sir Peter Cook brought the whole School together at the start of the year and introduced the Year 1 students to the Architecture School.

We have begun this year our innovative Apprenticeship Level 7 mode of delivery of the Part 2 and Part 3 course which means students on this part time course study for free and the scheme is integrated with their practice work. Importantly following their visit in September, the Board of Architects Malaysia (LAM) have validated the Part 1 & Part 2 programmes which means students with our qualification can work in Malaysia.

We once again have worked closely with our local and regional RIBA network. We have had students participate in the RIBA mentoring scheme, mock interviews, and run a number of events in partnership with the regional office of RIBA East Midlands, including hosting CPD seminars which our Part 2 students attended, and the local Leicester and Rutland Society of Architects branch.

Arup’s, Benoy, PLP Architects for offering student placements for next year.

The School benefits from an excellent relationship with Leicester City Council (LCC). 2018-19 has seen our students attend LCC Conservation workshops, contribute to the city’s Conservation Advisory Panel as well as undertake design projects based in the city, augmented by the excellent information LCC make publicly available. Leicester Urban Observatory, a collaboration between LCC and the three universities in Leicestershire, is the foundation of our positive relationship. As well as developing its programme of public events, the Observatory relationship has led to contributions from LCC to our RIBA Part III programme, as well as valuable and much appreciated support and guidance regarding the siting and exhibition of the “Micro Living Unit’ Project.

Our newly formed Architecture Institute focuses the School’s research into four areas: Low impact built environment; Housing and dwelling; Cities & urbanism; Architectural geometry & fabrication, and currently has 19 PhD students. It has been a busy year for our community of 750, full of ideas and enthusiasm, which would not have been as successful without the hard work and dedication of our students.

- CHRIS JONES Interim Head Of School

This included the Love Architecture festival in October. The continued support of our local practices, particularly those who gave our students mock interviews and those participating in the Apprenticeship scheme, has been invaluable. We would particularly like to thank Foster + Associates and BHB Architects for their prizes this year and Pick Everard, BG +P,

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WELL DONE AND CONGRATULATIONS TO EVERYONE

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Leicester School of Architecture

Chris Jones HEAD OF SCHOOL

Chris is an architect practising, teaching, and researching in the UK, Ireland, USA, Australia, Germany, France, Malaysia and Canada. Formally Dean of Faculty and Head of School of Architecture in Hull; and having had substantive practices in Dublin, Hull, and London since July 2018, Chris has been Interim Head of Leicester School of Architecture at DMU. His practice experience includes seven years of social housing in London with PRP, twelve years of community architecture with ABC Architects in Hull, eleven years as Director of Atlantic Architects in Galway and Dublin, and recently Chris Jones Architecture London, with published and award winning projects at Atlantic Architects, ABC Architects, and PRP Architects. Chris’s speciality has been in social housing and masterplanning, further involved with community participation and advocacy, for example as Chair of the Association of Community Technical Aid Centres and work with Governors Design Teams (USA), Community Design Action Teams, and Housing Action Trusts. Through his extensive career, Chris has been fortunate to work and teach with some major figures in the discipline including Lord Scarman, Walter Segal, Ted Cullinan, and David Bellamy.

Previously a Member of Education Committee of Royal Institute of Architects of Ireland, a Member of the Board of Architectural Education in the U.K., the Chair of the Association of Community Technical Aid Centres and External Examiner at the Mackintosh School of Architecture for the Masters/Part 2. He held Visiting Professorships at the University of Adelaide and the University of Minnesota.

Neil Stacey

ASSOCIATE PROFESSOR IN ARCHITECTURE

Associate Professor in Architecture and Year 1 Programme Leader.

During the 2018-19 academic year Neil has focused on the first year of the School’s BA programme, introducing a new curriculum and working with the first year tutor team to introduce a revised balance between hand-drawing, digital drawing, techniques (technology), and imagination.

The First Year students responded with some excellent work, including the design of a ‘Sitooterie’ in a city park and a community building in Leicester’s city centre. The year included #DMU Global trips to Barcelona, Porto, and to Amsterdam & Brussels, as well as day trips to the Yorkshire Sculpture Park and the Hepworth Gallery in Wakefield.

Neil contributes to teaching and management across the School, is co-founder and active member of Leicester Urban Observatory, a member of the Leicester Conservation Advisory Panel, and is involved in design research focused upon architecture + well being as part of the Cities & Urbanism theme in DMU’s Architecture Research Institute.

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Leicester School of Architecture

Ben Cowd

MARCH PROGRAMME LEADER

Ben Cowd is Subject Head of Postgraduate Architecture and Programme Leader for MArch Architecture (RIBA part II) and Architect Apprenticeship Level 7 (RIBA parts II & III). His work has been widely published and exhibited internationally including exhibitions at the Royal Academy of Art, Mathaf Museum of Modern Art, The Venice Biennale, and the Museum of Art and Design (MAD) in New York. In 2012 Ben was awarded the prestigious AJ/Lendlease Grand Award for Architecture by the Royal Academy of Arts (RA) for his project Solar Topography in Rome.

Prior to joining the Leicester School of Architecture, Ben worked for Foster + Partners in London and Morocco, completing 3 award winning innovative flagship banks in Rabat, Fez, and Casablanca before going on to work on projects in London, Libya, and Switzerland. His drawings and models for the BMCE Bank, Morocco were exhibited with Norman Foster and Spencer De Grey at the Royal Academy of Arts: Summer Exhibition 2009. Ben lectures extensively about his research and collaborative practice with Sara Shafiei (saraben-studio) including keynote lectures at the international conference ‘Conversations on Architecture’ Cape Town and the Tasmeen Bienalle, Qatar. His work has been published internationally and praised in Wallpaper magazine, The Financial Times, Blueprint, Slash: Paper Under the Knife and the AD-Exuberance.

Ben is a passionate studio tutor whose students have won over 30 national and international awards including 4 RIBA Presidents Medals Awards and the RIBA Sir Christopher Wren Scholarship. He is currently external examiner at London Southbank and Plymouth University and sits on the RIBA National and International School Validation panel.

Dr Yuri Hadi BA PROGRAMME LEADER

Senior Lecturer in Architecture, Programme Leader for the BA(Hons) Architecture, Unit Lead for the Density Studio Group in MArch Architecture, Year 2 Leader and Design Subject Head for Undergraduate Architecture. A graduate of the Universiti Teknologi Malaysia (BA Hons 2002, LAM Part II, Diploma 1999 LAM Part I), PhD in Architecture at the University of Nottingham, UK Campus (2013).

Yuri’s teaching and research primarily concerns Architecture, High-Rise/Density, and Urban Design. His research and studio focuses on high-rise and tall buildings for improving the quality of life in future urban conditions. High rise is the product of an evolutionary form emerging from extreme patterns of land values and social geographies. It is an inherited product of the post-industrial form.

The spatial relationship that builds the foundation of many urban design theories is formed from the necessity of urbanity precipitated from the Industrial Revolution.

Yuri believes that high-rises should be taken into consideration in its positivity, as traditional approaches to design in extreme urban conditions are limited in their application, especially when dealing with density. How do we deal with verticality as upward-radical solutions for sanitation, industry, leisure and pollution? Our fixation on sky-rise buildings is not over. The idea that noble sky-rise structures are to fall victim to socio-economic circumstances, becoming redundant, demolished and cannibalised for new functions is anti-progressive. The sky-rise is in fact still evolving, entering its third modernist evolution into the ecological age.

Questions on ecology, building performance, and the reliance of experimental technologies will need to be answered and explored.

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Leicester School of Architecture

Dr Ahmad Taki

SUBJECT HEAD - ARCHITECTURAL TECHNOLOGY

Dr Ahmad Taki is a Director of the Architecture Research Institute, a Reader in Energy and Indoor Climate, and a Senior Fellow of Higher Education Academy (HEA).

He is experienced in design strategies and building physics to promote and encourage sustainability, human thermal interaction with the built environment, and computer modelling. He is a member of EPSRC College for peer review of research proposals. Dr Taki is an invited author of ‘Heat Transfer’ section of the CIBSE Design Guide and has given overseas presentations on his work related to human thermal environment field.

Dr Taki has already worked successfully on several funded research projects giving him considerable experience in managing research contracts and in disseminating research findings. Dr Taki has successfully supervised 19 PhD students and is currently supervising 11 others. He is a Founder of both the BSc Architectural Technology and the MSc Architecture & Sustainability programmes in the Leicester School of Architecture.

Dr Jamileh Manoochehri HEAD OF PROFESSIONAL STUDIES

Jamileh graduated from Architectural Association and completed a PhD on Social Housing and Ideology at University College London. She is also a Fellow of Higher Education Authority, and Fellow of RSA. She has been a project architect on award winning projects with Short and Associates, CGHP Architects, HTA, and Chapman Taylors.

Jamileh is currently participating in research in the field of housing as a part of the Architecture Research Group, with publications including a Monograph on Politics of Social Housing in Britain, 2012, book chapters on Social Sustainability and the Housing Problem, 2015, and on Housing and Alienation, 2018, Co-editor on Springer Series on Smart Futures, Challenges of Urbanisation and Social Sustainability, 2018.

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Leicester School of Architecture

Dr Luis Zapata

PROGRAMME LEADER - ARCHITECTURAL TECHNOLOGY

Dr. Luis Zapata is Senior Lecturer in architectural technology and programme leader of the BSc in Architectural Technology at the Leicester School of Architecture.

With over twenty-four years of experience in fields of architecture, construction technology, and built environment, Dr. Zapata has worked in community development projects in Mexico, Costa Rica, Burkina Faso, and India. Dr. Zapata has lectured in universities in Mexico, Costa Rica, and Australia.

His research interests are two-fold: In the field of design, he is interested in the study of typological transformations in traditional architecture, sustainable architecture and its impact in the built environment, Vernacular Architecture and heritage conservation. In the field of architectural technology, Dr. Zapata is interested in the study of disaster resilience, emerging building practices, and disaster relief shelters.

Geraldine Dening BA 3 MODULE LEADER

Geraldine, MA (Cantab) DipArch ARB, has taught MA and MArch, and currently is joint head of Year 3; module leader for BA3 Studio; module leader for Professional Practice and Ethics; and Year 3 seminar tutor in History and Theory. She has been a regular critic at the Bartlett, AA, and LMU. Geraldine brings her professional practice and research into her teaching at the School of Architecture. By focusing studio design, professional, and academic projects on real-life scenarios, she encourages students to look beyond the traditional architectural object to the complexity of real-world situations, exploring the ethical, social, economic, and environmental dimensions of architecture.

She is the co-founder and co-director of Architects for Social Housing (ASH) CIC, a not-for-profit organisation set up to provide an architectural response to the housing crisis. Over the past four years Geraldine has been lead architect on the design alternatives to the demolition of six council estates under threat, two of which have been part of successful campaigns to save homes from demolition, and two more the focus of residents’ Right to Transfer the estate into community ownership. Geraldine participates in a number of academic think-tanks on the provision of social housing in the UK. She lectures nationally and internationally on the work of ASH, the international housing crisis, and what we can do about it. Geraldine was also nominated “30 Most Influential Architects in London” in the Evening Standard Progress 1000, 2018.

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LSA Staff Amal ABUZEINAB Christina AGATHANGELOU Tim BARWELL Frank BREHENY Douglas CAWTHORNE Sylvester CHEUNG Ashley CLAYTON Phil COOKSEY Jon COURTNEY-THOMPSON Steffan DAVIES George EPOLITO Daniel FARSHI James FLYNN Rokshid GHAZIANI Jonathan GRATION Selim HALULU Mike HAWKINS Ian HENDERSON Abi van HOOREBEEK Rory KEENAN Jee LIU Juan LEIVA Tim MARTIN Alona MARTINEZ-PEREZ Yasser MEGAHED Anisha MEGGI Alexander MILLS John NEALE Beniamino POLIMENI Vinesh POMAL Era SAVVIDES Tania SHARMIN George THEMISTOKLEUS Vasilena VASSILEV Russell VERNUM Andrew WAITE Jamie WALLACE

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Leicester School of Architecture

Rob Sheen

ARCHITECTURE HUB DIRECTOR

Rob manages the Architecture & Design Resource Centre, a specialist facility where students can access a range of technical information and advice including books, journals, reports, manufacturer’s brochures, and dissertations.

Rob also manages the School’s dedicated Architecture Hub website as well as our social media sites that advertise events run by the LSA and the wider community.

Our Linkedin site ‘LSA Extra’ has over 380 members, including alumni, now working in architectural practices.

We also have a job vacancy notification service which links graduating students with local practices.

We have close links with the LRSA Leicestershire & Rutland Society of Architects who offer a series of events for students including Mock interviews with local architects for final year students, a 24 hour student competition the President’s Prize and a pub quiz.

Final year BA students have the opportunity to participate in the RIBA mentoring scheme which is intended to give an insight into practice.

Sudhir Rao SENIOR IT SUPPORT OFFICER

Sudhir is a valued member of staff supporting the Vijay Patel Art & Design wing and all of its courses. He maintains the extensive suite of printers, plotters, and scanning facilities as well as desktop services; from supplying studios with terabytes of new computing power to experimenting with specialist software packages to support specific studios and benefit the whole student body.

Following the Architecture course from the main campus to Wellesley House and back, Sudhir has always ensured architecture students are prepared with ample inks, paper, and valuable technical support during their most trying deadlines. Between his formal responsibilities and liaising with course representatives, he goes out of his way to connect with students, chat, and build relationships that transcend his official role.

On behalf of the architecture department and the students of 2018/19, we would like to extend our deepest gratitude to Sudhir for his commitment to this school and all who attend it.

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Leicester School of Architecture

MALAYSIA LAM Accreditation

September saw the accreditation of the Leicester School of Architecture by the Board of Architects Malaysia (LAM). The accreditation will allow graduates of the LSA to follow a career in Architecture in both the UK and Malaysia.

The LSA’s accreditation follows a progression pathway agreement between De Montfort University and Asia Pacific University of Technology & Innovation (APU) which will give APU students from selected programmes the chance to complete their studies at DMU’s campus in Leicester.

The agreement will also forge a close working relationship between DMU and APU which will see guest lectures, joint student events, and other collaborative efforts organised both in Malaysia and the UK.

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DMU SQUARE MILE INDIA Homes in a former leprosy colony called the Loving Community

In 2009 the Loving Community Centre was founded in the heart of a community inadvertently brought together by the disease leprosy. The community centre that our DMU Square Mile India project is supporting provides for over 150 people; free dinners, workshop and educational programmes, safe lit areas for children, and indoor shelters for residents whose homes are prone to monsoon flooding.

This year we have been delighted to start a project as part of DMU Square Mile India where our students have been involved in designing and building homes raised above the monsoon flood waters that every year flood the community in Ahmedabad for 2 months. This is embedded into the modules in Year 2, where 80 students have taken part thus far.

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Building on its 120 year history, DMU’s Leicester School of Architecture, a community of 750, continues its mission to promote the “craft of making” whilst challenging students to take more radical positions in their world-view and architecture.

We emphasise materiality, new technologies, sustainable solutions to architecture, the community, and urban design issues, rooted in a humane approach to architecture within the DMU ethos and through global initiatives.

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THE BIG EVENT

A DYNAMIC DAY OF DESIGN

It was called The Architecture Big Event and it certainly lived up to its name.

Around 600 students from the Leicester School of Architecture came together to hear from renowned guest speakers and took part in challenges all designed to prepare the ground for a busy academic year of creative thought, constructive debate, and dynamic designing. A first for the school, the event commenced with a live link to India where Simon Bradbury (DMU’s Pro Vice-Chancellor/Dean for Arts, Design and Humanities) showcased the work that Architecture students had been executing to help improve homes in one of the poorest parts of India; protecting residents from devastating floods.

Students then split into groups to participate in a series of ice breaker workshops designed to stimulate their creative design instincts.

Supervised by postgraduate students, First Years were encouraged to design homes inspired by influential people, whilst Second and Third Years explored ideas of utopic and dystopic visions in a grand 10m drawing exercise.

The event was punctuated with talks by Piers Taylor, who most recently co-presented BBC Two’s World’s Most Extraordinary Homes, Alistair Crockett of Níall McLaughlin Architects, and award-winning architect Sir Peter Cook. It was an honour to be graced by the presence of such notable speakers who excited and inspired the entire cohort of students and staff alike for the upcoming year of exhilarating design opportunities.

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INFLUENTIAL HOMES Relishing in their first day as architecture students, the First Years were tasked with creating homes influenced by a celebrity or hero and built from paper, straws, glue, and tape. With all the students working in large groups, they were required to engage with one another in a way that meant listening to, debating, and acting on each other’s ideas to reach a common goal.

The homes were to be designed based on the beliefs and teachings of their chosen influencers; everyone from Gordon Ramsay and the ancient Egyptians to Martin Luther King and Elon Musk. Others looked to comic book heroes including Batman and Thor.

Led by postgraduate students, the task was intended to immerse the architectural newcomers in their new world of hands-on modelling, team work, and holistic design processes.

A student working on a home inspired by Peter Pan said “Peter Pan gives us lots of different ideas that we can use, such as the trees, the stars, fairies, ships… A day like today is really important for us to help get to know each other” whilst another added, “it really gives you a feel for what the course is going to be like.”

UTOPIA & DYSTOPIA Second and Third year students were then given the group task of creating 10 metre long drawings of what they define to be a utopia or dystopia with a heavy focus on the architectural implications.

Students were encouraged to translate their understandings of: a utopia – defined as an island of the imagination – or a dystopia – an imaginary state of suffering and injustice; into visual representations of architectural spaces that start to define the relationships, boundaries, and differences between the two.

A Third Year reported “I have never done anything like this before.

It is great to see what other people’s understanding of architecture is.”

GUEST SPEAKERS TV’s Piers Taylor started the talks by discussing his works at Invisible Studios where he has been developing Studio in the Woods; a student-build initiative intended to rethink the relationship between design and making. Interested in going about architecture in another way, Taylor went on to deliberate the importance of materiality before closing with a testament to testing ideas at a 1:1 scale.

Alistair Crockett followed up with an insight into the design process of his ongoing works at Niall McLaughlin Architects on The Sultan Nazrin Shah Centre in Oxford. In his presentation, Crockett reiterated the importance of architectural design not simply providing new facilities but also integrating their development with their environment to enhance the design.

The Big Event culminated in a finale speech by award winning ‘starchitect’ Sir Peter Cook, delivering his ‘Dreams and Stuff’ lecture; going through key works such as the Dreams of Metamorphosis, of Slithering, of the Three-Dimensional City and of the Hidey-Hole.

Cook emphasises the importance of designing with social scenarios in mind.

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“In addition to working more collaboratively, we need to restore links between academia and practice in order for practice to understand – and be part of – a research culture.”

- Piers Taylor

“I don’t really think about Utopia very often. I think Utopia detaches the proposition from connection with reality.”

- Sir Peter Cook

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BERLIN PROGRAMME We are now part of the AEDES group of Schools, including MIT and the AA, working with them and the Berlin Planners on housing and other key projects. We have 98 students in Year 3 signed up to go in October.

During the visit, the group will be based in their studios and will carry out a number of projects based on themes including Borders and Territories: Identity in Place, just Living: Housing Models for the Future and the Museum of the 21st Century.

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REFUGEE MICROHOUSE This year, the BA3 cohort have been offered the opportunity to design and build a 15m2 sustainable microliving unit.

The proposal embraces a plywood frame structure in conjunction with an insulated panel system that slots into the frame and an innovative jointing system designed for effortless disassembly and reassembly by the user. The unit is off-grid and has been made sustainable by the inclusion of solar energy strategies.

Some of the main features include: Easy assembly – The unit can be flat packed into a container from which the Berlin community group that will be using the space will be able to self-build it.

Sustainable construction – The design is built from sustainable materials focused on a heavy use of timber.

Extendability – The intention is for this starter unit to be able to extend to conform to DCLG technical housing standards – nationally described space standards.

Accessibility – The units have been designed to conform to current building standards and design guidelines.

This initiative has been made possible by the grants from De Montfort University and Foster Associates, with the assistance of TRADA. Local practices and suppliers, in conjunction with DMU’s IESD energy unit, are providing solar panels, composting toilets, and solar cooking equipment as the project is being realised off-grid.

Drawings by Engineer Dominic Pask

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YEAR OVERVIEW UNDERGRADUATE

The contemporary European city, humanity, and creativity was the theme for the third year studio 2018-19. The theme required that students demonstrated an understanding of architecture and urban design, within the context of the European city - reflecting particularly on the current issues of housing and urban life. The scheme was to emphasize materiality, new technologies, and promote sustainable solutions to architecture, the community and urban design issues, that develop an authenticity and are rooted in a humane approach to architecture.

The nine Studio Units and projects are described and illustrated the next pages. The Studios were supported by visiting design critics, technology tutors and post-graduate students during the year; as well as being supported by a visiting lecture series.

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U BA 3

Undergraduate

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STUDIO GROUP

I

“Architecture is Always Political” STUDIO LEADERS Geraldine Dening

TECHNICAL TUTORS Tom Robertshaw Paul Michael Pelken

GUEST CRITICS Sam Causer

STUDIO PARTICIPANTS

Mohammad Shehryar AMIR / Kwan Tai CHEUNG/ Jagdeep JUTLEY/ Hoi Ching LAI/ Ka Man Carmen LAU/ Shayna NGANGA / Alexander SUGRIM/ Fezaan TAHIR/ Mei Sze YING / Nadir ZADRAN / Gertruda ZAPUSTAITE

THE BRIEF In this era of global capital the profits of big developers are increasing exponentially and architecture more often than not helps maximise their economic returns to the detriment of local communities. Large-scale ‘top-down’ planning is failing the vast majority of people it is meant to serve.

As a result, alternatives to traditional forms of design are beginning to appear which pursue other agendas and different sets of priorities. ‘Community Led Housing’ developments and organisations such as Co-operatives, Community Land Trusts, Co-housing, and self-build initiatives are emerging as ways in which people can become more involved in the design and management of their homes and their neighbourhoods. These initiatives offer the opportunity for architects to work closely with existing communities and the existing environment, and to approach the design of buildings and their landscape with a different set of values.

Students were asked to study the marginal communities, qualities and narratives discernible in the existing sites and landscapes of Berlin and London, and imagine new social and economic relationships through their design proposals for a mixed-use housing scheme.

LIST OF FIGURES

Fig 1.

Gertruda ZAPUSTAITE Fig 2.

Kwan Tai CHEUNG Fig 3.

Kwan Tai CHEUNG Fig 4.

Jagdeep JUTLEY Fig 5.

Mei Sze YING Fig 6.

Nadir ZADRAN Fig 7. Nadir ZADRAN Fig 8. Nadir ZADRAN Fig 9.

Hoi Ching LAI Fig 10.

Hoi Ching LAI Shayna NGANGA Fig 11.

Fig 12.

Shayna NGANGA

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STUDIO GROUP DNA/Ste[a]m

II

STUDIO LEADERS Sylvester Cheung Francis Breheny

TECHNICAL TUTORS

Mark Boardman Michael Cruise Sam Culling Nicholas Ffoulkes Daniel Hambly

Jan Moore Tade Oduyale Tim Richardson Rosie Stevenson James Thomson

STUDIO PARTICIPANTS

Alexander ADRIENNE / Shanzina ALAM / Numan AMJAD / Brandon Lee BORG / Daisy CLAPP / Shazia Shiraz Jusab DHALLA / Samatha Julie DORRITY / Madona GEORGE / Benjamin HARVEY / Rebecca HOWE / Afzaal HUSSAIN / John Francis Javier MARASIGAN / Eirini KAFA /Georgios KYRIAKIDES / Jan LAMING / Dev NAVEKAR / Vasilis PANAYIDES / Christos PANAYIOTOU / Ammen QASIM / Natasha SOLANKI / Janki VARA / Sherin VINCENT

Fig.1

THE BRIEF Unit 3 is concerned with the ongoing STEM verses STEAM debate that seeks parity for the arts and humanities with Sciences, Technology, Engineering and Mathematics in both the British education system and also within society as a whole. To establish our case we sought to take a line for a walk through the City to determine how drawings and crafts can find ways to celebrate their exciting, elevating, life enhancing, and defining qualities that are suggestive of both personal and national identities, lines that defined a clarity of purpose, or to discover the things that we really wanted to say.

We have created visions on paper and learnt to draw with our hands and interpret with our eyes, leading to: large drawings, small drawings, rapid drawings, slow drawings, hand drawings, machine drawings, collective drawings, individual drawings, beautiful drawings, stark drawings, useful drawings, pointless drawings, inexpensive drawings, opulent drawings, and drawings about drawings. Through mark making we have established personal and collective identities that speculate upon numerous possibilities for line in architecture.

Fig.2

We would like to invite you to follow our explorations and join us for a brief stroll through two prominent European urban centres of London and Berlin. We also thank our unit cohort for allowing us to speculate with them about some alternative urban futures.

LIST OF FIGURES Fig 1.

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Samantha DORRITY Samantha DORRITY Samantha DORRITY Samantha DORRITY Shanzina ALAM Natasha SOLANKI John Francis Javier MARASIGAN Jan LAMING Dev NAVEKAR Jan LAMING Georgios KYRIAKIDES Vasilis PANAYIDES Sherin VINCENT Irini KAFA Daisy CLAPP Daisy CLAPP Daisy CLAPP Samantha DORRITY Afzaal HUSSAIN Christos PANAYIOTOU Shazia Shiraz Jusab DHALLA Ammen QASIM

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STUDIO GROUP III Propinquity (2&8) STUDIO LEADERS

Jon Courtney-Thompson Andrew Waite

TECHNICAL TUTORS Dominic Pask Chris Rogers Clare Bowman Alastair Macquire

GUEST CRITICS Alasdair Travers Michael Russum

STUDIO PARTICIPANTS

Loujaine Mamdouh ABDELALIM / Janet ADEKOYA / Sri AGUSTIANTI / Izel AKAR / Temitope AKINDELE / Thomas BARNETSON / Priscilla Iyanu-Oluwa FAGBEMI / Denver FERNANDES / Harjan MATHARU / Elliot MAYO / Eleni MOUSKI / Abdul Azim Syukri NA’AIM / Anna OBARZANSKA / Paulina Alicja OWCZAREK / Hemina PATEL / Kavita RAJAN / Syasya PG ANAK HJ YA’AKOB / Kawan RANASINGHE / Teresa TIN / Luis VERGARA / Jamillatul Zakiah Binti ZAKARIAH / Flora ZEJNULLAHI

THE BRIEF Using propinquity as a framework to establish a studio philosophy we explored projects in environments that deliberately consider and promote new forms for social, artistic, or spiritual engagement as a community in the current epoch. By creating and exploring programmes in which dwellers might choose to live, work or experience spirituality in any one or in any combination of those themes in the 21st century, the studio contemplated the creation of beautiful sustainable buildings which contribute to the city by making places in which participants of the new community would enrich their shared and personal life experiences.

LIST OF FIGURES Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Fig 7.

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Fig 11.

Flora ZAJNULLAHI Temitope AKINDELE Luis VERGARA Thomas BARNETSON Janet ADEKOYA Paulina Alicja OWCZAREK Anna OBARZANSKA Harjan MATHARU Eleni Mouski Elliot MAYO Teresa TIN

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STUDIO GROUP Coexistence...In Theory

IV

STUDIO LEADERS Daniel Farshi

GUEST CRITICS Michelle Tomlinson Nils Feldman Joanna Boyle Gemma Carey

STUDIO PARTICIPANTS

Abu BAKR DESAI / Vilde BAKKELI SAND / Tamunomiebaka BEN-KALIO / Rebecca CODD / Asif FARID / Ailsa JOHNSTON / Cole KELLY / Marilena KYNIGOU / Amina OSMAN/ Raul RUTMAN / Cathye SNELL / Dawid ZASTAWNY Fig.1

THE BRIEF We ask if memory and avant-garde theoretical strategies can co-exist. Is it possible for Genius Loci (Spirit of the place) + Genius Seculi (Zietgeist/Spirit of the times) to co-exist?

The studio explores concepts learned from theoretical texts through a design process of experimentation. We reject conventional design approaches as a valid method of questioning potential. We work on the premise that place is defined physically by degrees of enclosure & metaphysically by aspects intangible to the humans who occupy the space.

The sites comprise a disused Art Deco Underground Station in London and the ruins of a bridge in Berlin. Both sites straddle invisible borders of affluence and social status. These metaphysical borders are fortified with the physical borders of the heavily trafficked York Way in London and the impassible River Spree in Berlin.

The approach was to find a coexistence of past and present simultaneously whilst manifesting a physical and metaphysical palimpsest (layering) of cultural, political, social issues. We have sought to shift perceptions of these urban residual spaces from non-places to places with the introduction of the human.

Fig.2

The students explored the design process in a non-linear way at multiple scales simultaneously. Montages and models were used heavily in this experiment approach resulting in a series of projects that manifest as integrated urban spaces rather than buildings as objects or icons. All projects focus in on the unique and beautiful ways architecture can be employed to respond to the scenario, site and times.

LIST OF FIGURES Fig 1.

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Rebecca CODD Raul RUTMAN Marilena KYNIGOU Marilena KYNIGOU Marilena KYNIGOU Rebecca CODD Cathye SNELL Dawid ZASTAWNY Dawid ZASTAWNY Cole KELLY Rebecca CODD Rebecca CODD Cathye SNELL Abu BAKR DESAI Vilde BAKKELI SAND Amina OSMAN Ailsa JOHNSON Dawid ZASTAWNY Raul RUTMAN Cole KELLY Abu BAKR DESAI Raul RUTMAN Vilde BAKKELI SAND

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STUDIO GROUP Context /Content

V

STUDIO LEADERS Jamie Wallace

GUEST CRITICS Howard Richardson Nisha Kurian Tiago Jorge

STUDIO PARTICIPANTS

Arthur BELIME/ Matthew GARFOOT/ Rochelle INGLETON/ Thomas KHOSRAVANIFAR/ Daniel KONCZ/ Ettie LEWIN/ Majda MOHAMED/ Isaac PALMIERE-SZABO/ Mariya PETROVA/ Monalisa SIBANDA/ Emmanuel TIYAMIYA

THE BRIEF On sites in Berlin and London we explored the complexity of the existing situation, to examine what value these environments hold beyond the monetary, and what kind of ‘place’ they are already. Through our architectural and landscape interventions we explored how we can exaggerate these pre-existing qualities in the search for a highly specific architecture.

LIST OF FIGURES

Fig 1. Emmanuel TIYAMIYA Fig 2.

Isaac PALMIERE-SZABO Fig 3.

Isaac PALMIERE-SZABO Fig 4.

Isaac PALMIERE-SZABO Fig 5.

Arthur BELIME Fig 6.

Emmanual TIYAMIYA Fig 7.

Mariya PETROVA Fig 8.

Ettie LEWIN Thomas KHOSRAVANIFAR Fig 9.

Fig 10.

Majda MOHAMED Fig 11.

Thomas KHOSRAVANIFAR Fig 12.

Thomas KHOSRAVANIFAR Fig 13.

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STUDIO GROUP

VI

Re-Imagining Urban Living and Production in 21st Century City.

STUDIO LEADERS

Dr. Jamileh Manoochehri

TECHNICAL TUTORS Nils Feldmann

GUEST CRITICS Leslie van der Veen Nils Feldmann

STUDIO PARTICIPANTS

Hristiyana ANGELOVA / Shema BEGUM / David CUNNINGTON / Jonathan EDWARDS / Michelle ISON / Thomas LEE / Adam MURRAY / Adrianna NOWOGORSKA / Siani PENFOLD / Archana RAVINDRA / Rahul THIRUGNANAM

THE BRIEF The city came about as a centre of high employment, and in order to thrive it has to provide employment for its inhabitants. The ‘De-localisation of manufacturing, in the last few decades, has meant that manual jobs and industry have moved out of the centre across major European cities. Given access to cleaner technology, there are now calls for an ‘Industrial Renaissance’. We have been concerned with characteristics that make up the city and have tried to relate ‘production/manufacturing’ and ‘inhabitation’ as integral to city life and to speculate on viable means of production in today’s economic climate.

Fig.1

The proposals in this design group have been made for two sites: on Bernauer Strasse, a site on the South bank of the River Spree, in Berlin. In London King’s Cross, the Camley Street site was selected. The proposals have included a Bike manufacturing workshop, an urban farm, a bakery, a model manufacturing and training centre, in Berlin, and a place for the manufacture of essential oils, a boat building yard, and a tea-packaging facility, in London. The manufacturing elements are supported by a housing component. These vary from co-housing to accommodation for the staff of the manufacturing section.

LIST OF FIGURES Fig 1.

Fig 2.

Fig 3.

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Jonathan EDWARDS Thomas LEE Adrianna NOWOGORSKA Adrianna NOWOGORSKA Adrianna NOWOGORSKA Adrianna NOWOGORSKA Siani PENFOLD Siani PENFOLD Siani PENFOLD Siani PENFOLD Siani PENFOLD Thomas LEE Thomas LEE Thomas LEE Thomas LEE Hristiyana ANGELOVA Hristiyana ANGELOVA Hristiyana ANGELOVA Hristiyana ANGELOVA Hristiyana ANGELOVA Jonathan EDWARDS Jonathan EDWARDS Jonathan EDWARDS Jonathan EDWARDS Jonathan EDWARDS

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STUDIO GROUP Why We Build

VII

STUDIO LEADERS Jee Liu

TECHNICAL TUTORS Natalie Guinn Tiago Costa Jorge

GUEST CRITICS Etienne Clément Joseph Little Hamish Herford

STUDIO PARTICIPANTS

Samuel ADIB / Abdifatah ALI / Takudzwa BISTON / Filip KOZLOWSKI / Joanna LAGDAAN / Christina MARKAKI / Samuel MASON / Scott MCKENZIE / Surya NARREDDI / Janushan NICALAUS / Dillon PARMAR / Joe SADDY / Joseph SINGLETON

THE BRIEF “Until man enters the building, climbs steps, and takes possession of the space in a ‘human adventure’ which develops over time, architecture does not exist.”

- Lina Bo Bardi

What we believe is that architecture can impose ideology but the act of creating architecture should embrace fundamental qualities of how humans respond to a space physically and emotionally. The result can be bold but purposeful. A well thought decision also includes when and how the physical fabric of architecture should step back, and allow life to take place.

LIST OF FIGURES Fig 1.

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Christina MARKAKI Joseph SINGLETON Joseph SINGLETON Joseph SINGLETON Joseph SINGLETON Janushan NICALAUS Janushan NICALAUS Janushan NICALAUS Scott MCKENZIE Scott MCKENZIE Abdifatah ALI Abdifatah ALI Dillon PARMAR Christina MARKAKI Sam MASON Sam MASON Sam MASON

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STUDIO GROUP History in the making

VIII

STUDIO LEADER Rory Keenan

TECHNICAL TUTORS Alexander Urquhart Hrabrina Nikolova

GUEST CRITICS Jamie Agnew Thomas Hopkins Liam Davis Thomas Gains

STUDIO PARTICIPANTS

Al Khaledi SHOUQ / Yomna AMER / Aelxander BARNES / Christopher MAHONEY / Kathleen MCCOOL / Thomas McGRATH/ Caroline REINESE MAZA / Balraj SEHMI / Wiktoria WALCZAK / Samuel WATTS / Jordan WESTWOOD

THE BRIEF Every building once built becomes the object indivduals and communities project their stories on to. In this way architecture collects the histories it has seen, a storyteller connecting generations.

However, the narratives that shook Europe at the start of the century are back with a vengence. The voices in the streets of London and the barricades of Berlin are reborn again. Their rhetoric digitally amplified. History on the cusp of repeating itself.

Fig.1

As artefacts of bricks and mortar, architecture proves a ‘ground truth’ in direct opposition to fake news and speculative narratives. This year’s theme of ‘history in the making’ will explore construction as a record to make real our digital disbelief.

LIST OF FIGURES Fig 1.

Fig 2.

Fig 3.

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Thomas MCGRATH Thomas MCGRATH Thomas MCGRATH Thomas MCGRATH Thomas MCGRATH Thomas MCGRATH Thomas MCGRATH Samuel WATTS Samuel WATTS Caroline REINESE Samuel WATTS Caroline REINESE Yomna AMER Yomna AMER Yomna AMER Yomna AMER Yomna AMER Balraj SEHMI Balraj SEHMI Balraj SEHMI

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T

BSc

Architectural Technology

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TECHNOLOGY Why We Build STUDIO LEADERS Dr Ahmad Taki Dr Luis Zapata

STUDIO PARTICIPANTS

Chris Cleine ALCANTAR / Mohammed Abdullah K ALSUBAIE / Paviter ATWAL / Denzel Assan BAAH / Francel BANGAYAN / Daniel Ryan BENNETT / Michael BUCKNER / Benjamin Samuel CORBETT / Hannah Katherine DARBY / Oluwamayowa FAMODUN / John Jacob HUGHES / Matthew JAMES / Phoebe Robyn JONES / Mohammed KHAN / Wenhan LIU / Luis Fernando MARIN-SEPULVEDA / Rajan MATHARU / Matthew MILLER / Anas MOHAMED / Mushfik MOHAMED-MARJAN / Balen Hadi MOHAMMED / Shehzaad MULLAH / Wing To Bryan NG / Muhammad PATEL / Kyle PEART / Said Ahmed SAID / Samuel SATOYE / Jake Robert SMART / Tabarak SUBAHI

THE BRIEF The BSc (Hons) in Architectural Technology programme develops knowledge and skills students need to be a specialist in the science of architecture, building design, and construction. Students gain the technical ability to analyse, synthesise, and evaluate the technical side of design to ensure that a building performs successfully.

The Architectural Technology programme focuses on the making of detailed decisions about the design and construction of buildings and their immediate surroundings. It is concerned with new and existing buildings and examines how detail relates to design concept, and how to bring together all aspects of the design process, from concept through to completion.

Architectural Technology develops skills and knowledge in understanding, application, analysis, synthesis, and evaluation to differing extents relative to design, technology, management, and practice. It is central to the communication of design decisions to members of the construction team and with ensuring that work is carried out in the correct manner. It poses exciting challenges in, and requires knowledge of, associated legal and management matters and the ability to communicate using state of the art information technology.

LIST OF FIGURES Fig 1.

Fig 2.

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Matthew MILLER Hamza KHAN Hamza KHAN Hamza KHAN Daniel BENNETT Matthew MILLER Daniel BENNETT Mushfik MURJAN Mushfik MURJAN Mushfik MURJAN

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RENDERS

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YEAR OVERVIEW POSTGRADUATE

The MArch programme offers the students the opportunity to develop a personal theoretical and critical approach to architectural design and their own position within the discipline of architecture. The teaching approach is to promote the individual identity of each student, with an emphasis on the craft of making whilst encouraging a global perspective.

The MArch focus in Year 1 is on research-oriented teaching, providing opportunities for students to align their interests with the particular expertise/experience of tutors to experiment, test and practice hypotheses in design laboratories. These design laboratories concentrate on particular contemporary issues, through craft-oriented and digital production techniques.

The March Year 2 continues the emphasis on the “craft of making” whilst challenging the students to take more critical positions in their world-view on the discipline of architecture. The intention of Year 2, is to allow for an individual, yearlong investigation to flourish within the context of shared ideas, interests, methods, etc. within a particular studio group. Students are expected to integrate their interests in History and Theory into their yearlong studio investigation, which is documented in their Architectural Design Research Study.

Technology is integrated fully with studio. Technical specialists offer individual tutorials to the students with practitioners, structural engineers and environmental specialists that supplement studio tutorials. Students also produce a ‘technical design report’, an integrated project running concurrently with the design project, asking students to consider how their buildings are designed, communicated, constructed and delivered.

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P MArch

Postgraduate

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TIM BARWELL

SPECIAL ACKNOWLEDGEMENT We would like to express our gratitude to Tim Barwell for providing extra support to students throughout the year.

Kindly stepping in to teach an additional studio group in the second term, taking both the ‘[In] formal urbanism’ and ‘Evolving Origins’ studios each week.

Due to his support the students from both groups were able to continue progressing their projects to a high standard.

We are all extremely grateful for his encouragement and assistance throughout the academic year.

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STUDIO GROUP I Evolving Origins STUDIO LEADERS Ben Cowd Tim Barwell

TECHNICAL TUTORS Robert Atherton Satnam Singhflora Dominic Pask

STUDIO PARTICIPANTS

MArch 1 Adam AYUB / Natasha Cabral De Castelo BRANCO / Steven Miguel Oliveira FERREIRA / Sri Lakshmi Meghana KUPPILI / Alexander Tom POMA / Jessica Marie SAYER / Joseph Matthew SILVA MArch 2 Gabriele ADOMAITYTE / Raveena Bhavika BHAVSAR / Josh FOSTER / Shelby Ashley Wednesday GREEN / Sophie MILLER / Anna MYRNA / Amar PATEL / Karampreet Kaur SEERA / Indujah SRIKARAN Fig.1

THE BRIEF Evolving origins is concerned with how architecture, form, and space emerge from initial questions and ideas. Gradually evolving through interrogation, testing, failure and reinvention. Final outcomes are formed of complex genetics, inconceivable from their origin but very much of their place and time. The year began researching ancient origins whilst simultaneously working towards establishing new ones, placing architecture at the heart of contemporary cultural and societal need. Through a process of research and analysis, students establish a point of departure: An Origin for a new architecture to arise and respond. As a studio we are interested in how buildings are constructed and actively encourage exploration into varied methods of construction. We believe architects need to lead the way on developing new more relevant ways of fabricating and realising buildings. This year we worked with the theme of in-situ and made-to-measure.

In-situ requires the projects be grounded, site specific, and culturally aware. They may refer to and acknowledge traditional techniques and crafts, recognising their importance to physical and cultural contexts; people and places. However, in-situ methods rely on highly skilled craftsmen or labour intensive processes, often unaffordable and time consuming. We therefore propose hybrid methods of construction, bringing together in-situ with, potentially off site fabrication, made-tomeasure solutions that take advantage of new digital processes. We are interested in exploring how these two methods can be brought together and how a language of architecture might develop and evolve from these connections and joints. We are interested in an architecture that lives and evolves at multiple speeds and how new forms of architecture can evolve from ideas merging, breeding, and becoming more efficient or expressive over time.

As a studio we are less concerned in the answer or solution but more in the juggling and composition of ideas and questions explored through a range of layered, intricate and often complex drawings and models. We are not interested in solid buildings and defined boundaries but more in architecture that is alive, permeable, responsive, and transformative.

Fig.2

LIST OF FIGURES

Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Fig 7.

Natasha Cabral De Castelo BRANCO Jessica Marie SAYER Alexander Tom POMA Steven Miguel Oliveira FERREIRA Joseph Matthew SILVA Adam AYUB Natasha Cabral De Castelo BRANCO

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Fig.3

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Fig.5

Fig.4

Fig.7

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Fig.6

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Gabriele ADOMAITYTE THE SINGING VALLEY PROJECT Performance Spaces in Cwmorthin Valley

As the sound of splitting slate resonates with the choir and carries through this building the weight and history of this enchanting valley can be felt. Once the site of just two lonely farms, Cwmorthin grew to a large and productive, yet dreadfully dangerous slate mine nicknamed “the slaughterhouse” during the height of the slate industry in North Wales. Despite the regular and terrible accidents, this was also the site of a strong and tight knit community, bonded together through the authentic voices of the quarrymen’s choir. This was a close community that collapsed as quickly as the Welsh slate industry on which it was founded.

Slate II “Beneath the rocks, the Slaughterhouse is empty now of all but rusting carts, ladders, tracks; tunnels layered with ghosts whose mallets, chisels dull like candle stubs.”

- Jan Fortune, Slate Voices.

A place with a huge part in Welsh history, this project aims to bring life, a sense of community and majestic sounds back to the desolate beauty of Cwmorthin. This partially subterranean building will serve as a new performance space with a concert hall and underground rehearsal spaces that value the importance of our cultural past.

The architecture will help visitors to be drawn by these sounds into the surreal underground environment in which the slate workers would labour every day, hopefully gaining a new appreciation for their past. In this same space performers cannot help but be moved to a more genuine and heartfelt performance in this grand and historically important setting.

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Raveena Bhavika BHAVSAR A JOURNEY TO ACCEPTANCE A Multi-faith Crematorium in Leicester

“This project is based on my personal experience at the crematorium when my mother passed away 2 years ago. The typical british building design to the insensitive service, emotionally disconnected me from the process of loss and grief as it detatched me from expreiencing the reality of death. It left my family and I feeling lost and numb when the service was over, because the ‘process’ made us feel like spectators, not mourners.”

This crematorium aims to provide a place that respectfully celebrates the life of the person lost, as well as, a place that allows the mourners to experience death through the 6 stages of grief; pain, denial, anger, acknowledgement, acceptance, and hope. It is a place that mourners can visit weeks, months, even years after the service, in memory of their loved ones, as a safe and spiritual place to heal and reach acceptance.

This project is situated in Leicester due to its diversity and the statistics that show that cremation is becoming the preferred option over burial with an increasing figure of 4000 cremations carried out a year. Through research on the various religious death customs, similarities between them showed the importance of the four elements; air, fire, water, and earth that symbolise life and death. This is an inpiration for the location of the site which is situated in a meadow on the bank of the River Soar.

Water; in the form of a serene lake to small pools and streams that flow in and around the architecture and landscape, guiding the mourners through the journey of spaces.

Earth; represented by the landscape which wraps around the buildings and through the transitional spaces inbetween, to lead, bring focus or even hide the mourners along the journey. Air; which enbodies the external elements of wind, rain, sun, and shade, all of which are controlled to enhance the mourners connection to nature.

It is by establishing a universal connection between people of different religions/no religion on their experience of life and death to create spaces that are suitable for multi-faith ceremonies. This connection is through the 6 stages of grief, as well as, the sacred patterns of geometry which are found in religious architecture and art as a guide to create sacred places.

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Josh FOSTER THE ARCHITECTURAL PLACEBO Do we really understand the way the built form affects the brain?

What if architecture could improve the way we feel?

The environment that surrounds us has a larger influence over our mood, mental state, and physiological condition than we realise. The architectural placebo looks to a future of not just healthcare design but architecture generally that promotes health and well-being.

As well as providing the best substrate for patients to heal the project argues that through the implication of efficient and sustainable design incredible cost savings can be made which would ease the immense financial strains currently faced by the UK’s National Health Service.

The thesis project aims to provide a positive contribution to this issue, through the use of innovative and sustainable architecture to act as a precedent for future healthcare facilities in the uk.

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Shelby Ashley Wednesday GREEN CAELATURA

A Latin term for: Carving away a material otherwise set in place.

To many people the darkness is disturbing, and yet few can have experienced the absolute and total darkness of a cave. Beyond the entrance, there are no little chinks of light, no reflections or refractions, no glow from a distant street light or populous areas.

There is simply no light at all, only the darkness.

The idea of the danger of darkness, spread not to just when the sun went down, but the deeper you delved into the earth. Since around 300AD the beneath, the lack of light, the darkness, has been attributed with something much more sinister, the more defined Christian concept of ‘Hell’. It is this fascination with discovering what is inside the darkness by bringing light to it that has inspired countless generations.

There is nothing on the surface level which is at all similar to this world beneath.

Caelatura explores the world beneath the city of Nottingham. It investigates the city’s already rich heritage of sandstone caves and builds upon it. How the spaces were once carved out, its utilisation in both the past and present. It researches into Nottingham’s history and association with music and how it can be used to bring communities together in the same carved space.

Nesting on a 40 meter sandstone plateau, Caelatura hopes to connect an area known as The Long Stairs [a forgotten route within the city limits] to the former lace market.

The juxtaposition between these two areas has always been evident. During AngloSaxon times the bottom of the plateau was just farmland, with the workers living upon the sandstone plateau in order to avoid the River Trent’s flood waters. As time passed, the workers were pushed down the plateau, with the working environment moving to the top. Years past and the bottom became filled with slum housing, until 1933 when the area formally known as The Narrow Marsh, was demolished.

The two areas became divided once the bottom 3 meters of The Long Stairs were carved away during the demolitions. Caelatura hopes to reconnect these two areas, by carving away the sandstone landscape that stands in its way.

Inhabiting The Stairs

The Canyon 1:500 The Long Stairs

The Pit

The Cave of Rave The Silos

1:200 Isometric

The Amphitheatre

The Carved Hall

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Sophie MILLER HOLLOWARE HOUSE Holloware

Pottery pieces designed to contain liquids or solids. It is also a process whereby a thin slab of wedged clay is pressed by hand into the surface of a mold where the water in the clay is then absorbed.

Kiln

A thermally insulated chamber or oven, a type of oven, that produces temperatures sufficient to complete some process, such as hardening, drying, or chemical changes.

In a time where the art of creative play and manual dexterity is being lost within a generation of children, the importance of open studios is significant. Activities such as painting, model making and pottery enhance a divergent way of thinking and encourage the process more than the finished form.

The main focus of the research discovered a problematic issue of arts being viewed as a secondary subject and therefore it is slowly being pushed out of the national curriculum. The cost of such activities is placing lower income families out of reach of after school activities meaning these children are not only being denied a creative education in school hours, but also being priced out of anything outside of this. Creative arts are activities that actively engage children’s imagination and dexterity, a vital skill which many young children now no longer develop.

An Open Studio premise, such as Holloware House, engages children and families in the process and art of Ceramics and pottery. This focused typology creates an integrated environment between the artist and the visitor and the architecture and the street. There is no barrier separating the two, as the building needs to create a welcoming environment and one which creates wonder and enthusiasm as you walk through the site, as though you are walking through the pottery shelves of on oversized damp room. The Levels are divided up into public and private spaces, with the ground level housing the terracotta clad Hollowares open to the public and situated at the subterranean level is the Kilns, otherwise referred to as the workshops, which are for artists and visitors alike.

However, situated on the lower basement level is the open educational space, facilitating three large creative learning Vats enclosed by the suspended kilns above. By combining educational visits with the studios this creates a positive impact on both the local community and the resident artists by promoting creative learning through ceramics and reducing the influx in rent for each studio space.

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Anna MYRNA PROSTHETIC SHELTER

The way to regaining lost mobility Major amputations are amputations of the lower limbs. There are approximately 5-6000 lower limb amputations undertaken per year in the UK. However, the real number of patients who need an architectural help while the process of adjusting to a limb prosthesis is bigger; as the patient’s weight changes the prosthesis requires maintenance. Therefore this prosthetic centre is dedicated to new amputees as well as to those who are still adjusting.

“Maggie’s provided me with refuge- a sanctuary - part of the real world but somehow detached.

The world hadn’t changed but cancer had totally changed who I was and I needed help to learn how to live again.”

- Centre visitor This project considers both technical and psychological aspects of the problem of this type of disability. The main idea of the project is inspired by the idea of Maggie’s centres, which is an architectural response to the psychological aspects of suffering of people affected by cancer.

How to encourage people to walk? - Give them a goal.

This project also aims to design an urban plan with different areas which can be accessed according to the users level of moblity (K Level). This allows the users to test the limitations of their new limb on a series of specially designed paths with varying difficulties. To encourage patients to test the prosthesis, and make the processs more enjoyable, the most difficult paths K3 and K4 pass through buildings which allows patients to observe the process of making their limb prostheses.

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Friendly areas, modeled on the common rooms in Maggie centers provide spaces where youcan talk or be silent. At the right time, you will decide to tell your story to others.

In order to encourage you to walk the rehabilitation center area provides scenic paths, where you can get to know or understand the full process of your prosthesis formation.

Remember, however, that when you decide to engage in physical activity in recreational areas, you help not only yourself, but others that you can inspire.

Would you ever been believed after all that has happened that you could run again?

You can test your new prosthesis to its limits because we can always repair it for you.

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Amar PATEL MENTAL HEALTH CENTRE Rehabilitating depression and stress through fishing therapy Nottingham has one of the highest rates of people suffering from mental health issues such as stress and depression. This project is therefore a Mental Health Care Centre that specialises in stress and depression therapies focused around fishing.

All living things rely on water to survive. Much like other living things, humans have been drawn to it since the start of civilisation, with many religions associating it with creation and cleansing.

The scheme aims to rehabilitate people using mindfulness, nature, fishing, and therapy. The facility includes a floating pontoon for solo or group fishing therapy on the lake and huts on stilts for group therapy spaces and river fishing. It considers the staff mental wellbeing and the needs of the fish in the design. The fishing spaces are positioned between the trees and extrude towards the water following the current language of the site and fishing methods. The building is made from timber as it has healing properties and lowers sympathetic nerves. The design tries to merge the out side and the inside.

Since water is a strong theme, the site for the project was in Cowlick Park, Nottingham, in flood zone three. The site has water levels ranging from 1.01 to 3.6m and is designed to flood as a defence to protect the surrounding residential areas between the River Trent and West Lake in Cowlick Park.

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Karampreet Kaur SEERA THE FAMILY HOME

Urban Family Housing in Nottingham’s City Centre Studentification and the City Studentification is sweeping the nation. The student presence in cities is being felt the city’s infrastructure is rapidly transforming to suit the transitory market. This is particularly apparent in the residential sector where student housing has sharply increased house prices making them unaffordable to families in the city centre.

Between the lack of affordable housing, facilities, and changing behaviours, the city centre becomes undesirable to non-students, often resulting in family displacement with many young families moving to the suburbs. Family displacement as the consequence to studentification becomes an issue that this project aims to address.

A Re-Imagined Housing Typology for Families Re-inhabiting a Student City Intended to act as a catalyst to encourage families to re-inhabit Nottingham’s city centre, this project took the form of a family housing scheme that targets family gentrifiers by appealing to young urban professional parents’ desires of continuing their young urban lifestyles and combining it with their desire to start families.

Located on City Link, close to the train station, and with family at its core, it was important for the scheme to offer a closeness to the city lifestyle whilst incorporating playful suburban children’s elements. As such, the project developed a new typology of housing that bridges the gap; merging high density housing with gardens that facilitate play, integrating three key components: housing, playscapes and gardens.

The design drapes shared rooftop terrace gardens and communal playscapes, all accessible from one another, over the rooftops of the apartments flowing down into public allotments that inspire the growth of community amongst the residents that share the spaces. Reflecting a similar language to the apartment form, the allotments are accessed by an ‘equality’ stair that leads people down from the street into the site, forming a raking pattern similar to that of the cascading rooftop terraces. ‘The Family Home’ also incorporates a treetop adventure play island, extrapolated from children’s visions of their ideal living and play spaces, that spearheads the site to provide children with a place of their own, in the scheme and in the wider city.

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Indujah SRIKARAN DARWIN’S WALK:

Environmental Pharmacology and Bioremediation The River Trent is the third longest river in the UK and provides evidence of prehistoric activity and settlements within Nottinghamshire; showing a strong connection between nature and human beings. After urbanisation and the integration of the sewage networks, society became detached from the river creating a decline in its health and habitats. Worldwide the separation between pharmaceutical research and its effects on the natural environment is causing pharmaceutical pollution in soils, rivers and drinking water. Drugs such as Ibuprofen, The Contraceptive Pill and AntiDepressants have all been reported to have devastating effects on the environment, especially within aquatic ecosystems where, for example: Male fish are beginning to feminise, causing intersex fish.

Nottingham has a history for scientific and pharmaceutical discovery with the founding and growth of Boots as well as the invention of Ibuprofen and MRI. It is one of the six science cities in the UK, with its continued reputation for science innovation, research and growth. Sewage and pharmaceutical factory emissions could be polluting the River Trent; affecting habitats and organisms at Wilford.

This area could house biodegradable pharmaceutical research, water testing and bioremediation techniques to purify the river using fungal, bacterial and plants treatments.

The landscaping integrates marsh lands and floating islands which handles the pollution, absorbs flooding, and creates pockets and pools for habitats.

The buildings have been inspired by the idea of Charles Darwin’s ‘Thinking Path’ and ancient Asklepions to create a stimulating environment for scientists to reflect, think and collaborate through a series of walks which reconnects pharmaceutical research to the landscape.

Walks to instigate creative thinking and scientific discovery The complex has spaces for laboratories, offices, a library, gym, herbarium, auditorium and vivarium as well as transition spaces for access to the purification pools and botanical gardens. These have been designed to promote a healthy lifestyle and give value to science through architecture.

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STUDIO GROUP II Density

STUDIO LEADERS Yuri Hadi Vasilena Vassilev

TECHNICAL TUTORS Robert Atherton Dominic Pask Jack Newton Anja Kempa

STUDIO PARTICIPANTS

MArch 1 George CRISTEA / Gabriel CRISTEA / David Michael GLADSTONE / Zainab KARIM / Ashfaaq Sulaiman Mohamed ALI / Safwaan PATEL / Mohammed Safwan SHEIKH / Quang TRAN / Joinul UDDIN / George YOUNG MArch 2 Mohammed AHMED / Joshua GEACH / Naeem GIRACH / Pawel Zbigniew GREGORCZYK / Mohammad Nabil KOODARUTH / Alicia Key SWEE LI / Haoran ZHU

THE BRIEF Like many large urban centres today, London is undergoing the challenge of mitigating unprecedented urban growth, while tackling the social, cultural and environmental challenges that face its diverse population. Since the establishment of London’s Green Belt, promoting density has been the focus for planning and development. However, with the advent of the automobile and a robust mass public transportation system, as well as current skyrocketing property prices, the city has grown in a sprawling manner resulting in a unique and somewhat decentralized urban configuration.

Fig.1

The subject of the studio includes a contextual analysis of global urban trends and an in-depth study of London and its current trends in development, planning, and politics. It examines the urban dialogue between London’s many districts as well as its various states of density in the city, which often conflict with its otherwise fragmented nature. The students work develops a body of research that identifies opportunities for equitable development with respect to density, energy independence as well as social equity and policy.

The focus on the spaces between buildings and their potential role as facilitators of density on a more social level a necessary approach to complement the emphasis on exclusivity, propagated by many of existing and newly planned high rise commercial developments. Another focus is the place of transport oriented development or the design of hybrid infrastructure as an urban connecter rather than a source of urban fragmentation.

The studio conveys critical research methodologies based on a prototypical investigation of London. Such essential skills are designed to enable research based decision making and design and serve as the foundation or future work and investigations.

Fig.2

LIST OF FIGURES Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Fig 7.

Quang TRAN Quang TRAN Quang TRAN George CRISTEA George CRISTEA Ashfaaq Sulaiman Mohamed ALI Ashfaaq Sulaiman Mohamed ALI

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Fig.3

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Fig.4

Fig.5

Fig.7

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Joshua GEACH OLD LONDON BRIDGE As a Model for Horizontal Density London is running out of space; and with land value increasing seemingly indefinitely, what can be done to home and provide workplaces for the ever growing population?

There is controversial talk of building in the ‘Green Belt’ of natural green space around London to solve the population and housing crisis, going directly against the government’s policies to protect the Belt at virtually all costs. As a result of this general restriction London has begun densifying its centre with skyscrapers instead.

This surely is a mistake. London has looked too soon to the heights of Manhattan and Hong Kong and left behind that which made it ‘London’: the horizontal density of the ‘streetscape’ and the mid-low rise medieval building scale. Is it possible to create density in the City of London without needing to build skyscrapers every time?

We need only look back 200 years to find the perfect model for providing horizontal density across the Thames in the form of the Old London Bridge. By resurrecting the history and legacy of the old inhabited street bridge, can we be reminded and inspired by the qualities of space, density and inhabitation within the street-oriented architecture of medieval London, and apply it to the vacant space over the River Thames using Old London Bridge as a model for this ‘Horizontal Density’?

The New London Bridge project; a modular and pre-fabricated structure across the historic site on the Thames. Hosting residential, commercial and industrial modules, they can be fabricated off-site, floated down the river on barges and hoisted into place by the bridge mounted cranes. A new hi-tech system for living and working in the centre of the City of London; continuing the legacy of a site as old as London itself.

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ST R

IA L H OIST

HOIST CENTRAL SUPPORT BEAM

IV E R

1.

TO R

METAL GRATE PLATFORMS (ANGLED IN A SINGLE DIRECTION TO BLOCK VIEWS DOWN TO THE RIVER, COULD INDUCE VERTIGO OR BE UNSETTLING TO THOSE AFRAID OF HEIGHTS) ENCOURAGES WALKING ON LEFT SIDE OF THE ROAD

IN DU

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TALL SLIDING DOOR FOR HOIST

B RID GE +

P IE R

THE

S HOIST TRAVEL PATHWAY

CONCRETE BRIDGE PIERS

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Naeem GIRACH CITY-CAR VILLAGE

A Rail Overbuild Construction The prospect of rail overbuild With the growing density concerns of cities such as London, architects must investigate and utilise sites that take the least possible land mass. Building above existing infrastructure such as above ground railways provide the possibility of building out of thin air with minimal land being used.

Providing opportunities to London’s new residents City density is directly connected to population growth. Many people enter London but are forced to reside in the fringes of the city and therefor lack connectivity to the city’s opportunities in central London. As a result, the aim of the project is to simultaneously provide work opportunities and accommodation to London’s new wave of migrants, closer to the cities opportunity areas, without contributing towards the city’s density.

Reinterpreting the Model village A sustainable method of providing work and accommodation was found in the UK throughout the 1800’s through model villages. These were villages created by industrial tycoons who aimed to house his/her workers close to the workplace (factory). This project aims to reinterpret the model village in the modern age by designing it vertically, and with a modern industry workplace (Factory).

Manufacturing the LSEV car The factory workplace manufactures a 3D printed car named the LSEV. The only elements which aren’t 3D printed and need to be imported in are the Chassis, engine, battery and seats. Its assembled in 3 stages which start with the assembly of the externally imported parts (Stage 1), followed by the assembly of 3D printed internal car elements (Stage 2) and then the external car elements (Stage 3). The workplace manufactures the LSEV through two vertical assembly lines (a 3D printing zone and a car assembly zone) which lead to a testing track and once approved, distributed for sale. The 3D printing material is created by using public plastic bottle waste and transforming them into 3D filament.

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3D PRINTING ZONE - INTERNAL/EXTERNAL PRINTING

CAR ASSEMBLY ZONE - EXTERNAL CAR ASSEMBLY

3D PRINTING ZONE - BOTTLE TRANFORMATION AREA

CAR ASSEMBLY ZONE - INTERNAL CAR ASSEMBLY

3D PRINTING ZONE - BOTTLE ASSORTING AREA

CAR ASSEMBLY ZONE - CHASSIS/ENGINE ASSEMBLY

INTERNAL

VIEW

SHOWING

3D

PRINTED

CAR

PARTS

BEING

TRANSPORTED

TO

CAR

ASSEMBLY

AREA

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Pawel Zbigniew GREGORCZYK THE UNHOLY TRINITY As London’s density increases, so does the demand for electrical power and almost religious devotion to ecology and environment.

This project unites god, nature and technology, creating the trinity of modern day divinities, without which, the world as we know it does not exist.

Project focuses on generation of electrical power by burning non-recyclable waste, while the heat generated in the process is used by the sanctuary element located above the generators housing the exotic flora.

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Mohammad Nabil KOODARUTH THE WABI - SABI We are entering a new technological era now known as the Fourth Industrial Revolution. However, over the same period, the construction industry has continued to operate as it has for the past 50 years. It still relies heavily on manual labour, mechanical technology and established operating and business models. As a result, productivity has stagnated.

Only recently have digital technologies begun to enter the industry, gradually changing how infrastructure, real estate and other built assets are designed, constructed, operated and maintained.

These technologies, including building information modelling (BIM), prefabrication, wireless sensors, 3D printing and automated and robotic equipment, are affecting the entire industry. Their economic and social impact could be substantial, given that the construction industry accounts for 6% of global GDP. Thus this project aim to create a prototype for sustainable modular housing.

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Alicia Key Swee LI LONDON’S KEY WORKER HOUSING The key towards a rising horizon of workers housing

The London Key Worker Housing blurs the boundary between public & private to make apartment live more awarding.

When you live in London, your home is the entire city. We need ingenious spatial organisation of the design that fluidly links, dividing but connecting – working & living spaces, public and private spaces in a highly demand footprint and volume.

The project poses fundamental questions. Why the Key Workers? Why Key Worker Housing? Why now? I start from a position of seeing the house as a unit of dwelling.

It is this human aspect that is intriguing and, in many respects, touching, and for we relate to the intimacy and particularities of the house in a way that we cannot do with corporate or public buildings.

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Haoran ZHU LONDON MAKERS COMMUNITY One of the most pressing issues in London today is how to meet the housing demand.

The urban housing crisis is growing with a large portion of the population being unable to afford the capital’s expensive rents, especially young people with low incomes. In an increasingly creative city, there are more people chasing careers as craftsmen and as a result there are more people living on lower incomes as the arts endeavour to establish themselves. With these makers having to afford rent for housing as well as studio/exhibition spaces and materials, affordable housing becomes more important than ever. In response, the project proposes a new type of housing specifically for makers. A community with an open arts venue consisting of work and showcase spaces integrated with collectives of living units.

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STUDIO GROUP III Phenomenal Materials STUDIO LEADERS Alexander Mills Era Savvides

TECHNICAL TUTORS Robert Atherton Dominic Pask Jack Newton Anja Kempa

STUDIO PARTICIPANTS

MArch 1 Yewande AJIBOLA / Mohammad Alhaj RAHMOUN / Andreas HADJIKYRIAKOU / Jonathan CHAN / Kaan HARMANDA / Jon Magnar LONSETH / Alexander LORRIMER-ROBERTS / Paulo NICOLAS / Daniel BATES / Disha PARESH / Mertcan ABAY MArch 2 Kelvin Elorm ATIASE / James ANDERSON / Scott Ryan BIRD / Carl DUSU / Bilal HASHMI / Taro SHINJO

THE BRIEF “In today’s world where buildings have been reduced to mere ‘consumables’ in the scheme of economics and information media, what we seek in architecture are spaces that are truly alive, that actually engage us physically.”

Fig.1

- Toyo Ito

We live in a moment of constant digital and iconographic surplus. Digital design methods have become a primary tool in formal architectural representation, and though their abstract nature has provided us with incredible formal opportunity, it has taken us further away from the physical, tactile nature of reality.

At the same time, we inhabit in a material world which is undergoing a smart revolution. Re-appropriations of primitive materials; new crafting techniques made possible through advancements in digital fabrication; dynamically responsive, complex and hybrid digi-analogue materialities. Materials with a function beyond the dressing of volume or the render iconography are bringing new opportunities to the architectural paradigm.

Studio 3 investigates the hidden properties of materials, their stories, their geographies, their politics, their social status, their meanings and worth, their inherent nature and the novel states they might want to acquire. The studio explores how small scale processes can influence large scale spaces and help develop students’ expertise into refining a spatial agenda that speaks of a joint relationship between material and formal modes of operation.

LIST OF FIGURES

Fig 1. Paulo NICOLAS Fig 2. Paulo NICOLAS Fig 3. Alexander LORRIMER-ROBERTS Fig 4. Alexander LORRIMER-ROBERTS Fig 5. Alexander LORRIMER-ROBERTS Fig 6. Yewande AJIBOLA

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Fig.2

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Fig.3

Fig.4

Fig.6 Fig.5

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Kelvin Elorm ATIASE ANYAKO WEAVING CENTRE

Comunity Centre, Marketplace and Landscape Intervention The project began with the notion of interrogating material properties through the means of assimilation within the digital realm and synthesising said materials in the physical. Meshforms were the material of interest due to the potential for parametricism and its heavy ties with the site. Knotted forms and their characteristics within networks formed the basis of the narrative which began with the rudimentry tool of the fishing net.

“The knot is perhaps the oldest technical symbol, It is the expression for the earliest cosmogonic ideas that germinated among the peoples. The node first serves as a linking means of two thread ends and its strength is mainly based on the resistance of friction. The system, which by side pressure the friction promoted the most when the two threads be pulled in opposite directions according to their length, is the strongest.”

-Gottfried Semper.

Anyako is a fishing village located in Ghana’s Volta region. Due to the fluctuating seasons, a perpetual means of income is lacked by the village. Harmattan halts the fishing activities and leads inhabitants to evacuate due to strong winds and dusty conditions whereas the raining season brings the promise of lucrative catches. During these seasons inhabitants salt mine on the dried lagoon bed while others partake in nomadic fishing activities among neighbouring villages.

The intervention of the Weaving Centre suppliments the need for a dependence on the seasons. Manual labour within the fishing village is exhalted and the creation of the Weaving Centre aims to harken back to Anyako’s history of fabric weaving creating an oasis of sorts atop the Keta Lagoon inviting labourers and eager participants alike to partake in the textile art of Kente weaving whilst including existing practices of boat making and salt mining.

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Scott Ryan BIRD THE KHUN VICHAI STADIUM Leicester is a place looked at as a home of sports and the King Power Stadium located on Filbert Way is a landmark in the city. Following the loss of its beloved chairman late last year, the club would like to expand the stadium and incorporate the existing surroundings and landscape. This project is an attempt to bring the spirit of Leicester and its people to the area for all to enjoy.

The main issue surrounding stadia is the lack of use in the stadium and its surroundings when there are no events taking place. The Khun Vichai project is here to revitalise these ideas and turn them upside down to create a public space for all to visit and access all throughout the year.

A combination of public spaces such as small parks, sports pitches and a club museum have been housed in the site and all brought together by a grand spanning roof that encompasses everything within to make this site a lucious, green landscape that is welcoming and inviting to anyone that visits. Welcome to the modern stadium, so involved in the site that you don’t know when the public spaces end and the private areas begin. The Khun Vichai Project.

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Carl DUSU A USEFUL WASTE

We’ve spent years burying our waste, ashamed of it and disgusted by its appearance. Why not celebrate it? Use and build with it?

Questioning the conscious understanding of architecture as more than merely a structure, this project stemmed from broad experimentations with a chosen materiality to challenge the perception of common building materials. Focusing on concrete and its uses, strength, rigidity and brute appearance, the project veered towards exploring ideas of degeneration and regeneration.

Investigations into the tactility of concrete, its softness and delicate structure, through the creation of moulds and castings gave rise to spaces, voids and crevices, embodying ideas of degenerative states. This led to further investigations into the degenerative nature of organic food waste, pushing the project in the direction of landfills and waste sites. Following these ideas, ‘A Useful Waste’ based itself in Greatness Landfill in Kent with intentions of probing the relationship between waste and decay.

Rather than running from it, ‘A Useful Waste challenges society to celebrate it.

Proposing a creative community hub constructed from concrete and decaying organic matter. Partly submerged, it becomes a template and an actualized concept for other landfills and how they can be reinvented to create structures utilizing the waste as the aesthetic component. The project envisions walls made from concrete with embedded waste. As the waste decays, voids and holes will be created as they are held in place by gold ornamental frames. Beautifully grotesque.

Celebrating waste draws a new lease of life from the decaying waste, whether it be food, fabrics or plastic.

Excavating and piling waste formed a framework, creating moulds which reinforced structures that could be transported to the site with a crane and assembled and joined together by in-situ methods and pre-cast concrete panels. With waste embedded in the walls, it becomes a statement in the creative hub that brings the issue of waste disposal to the forefront of the user’s attention with their experiences in the space making them more conscious of how they dispose of it.

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Bilal HASHMI XENO-JANI

Reinventing the Whole Today we are supposedly in the “Post Digital” era, a paradigm which favours a humanistic approach to solving problems with less dependency on computerised solutions. However, mainstream architecture has arguably hesitated in utilising the digital capabilities of computers to design and construct buildings. Therefore, this thesis adopts a merological study into concepts of discreet, serialised parts which can be connected in simple and easy ways through an automated system in order to reinvent the “whole”.

This approach aims to reconnect architecture with the economic and political implications of manufacturing, whilst engaging in the larger political and social discussion around technology and social housing.

I | THE COMPONENT

II| THE AGGREGATION

III| THE STORY

TIMBER HIGHRISE

CO-LIVING

SOCIAL COHESION

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scenario scenario

as the needs of the user changes, so can the space which he/she inhabits. as the needs of the user changes, so can the space begins to embody the reality of multiple space which he/she inhabits. occupants. as one leaves another occupies it. new components can be added to old with space begins to embody the reality of multiple the possibility of generating new spaces and occupants. as one leaves another occupies habitation it. new components can be added to old with the possibility of generating new spaces and habitation

the market the market

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Taro SHINJO CRACK Capturing the Moments of a Crack The Caseros prison in Buenos-Aires represents the “Dirty War”, which was a genocide perpetrated by the military dictatorship in Argentina from 1976 to 1983. More than 30,000 people were killed and hundreds of babies of pregnant women that were victims were disappeared and illegally adopted by others. The Mothers of Plaza de Mayo, organized by the mothers of victims, have stood against the inhumane act and have been looking for the babies. Some of them have been found, but they face new suffering in the fact that their adoptive parents were involved in crimes against humanity.

History is an accumulation of the selected past in the common framework of memories of people living in the present. The past is an abstraction of time, which exists only in our minds, and fades along with memories over time. By designing this building as a device to archive the “Dirty War”, it will provide people with the experience of and inherited memories of history and contribute to creating a peaceful future.

Cracking is a phenomenon that allows us to visualise the change of state of matter over time. The crack captures a piece of time. Cracks in three different materials, such as dried soil, burnt wood and stacked paper have a relationship of irreversible change to, and have very different characteristics. Based on their relationships with each other, they might be conceptualised as the representation of moments such as the past, the present and the future. Further, the spaces representing each time are characterised by their features.

The building is designed as a memorial museum to the ‘Dirty War’, interfusing the existing building and new spaces inspired by cracking. The building is planned in the manner of the temporal manipulation of space by Kevin Lynch in order to stretch visitors’ sense of the present. In this way, it may strongly impress the experience on visitors and their memories of this historical event. The building would both retell the tragic history and allow visitors to see moments in the cracks.

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STUDIO GROUP IV [in]formal Urbanism Intersection of Culture & Politics Buenos Aires STUDIO LEADERS Tim Barwell George Epolito

TECHNICAL TUTORS Robert Atherton Satnam Singhflora Dominic Pask

Fig.1

STUDIO PARTICIPANTS

MArch 1 Mohammed AL-MALIKI / Pollyanna BEASLEY / Catherine COOK / Sameerah KHALID / Maria Fernanta KARALI / Santa SANGAR / Marcus Lee BREE / Anaida Enid LUIS MArch 2 Sophie Hannah BAKKALI / Kyriacos CONSTANTINOU

THE BRIEF The unit acknowledges our contemporary condition as one that is filled with inherent oppositions and contradictions which inform our everyday experiences. The unit accepts the premise that place is defined physically by varying degrees of enclosure and metaphysically by those aspects deemed intangible in relation to the human beings [bodies] who occupy the space.

Given this premise the unit sought to push the boundaries of understanding, or the potential relationships between, the physical and metaphysical qualities of a place. Studio investigations were located in spatially and/or socio-economically marginalised conditions - in residual or abandoned spaces that have lost their original meaning over time. Deemed irrelevant by contemporary society, these sites contain eerie presences that are reminiscent of scenes from the metaphysical paintings of Giorigio de Chirico and Mario Sironi. Our investigations questioned if it is possible to shift perceptions of these neglected locales to places through implementing nonconventional modes of cultural expression in architectural form and language.

Fig.2

The fundamental challenge of the intellectual explorations of the unit was to seek more obscure ways in which readings of past, present and (a hypothetical) future could be read simultaneously. We asked: Can memory exist without falling prey to clichés? Can avant-garde strategies be implemented without negating the past in our current situation? Can memory and avant-gardism coexist?

To meet such a challenge whilst avoiding preconceived tendencies of place making, the students have demonstrated a willingness to step outside their comfort zone.

The unit assisted the students to step into the realm of the unfamiliar by employing the strategy of displacement as the means of inquiry. The sites were purposely chosen outside familiar Anglo Saxon contexts, in Latin America – more precisely on El Riachuelo Coast, in Autonomous City of Buenos Aires (CABA).

Theoretically, historically, politically, and socio-economically based readings from a broad spectrum of intellectual positions within Latin societies were orchestrated so that the students could gain insight into the problems to be addressed.

LIST OF FIGURES

Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Fig 7.

Catherine COOK Catherine COOK Anaida Enid LUIS Sameerah KHALID Maria Fernanta KARALI Maria Fernanta KARALI

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Fig.3

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Fig.5

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Fig.7

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Sophie Hannah BAKKALI INHABITING ORNAMENTATION Strengthening the Culture of Buenos Aires Working from a personal critical stance on the city of Buenos Aires, specifically the view of Argentinian architecture as a superficial weakening of the citys cultural identity, the exploration based design process served as the means for exploring a response to this. Inspired greatly by Filete painting - a representation of the rejection of Buenos Aires rigidity and superficiality, the design approach focuses on using these as a tool to strengthen the true cultural identity of the city by allowing direct inhabitiation and immersion in spaces of familiarity .

Re-imagining Caseros Prison...

Reminiscent of a fortification, the immense height and solidity of the abandoned site walls are qualities that keep it closed off from the community that live near it. Inspired by the peeling texture of the external prison walls, design development focuses on the exagguration of that texture; one wall of the abandoned prison acting as a frame for peeling spaces off in which to inhabit.

Merging this process with the spatial filete model studies below, the transformation from the original site to the new proposal is one of fluidity as an unfurling-like process takes place, bringing a new lease of life to the site that focuses on growth, colour, and drawing people in, rather than keeping them out.

The accompanying programme focuses on the production of colour in a craft-based format as another means of strengthening the cultural identity of the city. Inspired

by Buenos Aires National Insitute of Technology, the process extracts natural dyes in coloured powder form from the plants grown on the roof of the site.

The lightness of the sweeping filete style forms also represents the structuralist view of the city that has framed perspective on this project. Expectations of social and cultural behaviours lead to question the nature of the city’s social and cultural workings, as well as its own.

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Kyriacos CONSTANTINOU THE MEMORIAL MUSEUM

Navigating The Dirty War of Argentina 1976-1983 The Dirty War refers to the period of United States-backed state terrorism in Argentina where approximately 30,000 people “disappeared” in the armed actions of Montoneros. Grounded in the former Caseros prison, built by the junta in 1979, in Parque Patricios, south Buenos Aires, the museum reinvents and builds on the existing building to chronologically tell the story of the Dirty War between 1976 – 1983.

Each floor of the design is dedicated to narrating the events that occurred in different areas of the country. Navigating their way through the building, visitors will experience the trauma of ‘disappearance’ in the ground floor’s recreated torture area before witnessing the fall of the military junta and a return to democracy in the first floor’s exhibition space. Other spaces include tourist information services, ticket office, bookshop, meeting room, cafeteria, restaurant, meeting room, and outdoor memorial museum that remembers the missing.

1:200 Ground Floor Plan

Merging the new spaces with the existing building provided opportunities for open spaces and underground tunnel access between core areas of the design. The new architecture occupies a part of the central courtyard and extends into the demolished area of the existing building creating ample openings for break out spaces with views into various areas of the museum.

1:200 First Floor Plan

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Axonometric of The Memorial Museum

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STUDIO GROUP V Indivi // Duality STUDIO LEADERS Ashley Clayton James Flynn

TECHNICAL TUTORS Robert Atherton Danai Sage Dominic Pask

STUDIO PARTICIPANTS

MArch 1 Jodie ADAMS / Sandra ARINMAH / Lillie BAMFORD / Georgina Amy HEWITT / Christabel KIRABO / Bradley PARKER MArch 2 Haider ALI / Harron BHARA / Joshua DUDLEY / Lina HAFIZI / Tsvetan HRISTOV / Alistair LOMAS / Vijayabharathi RAVI / Charles SMITH / Connor SMITH / Vytautas ZALYS

THE BRIEF Studio 5 is a process driven studio that focuses on the body of project work and a cultivated iterative process developed from this by an individual student, rather than dictating their direction with a comprehensive brief. We believe in the individual’s selfexpression, as a gateway to great design methods.

The studio focused on the development of conceptual, practical and critical skills in the process of architectural design and project realisation.

Great emphasis was placed on physical model making and hand drawn explorations in a variety of media. Students were encouraged to produce scale physical models that could be used for conceptual iterative design and in-turn influence more finalised proposals; the enhancement of material investigations by digital means were also explored.

Fig.1

Environment lead as the main protagonist, the studio’s focused concerns were for material and detail, spatial qualities, sequences and compositions.

LIST OF FIGURES Fig 1.

Fig 2.

Fig 3.

Fig 4.

Fig 5.

Fig 6.

Fig 7.

Fig 8.

Fig 9.

Fig 10.

Lillie BAMFORD Lillie BAMFORD Sandra ARINMAH Jodie ADAMS Jodie ADAMS Jodie ADAMS Jodie ADAMS Jodie ADAMS Jodie ADAMS Jodie ADAMS

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Fig.2

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Fig.3

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

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Haider ALI KOFN CIVISTA The Refugee City

The Refugee crisis, a result of war, famine, and death, has always existed. In the past, refugees would flee their homes and move to another place and settle, time and again this has happened. Venice was founded by refugees, intended for temporary stucture, in turn it became one of the greatest trading ports in its time, and now boasts its grandeur as one of Euorpe’s biggest tourist attractions.

The Story of Prometheus was a tale of a titan levelling the playing field by offering fire.

The project manifests this story by also leveling the playing field between refugees and natives.

A floating structure in the middle of the Medittereanan Sea for refugees. If they are being passed from one place to another, experiencing discrimination, unable to work or obtain the value of life that is any human’s right, why not create their own haven?

Instantly this removes many of the difficulties they face. This manifesto explores this idea through a series of visuals that hints or gives glimpses at their life.

The research taken will enforce the ideology of both a dystopic and utopic era. The way the city develops also posses an important question, the programmes that will be involved and how the cultural influences of the residents would in turn develop this temporary structure into a thriving city.

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Harron BHARA PRISON:MK

A prison project located in central Milton Keynes which focusses on rehabilitation and inmate wellbeing.

The master plan is knitted in with the urban grain of Milton Keynes with its landscape and materiality. Four communities house the inmates and focus on rehabilitative approaches through education, physical activity, and manual labour. This is acheived through providing inmates with horticultrual skills, with circa 4 acres of agricultural landscape, inmates are able to grow and tend to crops and vegetables which can then be used in practice through the on site restaurant, open to the public where inmates are to work and cook for dinners. Inmates are learning how to cook through the proposed culinary school, they are learning how to grow food through the sites landscape and they are putting this into practice through the restaurant which all fills skill gaps better preparing them for release.

With regards to the landscape, a proposed “landscape wall” surrounds the prison, with the public realm sat above the prison accomodation, apple orchards run along the perimeter and makes for a holistic, open environment which links the town centre together, without a physical wall, prison barriers are broken down through healthy environments.

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Joshua DUDLEY WHIXALL MOSS NATIONAL NATURE RESERVE Visitor Centre and Landscape Interventions

Sprawling openly across a basin 1,000 hectares in area, the Fenn’s, Whixall, and Bettisfield Mosses National Nature Reserve makes up Britain’s 3rd largest and one of the most southerly lowland raised bogs. From neolithic settlement to World War training grounds, the Moss has a story to be read off the landscape. On the other hand, the natural world still thrives thanks to a restorative programme from Natural England, making the reserve a pleasant and lively place to visit for nature lovers.

The preserving nature of the peat that defines the reserve captures the history of the site through a changing geography and intervention.

Peat should be celebrated for its role in our planet’s health, and its restoration brought to the knowledge of the public. The restoration efforts of Natural England at Whixall Moss are the focus of the intention here, highlighting the way the bog has been harmed, and is changing for the better. Using peat as a tool to form language through texture, vernacular, form; the project is lead through the creation of views, following the cuts, and finally decaying to become a part of the bog, or be changed by it.

With a loose studio brief based around duality and the passage of time looking both forward and backward; the preserving properties of peat, decay, and restoration play a central role in the development of the site’s narrative.

These aspects of the Moss are highlighted by architectural studies in pavilions across the Moss, anchored by the Visitor Centre that makes up the main architectural project.

Restoring the industrial infrastructure at the bog, the Old Peat Works is reimagined as a memorial to its function and the destruction it wraught across the peat. This building finally becomes a Historic Museum of the Moss, adjacent a Classroom for volunteers and education and the Restoration Gallery telling the bog’s ecological narrative with reference to the pavilions. A Café is a welcome stop for walkers enroute across the reserve, facing a courtyard of decaying machinery, slowly sinking below the water table, returning to fill the bog cuts they would have once dug.

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SI TE O FF

RL

M O O SR L IA S AS TR M CL D US U D SE AN IN U E D EM AN TAG AR RI W HE

O

IC

W D

RE O ST TI RA O N

Y ER É LL AF GA D C AN

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Tsvetan HRISTOV WINECRAFT

Vola Autonomous Vineyard and Winery After the fall of communism in Bulgaria in 1989 the previously state-owned land used for agriculture and farming was returned to its former owners, majority of who had little to no interest in agriculture. Currently the country suffers severe economic and demographic issues and is considered to be one of the poorest in Europe. The most affected are the rural regions which could dissappear in the next 50 years.

The project started with an idea of regenerating a rural historical site in a proximity to mountain peak Vola, in the North-West part of the country which is poorly maintained with a number of existing dwellings in uninhabitable condition. The proposed architecture and landscaping provides a modern 21st century winery and vineyard.

The existing topography, climate and agricultural past of the area underpin the choice of programme, while current low-cost of sensors and smart technologies allow for speculation of previously unexplored wine-making typologies.

The winery is to be built into the cliff to utilise the site topography for gravity-fed production process and passively cooled wine cellar. During the design process the research revealed unexpected properties of the local stone. The structure of the limestone allowed for nearly vertical cuts when the stone is quarried ,making it an unique building material and integral part of the design. The later designs of the winery propose massive stone blocks to be quarried and moved around the site acting as pedestals to cantileverd lighweight timber platforms for visitors’ circulation.

The architectural language strives to achieve a balance between local vernacular and contemporary architectural elements.

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Alistair LOMAS RE-IMAGINING GRIMSBY

Grimsby Masterplan and Old Ice Factory Intervention Grimsby, a post-industrial port town on Lincolnshire’s north east coast, was once considered the busiest port in the world. Renowned for its fishing fleets and bustling port, the town became one of Britain’s most important communities, where the Grimsby Ice Factory (built in 1900) was the catalyst for the small port towns success in the early 20th century. However, due to a sustained economic decline and globalisation in the 1970’s, the town has since suffered from high levels of deprivation as Grimsby’s socioeconomic conditions worsened.

The project focuses on remedying these socio-economic issues through two architectural solutions. Using a masterplan, it looks to reconnect the town with its port, where the Marina acts as the new catalyst for Grimsby’s success in the future. Hosting a regenerated Kasbah with residential and retail units and the redevelopment of the old Ice Factory.

Focusing on the old Ice Factory, once the main catalyst for Grimsby’s past economic success, the project aims to use the economic kickstart effect seen in Bilbao’s regeneration in the 1990’s. Using a multitude of programs over a 3-phase plan and over a long-term period, its aims are to provide employment, income and improved education for Grimsby’s community in order to aid the reversing of the detrimental effects of deprivation. The new architecture looks to preserve the history of the Factory whilst also looking forward to the future, with architectural insertions. The walkway takes the users on a set journey around the Factory, telling the story of the factory’s rich past, whilst the pods act as the lightweight structures which host the future cultural, educational and leisurely programs.

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Charles SMITH REDSANDS PLASTICS

The next chapter in the War on Ocean Plastic Ocean plastic is everyone’s problem, everyone’s fault and therefore everyone’s responsibility

For the last 20 years the western world have been exporting waste plastic to China, however in January 2018 they placed a ban on further imports. The west then began sending their waste to other Asian countries; Malaysia, Vietnam & Pakistan however in July 2018 they also put a ban in place.

The UK is now amid a recycling crisis with much of our waste plastic now going to landfill or being illegally dumped, both of which link to rivers and oceans.

Redsands Plastics is an off-shore recycling community in the Thames Estuary built upon one of the historic maunsell sea forts “Redsands” used during WW2. Its primary purpose is to clean up the river and estuary of waste plastic putting a stop to further contribution to global pollution. By cleaning the estuary the project also aims to regenerate marine and wildlife in the area (for which the site is within an area of special interest).

The proposal is a mix of refurbishment and new build, most of which is constructed using waste plastic processed within the site. Elements include internal curtain walling, modular stacking blocks and ribbed cladding panels.

The building program is largely based around the recycling process (bottom images).

Waste is collected by a group of sub and aquatic drones which is delivered into a rooftop hopper by crane [1-4].

Here the waste is sorted into plastics and non-plastic [5].

The sorted waste is then collected into carts and delivered to respective towers to be processed [6].

Plastics are sent to a tower where they are shredded, washed & dried into flakes [7].

Non-plastics are sent to another tower and are sorted, shredded & compacted, then sent to the mainland to be correctly processed.

The sorted plastic flakes are sent to further towers for additional processing.

They are either extruded into usable pellets which are used in a workshop to create products and building components or sent to a different tower where larger building elements are created such as modular blocks and cladding panels [8-10] which are used in the continual growth of the site.

1BOX

2 BOX

3OX

4T BOX

5XT BOX

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GROUND DRYING

FIRST WASHING

SECOND SHREDDING

MArch Postgraduate 2018-19

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Connor SMITH THE FUNNEL

Residential Eco-System Marina Bay, Singapore The process of collecting rainwater, with the ethos of filtering this collected water to drinkable water. Whilst re-using the left over rainwater for greywater use. Addiotnally, containing individuall duplex apartments within each ‘Funnel’.

Singapore has an annual rainfall of 2,165mm per capita. This is an extreme amount of rainfall for a small area. However, within Singapore’s water solutions they still pay Malaysia to import clean water from their country. The whole concept and brief within ‘The Funnel’ was to re-use and collect the max amount of rainwater within the site area of 29,000m2 and therefore let the apartments economically run themselves.

Singapore rainwater facts How much rainfall does Singapore Recieve each year? 2,165mm What is the max rainfall on the site per year? 8,447,120 Million Gallons How much water use does one household in Singapore use on avg.? 143 Litres How much rainwater can each funel collect per year? 933,240 Litres Total Funnel Collection = 2,799,720 Litres Per Year.

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MArch Postgraduate 2018-19

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Vytautas ZALYS WESTFIELD HOUSE

A new model for evidence based dementia care design One in three people born this year will suffer from some type of dementia in their lifetime. While the number of people affected is comparable to the number of people living with cancer, dementia research receives six times less funding than cancer research.

Dementia in various ways has affected over half of the country.

While there have been improvements to the design process lately, for the most part, the environments that the United Kingdom’s elderly care sector provides are still illequipped to effectively deal with dementia patients.

Architecture determined not by the whole but by the part.

Westfield House sets out three major design principles for dementia design - improving wayfinding ability, enhancing residents’ independence, and augmenting sensory experience. Analysis of the perceptional changes that are caused by dementia sets out a clear path to a coherent and healing environment.

The project aims to stimulate the subject’s senses through touch, sight, sound and smell. It focuses on the small and intricate parts, such as handrails, textured cladding tiles, and skirting. A simple floor plan allows for human interactions and instances of companionship, as well as, minimises the likelihood of confusion and unrest by introducing many levels of personalisation to living spaces.

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MArch Postgraduate 2018-19

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SR MArch

Special Recognition

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Special Recognition

MARGARET NDUNGU SOM TRAVELLING FELLOWSHIP WINNER 2018

Congratulations to Margaret Ndungu who was nominated for the RIBA Silver Medal Award at Leicester School of Architecture in 2018 and won the SOM Travelling Fellowship at the RIBA President’s Medals 2018 for the ‘Wild City’ project.

‘Wild City’ was designed by Margaret under tutors Ben Cowd and Thomas Hopkins and uses narrative techniques to analyse the characteristics of some of Leicester’s historical sites including the ‘Guildhall’, ‘Turkey Cafe, ‘Market’, ‘Train Station’ and ‘Clock Tower’.

Each chosen site was designed with factual analysis which was then interpreted in writing, imagery and physical models as a specific wild animal.

A way for the storyteller to create new meanings to existing spaces.

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Special Recognition

KHANH NGUYEN EURASIAN PRIZE STUDENT AWARDS GOLD MEDALIST 2018

Winning global recognition for his designs which offer a new way of thinking about high-rise living, Khanh Nyugen, who completed his MArch last summer, won gold in the Eurasian Prize Student Awards for his Shoreditch Village Tower. Past winners have included some of the most promising talents in architecture. Khanh travelled to Russia to collect his gold award, judged by a panel of some of the world’s leading architects and design studios. His work was on display in Yekaterinburg, Russia, at an exhibition of the best entries.

Entries were judged on factors including sustainability, social awareness, and innovation.

“Vertical Villages” are presented as a future solution to the increase of population in London and the deterioration of the quality of living space, with the ability to bring more green spaces into the building as well as encourage neighbourly interaction in the residential community. Furthermore, the Shoreditch Village Tower project proposes a solution for future construction, helping to reduce the housing cost and making the scheme more friendly to the environment.

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Special Recognition

ESTHER AKANNI 3D REID WINNER 2018

Competing against 6 other entries, Esther Akanni won the 3DReid Student Prize for the depth of her analysis and investigation which informed a creative and playful building.

Esther’s project takes a critical look at Town Halls and their early formations in an attempt to establish the architectural typology. It goes on to reinvent Hackney Town Hall into an architecture that is transparent and playful whilst having the ability to respond to the needs of its developing surroundings.

Her design would serve the community by interlacing civic uses with a green hub where locals can grow and purchase fruit and vegetables encouraging spaces and adjacencies that would enhance transparency and connectivity between the community and government.

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Special Recognition

SIMON GREEN PART2 RIBA EAST MIDLAND AWARD 2018

Winner of the Part 2 prize, Simon’s project “Retired and Apprentice Steelworker Housing” was praised for both its design solution and part handcrafted illustrative method.

Judges from the RIBA East Midlands described the project as “An excellent range of media, views, and models have been used to illustrate a bold and imaginative design solution responding strongly to both the design brief and site context. Both material and structure combine to reflect the industrial heritage of the local area. A contemporary tectonic response.”

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CHIEF EDITORS: Sophie Hannah BAKKALI Shelby Ashley Wednesday GREEN EDITORIAL TEAM: Francesca BUFANO Joshua DUDLEY Joshua GEACH Karampreet Kaur SEERA COVER DESIGN: Shelby Ashley Wednesday GREEN Joshua DUDLEY PRINTING: DMU Print Centre ISSUE II

De Montfort University The Gateway Leicester LE1 9BH United Kingdom w: www.dmu.ac.uk T: +44 [0] 116 257 7442

LEICESTER SCHOOL OF ARCHITECTURE

ISSUE N O02

DE MONTFORT UNIVERSITY | LEICESTER SCHOOL OF ARCHITECTURE | ISSUE NO02 SHOWCASE 2019

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