Leicester School of Architecture Yearbook 2021

responsibility as citizens, and on ethical practice.

we live in the world, with an eye on our environmental

globally connected, growing knowledge to reframe how

responds to these core ideas by being intensely local whilst

and TNE activities. Leicester School of Architecture’s identity

partners, through its award winning DMU Global initiative

understanding of place and people with our international

It is a vibrant and ambitious institution, sharing its local

into Leicester City’s social and physical infrastructures.

De Montfort University is a civic university embedded

of Architecture

Leicester School

2021

THE FACULTY OF ARTS DESIGN & HUMANITIES

The Leicester School of Architecture Contents

2021

THE SCHOOL

OF ART DESIGN & ARCHITECTURE

Opposite: Jan Moore, MArch, Year 5, Ruincarnation.

Welcome to Leicester School of Architecture 2021 Degree Show Book. 2021 continued to be a year which asked great maturity and resilience from our students. The anticipation of returning fully to campus and face-to-face teaching was shortlived, but newfound ways of teaching and learning through an on-line community have been enriched and expanded with some unexpectedly positive results, including the opportunity of hosting an international lecture series with architects and academics zooming in to Leicester from around the world.

We prepared for the expectation of a second lock-down with LSA’s academic community being asked to set projects that were intensely local whilst globally connected, growing knowledge to reframe how we live in both East Midlands, and the wider world. All programme briefs, from architecture (Part 1,2, 3 and Level 7 Apprenticeship) through to architectural technology and quantity surveying, acknowledge our environmental responsibility as citizens, and the importance of ethical practice. The need to be conscious of accountability has been heightened by the pandemic and the increasing wealth and health gaps. LSA has a diverse student body, reflecting the multicultural nature of Leicester, as well as a significant community of international students. Decolonising the curriculum, alongside embedding sustainability and UN SDGs is part of our commitment to ensure future architects and built environment professionals reflect the UK’s culturally diverse society and bring an inclusive and nuanced response to all of society’s needs when responding to the climate crisis we are living in. The evidence of this commitment is that all studio briefs address Spatial Justice.

Our students are supported by tutors that are leaders from industry, practice and research. Learning is extended throughout our lives, and our community is seen as a place where academics, practitioners and students are co-designing new ways of thinking while maintaining the highest standards in terms of ethics and integrity. Staff experience and knowledge combined with the students’ openness allow us to challenge existing conventions, redefining our subject, as we teach students to discover that architecture and construction is not only about a building but a vehicle for living, plugged into wider ecologies and social networks. LSA believes that the need to develop an ethical construction industry is central to the future of architectural practice. As the industry shifts away from large carbon emissions, poor quality construction, excessive construction waste and unsafe working practices, LSA is ambitious in wanting to lead in tackling the Climate Emergency and the need for Spatial Justice for all.

The students’ projects you will see here reflect our ethos of the work needing to be relevant to contemporary issues, addressing social and cultural conditions whilst also being visually and aesthetically mature and critically engaging.

Kate Cheyne Head of School of Art, Design & Architecture

(ADA) 2020/21

The Leicester School of Architecture

De Montfort University (DMU) is a civic university embedded into Leicester City’s social and physical infrastructures. It is a vibrant and ambitious institution, sharing its local understanding of place and people with our international partners, through its award winning #DMU Global initiative and TNE activities. It is the educational global lead for the United Nations Sustainable Development Goal (UNDG) number 16 - supporting peace, justice and strong institutions and leading the #jointogether Partner Universities. Leicester School of Architecture’s identity responds to these core ideas by being intensely local whilst globally connected, growing knowledge to reframe how we live in the world, with an eye on our environmental responsibility as citizens, and on ethical practice.

Cross-disciplinary Education

Leicester School of Architecture (LSA) was established in 1897, as part of an Arts College with Architecture taught alongside other building-related crafts and trades. This tradition of a collective understanding of ‘learning through making’ remains central to the School. LSA became part of a new School of Art, Design and Architecture (ADA) in 2019, sitting in a Faculty of Arts, Design and Humanities and exchanging ideas with the School of Fashion & Textiles and School of Humanities and Performing Arts. This allows us to build on our arts and crafts history by placing inter-disciplinary thinking and collaborations central to the School. We show how different disciplines can positively disrupt one another, revealing new ways of seeing, thinking and making.

Civic Engagement

Programmes in ADA span from architecture (Part 1,2, 3 and Level 7 Apprenticeship), architectural technology, surveying and interiors, across design crafts and design products and into photography, video and fine arts, with a nationally respected Arts and Design Foundation course as a pathway into these degree programmes. All courses are housed in the RIBA award-

winning Vijay Patel Building, sited within Leicester City. Our public facing Leicester Gallery showcases the work of students and staff to our wider community of Leicester, alongside international recognized artists and designers. This physically underpins our ethos of being a civic School of Art, Design & Architecture embedded in society, and ensures architecture students arrive with an understanding of the importance of designing for place and people.

Tradition of Making

The Vijay Patel building was designed with state-of-the-art workshops, offering cutting-edge digital fabrication facilities alongside a wide range of specialised craft workshops, where students can learn, experiment and innovate with materials and processes, alongside students from other disciplines. Embedded into the act of making is the need to understand material cultures and circular economies through ethical choice of materials and reduction in waste. It is a dynamic and multidisciplinary environment that supports one of the School’s tenets that the exploratory process of making the work is as important as the final piece. Students are encouraged to design through experimenting and testing

ideas with drawing and making as well as writing, reading and discussion. The facilities support our strong tradition of excellence in teaching (TEF Gold) underpinned by world-class research and strong industry links in the professional fields of architecture, construction, urban design and environmental design.

Local Impact

Our LSA community is seen as a place where academics, practitioners and students are co-designing new ways of thinking and meaningfully challenging conventions to redefine the future of practice. In architecture, our academic body includes a substantial number part time lecturers who teach alongside practice. They represent the regional creative community so that we can work closely with local stakeholders such as Leicester City Council (Heritage Action Zone), LCC Planning Department (Urban Observatory & future Urban Room), the National Forest (Live Projects), LCB Depot (Design Season), RIBA East Midlands (Education Forum), UKNewArtists (Leicester Takeover), Leicester and Rutland Society of Architects (Love Architecture) and #DMU Local (a university volunteering programme) to evolve briefs with a long lifespan that are relevant to our region and showcase the work widely through public facing exhibitions and talks. This allows us to design courses that prepare our students for the changing nature of the profession and its responsibilities and teach them to be bold and fearless in creatively exploring their ideas.

Global Application

LSA delivers an advanced enquiry-led education, designed to prepare and challenge students to take a personal and critical position in the globalised architectural world. We have an international academic community with 50% of our substantive posts being transnational, bringing a global perspective to architectural education. We support students to engage with the world through our #DMU Global project, subsidising students to attend global study trips. These have included studio field trips to Berlin, Dubai, Malaysia, Hong Kong, Ahmedabad, with many being active learning opportunities embedded into studio briefs. In 2021, De Montfort University announced the commencement of graduate and undergraduate programmes in its new Dubai Campus, which coincides with participating in the Dubai Expo, where our M.Arch students are showcasing work, responding to Spatial Justice and the UN Human Rights agenda. This will support our growing Trans National Educational opportunities out in China, Sri Lanka, Jordan, Thailand and Malaysia.

Research-led teaching

Our research at DMU is underpinned by the aspiration to better understand and improve social justice. The way the built environment is designed and managed shapes the distribution of resources, the efficiency of their use and the long-term sustainability of the communities that depend on them. LSA therefore explores social and spatial histories and proposes

innovative, sustainable architectural solutions to contemporary environmental challenges in order to create a just and equitable society with a more even distribution of resources. Both academic and practice-based research are folded into our teaching through offering design studio briefs that respond to our academic community’s depth of knowledge within the discipline; and our M.Arch studios are seen as studio laboratories where students, academics and practitioners evolve knowledge together.

Diverse

We have a diverse student body, reflecting the multicultural nature of Leicester, as well as a significant community of international students. Decolonising the curriculum, alongside embedding sustainability and UN SDGs, is part of our commitment to ensure future architects reflect the UK’s culturally diverse society and bring an inclusive and nuanced response to all of society’s needs when responding to the climate crisis we are living in.

Ethical

Students are supported by tutors that are leaders from industry, practice and research. Learning is extended throughout our lives, and our community is seen as a place where academics, practitioners and students are codesigning new ways of thinking while maintaining the highest standards in terms of ethics and integrity. Staff experience and knowledge combined with the students’ openness allow us to challenge existing conventions, redefining our subject, as we teach students to discover that architecture is not only about a building but a vehicle for living, plugged into wider ecologies and social networks. LSA believes that the need to develop an ethical construction industry is central to the future of architectural practice. As the industry shifts away from large carbon emissions, poor quality construction, excessive construction waste and unsafe working practices, LSA is leading in tackling the Climate Emergency and the need for Spatial Justice for all. Students’ projects reflect our ethos of the work needing to be relevant to contemporary issues, addressing social and cultural conditions whilst also being visually and aesthetically mature and critically engaging.

Master of Architecture

MArch Architecture/Full Time- Part Time

Our MArch Architecture programme delivers an advanced enquiry-led education, designed to prepare and challenge students to take a personal and critical position in the globalised architectural world. Our community is seen as a place where academics, practitioners and students are codesigning new ways of thinking and meaningfully challenging conventions to redefine the future of practice. As an integral part of its structure, it includes regular contributions from specialist academics from other departments and institutions, as well as consultants from allied professions. Prominent practitioners are also brought in to contribute to teaching and to monitor the performance of the programme, evaluated against national standards.

At the start of the programme, students are presented with a series of options through which they can tailor their MArch1 studies. Studio options are presented, as well as options for HT&C modules to enable the student to decide a personal stream of study that aligns to their particular interests. MArch 1 and MArch PT1 studios are conceived as design-laboratories; the focus of which is skills building, exploration, and experimentation, informed by dialogue concerning application

of design theory/position to architecture and the significance of building/being-in-the-world. The testing of ideas is expected to make extensive use of the workshops such that the student is able to articulate ideas in physical form to complement their digital/artistic representation and verbal explanation. Each studio will entail a field trip(s) to sites that have complex historical/geographical contexts and provide a rich basis for students to test and develop the skills developed in Design 1, in a context themed project for Design 2. Having chosen a site, under guidance, students will produce a full survey and physical/environmental/historical/social analysis, together with a fully researched project brief for a simple building/project and feasibility/conceptual studies for Design 2. This is then developed into a completed design that explores both internal and external materiality and arrangement in detail, as well as advanced presentation techniques.

In MArch 2 and MArch PT3 students will choose their tutor for the year long investigation at the beginning of the academic year. Each Tutor defines a particular interest or focus that the studio group will follow and within this intellectual framework the student will propose his/her personal investigation

States of Bold Poetic The

Wild City

Urbanicity

Sensitivities

to carry out. Some tutors may offer a particular city with optional sites to be investigated, whilst other tutors may open the site selection process but ask for a particular condition to be investigated. The goal is to create a critical dialogue between students and tutors that informs the design process, a process which builds on skills learned in Design 2. For the Comprehensive Design Project, students are invited to research, choose and propose a brief for a building (s). Approval must be attained to assure that the proposal accommodates a level of complexity expected for Design 3.

The proposal is submitted at the beginning of MArch2 and MArch PT3. Design 3 and the CDP are designed to integrate the techniques and skills acquired by the students throughout their previous architectural education into a major final design project. They carry out a detailed analysis of their sites in a wider context, using techniques learned in Design 2, and then make proposals for a building that illustrate a theoretical approach, using their HTC and Comprehensive Dissertation studies, as well as technical and professional knowledge gained in their first degree and placement year. In summary, the first academic year of the programme MArch1 and MArch PT1: uses

complex context to train the students in urban analysis and design, and introduces them to advanced theory, as well as widening their design horizons. The final academic part of the programme MArch1 and MArch PT2 & 3 :integrates this training by applying it to the Comprehensive Dissertation, Design 3 and the CDP, which at the same time allow maximum usage of student initiative and choice, producing a coherent synthesis of the various elements of the course.

Ben Cowd

Tim Barwell

Yuri Hadi

Lena Vasillev

Alexander Mills

Danielle Fountain

Reclamation

Thomas Hopkins Rory Keenan

Ashley Clayton James Flyn

STUDIO one

The Wild City

“I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. And then I want you to act. I want you to act as you would in a crisis. I want you to act as if our house is on fire. Because it is” Greta Thunberg at Davos, 2019

Studio 1 is interested in an architecturethat expresses the process of design, revealing the cuts, revisions and scares of iteration, seeking new forms of architecture, generated by current and future contexts and questions. The result of this expressive process is an architecture that is specific yet inherently adaptable to change and future mutation: Unafraid of time, decay and weathering, able to resonate at multiple scales and co-exist alongside nature and our environment. This year, we continue our research into biodiversity in cities and

Year 5

Year 4

how architecture can respond creatively to the extinction and climate crisis. In the UN Report: Natures Dangerous decline, Sir Robert Watson describes that ‘the health of ecosystems on which we and all other species depend is deteriorating more rapidly than ever. We are eroding the very foundations of our economies, livelihoods, food security, health and quality of life worldwide ...1 million animal and plant species are now threatened with extinction, many within decades, more than ever before in human history’. This is a global crisis, however the UK is one of the worst performing countries, “the UK has lost significantly more biodiversity over the long term than the world average. Ranked twenty-ninth lowest out of 218 countries, we are among the most nature-depleted countries in the world.” State of Nature Report (updated 2016) We begin the year with the science in mind and ask ourselves how architecture must adapt to provide increased habitats for nature. How can architecture change and transform from being a destructive force, to being a provider for plants, insects, birds and mammals capable of inhabiting our cities and streets? How will our habits and every-day life need to shift to meet these sustainable targets and accommodate a more bio-diverse environment?

Ben Cowd Tim Barwell

Rahul Baria Stephan Bevan Abu-Bakr Desai Donia Rose John Paulina Alicja Owczarek Adam Lamido Sanusi Chloe Walpole

01Opposite: M1.01, Sam Sandercock Sociable Housing For The Lonely, Leicester.

Aminah Althuwaini

James Evans

Amina Faizal Osman

Louis Holwell Karen Isaac

John Francis Javier Marasigan Nur Hazira Mohd Zahari Can Ozerdam

Sam Sandercock Flora Zejnulahi

SAM SANDERCOCK (Y5)

“Sociable Housing For The Lonely ” Loneliness can affect anyone in their life; however, it was important to understand who it affects the most in order to allow the project to work for them. This project is set to produce an elderly peoples’ home and so the addition of other age groups will become beneficial to provide a multigenerational dwelling complex aimed at allowing different generations to learn and develop from one another.

AMINAH

ALTHUWAINI

“The Waste Mountain”

(Y5)

Waste Mountain explores the philosophy of taskscape that is introduced by Martin Heidegger, developed by Tim Ingold. It is a project that evolves through time, turning wastes into a wild landscape. The aim of this project is to merge the landscape with public spaces, making Leicester wilder in terms of social density and developing a green city.

JAMES EVANS (Y5)

“The

Bio-Convalescence Project”

The Bio-Convalescence project is a recovery centre for those suffering physical or mental disabilities, surrounded by a rewilded forest landscape in the southern part of Leicesters’ ring road. This site is in close proximity to the Leicester Royal infirmary and intends to offer a haven for those coming from the hospital, for short-term or long-term stays.

LOUIS HOLWELL (Y5)

“The

BioSkin Project”

The BioSkin Project encourages an appreciation of nature and helps to remind us of its benefits, something that we all found very enjoyable during our ‘one hour’ of outdoor exercise during the heights of lock down, was a walk, jog or run outside. Each home in the BioSkin has their own private outdoor space that everyone no matter their situation can experience time outside and can therefore benefit from mental boast for mental health.

CAN OZERDAM (Y5)

The Zone: A Contaminated Landscape“

A project that aims to challenge the growing issues that involve soil contamination within Beaumont Leys, with hopes to introduce natural remediation such as Phyto-remediation and improve the quality of life in the area as well as provide a new housing scheme that will assist in the search for environmental justice.

AMINA FAIZAL OSMAN (Y5)

“Dance+Nature”

Dance and Nature is a project that celebrates the idea of dance spaces in between a housing complex next to Leicesters’ Golden Mile. The Golden Mile is an area rich with British Asian history and culture. The complex translates dance movements into abstract forms that aslo provides healing garden spaces.

KAREN ISAAC (Y5)

“Community Garden and Social Elderly Housing”

The initiation of the project posed fundamental questions, regarding which area of the ring road would be chosen for transformation? What is an environmental weave and how would it be formed? How could an existing cultural weave create an adaptable architectural weave that would support the elderly community within the area?

JOHN FRANCIS JAVIER MARASIGAN (Y5)

“Meta-Living”

A percentage of people suffer from their own mental health caused by an external matter. A sense of habit, routine, emotional and physical being affects one mental state to a downward spiral that feels uncontrollable. This project looks at alternative means of healing through design and Architecture.

NUR HAZIRA MOHD ZAHARI (Y5)

“Eden Wellness Centre”

A project that looks a Biophilia Design by experimentative iterations of the patients mental state as a catalyst for designing spaces that enhances the sensory dimension.

FLORA ZEJNULAHI (Y5)

“The Stadium of Life” Sports and nature work hand-in-hand together, why not bring them together and to create a biophilic sports centre for Kosovos new tomorrow? Kosovo is the most recent independent country in Europe, it also has the youngest population. This project looks at how biophilic architecture and sports could create better opportunities.

DONIA ROSE JOHN (Y4)

“Leicester Children’s Hub”

A designed programme is aimed at improving the health and well-being of children and providing them with equal opportunities in the city of Leicester. The current state of the city centre does not provide any importance to the younger generation as it is mainly populated with small and large scale businesses and industries.

PAULINA ALICJA OWCZAREK (Y4)

“States of Decay”

A project that investigates what could happen when our environment is left to decay wihtout human interference for a given period of time. How could it be possible to salvage, re-use and develop our dwellings and workplaces in this exemplary reality?

ADAM SANUSI (Y4)

“City Re-Wilding- Leicester”

This project is aimed to provide a solution for the problem of Leicesters’ carbon emissions. The aim is to reduce overall carbon emmissions in the city while providing a possible solution for housing.

CHLOE WALPOLE (Y4)

“Wild Nursery”

The brief for the Wild Nursery is a tangible piece of architecture which responds to its climate and surroundings. The Wild Nursery is produced in response to the climate crisis, to aid and educate the children about the impacts this will have on their future.

ABU BAKR DESAI (Y4)

“Food!”

Food defines who we are and where we come from. The Food Port provides a comprehensive survey of the food industry and its processes while relocating many food programs typically separated from the buyer back into the heart of the city. It defines a new model for how the relationship between consumer and producer can be defined and addresses uncaptured market demand and inefficiencies within the local food industry.

RAHUL BARIA (Y4)

“Wild Skin”

The design that will encourage the biodiversity of birds and insects to thrive on the series of weaving skin platforms that can feed on the flowers and other plants. The design includes a flexible skin which was inspired by the formation of sunflower seeds and how they envelope the patters with the flower.

STEPHEN BEVEN (Y4)

“St Margaret’s Gardens”

St Margeret Quater in Leicester is an abandoned industrial site dividing the city centre and the river Soar. This project looks at complex layering of history to create a botanical reserve that acts as a research centre and public space for the city of Leicester.

M1.02 Sam Sandercock (Y5) - Process Model, Sociable Housing for The Lonely

M1.03, Layered model of community space to demonstrate the permeability of the structure.

M1.04, View Entering the site from St. Georges Way. With the vast amount of different plants being grown around the site, this will create a diverse range of habitats that will encourage a wider range of biodiversity of nature to inhabit the site as well as the people that move in. With the large site to occupy and food sources along with the reduction in road traffic, the animals will have a safe habitat to live.

2021

M1.05, Visual representation of the communal dining space where residents can cook and eat meals as a group allowing for the enjoyment of self-grown produce as a community.

M1.06, Visual representation of the walkways and how residents can enjoy heing in company of their neighbours sat out in the dining space between flats and with the people walking past.

M1.07, Planting Species Plan: Using the stepped contours planned out where plants will be and what species will be used to help encourage certain wildlife to the site.

26

M1.07, Plan roof explorations of the Second Community Area.

M1.09, Sectional Views through Community Spaces.

M1.10, Isometric View of Second Community Area.

M1.11, The First Community Area, M1.12, The Second Community Area.

AMINAH ALTHUWAINI (Y5) “The Waste Mountain”

The human lifestyle is based on a series of tasks, fulfilled in space. With time, these tasks manifest and form different errands. Many factors allow these changes to happen that could be associated with psychological, political, and ecological instances that can affect a persons’ movement through space. Architecture can also affect the way in which human tasks are performed. For example, a library is a place where people read, however, other activities could be explored such as scanning and printing. Similarly, green landscapes bring opportunities that could explore a variety of tasks. This project explores the philosophy of taskscape that is introduced by Martin Heidegger, developed by Tim Ingold. The way in which this project will progress is to design the landscape first, to drive peoples’ desires. The second stage of the project is to merge the people with the landscape. The aim of this project is to merge the landscape with its users, making Leicester wilder in terms of social density and developing a green city.

M1.13, Industrial Compost Delivery Route.

M1.14, Project Location: Frog Island, Leicester. The location brings opportunity to link the outer skirts of Leicester, towards the city of Leicester. Creating a wilder city through spatial bloom via landscape. Re-using the ring road as a green belt to limit car use and promote physical activity. This will improve the towns’ air quality.

1- A50 Route

M1.15,Bridging Spaces. The Third phase of the landscape explores a moment of transition towards a more formal event, this is seen with the structure of the promenade.The space also transitions from public to private, limiting human interaction in a the far end (North West) of the site to develop a relationship with wildlife. This key moment might be the far end of the landscape, however, the A50 Route is a key entrance point leading to Leicesters’ city centre. This makes it the first moment upon arrival.

1- River Soar

2- Fertilized ground (from compost developed on site)

3- Marshes (where human activity is limited)

4- The promenade (a structure developed for formal use such as staff entrance an a lounge)

5- Compostable structure (material developed from the waste vessels’ compost)

6- Leicester Piazza

7- Leicester & Rutland Wildlife Trust (existing building)

8- All Saints Rd

9- Fertilized ground (from compost developed on site)

10- Access to the site

11- Jarvis St

12- The wild path (functions as a water sprinkler for the site whilst also accommodating plants.

M1.16, The Leicester Piazza Area. All Saints Road is transformed into a wild piazza where intergenerational strength comes to life. Both younger and older generations can enjoy the experience of the space to ensure social interaction and develop a scene of creative re-tasking. The journey portrays that midline of maturity where a moment of realisation starts to emerge. The focus of the space is the Leicester & Rutland Wildlife Trust building, where it’s significance flourishes on the opposite side of the Piazza, encouraging wildlife with the marshes.

M1.17, The Industrial Waste Vessels. A larger-scale operation that will allow larger compost production, in order to expedite the landscapes’ growth. Larger vessels are situated at the back of the landscape, allowing access from Jarvis St. the municipal tractors bring in the food waste and drop it into the holes inside the vessels.

M1.18, The Public Waste Vessel, with floral essences surrounding the vessel, the experience of composting is elevated. The material developed for the vessels’ facade is charcoal. It is made out of coppicied wood from Leicestershire woodlands. Charcoal is a material that provides air purification. The use of charcoal as the facade for the vessel will act as a filter to contain the smell of compost to make the peoples’ experience more comfortable and pleasant.

M1.19, The landscape in full bloom aromatic flow covers the landscape creating harmony in color. These are the effects of composting. The scale of the landscape indicates the sigificance of food waste as a national problem. To raise awareness and attract people into composting will allow this problem to be reduced and regulated with time. It is important to use architecture and landscape as a language of awareness and realisation thus; the result of composting is reflected on the landscape. This will allow people to understand that a simple task of composting will bring great results, in making the city wild!

JAMES EVANS (Y5)

“The Bio-Convalescence Project”

The upsurge of an everchanging urban world is allowing the human population to thrive and expand across the globe. However, this urbanisation has its negative consequences for the natural world. We are in the midst of the Earths’ sixth mass extinction event, the Holocene Extinction. This is the hypothetical end of a majority of species, brought upon by human interference. It is estimated that this extinction rate is happening one hundred times faster than the natural rate, with wild animal populations halved since 1970 (Pearce, 2015)

Our architecture is defined as a habitat for humanity, a constantly growing force of catastrophic change. This requires the adaptation of our architecture and building processest not just to suit the one dominant species, but to provide effective cohabitation for biodiversity. How can our architecture evolve from a destructive notion to a beneficial one?

M1.22, The hopsital buildings for the design flow into the park space in a geometric consistency. The grid for their structure coincides with the forestry grid for the tree planting, becoming much more randomised the further away from the urban area that the project progresses.

M1.23

M1.20, The trees for the forested lanscape are planted exactly 5m apart from one another, allowing the canopies and roots to avoid but cohabit one another. This allows the trees to thrive whilst maintaining the natural density of a forest. M1.21, Patient Transition Process. M1.23, Hospital Connection: Due to the healing aspect of the programme, the building has a direct connection to the L eicester Royal Infirmary. The walkways all flow into the hospital buildings to allow a smooth transition between the hospital to the healing spaces of the Bio-Convalescence project. This allows for limited journey time between the two entities. Furthermore, the walkways from the hospital area break-off to allow the public to move around to different areas of the site and to descend at many different points around the park.

M1.24 - M125, Due to the high number of trees being planted in the area, there will be some level of change in the growth through time. Each species grows at a different pace, but the building would still provide the necessar y benefits of biophilia in a number of years. In 40 years, all trees should be fully grown, and the building will be at its most advantageous to the surroundings. In the meantime, trees, plants, bushes and vegetation at their early stages would be planted around the building, to reinforce the concept. Planting the new trees and maintaining them can also provide many jobs for the community. M1.26, These elevations show the different levels of recovery around different areas of the building. The project can accommodate for various disabilities regardless of where people need to go. Immersion of these into the forest and habitats allows for a calmer environment for convalescence. M1.27, The walkway is the primary circulation space for the different buildings. Raised on stilts and accessible from a series of ramps and steps, the walkway allows circulation for the public to traverse between the buildings, as well as across and down to the forested environment. The tall timber stilts supporting the walkway create an atmosphere of forested verticality within the natural forest, blending the walkway with the surroundings. The walkway also extends the views out across the canopy as well as across the other levels of the forest.

M1.29, The walkway has become one of the defining elements of the project, thus the discussion begins of how this will respond to the surrounding landscape. The elevation of the walkway (above) shows the verticality of the columns responding to the tree trunks creating a manmade forest atmosphere. The walkway axonometrics (below) show the habitats and wildlife around the walkways as well as the aesthetics of the seasonal change.

M1.27, Walkway azonometric showing seasonal changes over the forest. Two buildings are the most isolated and private recovery spaces. These buildings are situated amongst the forest landscape at ground level, allowing visitors to fully immerse themselves with the environment. These spaces will be for more physical-based recovery, as the location can encourage exercise and walks in and around the landscape for maximum exposure to nature.

M1.28, Walkway azonometric over water showing seasonal changes over the forest: A proposed waterfront offering natural views of the wildlife attracted to the area and the wetland habitat. Water features have relaxation, therapeutic and anxiety-reducing properties therefore this area will be primarily for those in need of mental recovery.

LOUIS HOLWELL (Y5)

“The BioSkin Project”

Leicester is one of the oldest cities in England, with a history going back at least two millennia. It is believed that the Romans arrived in the Leicester around AD 47 during their conquest of southern Britain. Leicesters’ rich history has given rise to a city that is full of varied culture and architecture in its appearance and appeal. Despite is history and the passing of time over hundreds of years, Leicester has managed to maintain many of its initial charms.

However, in the 1960-70s the inner ring road was created. This ring road aimed to give better access around the city and allow people situated outside the city centre the ability to travel in and around the city centre easier. However, our studio group believe that this road has actually separated the city. The road encircles the city centre and has created a separation that was perhaps not considered during its initial construction.

This project is an attempt to create architecture that will not only improve the new ‘Green Ring Road’, but also enhance the lives of the thousands of residents and visitors to this historic city.

M1.30, Experiments with colour and form experiments referencing Roberto Murle Marx. M1.31-M1.32, Movement studies of people based on hypotetical characters living in Leicester within the Ring Road and around the site.

M1.33

M1.33, Drawing experiment to better understand the shapes and scale of the identified site. Shapes, and in turn, the negative spaces they left behind create forms.

LSA2021 44

M1.34, Train station view.

M1.35, London Road re-wilding.

M1.36, Level 1 residents’ pathways.

M1.38, Conceptual visualisation: Residents’ pathways to London Road.

CAN OZERDAM (Y5)

“The Zone: A Contaminated Landscape”

Perhaps one the greatest challenges of modern society and urban environments are co-produced natural artifical hazards, such as floods, landslides, fires, pollution, or the presence of persistent contamination. These offer frequent challenges to ecologies, cultural and spatial heritage, and residents’ wellbeing. The spaces inhabited by the urban poor bear the burden of such hazards and are particularly vulnerable to these hazards. Indeed, the most contaminated land, or that with the greatest susceptibility to risks, has historically had the lowest land value.

Throughout history, cities have produced different types of waste that they needed to dispose of, and urban policies have usually implied displacing it to the peripheries, affecting the ecologies and environmental qualities of the sites where they settled. Unaware of the consequences of that environment, the settlers of Beaumont Leys remain to live collectively. Over time, however, cities expanded, and what lies beyond the urban borders at one given time may have become part of the built environment a few decades after.

This project aims to challenge the growing issues that involve soil contamination within Beaumont Leys. It also aims to introduce natural remediation such as Phyto-remediation, improve the quality of life in the area, and provide a new housing scheme that will assist in the search for environmental justice.

M1.38, Plant speciment for Phyto-remediation.

M1.40, Reclaimed strategy for dismantling and reconstruction of old houses affected by the population relocation.

M.141, The Zone: A Contaminated Landscape.

M1.42, The Piazza. M1.43, This process of natural, or remediation through nature is named Phytore-mediation. The term Phytoremediation, or remediation by plants, simply describes the degradation and/or removal of a particular contaminant on a polluted site by a specific plant or group of plants. M1.43, The new Beaumont Market introduces a public market which increases access to healthy foods, honor historical legacies, and highlight the local culture of the communities in which they are found. These markets bring together community members, local business leaders, and visitors to celebrate and recognize the importance of this great public space and their roles in helping create communities of lasting value.

STEPHEN BEVEN (Y4)

“St Margaret’s Gardens”

A vast industrial brown site sits on the western edge of the core of the city stradling along Leicester’s Soar river. Much of the site are industrial wasteland dividing the city between its inner centre to a large patch of residential area outside the city. This project looks at rewilding the area into a public park while retaining its industrial history, preserving some of the abandon artefacts on site.

M1.46, Positioning of the site in context to the centre of the city of Leicester. M1.47, City connection Map.

M1.48, Mapping studies on overlaying historical lines and urban form for building proposal.

M1.49, View of the Garfens towards the centre tower, taking form from Victorian Gas holders.

M1.49, View of the entrance to the gardens from the walls of St Margaret’s demolished factories.

M1.49 The aim is to promote the connection between the built environment and green spaces of the area using physical connections linking inner city and the green space of Abbey Park, in the form of foot paths and bridges.

M1.49,

M1.49, View of the gardens and gas tower structures from Soar river.

The main gardens highlighting the demolished gas towers. The space is a hybrid of public and natural gardens.

CHLOE WALPOLE (Y4)

“Wild Nursery”

Children perceive the world in a much different way than adults. They see an ordinary bookcase as a vast mountainous structure, shelves as an adventurous hike through vines, a table as their own mini home, a chair as a secluded place to read a book out of sight of an adults gaze and curtains as an opportunity to hide. All of these objects would be dangerous to use as a child would imagine, but they would if you let them. The Wild Nursery will allow the children to explore to their hearts’ content, but safely with specially designed spaces in and outdoors so that the children can test the limits through imaginative play without restrictions, instead of sitting in an ordinary classroom, day dreaming about exploring around the room. This could be through the use of integrated climbing areas within the walls, or a sloped surface within the green skins where they can climb. Both scenarios include a safe surface to fall on to when the limits are pushed too far. This allows the child to realise that it could have been dangerous, but without getting hurt; helping them to become more independent and confident on their own accord.

M1.50, This visual explores the green skins in more detail, showing the individual species of plants and animals, and how the children will be able to interact an observe them. The sunlight is also represented which will pass through the green skins, and the shadows they create are projected onto the floor

M1.51, This visual shows the atmosphere of being within two green skins. This space can be used to explore and new discoveries can be made every day. This shows how people and animals can live together in harmony.

M1.52. Models constructed from 3D printed and laser cut parts communicate the parametric form through the curvature of the materials. The primary wooden beams are pre-formed to the specific curves they require to create a strong base. The secondary structure is connected to the front and back of the primary beams which is a lightweight trellis that provides a suitable base for the climbing plants to naturally grow from the ground up.

M1.53. The strategic placement of the deciduous and evergreen planting, the buildings efficiency can be increased by using the deciduous planting on the south side of the building and the evergreen planting on the north side. This will mean that in the summer shading will be provided to the building where the sun would usually hit, therefore lessening the need to cool the building through other means such as air conditioning, which would increase the buildings running costs. It also provides shade to the outdoor play areas, making the space more versatile so the children can play outside more.

STUDIO two

States of Urbanicity

02

Year 5

Year 4

This Unit is about the study and speculation of Architecture in the many states of the industrial urban condition.

Over the past half a century, UK industrial landscape has become marginalised as the expanding global economy has brought manufacturing to various external international markets. This studio begins with investigations into the rise and fall of industry in the city and the inherent effects on the building stock and general urban condition. Existing patterns of urbanization in UK post-industrial cities are examined and new ways of inhabiting are proposed systematically designing with aging infrastructure.

The Unit works to develop a body of research that will identify opportunities for equitable development with respect to urban density, energy independence as well as social equity and policy. The city of Birmingham is the focus point for the testbed of ideas for MArch 1 students, while other sites can be considered for MArch 2 students wishing to approach the topic through a more global lens. Like many large urban centers today, Birmingham is undergoing the challenge of mitigating

unemployment amongst other economic challenges raised by the decline of manufacturing. Birmingham in the past was often known as “the workshop of the world”, before industry began leaving the city in the 1970s. The city has therefore reinvented itself as a vibrant ethnically and economically diverse place to live, with the local economy now focusing on service, retail, and tourism. This is not to say however, that the process of making has left the city entirely. Birmingham still produces over £2,000,000,000 of goods per year. The spirit of innovation is still alive and well.

The studio capitalised on the organic movement to radically rethink and holistically address some of the more abandoned and underutilized former industrial areas of the city. Themes of ecology, metabolism, food and energy, as well as infrastructural and systems design will be explored through design research and formal experimentation. The subject of the studio will include a contextual analysis of global urban trends and an in-depth study of Birmingham and its current trends in development, planning, and politics.

As for the MArch 2 sequence, students are allowed to work in other global post-industrial cities tackling similar challenges, as long as the work addresses similar studio themes.

Dr Yuri Hadi Lena Vassilev

Anisha Sharma Mehul Ashok Jethwa Kisheoun Sathiamoorthi Nadir Zadran

Jonathan Edwards Deepak Jayantibhai Prajapati David Cunnington Abdifatah Ali

Opposite: M2.01, Ben Harrell (Y5) - The Vessels of Penrhyn, Wales

William Dudley Daniel Hambly

Benjamin Harrell

Pan Leung

Janusz Moore Oon Lam Wong

Gabriel Cristea

George Cristea Marcus Bree Pollyanna Beasley

BEN HARRELL (Y5)

“Vessels of Penrhyn”

Fairbourne is soon to be the first British settlement to be flooded due to climate change. In response, the local authorities have decided to remove the village from existence to prevent harm to human life and the surrounding environment, causing a displacement of its local population creating the UKs first climate refugees.

JANUSZ MOORE (Y5)

“Ruincarnation”

Ruincarnation seeks to respond to a new set of challenges, resulting from a global metamorphosis. The project deals with the subject of entropy and decay, looking to the UKs industrial past as one solution to its future. The outcome is a speculated future, in which design has been able to overcome these challenges with the integration of modern technological systems whilst respecting the systems of the past.

DANIEL HAMBLY (Y5)

“Transient Plasticity”

Transient Plasticity and explores the life cycle of plastic in our current society. The building sits on the bank of the river Mersey in Liverpool, recently crowned the single most polluted river in the world in terms of microplastics, even more so than the great pacific garbage patch.

WILL DUDLEY (Y5)

“Hotspur Home for the Lost”

A project that deals with the subject of mental healh in the UK. It inteprets rehabilitation stages to themes of character that are translated into form and space. These spaces are to offer people chances to stop and contemplate, or discuss their own mental health.

MARCUS BREE (Y5)

“Borve Center for Rehablitation for PTSD”

This project researching in creating a healing environment to rehabilitate PTSD patients from The British Army and Special Forces. The project looks at the use of gardens and healing spaces from group to individual therapies set on an abandon mill in East London.

GEORGE CRISTEA (Y5)

“Arts Haven Pavilion”

Arts Haven is a bold artistic approach to the monotonous Digbeth landscape that blends innovation with sustainable design to create a highly recyclable and reusable building complex aimed at delivering good quality public space.

GABRIEL CRISTEA (Y5)

“Garden Wharf Development”

Starting from an interest in public green spaces and city farming, the project slowly developed into a polished design which proposes a series of vertical farming towers within the city of Birmingham. The proposal, the Garden Wharf, is one which utilises the shape of the towers in their advantage to maximise the light inside, while still offering plenty of space for food growing.

PAN LEUNG (Y5)

“Arts Tower- Housing for Arts and Craft Hong Kong” High rents are an unsolved problem in Hong Kong. Hong Kong’s housing policy is mainly focused on low-income people. A project focusing on a niche group in HK - artists. How can a vertical village of artists can be designed in Wan Chai, Hong Kong?

POLLYANNA BEASLEY (Y5)

“Communi-Tea”

Digbeth can be considered to be more ethnically diverse than the UK average. The UK population is approximately 86% white, with residents of this area being 52%. The next largest ethnic groups are Chinese and Indian. Culturally, these groups have tea engrained in their way of life. This proposal has been designed to allow different cultures and people in the community to embrace tea culture by the way tea is made, consumed and how people interact with tea.

ONN LAM WONG (Y5)

“Vertical Public Spaces”

A project that looks at the possibility of designing vertical public spaces in Wan Chai, Hong Kong. Open green spaces are a rarity and much needed in the city. How can we design a vertical garden within a small plot of land while maximising its use and space?

JONATHAN EDWARDS (Y4)

“Digbeth Creative Bazaar”

The Digbeth Creative Bazaar is a shopping and making destination in the heart of the Birmingham district of Digbeth. The project deaks with Urban Regeneration by retro-fitting lost and abandoned buildings turning them into an arts and craft centre and shopping district.

MEHUL ASHOK JETHWA(Y4)

“We Grow!”

We Grow! is an Urban regeneration project that looks at turning abandoned industrial areas in Digbeth, Birmingham into productive landscape for growing food. This concept follows both Birmingham’s new narrative to be a service city but also following trends in the city in the food industry.

NADIR ZADRAN (Y4)

“Circular Economy”

The circular economy project is about encouraging the public to interact and participate with not only the process of upcycling and recycling but to also enjoy the journey behind it. Upcycling, also known as creative reuse, is the process of transforming by products or wate materials into new materials or products of better quality and environmental value.

ANISHA SHARMA (Y4)

“Urban Rehabiliation Community Garden”

The scheme will recognise the rehabilitation garden center as a tool for community social interaction, recreational, and a source of income as a means of aiding homeless people’s return into society.

DEEPAK PRAJPATI (Y4)

“Advanced Prototype and Production Research Center”

Advanced Prototype and Production Research Centre is aimed to provide a platform for inventors that have limited resources to realise their ideas. The centre is a collaborative platform where people with unique ideas can work together.

KISHEON SATHIAMOORTHI (Y4)

“Digbeth Performing Arts Centre”

A project taking inspiration from broken fragments of urban form turning it into a collective or inhabited scluptures on top of the abandoned Birmingham train viaduct.

ABDI ALI FATAH(Y4)

“Hempus Centree”

The project aims to create a sustainable industry witin the Digbeth. The aims for the project will tackle the key issues states through the research. The agricultural lab will provide a faci1ity for research and development for sustainably grown crops, allowing a new generation of researchers and potential education facilities, to show the benefits of hemp.

DAVID CUNNINGTON (Y4)

“Digbeth

Regeneration”

The intention is to do an intervention to The Brolly Works and The Custard Factory - both are located at the junction of Coventry street. The aim is to give more provision for green space to create a new sense of place and identity to its population. Both the Brolly Works and Custard Factory have a strong heritage to Digbeth and its identity.

M2.02 Ben Harrell (Y5) “Vessels of Penrhyn- Village Forum Amphitheater”

Ben Harrell (Y5)

This project’s origins stemmed from stumbling across a BBC news article, published in October of 2019, amidst the global climate change protests. The article entitled “Sea-threatened Fairbourne Villagers call for answers” leapt out from the surrounding fog of headlines (Sea-threatened Fairbourne villagers call for answers, 2019). This concern about our changing environment is reflective of the current zeitgeist. This movement showed that my generation (bridging between millennial and generation Z) most passion ately concerned about the environment’s health and dealing with most of the consequences. This article actualises the consequence of humanity recklessly polluting our planet.

Upon reading the article, I became conscious that the repercussions of polluting our atmosphere with greenhouses gasses for decades have manifested in our sea levels rising so much that they have now start ed to affect human habitation in the UK. Due to these rising sea levels, the settlement of Fairbourne, located along the welsh coast and dating back to the late 1800s, is now under severe threat (Sea-threatened Fairbourne villagers call for answers, 2019). This is to the extent that an intervention must be made, as the village will be unfit to exist in years to come. The threat to Fairbourne now means a village in the United Kingdom, a ‘first-world’ country and ‘global leader’, has an impending expiration date.

The hard truth is that this will create the first ‘climate refugees’ within the United Kingdom. Fairbourne will not be unique in being claimed by the sea. As we gain greater awareness of this global issue, we must realise that this situation will worsen over the coming years and simply will not improve. As an island nation with multiple coastal communities, Fairbourne is merely the first to face these issues.

M2.03, Lower levee master plan for New Fairbourne with farming grounds. Vessels of Penrhyn is set in 80 years in which the villagers refused to move from their homes and adapted their life and village to survive among the flooding marsh, entering a symbiotic relationship with the sea, embracing the changing tidal landscape. This project explores further themes such as phenomenology, Sea Defence Infrastructure, Coastal/Sea Farming, and Urban Design.

“Vessels of Penrhyn How to Rebuild a Village for Climate Change”

M2.04, Monuments, Vessels and Artefacts. WWII defences built in 1940 incorperated as part of the new sea wall.

M2.04, Illustration showing the connection between the Salt Marsh and the Sea how more industrial nursery area relate to the context of both the marsh and the upper walkway. These contain a shallow water line method, a fast floating method, and the suspension raft. These make delicate, shallow line seaweeds, medium durability and size seaweeds on the raft, and hardier deep seaweed readily available for the public and visitors to see.

M2.05, Inspired by the design of the homes that regularly flooded/experienced stor ms in Friog Corner, Germany, as shown in the site analysis portfolio. The idea behind the design is that all windows are protected with boards and shutters. Therefore in the case of extreme weather in the future, to help keep heat in or for privacy, the houses can effectively seal themselves off from the outside world and protect the glass. These houses are designed with the traditional vernacular of the Welsh longhouse in mind, dating back to the early middle ages with the Anglo Saxons.

M2.06, Aerial Isometric view of the new village. Further development of the master plan includes the addition of seaweed farming extending into the Irish Sea. These include shallow water rope growing in the shallowest, calmest region.

M2.07, Tidal Conditions: Normal. The barrier acts as the lower promenade for the village.

M2.08, Tidal conditions level 3: Mid tide.

M2.09, Tidal conditions level 4: High tide.

M2.10, Tidal conditions level 5: Spring high tide/storms.

M2.11, The Market Hall and Sheltered Garden: One of the most important buildings within the new village scheme is the market hall, in which people trade, serve food and socialise, inspired by the previous indoor-outdoor shops along the main road of Fairbourne. The market is to function by a series of pop-up stalls placed underneath the sheltered area, simulating the village’s weekly market once held. When the market is not open, space becomes a sheltered extension of the informal public square, in which people can socialise.

M2.12, Underneath the Walkway: The walkway’s design is based on the principles of the Barmouth bridge, the footings of which help prevent damage to the wood from both the sea and woodworm. In addition, the infrastructure needed from the Village, including freshwater, sewage, and electricity, is serviced from the void created between the upper and lower planks of the structure.

M2.13, The Amphitheatre: At the centre/heart of the village sits a forum manifesting in the typology of an amphitheatre.

M2.14, Community Centre/ Village Hall: Within this building, visitors can become educated as to the processes which happen on the site. It can function as a venue for talks (ground floor), a library on the First floor, and a village hall (free, flexible space on the top floor). Its more formalised programmes stem from the fact that any business growing and selling materials also need space where residents can undertake administration and managers can address staff. This space can also be used as a research and education centre to educate more people on the methods and benefits of seaweed farming.

M2.15, Community Centre/ Village Hall: Night Isometric in context to walkway and salt marshes.

Ruincarnation responds to contemporary issues prompted by the political shift post-pandemic. As the UK adapts to these changes and breaks ties with the urban powerhouse, what might the nation look like during its shift back into rural society? This project looks to the UK’s rust belt as a new avenue for cohabitation and explores key challenges that come when dealing with historical sites subject to dereliction.

What are the processes necessary to transform these sites in order to revive the industrial roots and forgotten communities that ground them? How should we respond to material decay in order to highlight issues of finiteness and celebrate historical value whilst developing sustainable systems for development? Like many other rust belt towns and cities, Stoke-on-Trent is an area defined by its industrial past. The slow decline in industry over the past 30 years has resulted in a parallel deformation of identity. Within its forgotten collieries, steelworks, and potteries, the buildings themselves are in a state of constant entropy, suffering a slow death with little functional purpose but to remind us of their past achievements. Utilising Chatterley Whitfield Colliery as its anchor site, the project aims to create a new industrial identity for the UK’s rust belt, whilst celebrating its golden era of production.

M2.16

M2.16, Chatterly Whitfield Colliery, axonometric taxonomy of buildings. M2.17, Conceptual section illustrating the intervention of the site with new buildings.

M2.17

M2.18, The Circular Approach and the tevival of the UK’s Urban Rust Belt. Central to the ethos of Ruincarnation is the concept of circular economy. From the adaptive reuse of the industrial brownfield site to the use of timber produced on site, each phase of the continuously evolving programme revolves around sustainable approaches to design with longevity in mind.

M2.19,

Roof Plan and Site Elevations. M2.20-21, Stage of intervention includes the construction of the construction warehouse, primarily from recycled and reclaimed materials, before the biopower plant is constructed and the site produces renewable energy to power the subsequent phases.

M2.21, Post-Intervention Phase: The second stage of intervention sees cohabitation be ginning with the formation of the residential terraces. By this stage the rhizosphere is remediated and the surrounding land is used for the production of food.

M2.22, Various building interventions and insertions.

M2.24, Isometric Section, Site Layout.

M2.24, The design of the landscaping is chiefly driven by the functional programme. The expanse of vegetation in and around the site creates an encompassing garden typology. The primary function seeking to create a calming atmosphere, a zone of decompression as one moves between the structures. The design of the pool and walkways throughout the site have been modelled on the plan of the mine shafts and galleries deep below the surface. This provides a reference to the original colliery, for those who once worked the mines, using the reflective medium of water.

88

M2.24, Detail Section, Seed Bank & Herbarium.

“Nothing disappears completely ... In space, what came earlier continues to underpin what follows ... Pre-existing space underpins not only durable spatial arrangements, but also representational spaces and their attendant imagery and mythic narratives.”

Lefèbvre, H. 1991. pp.228.

DANIEL HAMBLY (Y5)

“Transient Plasticity”

We are currently faced with an environmental catastrophe on an unprecedented scale. As a result of the global failure of the plastic recycling system, we are faced with 6.3 billion tonnes of plastic, of which 79% will accumulate in landfill or the natural environment. If this trend were to continue, by 2050, 12 billion tonnes of plastic will be leaching its way into our soil and waterways, further damaging ecosystems, and causing mass extinction.

Transient Plasticity explores the life cycle of plastic in our current society, providing an architectural response to the global issue of increased environmental plastic pollution through the synthesis of urban infrastructure and the dense fabric of the city.

The building sits on the bank of the river Mersey in Liverpool, recently crowned the single most polluted river in the world in terms of microplastics, even more so than the great pacific garbage patch.

The building acts as an organism, metabolising used plastics through the process of chemical depolymerisation, before repolymerising said plastics and developing them into new building materials, forming the canopy roof that covers the project.

The project is centred around the idea of a building’s life cycle matching that of an organism. The building metabolises plastic, cleaning the surrounding environment until there is no longer any plastic to be consumed, at which point it metabolises its outer shell, revealing the gardens below.

M2.25, Sextional perspective showing roof envelope in context to existing buildings on the Liverpool Docks

M2.26, Plan showing plant and public spaces inter-connecting with the waterfront. Due to Prince’s Dock’s location on the waterfront, an interesting opportunity was presented for receiving deliveries of raw plastic. Due to the dense water way network that surrounds Liverpool, many of the most significant recycling plants in the surrounding area are connected by waterways that feed into the Mersey. This means that plastic deliveries could be brought in by electric boat, directly from the existing recycling plants to the proposed bio-recycling infrastructure at Prince’s Dock.

M2.27, Green corridors were another aspect of the design that was particularly important. The overall philosophy of the design was that the building, through its existence, would begin to reintroduce wildlife back into prince’s dock, which had been lost since the industrial revolution. In order to achieve this, multiple different types of garden were introduced, each catering to different environmental conditions.

M2.31, Over the last 50 years, the use of plastics has increased twentyfold. A study led by a team of scientists from the University of California, Santa Barbara, and the Sea Education Association, published in the journal Science Advances, found that since plastic production began in the 1950s, humans have created 8.3 billion tonnes of plastic, of which 6.3 billion tonnes have already become waste. Of this total amount of waste, only 9% was recycled, 12% was incinerated, and the remaining 79% ended up in the natural environment.

As the failings of the current plastics recycling system are systemic, they require an overhaul of the plastics recycling system. This overhaul would entail closing the linear system to form a closed loop, in which the input virgin feedstock would be replaced with renewably sourced feedstock, fed by recycled plastic from recycling plants or recovered from the natural environment.

M2.32, The Stage 1 visual depicts the project during construction. At this point, the Mersey. is still contaminated in extremely high levels of microplastic pollution. The internal machinery, metabolises the micro-plastics from the Mersey, and the plastics wastes from the surrounding recycling plants, the building begins to grow. The grwoth becomes a symbol of better times to come, as the environment is slowly cleansed from the contaminants that have blighted the Mersey.

M2.33, Next is Stage 2. At this point the Mersey begins to recover from its ecological collapse. This is due to the collection and filtiration of microplastics from the river itself, as well as dramatic improvements to the efficiency and prevelance of plastic recycling, spearheaded by the project. The building has reached it maximum size from the metabolisation of plastic as if it is an organism maturing into adulthood.

M2.34, Finally, at this point the Mersey has recovered from its ecological disaster. Wildlife and an ecosystem has flourished as the marshes begins to reform, providing new habitats for flora and fauna, that has been lost in the previous decades due to industrial activity. The building has reached its final form, metabolising its outer plastic shell exposing the inner block. These underlayer blocks are to become public buildings surrounded by the gardens that have merged with the marshes. This it the process in which the project gains its name: Transient Plasticity, relating to the transient or impermanent nature of the outer shell, lasting only when it is no longer needed. The shell metabolises into refined oil which can be transported to another location. This process repeats itself, truly acting as an organism that mutually benifits the form and improves the environment.

M2.35, Bio Concrete Terraced Gardens.

M2.36, Visually illustrating the connection of the building and the water taking the form of the pier lined by raw plastic delivered to the docks. The enzyme substrate delivery docks to the left. The enzyme substrate deliveries are then loaded into the building manually, whereas the plastic deliveries are fed directly into the shredders mounted on the pier.

M2.37, The internal promenade viewed from the first floor. A key design consideration involved highlighting the circulation through the building as a journey that reveals each machinery areas. Ballustrades are finished in brass, juxtoposing the earthy and white tones of plastic. The shell created from 3D Printed plastic shell structure takes centre stage with green cascading from above.

M2.38, Enzyme Fermenters and Tropical Gardens. Visualisation displaying the enzyme fermenters, in which specific enzymes are produced which break the polymer chains of the plastic into the bioreactors. They are surrounded by pools and tropical greenery. The heat it produces allows for the cultivation of tropical gardens, creating a warm humid bio-dome.

WILL DUDLEY (Y5)

“House of Reflection- The Hotspur Home for The Lost”

A project focusing on the interpretation of the turbulence of severe mental disorders. They are spaces to offer people chances to stop and contemplate, or discuss their own mental health. The key driver of the design was the idea that you can’t know what’s going on inside someone’s head until they tell you or until cracks in their ‘normal’ behaviour start to appear. Narratives were

intepreted from Roald Dahl’s short story: the opening story to the collection called Madnes, a talk given by Casey Gerald: The Gospel of Doubt and a case study by Stephen Grosz, in his book, The Examined Life.

M2.39, The Rehabilitation stage of the collage series explores the potential interactions between the themes of the character and the existing fabric within Hotspur House. In this image, Mr. Thrum’s sound and plantlife imagery have been portrayed in a far more spatial manner. As a greenhouse would be a suitable space to grow sustainable plant life, Mr. Thrum’s intervention is shown occuring in the roof section of the tallest existing building. Mr. Thrum is depicted as a composer in this image in reference to my first ideas regarding his potential treatment.

“Thank you, Doctor,’ he said, and he nodded his head again and dropped the axe and all at once he smiled, a wild excited smile, and quickly the doctor went over to him and gently he took him by the arm and he said: Come on, we must go now...”

Mr. Fowler’s character is based on the father character in Max Porter’s book, Grief is the Thing with Feathers.

M2.40, Mental illness is often considered an ‘invisible illness’ because there are many symptoms which can’t be seen or measured. Unfortunately this is true for many of the most severe mental illnesses. The problem is people dismiss mental illness as not real. If someone has never personally experienced a mental disorder, they have no frame of reference to help them truly comprehend and empathise as they attempt to gauge the severity of the issue. The most dangerous accusation or most inconsiderate question is regarding whether these symtpoms are real or not. Even more dangerous is that sometimes the person experiencing the issues cannot accept or acknowledge their own symptoms. A good example is a headache. No test can prove or disprove that someone has a headache, yet we have all experienced the pain of one and can accept it as a real condition, with capacity to be equally as painful as a physical injury.

M2.41, This series intends on portraying the effect of a mental disorder upon our perception of reality and therefore our daily life, the slow creep of our reality refracting to the point we no longer recognise it. This discussion begins with out perception of ‘normal’. The vast majority of people you walk past in the street are likely automatically categorized as normal people. This is a broad and diverse group but that’s normal. Each of those people appears normal because their external appearance falls within our range of tolerance for what can be considered normal. However, we now know that roughly a quarter of them are likely struggling with a mental disorder. Prior to learning how common it was, if we had learned of somebody’s dissociative disorder, PTSD, OCD, etc - would we still have been able to class them as normal? These afflicted people may now deviate from our own sense of normal and it will affect how we interact with them.

M2.42, We are often secure in our own sense of what’s normal because everyone else agrees with us. We can confirm that everyone is seeing what we’re seeing, hearing what we’re hearing etc. So what do we do when somebody says they are seeing and hearing things nobody else is? It’s hard to really believe them but that’s the life of those suffering from psychotic disorders. This is the second core theme of this series of images. A psychotic episode is what we call someone’s perception or interpretation of reality, which exists only for them. We say they have ‘lost touch’ with reality. We can understand these experiences as hallucinations and delusions, these are words we know the definition of and are concepts which can easily be explained. Many of us probably feel as though we’ve hallucinated before, maybe during a rough fever or after administration of psychoactive agents but they’re temporary so we haven’t completely lost touch, we’re just a bit ‘out of it’. This is normal.

M2.43, The issue lies in the fact that when this lasts longer than a few hours or a few days, it can be incredibly disruptive to daily life. The people around those with a form of psychosis start to lose their frame of reference in their comprehension of the condition as it extends beyond the normal limits. This is where it starts to become messy, if the conversation breaks down, we lose touch with each other and the person suffering may end up feeling cut off from what could be their support. We may feel out of our depth when dealing with this topic so we say “get help” or “you need therapy” - while reasonable advice, it distances them from us. From what I’ve read and learned so far, the best advice I can give to mitigating this distance is to engage with their therapy or rehabilitation. Rather than saying “don’t worry there’s nothing there/ it’s all in your head”, start by telling people with psychosis that you believe them and that you’re there for them. This final image represents the inevitable splitting of all things; the splitting of reality, the split from society, the muddled overlap of experiences.

M2.44, Porosity has been a recurring focus throughout the entire design process. There are many layers to porosity as a topic. Large scale social porosity and smaller scale physical porosity have been prominent themes. The overall scheme plays with an amalgamation of private and public spaces. A frequent criticism of the prevailing socio-functional focus in urban design at the moment is that it disregards individual moments in favour of collective activity. It has been important for me to maintain balance between individual and communal moments. I allowed multiple paths and frequent small spaces off the path to mitigate forced exposure for anyone wanting to be alone.

M2.45, There exists a variety of large and small scale spaces, all of which are comfortable, controlled, and safe. They also make never feel cut-off from the building as a whole. Each open-access space is critical in soothing those who live in cities as they give them freedom to move about and engage with others, but also allows them to shy away from social interaction depending on their level of comfort. It is exactly this mixed usage of space which is more conducive to easy and free feeling access. Where possible, strict zoning is avoided as is leads to impressions of separation.

MARCUS BREE (Y5)

“Borvo Centre for PTSD”

This project aims in creating a healing environment to rehabilitate PTSD patients from The British Army and Special Forces. The increase of individuals who suffered from depression has becoming a serious problem in our society. The most common definition of depression is extreme low mood. Depression sometimes comes along with other mental illness like anxiety and panic disorder (WebMD, 2016). The period of depression is varying from each person, it could be 2 to 3 weeks and sometimes maybe months. Sometimes depression could be identified by looking at the thoughts and behaviour of a person. According to a report, women are more likely to have suffered with depression than men (Moy, 2009).

JONATHAN EDWARDS (Y4)

“Digbeth Creative Bazaar”

The Digbeth Creative Bazaar celebrates the return of crafts identified by Birmingham’s rich history in making, known once as a city of a thousand trades. The bazaar is organic, as it carved itself architecturally into the urban fabric growing as it repurposed abandoned buildings taking inspiration from Isfahan’s and Istanbul’s Grand Bazaars. This axo shows the textile and jewellery section of the bazaar carved out of existing buildings into workshops and retail stations.

M2.49,

Conceptual Module Masterplan

M2.50, The conceptual masterplan shows the different modules interactions with the site. These modules act as placeholders for later design developments to take place, however they are useful in showing how new buildings can intersect the site and use existing infrastructure. The metalwork and woodwork section occupies a large shed at the south portion of the site. The shed acts as a market hall with modules occupied within that pentrating the roof.

M2.51, The Digbeth Creative Bazaar is a shopping and making destination in the heart of the birmingham district of digbeth. This project is 2/5s of a larger masterplan of 5 craft sections. This design is the junction of the jewellery and textile areas. This drawings shows the overall design in isometric view with the main canopy pulled above the design. This exposes the circulation pathways that occupy the ground plane of the bazaar which connect the urban block to its surroundings.

M2.52, Main Section through the Textile Bazaar PRINTING BUILDING

The printing building occupies a former warehouse on site and aims to preserve its character and qualities. Therefore, changes to the external brick work and walls have been minimised with internal and roof changes prioritised. Fabric funnels concentrate light into printing and lobby spaces. Below this, mezzanine interior workshops look onto selling spaces.

DYEING BUILDING

The Dyeing building is a lightweight timber structure which resembles the structure of a jacquard loom. At the centre of the building is the jacquard loom which stretches over the top two floors of the structure with the head of the machine hung from the fabric tent-like roof. The second floor is occupied by the dyeing lab which features rows of dyeing machines which can be used to colour fabrics. The ground floor features selling spaces for clothes makers. It is designed to be open for pedestrians to travel through to access he bazaar and courtyard spaces.

M2.53, Heath Mill Lane Existing Elevation.

DRYING BUILDING

The drying building retrofits the locally listed building within the textile section and uses a similar strategy to the printing building in respectfully using the existing structure and walls. Openings have been created for more selling space with the main facade being preserved. The original pitched roof has been replaced with a flat roof for the creation of a drying space. Timber frames smash through the roof to create a hanging space for wet clothes and strings which can be naturally dried by the wind. A tensile canopy is used to shelter these drying fabrics from the rain.

JEWELLERY UNIT

The jewellery unit features a ground floor selling space with counter, storage, and toilets. Products can be presented along the windows and along the side walls. The first floor is a mezzanine workshop space with a workbench where assembly of jewellery takes place. This mezzanine can be accessed by an external walkway which is broken up from the main arcade through a perforated patterned metal facade.

M2.53

M2.54, Perspective shows the view when entering the central space which connects 4 arcades and circulation routes together. A large textile canopy with an occulus provides light to the central water pool.

, Section C:C cuts through the dyeing building and main textile courtyards highlighting the lightweight nature of the proposals interventions and the permeability of the bazaar into its surroundings.

M2.55, Perspective shows the view when walking through the jewellery arcade heading out of the bazaar to Little Ann street. A central shallow canal guides people through the space where they can view vairous jewellery displays.

M2.57, Perspective shows the view when entering the dyeing lab from the spiral staircase looking directly at the top of the jacquard looms. Dyeing machines can be seen running the along the edges of the space.

M2.58, Perspective shows the view along the walkway connecting the drying and and printing buildings together. This view looks directly at the row of jacquard looms which produce fabric to be sold inside the bazaar.

M2.56, Section B:B cuts through the drying building and parts of the circulation canopy. The section clearly shows the light catching funnels which light up the printing spaces on the second floor of the building. Concrete is used for new inter nal walls inside the main entrance atrium space to contrast with the fabric. First and ground floors contain the interior fabric selling spaces and workshops which overlook the ground floor. Rollers bringing cut fabric to ground level dramatically dance across the ceiling space, enclosing the textile units.

MEHUL AHSOK JETWA (Y4) “We Grow!”

This proposal also seeks to give importance to the lost chapel and create a series of spaces which can be inhabited by the locals. The chapel has had several uses over the last century but has never actually been used as a chapel. The sites nearby are also currently privately owned. With every developer trying to build towering residential schemes on each site, and with studio apartments being the preferred unit, the area might become a space without community. This is where the We Grow development comes to play. The complex looks to bring existing and new communities together with a means of spaces to grow, produce and sell.

M2.59, The view from High Street Deritend will be quite subtle whilst also being quite playful respecting the existing geometry on site, but also relating back to how the site would have been bounded by a line of terraces less then 60 years ago. The boundaries seek to enclose the space and give community members a space away from the hustle and bustle of the main road and busy commuter space of Digbeth. The Axonometric also gives a clear of the initial green oasis planned for the site, which is clearly separated into several different plots and spaces.

M2.59, The above perspective section look at a how the terrace building sits on the site in relation to the main road level and the viaduct. By using the existing basement and existing change in the topographical levels, the idea was to make use of these features and create an open plan seating area. The first floor looks at creating an open roof top garden, giving access to the tree tops of several fruiting trees but also connecting with wildlife with bird foraging trees. This also gives access to the allotment areas and the food ordering desk. The main kitchens and cooking masterclass kitchen are also located within the building. The mezzanine floor serves additional kitchens for smaller independent businesses, which includes a meeting space and practice kitchens.

M2.60, The garden aspect has been designed to provide allotment style spaces to be integrated into a community garden. The idea is based on providing sensory and floral planting towards the footpaths, whilst the more inner spaces provide edible produce. Fruiting trees are dotted around the site which provide a variety of produce throughout the seasons. The chapel has been restored and redesigned to allow for a better layout as a community space.

The existing columns at ground floor level have been opened up to the gardens allowing more public events where passers can interact with the event going on. Modern glazing has been inserted into the rear to provide additional lighting and views onto the viaduct area. The upper floor has been designed to provide a more atmospheric restoration. This space is to be used for more private events and a space that community members can hire.

M2.61, The main portal entrance has been designed to replace two existing shop fronts and create a direct link between the main road and the current industrial Digbeth, keeping in mind that a new community will soon replace the industrial parts. The link provides an easy access through the site, whilst giving glimpses into the site. The entrance has been designed with the main building as a starting point. The use of strong geometrical forms is evident in the building and this has been recreated with a more modern approach. The pink feature lighting aims to claw people into the fun and playful site.

M2.61, The above visual looks between the gaps of the terraces from a first floor level. The existing massing of the terraces is visible and the new interventions create sharp geometrical forms. The terraces have also been largely glazed at the rear. The northern light into the building should benefit the main kitchen spaces. The ground floor space has a feature glass bridge over the water pool.

M2.62,

This is where you would collect your food order whether you be a general community member, visitor or delivery driver. The upper floor provides kitchen spaces. The grill window designs gives the chefs a view onto one of the growing landscapes but also allows for a suspended balcony, where staff can relax and collect fresh herbs from the in-built garden spaces.

M2.63, The mezzanine floor serves additional kitchens for smaller independent businesses a

can preview into the large dining space and have an option to enter the space once they have walked past.

can entre the space. People travelling on the trains will see a green oasis as well as the traditional form

The visual shows one of the main approaches to the dining space. The hill decline path, leads to the food collection desk.

meeting space and practice kitchens from the pavement. People

This has been designed so people walking in both directions

which currently stands on site.

STUDIO three

Bold Sensitivities

03

‘Today the vast majority of materials used to create the built environment are new and pristine, and our consumer culture leads us to assume that new is best…’

Mark Gorgolewski

As designers, we’re familiar with the approach of using site as a generator of ideas. We need to be sensitive to context, climate, and culture in our proposals. Yet, cursory analyses go no deeper than the immediate visual and stylistic aspects of a context. To genuinely understand a place, we must unearth the hidden, the obscured, and the intangible. At the same time, as humanity progresses and evolves, we must also look to the future. To innovate, to enrich a place, and to ultimately survive, we need bold actions which produce transformative architecture. We cannot confront today’s important issues, the climate crisis, housing inadequacy, social inequality by playing it safe. This year, we’re interested in architecture that lives within the balance of: Sensitivity -Empathetic, Tender, Temperate, Delicate,

Year 5

Year 4

Careful, Tactful, Fragile, Diplomatic, Subtle, Patient, Boldness- Radical, Courageous, Whimsical, Vivid, Clear, Valiant, Conspicuous, Audacious.

There is a tendency to look to the past and its styles, to the safety of the familiar, at the expense of progress. At the same time, purely individualistic approaches can produce incongruous objects which alienate the city. Students will negotiate between these seemingly contradictory ideas to produce designs which are simultaneously sensitive and bold.Today’s fixation with newness leads architects and occupants towards a tabula rasa - a blank slate, where the past has been erased to make way for the shiny new-build, to the detriment of the natural world. As the urban landscape expands and space dwindles, the existing becomes increasingly significant to architects. Reusing, recycling, and repurposing existing spaces is the only way forward. In response, Studio 3 will focus on reusing existing buildings and forgotten spaces in an urban setting. We will look at potential radical and delicate approaches to designing within existing space.

Alexander Mills

Danielle Fountain

Nooridin Abdi

Samson Adejoh

Sana Ahmad Rebecca Codd Agnieszka Lewicka Dillon Parmar

Mariya Rumenova Petrova Caroline Reinoso

Opposite: M3.01 Murtaza, Liberating the Mind from the Boredom of Thought: A Centre for Surreal Arts, Belgrave, Leicester

126

MURTAZA (Y5)

“A Centre for Surreal Arts, Belgrave”

The mind is often retained in a state of boredom, such that the things that we see and experience present generic perceptual evaluations. This project capitalizes on this idea in relation to surrealism and strives towards generating an architecture that liberates the mind from the boredom of thought in architectural predispositions.

BRIONY FUNG (Y5)

“The Green Retreat”

A research project that looks at how architecture can help address the rehabilitation of offenders back into communities. The project addresses how we can retro-fit abandon prison infrastructures into rehabilitation centres that contextually responds to the sensitivity of its surroundings.

JOINUL UDDIN (Y5)

“Making Ends Meet- Multigenerational Family Housing, Leicester”

The housing crisis is an evolving situation, it is implied that it is caused by the shortage of housing available. Affordability also plays a factor in this. Rather than just concluding that more homes need building, this project will explore alternative solutions for this ever-evolving problem.

NOOR ABBAS MOHAMED HAG (Y5)

“The Sweet Life”

The aim of the project is to revive the years of the sweet life, translated by the Italian Film La Dolce Vita by providing a public piazza to the residents of Viale Papiniano, Milan. The theme of the paparazzo and the gaze helped with developing the project in an effective way, some of the users of the project want to be seen (the subject) and some don’t, they only want to gaze from their windows (the object).

YOMNA AMER (Y5)

“The Woodgate Community Centre”

This project is about resiliency and adaptation in the face of difficult circumstances. The project aims to take the existing and remediate the damaging effects of neglect and abdonment through adaptive design and regenerative systems of permaculture.

MAHDI EL.AMIN (Y5)

“Decentralised Living”

A project that hypothesize how living should be in the future by creating more spaces for pleaure within a housing complex. 3D printed robots are to construct these space organicly as the movement and activity of people in it shape the architectural form of it.

SOOK SAN SUZZANE KAN (Y5)

“Guardians

of the Canal”

The narrowboats are the “guardians” of the canal that serves the existing river and the Grand Union Canal. What if the programmes on the narrowboats are curated according to different parts of the river and the canal?

YASSIR OMAR (Y5)

“Growing Cities”

The urbanisation of the world has caused more problems than solutions by creating a need for more space, limited activities, overcrowding, a higher demand for resources and pollution. This project looks at inbetween spaces to be retro-fit as green spaces for free growth of nature, vegetation and organic architecture.

JULIA SINGH (Y5)

“Danforth

Learning Centre”

Designing a center within a city of Toronto acts more than just a support system, but a way to bring communities together. With these low-income places, this is where immigrants reside, and this teaches them to come together. Attaining this type of design it not only is a representation of the community, but displays diversity and growth supporting a bigger system.

VINOJAN VIGNESWARAN (Y5)

“Leicester’s Tomorrow Learning Academy”

The aim of this building Is to design an Engineering academy dedicated towards young apprentices who want to pursue a career in the engineering field. This building will have facilities which would contribute to their learning and education.

NOORIDIN ABDI (Y4)

“Artist Studio and Exhibition Center”

Set between King Street and New Walk, the Artist studio and exhibition center explores the idea of the public and the private in the display of light and shadow. The aim is to engage an appreciation of the object between the public and the art.

SAMSON ADEJOH (Y4)

“Lee Street Retro-Fit”

The main driving thought behind this project is the combining of old and new architecture, giving an old building new functions, introducing new forms to it, therefore breathing new life into it.

SANA AHMAD (Y4)

“Braunstone Gate Viaduct Nursery”

The design follows the concept of making spaces specifically to enhance learning by age and skills. The design is linked inside an abandoned railway viaduct that uses its arches as learning spaces for the nursery.

REBECCA CODD (Y4)

“Corah & Sons - St Margarets Works”

A project that takes inspiration from textiles as the key driving idea for form and space over an abandoned shell of a former textile mill, Corah & Sons.

AGNIESZKA LEWICKA (Y4)

“Sofia City Montessori Centre”

A proposal that looks at the principle idea behind Montessori teaching for children whilst turning an abandoned historic sugar factory into a purposely built kintdergarten in the city centre of Sofia, Bulgaria.

DILLON PARMAR (Y4)

“31 Granby Street”

A project born out of an abandoned Grade II listed building on Town Square Hall. The project looks at retro-fitting the abandoned banking hall into meditation spaces.

MARIYA RUMENOVA PETROVA (Y4)

“Sofia City Montessori Centre”

A proposal that looks at the principle idea behind Montessori teaching for children whilst turning an abandoned historic sugar factory into a purposely built kintdergarten in the city centre of Sofia, Bulgaria.

CAROLINE REINOSO (Y4)

“Frog Island Art School”

A School of Art focusing on the design of the building which consists of using windows for maximum natural lighting. This project explores areas for artists and craftsmen by looking at different types of requirements needed for studio spaces.

M3.02 Murtaza (Y5) Liberating the Mind from the Boredom of Thought: A Centre for Surreal Arts, Belgrave. Space as derived logical consolidation of the intuitive (unconscious) design and the rational (conscious) design.

MURTAZA (Y5)

“Liberating the Mind from the Boredom of Thought: A Centre for Surreal Arts, Belgrave”

This project that finds inspiration in the philosophy of George Bataille that declares in the beginning that “if violent manage to rescue a being from profound boredom, it is because they lead through obscure error to a ghastly satiating ugliness. It can be said however that ugliness can be hateful without any recourse and, as if it were, through misfortune, but nothing is more common than the equivocal ugliness that gives, in a provocative way, the illusion of the opposite” (Bataille, 1996). Bataille describes that ugliness, which is far from the ideal, a monster in the most irreducible manner, gives the illusion of being beautiful. Conscious and unconscious design are superimposed such that they may cancel each other out in order to produce a space that is far from the ideal cube or cuboid, thereby, imposing on the viewers the illusion of being beautiful, while simultaneously liberating the mind from the boredom of thought in ideal geometric spaces. As such, the principle of the ugly and indeed the infrastructure of the surreal are manifested in the final outcome of the design process.

M3.03, The resultant superimposition of unconscious and conscious design. Visualisation of the gallery spaces.

M3.04, Ground Floor Open Corridor.

M3.05, Monolithic forms, dislocated from ideal geometry and endowed with curved ele ments are intuitively designed using a soft material such as clay. These forms are then transferred to digital software where numerous compositions are made intuitively. These compositions conclude the chapter on unconscious (intuitive) designing and are used later in the marriage of unconscious and consciously designed forms, giving birth to surreal forms.

M3.06, Short Perspective Section

M3.07, Long Perspective Section.

M3.08, West Elevation

BRIONY FUNG

“The Green Retreat”

This project started by identifying issues within society today, which led to researching the UK justice system and the problems within. Although this aims to address these problems on a small community-driven scale, it provides solutions for an array of problems such as unemployment, lack of education , qualifications, housing upon the release of the inmates as well as the lack of support for vulnerable youths and adults. The strategy is to flood this area with greenery to promote wellbeing. Whilst designing this building alongside the ruins of the factory, it was clear the building is to sit gently on the site. Once the centre had flourished for its life cycle, it was important it could all be disassembled to be reused and repurposed.

M3.09, Site model exploring the massing around the site, and the relationship between the site and River Soar. Using the programme, spatial requirements alongside the existing building on the site, with the context of the neighbouring buildings.

M3.10, This drawing is key to the project. It represents the building as a whole unit and shows how it sits on the site within the context. The green vegetation of the scheme re-establishes the relationship with the River Soar and the wild vegetation. The pitches of the roofs relate to the context this helps the building to look belong ing within the area. The green of this drawing reinforces the original aims of the programme by creating a green oasis. People can use the centre to escape the densely built-up area. The street front consists of the most public spaces where the private areas are slightly hidden towards the back of the site.

M3.11, A community driven public centre. Many activities could take part here whether this is coming here to learn how to garden and cook or shop for some plants to grow within your own home. Most importantly, it is a safe space for anyone to use without judgement. The community supports this by spending money within the facility, which will partly fund the rehabilitation of offenders and those most vulnerable in society.

M3.12, The plan of the building creates a large protected courtyard at the core of the scheme. From the entrance users flow into the reception, from which the series of greenhouses can be accessed, they home a number of plants that provide produce for the kitchens and an organic shop. The coffee that is produced here is roasted, used within the café and the biproduct is recycled as plant fertilizer. The support office and organic shop & café can all to be accessed from the entrance. On the left of the plan the more private kitchens and housing can be seen. The wild deciduous planting, including the herb gardens within the courtyard provides summer shading for the kitchens. The series of chimneys throughout the kitchens and roastery work to extract the hot air from the spaces, as well as providing smoke extraction for the wood ovens.

M3.13, This first floor plan houses the organic plant shop. This shops sells produce grown from seeds on site to encourage home growing. There’s a route through here to the restaurant and flexible hall, which can be used for stalls, events, support groups and wellbeing classes such as yoga. The first floor also consists of a private classroom, teaching office and staff room.

M3.14, Section through the greenhouse, courtyard and kitchen space. The learning kitchens see the teaching counter at the front of the room with the pupils standing behind to observe and practice. The stone wood oven sits within the chimney to extrude hot air and smoke from the oven and room. Above the kitchen sits a staff mezzanine, which contains toilets and changing rooms. The planting can be seen within the greenhouse which sits opposite the kitchen, with routes through to collect fresh herbs and plant produce.

M3.15, Section revealing the planting of the courtyard and how it provides summer shading for the private back building during warmer months. The addition of new chimneys makes the building feel more at one with the existing chimneys and brick walls. This drawing cuts though the plant shop and start of the café below, which has a set of stairs up to the restaurant that sits behind the plant shop.

M3.16, The series of green houses have a public pathway through, however, planting is maintained by staff and volunteers. The planting needs to be pruned, watered, harvested as well as seeded for germination, to sell within the plant shop. The temperatures vary within each green house from 15c to 30c. During warmer months, some of the smaller plants flow outside to sell to the public. Produce from the greenhouses is to be used in the kitchens or sold in the organic shop.

JOINUL UDDIN (Y5)

“Making Ends Meet- Multigenerational Family Housing, Leicester ”

Architectural designs need to be sensitive towards the context, climate and culture. Whilst being sensitive, architectural designs need to be bold in the actions and approaches it takes. The architecture needs to be transformative in the issues it is trying to address. This project will be addressing the housing crisis, but instead of choosing to merely build more houses; the project will be exploring the housing typology of multigenerational living. This bold approach of introducing a way of living different to that of the 21st century lifestyle will require a sensitive approach in addressing individual needs and priorities. The aim is to achieve coexistence amongst multigeneration families rather than a divide. The approach of repurposing neglected structures adds another dimension to the project; instead of starting from a blank canvas the project will be looking to radically transform and reignite a neglected part of Leicester.

M3.17, The Leicester City Centre.

M3.18, The concept of ‘going to grandma’s house’ is something that resonates in many childhood stories; in Charlie and the Chocolate Factory, this is similarly represented through the room that all the grandparents lived in. Charlie is described as every evening going to his grandparents’ rooms to listen to their stories (Dahl, 1964, P19). Having established previously that the elderlies give much importance to their independence and that many epitomise having their own front door as a symbol of independence, implementing this into the design of the multigenerational home means that providing multiple entrances would provide the different generations with their own identity to their home whilst still being part of the rest.

M3.19, Residential Unit Layout in context to Soar River and the existing railway viaduct.

M3.20, The care of elderly people requires adequate housing which has two aspects; firstly, if a family member is to provide care for an elderly person in their home, this can only be done if the house has the space and facilities required and secondly and most importantly, the house has to enable an elderly to maintain their own independence regardless of how frail they are. This implies that a house designed for multigenerational living needs to achieve privacy and independence for each generation and simultaneously also provide space for caring for each other. This suggests that the elderly no matter how frail they are they still appreciate and want their independence; they want their own identity and space where they can invite people into if they require the assistance.

M3.22, Spatial representation individual entrances and connections between private and public spaces in the home. Every generation of people have different needs and priorities; for the young it may be accessibility to work and education and for old it may be access to amenities and family; this final section will be highlighting the learnings from each chapter and how design could help achieve a home where families can live intergenerationally. The care of elderly people requires adequate housing which has two aspects; firstly, if a family member is to provide care for an elderly person in their home, this can only be done if the house has the space and facilities required and secondly and most importantly, the house has to enable an elderly to maintain their own independence regardless of how frail they are. This implies that a house designed for multigenerational living needs to achieve privacy and independence for each generation and simultaneously also provide space for caring for each other.

M3.23, Spatial representation individual entrances and connections between private and public spaces in the home. This suggests that the elderly no matter how frail they are they still appreciate and want their independence; they want their own identity and space where they can invite people into if they require the assistance. Adding to this, when the elderly was asked about living alone, they expressed the importance of their independence; in particular, elderly women ‘proudly refer to having their own door-key’ or their kitchen, this was a sign of their independence and their domestic autonomy. From this it can be conveyed that the elderly pride their independence and if they were to live with their younger family they do not want their independence and individual identity diminishing; their independence still needs to be respected in the family as well as in the architecture. Giving them their own front door would give them a sense of individuality and an identity.

M3.21, Representation Of 3 Generations Living.

M3.24, Axonometric drawing showing the layout for 3 generations living on the development. For the multigenerational family model to successfully work, it is important that the new family dynamics introduced into the household are studied. The nuclear family structure comprises of 2 generations; the children and parents. The multigenerational model means that the household would comprise of three generations; child, parents and grandparents; meaning there is now the introduction of the grandparents within the household; A relationship that would have typically been housed separately.

M3.25, Front elevation from Soar RIver.

REBECCA CODD (Y4)

“Corah & Sons - St Margarets Works Exhibition Rooms”

St Margarets Works was the Leicester based Corah factory. It was designed by William Jackson on a four acre site and at the time it was the largest factory of its time. The first foundation stone was laid in 1865 by Nathaniel’s grandson, Edwin Corah. It consisted of workshops, an engine house and a 145 ft chimney towards the river. As the company grew so did the site. The design interventions were led by the readings from ‘The Patina of the City’. Patina refers to both the action and effect of the passage of time and can be thought of as adding an identity to the building. There can be beauty in the old, its not just fatigue, it shows nostalgia and memory.

The building of focus for the project is in decline, as is the textile industry and the building is a reflection of this. After reading the essay ‘Patina of the city’ it made me begin to think how it would inform me in my designing on site. What aspect of a building could you begin to see further patina? Can you see its transformation and its previous life? The most important aspect taken away from the reading was the idea of addition rather than demolition and stitching what remains together.

M3.27, The series of images to the left shows the sculpture trail from Leicester Market to the Gallery and continues to Abbey Park. They have been inspired by the concrete fabric formwork of artist, Mark West. Mark West replaced the conventional rigid moulds with flexible fabric to transform the concrete form into some thing much more sensitive and talks more of its original form before casting. The forms created are bold pieces of architecture, however the forms can look both tactful and delicate on site. There is a juxtaposition between the material properties of concrete and the end result which looks as though it captures movement.

M3.26, Plain Weave of floral elements into the existing derelict site to inform the landscaping element.

M3.28, Exhibition Nooks - Further explora tion. The images below catalogue the ways in which the nooks could have been created, all having a different experiential value to bring to an exhibition space. Some of which required a framework to wrap around.

M3.29, Axonometric illustrating how the exhibition nooks stitch the floors of the existing together with view of the exhibition spaces.

M3.31, Interior of the cafe, showing the steam bent glulam beams holding up the wrapped structure.

M3.30, Exhibition Nooks Functionality. The diagrams below show how the nooks will be used to display artwork. From left: 1, Diagram showing how the nooks can enclose plinths to stand pieces of work on. 2, Diagram showing how frames of work can be hung from the nooks. 3, Diagram showing the nook as a form of shelving at a lower level

M3.32, Interior of the cafe, showing how the existing facade has been wrapped and customers are wrapped within the structure.

DILLON PARMAR (Y4)

“31

Granby Street”

The project was born while analysing Leicester. The Town Hall Square and the Former HSBC bank in particular, is now being used as a temple. The rear of the building, however, is discarded and does not follow the elevation of Every Street. The Town Hall Square is incomplte.

The building is a Grade II listed building and was designed by a famous local architect, Joseph Goddard. The proposal is to create an extension of the existing temple at the rear. The extension will align with the overall elevation of the street to create a unified facade, making the square whole, which follows an experimentation on form and proportions. After researching the activities that happens within the building and by the temple, the aim is create a programme with an adjoining classroom, living quarters for the monks and a music venue for the spiritual music they perform.

M3.34, Front Elevation Collage. The collage is created using influences by the neighbouring front elevation and while being considerate to the proportion and pattern. The two pitched roofs was influenced by the first building on the left. The dormer was inspired by the existing building dormers as well as the second building, the windows by the third from the left. The bottom part of the elevation for the proposed was inspired by the Indian drum that they use, I like how it has both horizontal and vertical straps creating it an interesting pattern which I wanted to use.

M3.35, Front Elevation

M3.33, Building Axonometric in context to Town Hall Square.

M3.36, Every Street section. The devotees that use the building put on a sacred marking as a sign of identity called a Tilac. The design is based on the legs of the lord and the bottom part is a lotus petal depicting the story. People can be seen wearing it as shown in the images on the left. This as a metaphor for the building for the sacred marking as an identity for the building as well as it being responsive to the neighbouring building window style.

M3.38, A view taken on the ground floor with seating that can be used casually for general use and then also acts as seating for performances and events. From the ground floor users can view into the temple space and see the deity. There is also a cafe area which can be used by the public and there is also a bar seating space. The basement level acts like a backstage area and frames the performance space.

M3.40, The side elevation from Bishop street.

M3.39, In the Bhagavad Gita (Hindu sacred text), a human is adjured to be like the lotus; they should work without attachment, dedicating their actions to God, untouched by sin like water on a lotus leaf, like a beautiful flower standing high above the mud and water. It is also described that Lord Krishna has lotus feet and resigns in a lotus flower. I wanted to create an alter with this in narrative in mind.

STUDIO four

Poetic Reclamation

04

Year 5

Year 4

With the current climate and social crises, it is now or never for architects to examine our environmental and social impact. We ask ourselves how we can re-define ‘sustainable architecture’. Beauty, sustainability and craft, are terms that populate our architectural discourse but are rarely considered holistically. To do more with less, we propose an architecture of poetic reclamation and reuse. The ‘circular economy’ of architecture has been touted as a radical recycling initiative to reduce carbon footprint of material processing, assembly and transportation. This model asks us to see cities as salvage yards, architecture as impermanent and buildings as palettes of materials waiting for creative reuse. However all recycling is a political act, cities rejecting one narrative in favour of another. Viewing buildings through a

purely carbon lense deines the agency and meaning architecture holds and the spatial human qualities their materials enclose. Choosing to build with the material of an existing building letimatises the narratives of the new while denying the qualities of old.

The scene of our investigations shall be the banks of the River Aire meandering in through the city of Leeds, a city with a long history of manufacturing and making. Students are expected to identify local narratives, conditions and materials to propose their own response to this year’s brief. The studio will strive for conspicuous, challenging proposals that respond to contemporary issues of the human condition. Interrogating sustainable strategies within existing structures and conditions, we will seek to reconnect the built environment of Leeds, to its local histories and memories situating our architecture in time and place once more. The studio sees itself as a test bed that will seek out highly experimental proposals, speculative thinking, exploring sculpted delights that embrace the unexpected.

Thomas Hopkins, Rory Keenan

Augustyna Janczak

Mohamed Keshk

Mrugesh Lacmane Elliot Mayo Zafir Mirza Hayley Ozcan Boris Palic Joshua Ram Mohammed Sohail Ikenna Ukah Samuel Watts

Opposite: M4.01, Sunil Issuan, Leeds Space Hub

This year Studio 4 will be pulling back the veil of excessive consumption in our cities, interrogating narratives around the circular economy and erosion of meaning in cities.

Daniel Bates

David Gladstone

Kaan Harmanda

Mohammed Ismail

Sunil Issuan

Kunalan Siddharthan Haithar Zulkiflee

150

KAAN HARMADA (Y5)

“Navigare Organicrum”

A project that begins with the interest towards the organic matter and its process of formation, especially skull bone structure. Its symmetric yet asymmetric beauty, each delicated being tailored for specific function. The interest is then transformed for elaboration into form and structure for human creation.

SUNIL ISSUAN (Y5)

“Space Hub”

Space hub is a building in the heart of the city of Leeds that provides learning and teaching spaces similar to NASA’s training facilities in the USA. The building is design to be open for the public to see the training as to inspire support for the UK Space Programme.

HAITHAR ZULKIFLEE (Y5)

“Urban Farm House”

A project that questions the idea of food security in the UK mainly in how people can grow food to alleviate food poverty for low-income families. What if all future housing provisions are living greenhouses?

KUNALAN SIDDHARTHAN (Y5)

“The

Lost Tresure”

The existence of human life has been for millions of years, however this was the generation that has witnessed a lot of evolutions in terms of technological growth. However, the Industrial Revolution is still considered one of the world’s most seismic evolutionary steps forward and it happened in Britain, and furthermore, its evidence is still visible in Leeds today. But most of it is lost and forgotten. How can we teach and inspired new generations for the next Industrial Revolution?

DANIEL BATES (Y5)

“Leeds Music Hall”

Leeds as a city has Grown and thrived through its relationships within its self and trading with the outside world. The idea is the re-use consumables disgarded by the trade industries in order to create a new entity from their waste. The new building should bring together the people of Leeds through music.

DAVID GLADSTONE (Y5)

“Strata”

Strata is a geological phenomenon, where rock is formed over millions of years in a layered arrangement, where time periods of hundreds or thousands of years are represented in the larger structure by differences in grain size, discolouration and stratum depth. A housing project for the single adult population that looks at layering communal and outdoor spaces to mitigate mental health issues.

MOHAMMED ISMAIL (Y5)

“Community

Hub in Leeds”

The Leeds community hub seeks to regenerate River Aire by proposing theatre and performance hall. The project aims at restoring links from the city centre towards the river in hopes that the industrial heritage of the city can be celebrate as a backdrop for culture and entertainment.

ELLIOT MAYO (Y4)

“Yorkshire

Wildlife Trust Centre Development”

A building for educating visitors about wildlife and re-wilding in the city. Arches like a canopy of a forest creates spaces in which a public realm can go as well as a private space underneath proviuded for the flora and fauna. the difference with this design is that there are view connecting the towers.

SAMUEL WATTS (Y4)

“Hunslet Mill Regeneration”

Hunslet Mill is a Grade II* listed building built in 1838 and 1842 by William Fairbairn for John Wilkinson. The 7 storey building was the flax mill, and the 3 storey building along Goodman Street was the warehouse and offices. William Fairbairn was the leading engineer and designer of mill buildings in the first half of the 19th Century and was also responsible for Armley Mills and Saltaire Mill.

IKENNA UKAH (Y4)

“Wellbeing Centre”

The psychological benefits green spaces can have good mental wellbeing for city dwellers. This project explores architecture form for wellbeing centre which uses the ideas of time, mindfulness and green spaces in order to improve mental health.

MOHAMMED SOHAIL (Y4)

“Leeds Stone Workshop”

The program is to bring back the skills of stone masonary back to the city of Leeds. The building is made entirely from stone which has been sourced from local quarry’s and demolished or abandoned buildings making the building highly sustainable with a very low carbon footprint.

BORIC PALIC (Y4)

“Creators Relieve”

The proposed project is located on the south side of River Aire, Leeds. The project is to create a focal point for likeminded people, who’s passion lays in the creative world. The initial programme was solely based on creating a social infrastructure, which tackles the lack of Creative and Digital Hubs in Leeds.

ZAFIR MIRZA (Y4)

“Maker’s Island”

The proposal is a creative hub located on the River Aire. The project takes inspiration from the movements of flowing water, that is reflected by the design of the creative hub roof enveloping the creative space within.

MRUGESH LACMANE (Y4)

“River Aire Water Filteration Hub”

The traditional water treatment plant building generally builds in a giant field. The building consists of many treatment spaces, and the form of the building intends to follow function. The new proposal will filter the water which r uns across the site, the filtration itself will become exposed to the public to remind the people of the city and offer the public an experiential journey; the treatment facility will design to perform symbiotically by nurturing the site and people.

AUGUSTYNA JANCZAK (Y4)

“Innovation Centre In Leeds”

The Leeds Innovation Centre is a space in which individuals and groups are encouraged to explore new ideas and grow their ventures. The site is situated in the The Calls area by the River Aire. It is formerl an industrial area rich with brick and stone buildings. The project takes inspiration from the industrial brick and stone facades of the existing buildings on site to form a parametric architecture exploration for the new Innovation Centre.

MOHAMED KESHK (Y4)

“Day Nursery”

The site is a public park located in-front of a day nursery. The exsisting nursery is tucked under-neath the railway volts; only looking at the park without actually using it. The proposal is to extend the nur-sery onto the site as an extention for it and as an enhancment to the educational enviroment for the children.

HAYLEY OZCAN (Y4)

“River Aire Performing Arts Centre”

A project taking inspiration from the connection the River Aire in Leeds has with the city to turn it into a place for culture and the arts. The centre aims at regenerating the forgotten riverside in the city centre. In doing so, the riverside can benifit as a vibrant cultural space for the city thus bringing jobs and employment.

M4.02, Sunil Issuan (Y5) - Space Hub. Conceptual Process.

“Navigare Organicrum”

The intention is to portray the digital logic through an organic spatial experience. Notions of the classical maze structure together with branching tree logic of new media experience were embedded with the organic structure. Creating a naturally mean daring yet controlled experience. Internal and external connections were formed with smaller spaces relative in charecteristics leading to larger pavilions. Every point, corner, edge of the site offers a different vision, perception, experience in relation to the natural context. Co-existence and a supplementary relationship between humans and animals is re-formed through these innovative spaces.

M4.03, Skull Disection process.

M4.04, Application of the 3D geometry for application to site

M4.05, The analysis of each individual dissected piece of the sheep’s skull reveals certain qualities and characteristics of the natural bone growth and formation. The generic language is persistant throughhout the skull with larfer organic growth relating to smaller voids. Variation os thickness and density in bone structure are also present, reflecting structural integrity and light transference changes.

M4.06-M4.07, In addition to re-using an unused island in the city, an unused building looking onto the site becomes an opportunity for further urban intervention. This existing building usually closed off to the public holds a prime spot in city, hence a proposition is made for it to be re-used as a symbolical attachment to the maze, richening the area in publicity and touristic attraction for the Leeds docks area.

M4.11,

M4.10, South-East Elevation: Main entrance & view from existing bridge. The main entrance is accessed from the platform intervention adjacent to the existing public bridge. The upper level of the entrance not only grants access to the gallery space but offers an internal vantage point of the maze. We can also see how the ground floor maze transitions into a vertical maze, varying in levels and creating more controlled internal spaces necessary for exhibitions.

Main Section. As one travels from the south-west entrance of the site, experience becomes harmonious between the interplay of scale and materiality. Lightness and darkness, roughness and softness become natural additions to the algorithmic space.

“Space Hub”

Leeds is known to be one of the cities in UK with excellent research data towards planetary science, navigation, transport, and climate emerging issues. The university of Leeds also focuses on concerns of global issue of air quality, flood risks, polar glaciers, weather forecasting and earthquakes. Hence, the city is looking forward to developing and invest through new digital approach and space asso-ciated technologies. Focusing on innovating a sustainable space hub in West Yorkshire over the coming years. Thus, Studio IV will consist of office spaces for examining environmental data, which will play an important part to tackling and measuring air pollutants we breathe. Also, the Space hub being an great support to local, national, and international space community.

M4.12, M4.13, The process shows the distortion of qualities of old to a new form, almost like capturing the existing building typology and applying it to a form. The juxtaposition forms are just used as an understanding of spaces, forms, and textures. Thus, this may change in future process when designing for the chapter of reclaiming the site to suit its need. Enhancing the quality of form by also having a modern thinking about the existing space, material, and light, which the form produces during the day. Adding art of texture with the forms developed creates an ideal unique representation of architecture.

M4.14, Air pollution caused by anthropogenic resources, pollution consisting harmful gases and particles in air that we can not see, it is what humans’ intake. Fact, the air pollution is a serious risk to our health. The pollutants can be caused by several sources such as construction, open fires, tyre wear and combustion boilers, but based on data it confirms that most air pollutions in Leeds is from the vehicle exhaust fumes. Also, there are industrial sources that leads to a bad air pollutions and existing buildings in Leeds.

M4.15, Building Azonometric.

M4.16, The vortex turbine system can also tackle the issue of reducing existing building carbon footprint and be a great energy source for the carbon capture technol ogy. Reason being, the vortex being suitable for the site location, as it will have little impact n the local environment and can be situated around canal falls.

M4.17, Idea started with re ducing carbon footprint, where turbulent vortex system showed a promising solution to tackle the issue of carbon emission from existing buildings and being the energy source for the project itself. Turbulent vortex has many benefits, and this specific turbine was selected by understanding the situation of canal in more depth.such as environmentally friendly, the consideration of tide pressure. As data of chapter (program) in integrated portfolio demon strates the need for cutting down emission from existing buildings.

HAITHAR ZULKIFLEE (Y5) “Urban Farm House”

’ A society is defined not only by what it creates, but by what it refuses to destroy”

John Sawhill

The aim of the Urban Farm House, is to provide more affordable housing that promotes green, and also improve the food bank system in Leeds, and to the extend, the United Kingdom. This self-Urban Farm House is a complete blueprint for the future of food, and affordable housing. In the future, by following the blueprint, the Urban Farm House can be duplicate along the River Aire till it reaches Hull, or the ocean. Like Nature, every architecture is unique and unpredictable. Defined by the context, climate and condition. The Urban Farm House is organic architecture. Not merely an architecture style, but a method of questioning, “to be true” to the site, issue, climate, material, technology, functionality, meaning, either to its culture, identity or the issues that they’re facing now. An architecture accordingly to its every unique context.

M4.18,

Facing every unit to southwest would allow unit to receive all year sunlight during the day. Adding gradient to the vertical arrangement would expose more sur face of the unit towards natural sunlight. This is great for the growing plants, and allowing natural sunlight into each unit.

M4.19, Self Sustaining. A lot can be produce by taking advantage of the River Aire that runs through the proposed site. A lot more sustainable approach can be achieve. Using the tidal of the river, it can produce green electricity for the family in the housing unit by having river turbine. From the River Aire also can benefits in producing healthy food for the family by vertical farming, and fish farm.

M4.20, There would be 2 type of waste that the family would produce: food waste and human waste. Both waste can then go to a waste management system before seperate to a 2 different path. The first path from waste management would go to the seasonal farming for fertilizer. The second path would go to biogas station to produce more green energy that goes back to the family.

M4.21, By fertilizing at the seasonal farming, it would help in producing food that would go back to the family’s plate. Having a large area of farming would result in having more food than the family need. So, the excess home grown food can be sell the public, and the money would go back to the family, or it can go to the food bank for the people in need. This self sustaining housing development would not only benefit the family living there, but also benefit the community in Leeds.

KUNALAN SIDDHARTHAN

Tresure”

The evolution of technology has changed how the world functions. It also changed the way things were manufactured and the Industrial Revolution played a major part in it. The Industrial Revolution was not just about mass production, it was a change in thinking which affected the socio-political and economic landscape. However, this not only led to the demise of producing textiles and fabrics in a more natural way which has its own character and uniqueness, but the city of Leeds shifted towards the development locomotive engineering and coal mining. Why can’t these organic processes of textile production be reclaimed to teach the present and future generations which will help preserve these techniques, and bring Leeds back to being the pioneer in the textile industry?

The exploration of reflections started with a small task of disassembling and reassembling an object which was related to the theme of the group - “a poetic reclamation”. As a part of the task, a projector was chosen to be used. Later, the projector was disassembled, and the internal parts were dissected and analysed. Some of the interesting parts within it were the different types of lenses, mirrors and prisms. The brief and site of the design project was then introduced - Leeds and River Aire. The history of Leeds was analysed which pointed towards the textile industry playing a major role in the growth of Leeds’s economy.

M4.23, The illustration mentions the apatial requirements of the project. The Lower Level is mostly programmed for Administration and Learning Areas, this level is what serves as the central nervous system of the huilding since this is below the entrance level for the public. The Middle Level is where public would access from. Entrance area which includes the billing section, coat room and souvenir shop is also located within this level.

M4.22, An illustration of the reflection of the skyline along the river. Tbe reflections along the river forms an interesting pattern which can possibly be used for the design process.

M4.24, The tower was designed to follow the theme of the project - textiles and refractions. The process was done in a way that incoporated both the themes of the project and also provide different architectural solutions for issues such as lighting and programme of the design. This sheet has illusti-ated the design process of the water wheel tower, and the design will be used in further development processes.

M4.25, The view shows the isometric view fom the north east end of the site. The fishing pier in the north east end of the building encomages public activty and social cohesion. The pedestrian bridge travels between north and south ends of the site and passes through the building.

M4.26, Building section through the spinning tower.

M4.29, Building section through the display galleries.

M4.27, View from the reception space facing the West M4.28, View from the reception space.

M4.30, The view is from the south east end of the building facing the bonfire area. The area is focused on providing a better public space which is also kid friendly within the context.

M4.32, View fiwn the South East End. The view is from the main access bridge towards the south east of the building facing the entrance along the east elevation.

M4.33, The views show the pubuc amentity areas that are provided within the design. The illustration on left shows the story telling area that can be used by the public, while the illustration on the right shows the seating spaces located below the pedestrian bridge.

M4.34, The internal views are from the workshop area within the block. The space is designed to be made up of cut floors forming an atrium like space from the ground floor. This was done to open up the machinery freely and not obstruct the view of it. The watermill tower can also be accessed with the help of cantilivered landings that allows people to watch the water wheel mechanics too. The inter nal space is designed with the help of cut floors to open up the views of the machinery and does not obstruct them. The atrium space also allows for ventilation and air circulation. The internal finishes are also designed to be minimalistic and also ensure maximum amount of light reflectance.

ELLIOT MAYO (Y4)

“Yorkshire

Wildlife Trust Centre Development”

Leeds originated as an Anglo-Saxon township on the north bank of the Aire. It grew as a local market centre and was incorporated in 1626. By then the town was a cloth-finishing centre for a wide area where domestic weaving, introduced by 14th-century Flemish weavers, was pursued. By the 16th century Leeds was able to challenge the supremacy of York and Beverley in the woolen-manufacturing trade. With the Industrial Revolution and development of the local coalfield, the woolen industry was surpassed in importance by engineering, and for a time pottery and linen manufacture were also important. Much of these industrial past are now in ruins, a forgotten part of the city. This project looks at how these abandon spaces can be re-wild fro wild life. A building for educating visitors about wildlife will be the centre of it. Arches like a canopy of a forest creates spaces in which a public realm can go as well as a private space underneath proviuded for the flora and fauna. the difference with this design is that there are view connecting the towers.

M4.35, Artificial Habitats. Instead of restricting the habitiats to the arches of the design by introducing soft edges it increases the area of habitats a well as creating oppertunies to add recesses for the endangered white claw crayfish. Other habitiats such as holts for otters and nesting areas of swans and other aquatic birds. This deosn’t restrict the design of the canopy to include a range of habitiats.

M4.36, Animal Habitats. 1-This area provides plenty of areas for kingfishers to perch, such as on the roof as well as the trees and shrubs overlooking the water. 2-The banks are further away from people and create ideal inclined banks for the otters to play and inhabit. 3-Recesses provide the neccessary areas for crayfish to survive as plenty of shelter from predators.

M4.36, Roof Plan. The river is split into two halves, one to allow boats to go through which is the wider part of the river with deeper water ways, the second is the more landscaped water ways for animals and their habitats.

M4.37, View underneath the canopy.

SAMUEL WATTS (Y4)

“Hunslet Mill Regeneration”

Hunslet Mill is a Grade II* listed building built in 1838 and 1842 by William Fairbairn for John Wilkinson. The 7 storey building was the flax mill, and the 3 storey building along Goodman Street was the warehouse and offices. William Fairbairn was the leading engineer and designer of mill buildings in the first half of the 19th Century and was also responsible for Armley Mills and Saltaire Mill. The main area of footfall is along the river front between the city centre to the north and the residential living to the south. The first priority was creating a way which links the river front to the inner courtyard. This could be achieved through opening up both sides of the main building. The removal of the crumbling ground floor rear portion allows for larger pedestrian movement along the riverside. The use of arches based on the window shape could be a way to open up the facade. The six storey section will incorporate the previously considered arches, which could be expanded to double height to encourage footfall and draw people into the space. The arches could be used as a colonnade system.

M4.38, M4.39, M4.40, This facade can be seen on the northern side of the building and is the first facade people see when walking along the canal from the city centre. The facade has broken windows, of which 3 of the upper most storeys have been boarded where as the others have been bricked up. Part of the facade has worn due to the age of the building and due to the demolition of part on the original building, a white render infill has since been added. The facade comprises of weathered red brickwork and worn sandstone detailing.

M4.41, Ground floor plan.

M4.42, The first floor will overhang the ground floor further creating a colonnade as desired with the canopy. The roof itself will in part be raised in the central section to allow the maximum amount of natural light into the building.

M4.43, When first designed, the existing buildings floor plates were constructed using Jarckarchs. This de sign will continue in the regeneration of the building to preserve the history of the original architecture. This Sec tion looks at the connection between the old and the new and how with the use of a shadow gap implemented with glazing shows a clear difference between the two parts of the building which ultimately make up one whole. It also show the connection of new built areas within the existing building which has a 300mm gap surrounding it again ensuring that it doesn’t interfere the existing building and so that in later years if desired the new areas could be removed without the disturbance of the original shell.

M4.45,

Exterior view of Hunslet Mill.

M4.44, This diagram show that through the removal of some floor plates it creates double height areas which can be viewed on above floors. For example the original machinery which was used can be seen being demonstrated on from the upper floor through a curtain wall structure that allows visitors to take a glipes at how things may have been during the industrial period.

M4.46, Interior view of the exhibition space inside Hunslet Mill.

STUDIO five

Land_ Use

05

‘The first forest to be created at scale in England for over 1000 years, it transformed and literally turned the landscape from black to green.’

Studio 5 theme is LandUse and will focus on an area of north-west Leicestershire called, The National Forest, that represents a vision of innovative reuse, adaptation and regeneration of post-human landscapes. Over 25 years ago, a large area of the Midlands was left scarred after the closing of the local coal mining industry, a vision was put forward by a group of people to reinvent this area as a forest.

This year the studio will focus on the view of natural and un-natural landscapes, what we perceive as natural and in-fact is heavily influenced by humans, what has become

Year 5

Year 4

natural and considered representative of a community. We would like to challenge our students to work within the natural/naturalised post-human landscapes we find in Leicestershire (and the East Midlands) and create structures, buildings and ultimately new settlements that seek to better coexist with the natural environment –architecture that harnesses the benefits of living closer to the natural environment.

We want to discover new ways of living within the natural environment and present exemplar projects, architecture that not simply complies with established sustainability credentials but goes much further to speak of a new language that explores the poetic, phenomenological aspects of architecture in a landscape - with the view of space as a medium rather than simply a container for action, something that is involved in action and cannot

Ashley ClaytonJames Flynn

George Fuller Michailia Kenti Natasha Manoj Solanki Samuel Shearlock

Opposite: U5.01, Hannah Bird Landfill // Landscape

Jodie Adams

Rubi Akter

Parmida Amininavaei Lillie Bamford

Hannah Bird

Madona George Nurgul Gurbuz Georgina Hewitt Digvijay Kate Abdulrahman Muhammad Bradley Parker Shubham Rathi Monisha Ravindra Reddy George Young

180

HANNAH BIRD (Y5)

“Landfill // Landscape”

The Drowned World, a novel by J G Ballard, is set in London in 2145 and focuses on a scenario in which ‘exceptional solar storms strip the Van Allen Belts and allow excessive solar radiation to slowly raise the Earth’s temperature over a seventy-year period’ (Brigg, P. 1979) causing the polar ice caps to melt and the majority of Europe to flood. This project hypothesize how we built settlements based on the scenario to text humanity’s resilient for survival.

JODIE ADAMS (Y5)

“Confronting

Consumerism”

The influence consumerism has over society is substantial and the architectural industry has the responsibility and tangible potential to help change the bleak narrative. The project seeks to re-evaluate the relationship with consumerism and the process of designing a scheme that celebrates the importance of a ‘circular economy’ and sustainability.

RUBI AKTER(Y5)

“Meditation Hub at Hill Hole Nature Researve Quarry”

A project that seeks and tries to promote how to reduce negative impacts of building on the natural environment, to make it more sustainable so that people can realize its importance. A meditation hub sits in the centre of the nature reserve for people to reconnect to nature.

PARMIDA AMININAVAEI (Y5)

“Vauxhaul Transportation Hub”

The design aims to create a family-friendly place where people from various age range and diverse background can be entertained by doing different activities. The Center’s landscape and interior spaces will provide clean air to combat the site’s high air pollution by presenting a specialised planting arrangement.

LILIE BAMFORD (Y5)

“The Poetics of Hill Hole Quarry to Refurbish Leicester’s Corah Factory”

This project sees an opportunity to produce an architectural intervention that has been guided by nature. It explores the question - what can we learn from the way that nature has healed the landscape of the Quarry and how can we apply this to the post-industrial, post-human scars in our city?

MADONNA GEORGE (Y5)

“Voids in Landscape”

The quarrying of land to source materials has been particularly important in the construction industry to keep up with the demands placed. However, after the production capacity of a quarry comes to a halt, the landscape is left scarred. Many quarries are left abandoned and heavily fenced, with no further questions asked. This project aims to propose a possible regeneration scheme of a posthuman landscape.

NURGUL GURBUZ (Y5)

“Markfield Retirement Village”

This project focuses to understand the philosophy of life and the key principles that make a senior person satisfied and appreciate their lives. It then studies the growing anxiety and approach towards death. The collected information is later reflected on the design of the retirement settlement in Markfield Leicester, in the aim to design a fulfilling community for the senior to enjoy the rest of their lives in satisfaction.

GEORGINA HEWITT (Y5)

“Wellness, Wild Swimming and Water Purification”

The project acts as a two part response to the proposed site. The first one being a technical and practical resolution to an ongoing environmental problem present within the Rutland Water reservoir. The second is a more theoretical approach to redesigning the site that utilises conceptual themes to respond to landscape and environment.

DIGVIJAY KATE (Y5)

“Maggie Centre, Hill Hole Quarry”

Person’s psychological, social & emotional conditions are the easiest way to understand its mental health. This project looks at how the natural setting within the Hill Hole Reseavation Area can be a site for a Maggie Centre for mental well-being, health and recovery.

ABDULRAHMAN MUHAMMAD (Y5)

“Ginin Kasa: Proposed Educational Facility In Maiduguri, Nigeria”

A design proposal aimed at addressing the problem of child education in Nigeria by proposing an education facility using locally available building materials in Maiduguri, the capital city of Borno State, Nigeria.

BRADLEY PARKER (Y5)

“The Snibston Regeneration”

The idea is to develop The National Forest into a productive landscape. From this sustainable source of trees, the aim is to develop a new timber industry from the community resources. It will provide all the economic benefits of developing an industry in the area and aim to create a better sense of community through all taking collective responsibility of crafting the future of the project.

SHUBHAM RATHI (Y5)

“Aero-Ponics”

The program’s goal is to grow food locally because it has significant economic and health benefits and reduce environmental effects. It also ser ves to draw people together in the neighbourhood and create ways to make a substantial difference. Many people still claim the local produce tastes healthier and lasts longer.

MONISHA RAVINDRA REDDY (Y5)

“Rehabilitation Centre For Mental Illness”

This centre is designed to provide a comfortable scale to the individual, raised roof gives a significant character to the building. The entrance leads us to the comfy lounge areas which make their way to the courtyard, common kitchen, spaces for exercise and meeting room for the patients.

GEORGE YOUNG (Y5)

“Fen Ditton Meadow”

A project local to Cambridge, where initial research began by investigating sites such as Flag Fen in Peterborough, West Stow in Suffolk and Grimes Graves in Norfolk. The project takes influence from the history of these village, creating a new form of home which can respond to changes in the environment and climate.

NATAHSA MANOJ SOLANKI (Y4)

“Habitable Structures: Hill Hole Nature Researve Centre”

The project is for habitable structures that can be used as a workshop to learn how to grow, use and protect natural forms grown on site. The structure can also be a base to enjoy views of the quarry. The construction method of using steam bent timber changes the shadows cast throughout the day.

SAM SHEARLOCK (Y4)

“Hill Hole Quarry Dive School”

The Dive School is a collection of buildings in a disused quarry near Markfield in Leicestershire. Since the turn of the 20th Century the quarry work stopped and had been abandoned and left to become “Natural” again. The quarr y has filled with rainwater which has led to aquatic wildlife moving in as well as rubbish being dumped over the years.

U5.01, Madonna George “Voids In Landscape”

HANNAH BIRD “Landfill // Landscape”

‘Ballard’s interest does not lie simply in the usual apocalyptic concerns of how man is destroyed or finds a technology of escape. Rather, he penetrates the heart of the apocalyptic experience by integrating the changing physical universe with a changing psychic one, as his characters progress to an intense new relationship with nature, derived partly from uterine fantasy and partly from the genetic unconscious.’ (Brigg, P. 1979)

My aim for this project is to present viewers with the idea that something has to change, the way in which our population is living is not sustainable or healthy. Considerations were made regarding the voice and tone of this writing, and although the concept of what we are approaching at an ever-increasing rate terrifies me and it would be pertinent to shock the viewer into reconsidering their actions, I wanted to present the story in an optimistic and hopeful light. I hope that the presentation of our current actions and processes as archaic helps to emphasise the continued error of our ways as a human race.

A key line of thought to this research is focused around the amount of Construction waste which

is sent to landfill every year, to use this project as a means to highlight ways in which construction materials such as concrete can be recycled to reduce landfill waste. Statistics from the Department for Environment, Food and Rural Affairs state that in 2016 alone 136.2 million tonnes of construction waste was sent to landfill which is a large proportion when compared to the 27.3 million tonnes of household waste also sent.

To propose an architectural scheme that hopes to be conscious of reducing the amount of waste being sent to landfill, it is essential to study materials that can be recycled and reused. This concept has been a driving factor in my material research and has led me to discover the process of recycling concrete. A huge contributor to construction waste, concrete does not break down in landfill, making it an ideal material to use to create foundations or stilts through the mound of landfill that I am proposing. In the last 10 years, a new process has been developed, with which concrete can be broken down into a new reusable concrete.

Reports show that ‘recycled concrete aggregate not only meets applicable standards, but it also makes a very high-quality product and can be used in concrete and asphalt products with better performance over comparable virgin aggregates’ which could be a

valuable contribution to reducing the amount of concrete which is wasted every day. Other important statistics include that ‘it weighs 10 to 15 percent less than virgin products’ and also that it is thought to be ‘one of the fastest routes to reducing landfill waste streams and minimizing environmental impacts.’ (Schelmetic, T. 2012)

M5.03, Conceptual Collage: Is Trash Your Saviour? how can landfill be useful to us? other than to hide our waste. could it be mined? or built on? could it be structural?

M5.04, Conceptual Collage: Human Dystopia Collage. and what will we do? to help heal the mess we have created. I worry that we cannot stop, that we are too far gone. are we past the point of return? is this our future? could our waste be our saviour?

M5.05, Human Utopia: disposable. (adj.) 1640s, “that may be done without;” see dispose + -able. Sense of “free to be used as the occasion may require, available” is from 1650s. Meaning “designed to be discarded after one use” is from 1943, originally of diapers, soon of everything ; replaced throw-away (1928) in this sense. is there a productive or sustainable use for our waste? could we build on landfill?what can we do with the many tonnes construction waste that f i n d s its way into landfill? we can’t continue to ignore our responsibility. as architects we are involved, we are complicit.

M5.06. Site Location and Map.

M5.07, Landfill conceptual drawings and idea explorations

M5.08, Through the process of modelling and 3d printing the blooms i learned more about the structural qualities of this shape and the need for more support if these blooms are to support homes, green space, and other structures which will house the displaced community. Therefore i began to redevelop the shape of the blooms to be more structuraly sound and also to use less recycled concrete, i also began research into bio-receptive concretes.

M5.09, The flooding process and how the trash mound provides infrastructure to settlements are going to be build on top. Life on the mound is collaborative, and working towards a shared goal is essential to the functioning of this system. by undertaking practical work involving, making, growing, teaching, creating, fixing or caring, each person is responsible for more than just themselves, everything is exchanged, food for building work, or making and mending of clothes. Children are taught practical skills at school, alongside an academic curriculum focusing on science, research and creativity. which helps to encourage the community to strengthen as it grows, always getting more robust.

M5.10, And life here can begin to take shape, old friendships strengthened, new f,ormed, but not just with the other villagers, rescued alike by their own drive to listen, and to work and to survive. But with nature, without nature, we are nothing, we cannot survive without, but nature could survive, and thrive without us....

M5.13, Once the landfill is capped, greened and settled we can begin to plant it with trees, spread the seeds of wildflowers and let long grass grow. The new mounds will become a safe haven for the local wildlife and walking them, learning them will have a sense of ritual to them for the local people.

M5.11, Render of the market/exchange in 2100, showing people going about their day to day lives and exchanging goods for services.

M5.12, Inside the community centre showing the flame which burns using the gas from the landfill.

“Confronting Consumerism”

Consumerism is a growing socioeconomic model designed to fuel our enthusiasm for the desirable, a blinding effect that has us thinking about what we might like or dislike, comparing what we have with what others have, and imagining what we need (Crocker, 2016). With the emergence of twenty first century technology, the commercial industry has developed techniques that bombard the materialistic urges that exist within the human psyche. Society has become conditioned into thinking that purchasing items seen as ‘desirable’ will lead to happiness. The issue is that despite the initial rush of excitement that comes with purchasing an item with hard earned money, the happiness gained is somewhat superficial. Therefore, the items that were once seen as necessary purchases, quickly become useless clutter.

The design proposal and scheme aims to demonstrate how education and handing power back to the community can generate a more cyclical consumer economy, which considers sustainability and the protection of the natural environment a priority, rather than an after thought. This design project began as a creative and tangible expansion of the research generated for my dissertation, which focused upon the effect consumerism has on the relationship one is able to generate with the home. Themes within the dissertation included how memory, personal identity, and the influence of social aspirations has on our susceptibility to consume. Yet a key conclusion of my initial research and the points already analysed within this report, was that the affects of consumerism are much more far-reaching than the confines of the home. This has lead to a series of explorations into how consumerism is permeating society, affecting our livelihoods and destroying the natural environment.

The aim of this project is to speculate an architectural scenario which forces the end user to confront the negative impact consumerism is having on themselves, and the wider society by creating a space that removes them from the crux of the commercialised world and forces them to consider an alternative consumerist mindset. The brief proposes a new Up-Cycling Centre on a site in Bradgate Park, Leicester that demonstrates how redundant consumables, particularly those created by the fashion industry, can become part of a much more circular waste management process. Whilst it is unrealistic to assume that the negative effects of consumerism will diminish completely, the scheme, through its proposal of embracing the architecture of ‘de-growth’, will promote educational schemes, and along with the willing participation of local communities, will demonstrate how we can begin to consume in an environmentally conscious manner.

The project intention is to develop a space that emphasises the value of a ‘circular economy’. The phased journey created by the new architectural interventions within the existing ruins of the site, means the visitors will be educated on how to change their individual consumption behaviours. Demonstrating how unwanted fashion items can be exchanged and reused through the use of on-site workshops run by skilled crafts people.

M5.14, The Bradgate Stables along with Bradgate House were built in 1856, on land that was originally part of the medieval assart known as ‘Stewards Hay’, the official residence of the Earl of Stamford’s steward.

M5.15, Broadgate Stables building studies.

M5.15, From top left, Understanding Consumerism & The Home, Understanding Consumerism & The Commercial Industry, Understanding Consumerism & The Com mercial Industry. The illustration depicts an image of a home which most of us can identify with. Fuelled by the desire to have the latest goods and combated with a reluctance to part with objects, the home can soon become cluttered by the unnecessary, generating spaces that no longer resemble order.

M5.16, From top: The entrance portal is a very important space as it will help to invite the visitors into the scheme. The zone will demonstrate the restorative building techniques that have been used throughout the building to help make the structure safe for visitors. There will typically be 1 member of staff within this space helping to welcome visitors to the centre. A large double height workshop space will be provided to allow for the creation and up-cycling of products. Skilled craftspeople will work within these areas, using flexible work times. to help deal with demand. In the summertime, the doors to the workshop can be opened up to the external courtyard allowing for a light and comfortable working environment.

M5.17, ‘RECYCLE’ The third phase of development will focus on recycling the waste products that could not be re-used. As the facilities on site will remain at a rela tively small scale, some of the more complex waste materials will be sold onto lar ger manufacturers who have the facilities to deal with them. Setting up an efficient collection and sorting process for waste materials with the local council so that the site is added to the list of places to collect from will be key in ensuring the scheme runs as a cyclical process.

M5.18, Building Axonometric.

LILIE BAMFORD

“Using

Post-human, post-industrial scars litter our country’s rural landscapes. These scars, often jagged and frank in an other-wise natural landscape, offer physical remnants of lived experiences. They show where humans have acted for survival and where they have unapologetically carved out spaces in the natural landscape in the process. The scars highlight the intrinsic relationship between the propagation of people as a species and the physical, sculpting of the earth that will inevitably have a lasting consequence on its future use. This project sees an opportunity to produce an architectural intervention that has been guided by nature. It explores the question - what can we learn from the way that nature has healed the landscape of the Quarry and how can we apply this to the post-industrial, posthuman scars in our city? By looking past the physical landscape of the Quarry and

focussing instead on the intangible poetics of the site, it has allowed me to liken the Quarry to a post-industrial scar in the centre of Leicester. The Corah Factory, once a thriving site of knitwear production, now stands empty as a formation of 15m high brick ruins. Unlike the Quarry, this post-in-dustrial scar does not have the ability to be healed by nature. Firstly, because it is in the centre of the city where the natural landscape and biodiversity are sparse. Secondly, the monetary value of the site is pushing it to be urgently re-imagined and redeveloped into a space that is fruitful for the city and its inhabitants. It is interesting to overlay and compare the two different sites ordinance survey maps. As you can see below, working at the same scale, the majority of the volume of water sits within the quad of the existing factory buildings. Both sites are inward-facing and centre around a serene, contrasting courtyard. On all sides of this central space the walls rise to contain the site. In the case of the Quarry, these walls are dramatic, angular rockfaces and in the case of the Corah, they are a patchwork of industrial brick facades.

M5.19, Conceptual collage inspired from Paul Nash searching for inner meanings in the landscape and looking for a “different angle of vision” this project will look at these post-human scars on the landscape but focus on how nature is taking back ownership of postindustrial sites and enveloping them back into the nautral landscape - ‘healing’ them. The former quarry shows a prime example of this healing process and in a wider context, Leicestershire’s National Forest is made up of sites where this healing process has taken place and former coal mines are now forests -‘literally turning the landscape from black to green.

the Poetics of Hill Hole Quarry to Refurbish Leicester’s Corah Factory”

M5.20,

A historical narrative of the Corah Factory in Leicester.

M5.21, The poetics of the Quarry wil translate to form the refurbished factory.

M5.22, The factory building will determine the architectural language of the site - this, along with materials studies, will then influ ence the design of the rest of the buildings on site. M5.23-M5.24, Using the work of Zumthor and Freed as guidance, my project aims to take the mapped poetics of the quarry and translate them via architectural refurbish ment into the existing Corah Factory. During my design process, I will break the building up into sections that celebrate key moments in the building’s experience, hopefully mak ing the large building more manageable.

M5.23 M5.24

M5.25, Design development of the internal spaces of the Corah Factory - referencing the forms of the Quarry.

M5.26, The processes of garment production are going to be arranged within the building so that the production line and the movement of materials falls down the facade. This mimics the act of quarrying and digging down further to get the product. The sketch on the left shows fabrics being woven together by a loom. The second sketch shows the process of using natural dyes to dye the fabric and the third shows the process of turning hemp plants into fibres ready for the loom.

M5.27, A conceptual demonstration showing how the Quarry’s Secondspace started to inform the internal structure of the building. Although this ‘moment’ within the building sits mainly within the water of the Quarry, the poetics are still influenced by the dramatic and rugged form of the rock-faces in the background. This led to the idea of ghost-like structures that appear to float on the water below.

M5.28, Design development of the internal spaces of the Corah Factory - how they might be occupied and how they might interact with the existing buildings The horizontal elements in the proposed external timber frame are positioned in the place of the former factory’s window mullions. This helps with design cohesion and tying the proposed structure into the existing facade.

M5.29, The project, although recreating dramatic poetics, hopes to be a sympathetic restoration to the exiting building. The concept sketch above shows that the majority of the main brick envelope is to be retained. The floor plates will remain the same throughout the factory just with structural work to create voids where necessary. The dimensions of the exist-ing windows and brick columns will be echoed throughout the proposed architectural intervention again allowing for a sense of design cohesion and tying the proposed building into the existing.

MADONNA GEORGE

“Voids in Landscape”

The National Forest st etches 200 square miles across parts of the midlands /Derbyshire, Leicestershire & Staffordshire) connecting the forests of Cham wood and Needwood. Once a site heavily scarred by the coal mining industries, a regeneraLio11 plan took place to revive vast areas of the landscape from literally black to green. As of today, 8.9 million trees have been planted in this area since 1990, making it one of the most ambitious regeneration projects in the UK ffhe National Forest, 2020). For this project I will befocusing on Breedon Quarry located just outside the National Forest boundary. Breedon Hill is one of six inliers of the Peak Limestone Group [informally known as the Carboniferous Limestone) m north west Leicestershire. The Breedon story starts in the early Carboniferous. in Early Chadian times, when much of England was enveloped in a warm tropical sea close to the equator, where carbonates were deposited to form the Peak Limestone Group Breedon Hill and Cloud Hill.

The presence of death on the site was undeniably overt. The top of the church also displays recent burials but currently it is coming to a stage where burial spaces are limited. Hence, my proposal is looking at how one can create efficient burial grounds within the quarry. Death can be a difficult subject to understand, therefore, there needs to be a level of emotional investment that needs to be placed within this project. Fortunately, I have not experienced grief of a very close family member in my life, but as a highly emotive individual, I can only imagine what that must feel like. Hence, I will take this on from a more imaginative approach. It is fair to say that as woman one of my primary desires, is to mother, to nurture and to care for. I will view this project in relation to a mother who has lost her child. An individual who has cared for her baby throughout her life and suddenly losing this child. I see this pain as one of the deep pains in life. To see the death of your child before your own death, can be very trau-matic and numbing. I want to explore this space that I want to create from a person who is grieving.

M5.30, A conceptual demonstration showing how the Quarry’s.

M5.31, The design process is heavily driven by modelmaking. By creating a physical 3D model, the opportunities and constraints of the site became more apparent. Furthermore, it was easier for me to envision the journey of the griever; what moments in the landscape needed to be framed, how could I invoke a sacrdeness within the landscape, what do they view/hear/feel?

M5.32, Griever’s Route: The primary route down to the base of the quarry will become the journey tailored to the griever. This is so there is a spatial separation with someone who has just lost a loved one; the emotions experienced are raw, and hence, a space that shields the griever from the rest of the visitors is offered as the procession of the body down into the quarry takes place.

M5.33, Burial caves structures carved into the quarry.

M5.34, Design development of the spatial structures carved into the quarry as hanging burial blocks in the landscape. The design of space will consider how to use these existing routes as well as propose new routes according to the programme.

M5.35, Burial borrowed spaces carved into the quarry site sclupture.

GEORGINA HEWITT (Y5)

“Wellness,

Wild Swimming and Water Purification”

It is my belief that architecture should be an extension of the landscape in which it is situated not an object to be placed within its context, an approach to design that is aligned with the sentiments of Day, that “Every building’s relationship to its context, however, is unique – just as every individual person deserves. Once we listen, it’s quite clear that no two sites, situations or sets of users are the same... Approaching design this way, spaces generate forms. But what sort of spaces suit the moods of different activities? To understand how the shape of space af-fects us, we need to make conscious what we actually experience and feel: which spaces welcome, exclude, are tense, relaxing, dominating, or allow us to feel we are free individuals.” (Day, 2017) In this way, the site has given significant direction to the project. Health, wellness and mindfulness are at the forefront of experiential quality of the reservoir and will be a consistent theme throughout the design process.

“Opportunities to enhance health and wellness exist to better design the everyday spaces and places of the homes, schools, and offices where we spend much of our day, the medical and health facilities where we find ourselves in times of sickness, and the neighbourhoods, cities, and suburbs that constitute the larger environments and physical settings that either facili-tate or impede well-being.” (Beatley, Jones and Rainey, 2018)

The initial flooding of the landscape to first create the reservoir tells an interesting story of man’s relationship to nature. The site was once a natural landscape, a valley containing farm lands, but was later claimed by man, damned and flooded for the demands of a growing population. And yet the act of flooding dictated and carried out by man, is at the mercy of natural formation; of the whims of the water and the topography of the valley. Man cannot dictate where the water will settling and so a new typography of landscape is created. One that is of human creation but possesses the characteristics of a typically natural landscape. This blurring of lines between natural and man-made is a conecpt that the project will continue to explore, drawing water into the site, pushing landscaping and architectural intervention out into the water, encourage nature to reclaim the site in a way that ensures the users are closer to nature, encompassed by it, inspired by it and healed by it.

M5.37, Journey Through Site - Swimming and water activities plan.

M5.38, Rutland Water shoreline intervention for water sports and swimming.

M5.39, Shoreline Analysis: With the shoreline being a key componant within the design, analysis of what is present on site currently was integral to understanding the identity of the reservoir and the relationship between human and natural occurances. As the previously mentioned literature suggests, the relationship between water and land can generate differing experiences and these diagrams will better express this. In response the new landscape can utilise these spatial qualities to promote the benefits of nature and wild swimming and how swimmers, walkers and cyclist can interact with the new landscape.

M5.41, Shoreline Analysis: With the shoreline being a key componant within the design, analysis of what is present on site currently was integral to understanding the identity of the reservoir and the relationship between human and natural occurances. As the previously mentioned literature suggests, the relationship between water and land can generate differing experiences and these diagrams will better express this. In response the new landscape can utilise these spatial qualities to promote the benefits of nature and wild swimming and how swimmers, walkers and cyclist can interact with the new landscape.

M5.40, Shoreline Analysis: With the shoreline being a key componant within the design, analysis of what is present on site currently was integral to understanding the identity of the reservoir and the relationship between human and natural occurances. As the previously mentioned literature suggests, the relationship between water and land can generate differing experiences and these diagrams will better express this. In response the new landscape can utilise these spatial qualities to promote the benefits of nature and wild swimming and how swimmers, walkers and cyclist can interact with the new landscape.

“Meditation Hub at Hill Hole Nature Researve Quarry”

Acording to the World Health Organization, it is stated that mental functioning is fundamentally interconnected with physical and social functioning and health outcomes. Today we all live in a community that is based on a static foundation of social structure, human need, performance and of course social security, harmony through architecture. To make a healthy and happy life it is our first and foremost duty to balance our everyday life with our needs.By proposing a Meditation hub in Hill hole nature reserve quarry, Markfield, try to encourage Markfield people and the visitor about their health, wellbeing and happiness.

At the same time, the project aims to accumulate Markfield people and the people from Leicestershire to rethink their health, their inner purity, existence, traditional, sustainable architecture and offering the opportunity to reconnect visitors with nature through the landscape. The proposal also speculates a new way to enjoy Nature, to help them to find their Happiness and confidence through the Meditation programme and space as well.Furthermore, the site is full of natural elements.

One who walks through the trail of the site may feel the calmness and sacredness of the purity of nature through the sky, green vegetation, and blue water. Nature here blends with land soil. Besides, impressive Traditional Architecture and culture, the historical industrial revolution also make the site a more unique one. Concerning these issues, also try to create a place for human beings where these natural elements can merge and remind historical sensitivity in a new way as well. Finally, the design also seeks and tries to promote how to reduce negative impacts on the environment, make it more sustainable so that people can realize its importance.

RUBI AKTER

M5.43, The surface path for climbing rout of the quarry runs from the grass land to the top. In the south-east corner of the upper tier there is a peninsula of rock running into the quarry (the Betty Peg) and offers a good view of Markfield and towards Leicester.Before the selection of location points to develop design, consider where one can enjoy best views and how they can experience these views. Best views one can enjoy from the top level of rock and can engage themselves with ground and horizon differently. In the Quarry site the strongest view I experienced is actually from the south west part from the roak peak. Where from the green belt and deep quarry water is visible.

M5.44, Cross sectional diagram for site condition and the impact of the building. To respect bio-diversity here i proposed pine and douglas Fir for my architecture as a building material. we know, Pine or Douglas Fir plantations are not as diverse as natural mixed forests, which means that native animal species relying on food from different sources can’t live in these habitats. Despite this, some species do live in these forests, and they lose their habitats when the forest is cleared for felling.

M5.45, Cross sectional diagram for climatic condition and the impact of the building.

M5.46,

M5.47,

Bird’s eye view of the building and its relationship to the hill hole quarry nature reserve site.

View of the building from the lover heart of the quarry looking up.

M5.51,

M5.48, South view from entrance into Hill Holle Quarry. M5.49, Lawn area view from the outddor meditation grounds.

M5.50, Interior view of the main hall for meditation.

View of outdoor meditation gardens.

SAM SHEARLOCK (Y4) “Hill Hole Quarry Dive School”

The idea that a piece of land has been abandoned and left to rot after humans have extracted all their needs is disgusting and a waste. We should be looking after the Earth as it is our home and that humans in both the past and the present laid waste to the land and then did nothing to help after needs to be addressed.

The Hill Hole Quarry Dive School is a collection of buildings in a disused quarry near Markfield in Leicestershire. Since the turn of the 20th Century the quarry work stopped and had been abandoned and left to become “Natural” again. The quarry has filled with rainwater which has led to aquatic wildlife moving in as well as rubbish being dumped over the years.

The dive school would hold two purposes in that there would be workers to both clean up the water and help look after the protect species as well as being a place for people wanting to learn to dive and become a feature for more experienced divers. Alongside the school will be a cafe that will draw more people to the area and help people appreciate the nature that surrounds them. There is also a new observation room at the top of one of the hills in a place that can not currently be reached from. This should bring new life to the disused quarry and bring a sense of ownership of the area to the population of Markfield.

Comprehensive Dissertation

Tutors

04

Dr George Themistokleous

Dr Alona Martinex Perez

The Comprehensive Dissertation is an opportunity to undertake a detailed investigation of a chosen architectural topic. The dissertation may form an exploration of the theoretical background to your Design Project or may build on what you have researched earlier in the year, without repetition. It may be a reflection of historical, technical, or current issues relating to the discipline of architecture. For example, it might examine the way buildings perform over time, the ways in which different people use buildings, the latest technological systems and materials, design issues, the political and socio-economic context of buildings, the work of a particular architect, urban issues, or environmental sustainability.

Students will be asked to state your preferences for three of themes and seminar groups on offer and to pursue it in order to identify a research field and research question that interests them for detailed study. The themes that are included in the specialisms of the tutors

who teach on this module are highlighted in this guide. They will be asked to develop the ideas that attract them to the research area into a well-argued proposition and to reflect an understanding/awareness of relevant theoretical perspectives.

Potential research supervisors and their research interests are as follows:

>Media Constructions:

Architecture, Criticism and Representation

Jonathan Astbury

>Housing and Dwelling.

Dr Jamileh Manoochehri

>States of Urbanicity

Dr Yuri Hadi

>Architecture of the Digitized Body.

Dr George Themistokleous

>Peripheries

Dr Alona Martinez Perez

Dr Jamileh Manoochehri

Dr Yuri Hadi Jonathan Astbury

The UN’s 11th development goal aims at ‘’making cities inclusive, safe, resilient and sustainable’’ (Burdett, 2018). Manchester has attempted to address this goal by encouraging gentrification and development within the city and is now experiencing a ‘property boom’, however, there is currently a lack of literature analysing the impacts of the city’s recent urban changes. This study, therefore, aims to understand the prevalence of gentrification in Man chester and how the process is affecting the people of the metropolis. The first aim of the study was to understand the extent of gentrification in Manchester, ONS statistical data on key indicators was used to create a new gentrifica tion map for the city. This paper found that most inner-city neighbourhoods were at risk of experiencing gentrification. Once this was highlighted, the main body of this paper used case studies and secondary literature to ana lyse the impacts of gentrification. It discovered that recent gentrification was mostly negatively impacting Manchester through housing financialization and exclusive regeneration schemes. The results indicated that the council were largely to blame for these issues, causing mass displacement through CPO’s and by encouraging the privatisation of housing through funding and reduced developer contributions. The results indicate that an urgent policy change is needed for Manchester so that everyone in the city can benefit from gentrification.

Introduction

The main issue this paper aims to address surrounds the effects of gentrification on the English city of Manchester. Despite a recent development boom, the city is struggling with concentrated poverty and inequality as 120,000 people are currently on the social housing waiting list (Silver, 2018). To fully analyse this issue, it is important to understand what gentrification is and its prevalence within Man chester. Once the true extent of gentrification is understood, the city’s policy and widespread Issues need to be evaluated to understand whether gentrifWWication is damaging the city and who is responsible for any failures. Finally, this paper will investigate local situations to understand how people’s everyday lives have been affected by the process. Once all these elements are explored can a conclusion be made regarding the success of Manchester’s gentrification.

This study hypothesises that Manchester is like ly to be experiencing widespread urban change due to the recent boom of development activity in the city: gentrifying various neighbourhoods. It also predicts that the city’s recent gentrifi cation will be found to be largely damaging due to the role of private sector in driving the economic growth of the city. Displacement will be highly likely with communities and citizens losing their homes and neighbourhoods due to price increases in desirable areas. Finally, this study expects to find that the council and government are largely responsible for esca

lating the damaging process, due to lack of regulation and demolition heavy approaches. Overall, the main objective of this research is to provide a holistic understanding of how gentrification is impacting Manchester and whether all citizens are seeing their lives improve, not just the rich.

It is important to state the scope and limita tions of a study involving a complex urban process. Firstly, the geographical boundaries of the research must be defined – the area of focus will be confined to a circle of 4-mile radius around the Centre of Manchester (Fig 1). This includes areas of Salford, Trafford, and Manchester. This was chosen to restrict the study to inner-city areas only while providing a range of neighbourhood types. Secondly, the research is restricted to residential uses and does not discuss the issues regarding commercial gentrification as this adds additional complexity for a study of this size. This paper is limited to secondary research due to the inaccessibility of primary research methodologies such as first-hand interviews. Therefore, the paper aims to strengthen its conclusions by using a range of data types and will define success or failure through, statistics, existing interviews, and other scholars’ critiques.

It is important to note that when using statistical data, generalizations will occur and when discussing numerical data, this study uses Middle Super layer Output Areas (MSOA)

City for sale?

An investigation into the impact of gentrification on the character and inhabitants of Manchester, UK.

by: Johnathan Edwards Tutor: Dr Yuri Hadi

for neighbourhood size and boundaries. This level of information contains enough values to provide accurate property data averages. The usefulness MSOA’s however, can be limited due to their borders which can divide historic neighbourhoods.

Study Area

This study uses both qualitative and quantitative data types, primarily using statistics and case studies. Firstly, to identify which areas of Manchester are gentrifying, the study uses various statistical data based on indicators of gentrification. This data has been obtained from various trusted sources with demographics and income data obtained from the Office for National Statics with property and planning data obtained from websites such as Zoopla.co.uk. This statistical data will be used to create a gentrification index/map for Manchester. The main methodology will rely on the usage of case studies. The Case studies will: discuss the neighbourhood’s history,

provide evidence for the successes/issues the area is facing and discuss resident comments and incorporate relevant scholarly arguments. By looking at these case studies as well as citywide impacts the research will have a range of information to conclude whether Manchester Is benefiting from its property boom.

The study structure aims at systematically tackling each research question in order. Chapter two provides a literature review that outlines and explains the main arguments and impacts of gentrification while setting the scene for the rest of the study. Following this, Chapter three aims to understand the prevalence of gentrification in Manchester and produces a gentrification map for the city, highlighting affected neighbourhoods. The main body of the paper then commences in the fourth chapter, in which the city’s policy is critically evaluated to understand city-wide impacts and the council’s accountability. In chapter 5, the study focuses on 3 case study neighbourhoods, providing a narrative of resident issues and council failures. Finally, the paper is concluded in chapter six with possible future research areas also outlined.

The Impacts Of Gentrification

The exact definition of Gentrification is commonly defined as: ‘the process in which the character of a neighbourhood is changed through the influx of more affluent residents and trades’ (Lees et al., 2020). It is generally associated with the rising prosperity of a neighbourhood. This can be enabled quickly through regeneration and new builds or gradually through the migration of young creatives. The term was first coined by Ruth Glass in 1964 after observing the transformation of London’s Notting hill. Since then, the definition of the word has significantly evolved, becoming a politically charged process creating strong reactions from various scholars. Some see it as a potential saviour of urban decline, whereas many others see it as a ‘tainted’ word accompanying conflict and displacement.

Gentrification is a complex process, and its occurrence can be explained in numerous ways. One of the first explanations for the causes of gentrification was proposed by Neil smith called rent-gap theory. This explains the difference between definite rental income and potential income, driving investors to improve and increase rent in properties (Smith, 1987). Alternatively, David Ley argued that gentrification is driven by cultural capital and the demand to live in desirable neighbourhoods (Ley, 1996). This alternative explanation led to various academic debates on the cause of gentrification in the 1990s.

More recently, Lin (2017) proposes that neighbourhoods experience constant cycles of growth and decline and are influenced by 4 factors: amenities, productivity, access, and house prices. This explanation therefore, combines both economic and cultural causes to try and explain the multi-faceted process that is gentrification.

Gentrification is not only complicated in its causes, but it also has a variety of different impacts and can have a profond effect on people’s lives. Several studies have attempted to holistically understand the overall impacts of gentrification to find if the process is beneficial to urban areas. One such paper is by Atkinson (2002) who systematically reviews different literature on gentrification, he concludes that gentrification was found to have largely negative impacts, with conclusions on positives being inconclusive and commonly lacking empirical evidence.

Urban renewal and visual improvements are among one of the main proposed benefits of gentrification. Many researchers appear to agree that this impact is positive, with others stating wider benefits. Montgomery argues that urban regeneration reduces urban sprawl by encouraging people to move back to the city and explains how such dispersed cities are ‘’the most expensive, land gobbling, polluting way of living ever built’’ (Montgomery, 2013).

Richard Florida became a significant proponent of gentrification in 2002 when he encouraged cities to create creative clusters of ‘‘higher bohemians’’ (Florida, 2003). Using various statistics and evidence, Florida argued that such concentrations of artists or hipsters can greatly improve the economic performance of urban areas. Such beliefs led to much urban policy in the early 21st century being considerably pro-gentrification argues Slater (2006). Newspapers and journals often promoted the process, with the New York Times even stating, ‘’how neighbourhoods and lives blossom under gentrification’’ (Smith, 1996). Furthermore, other scholars such as Kennedy and Leonard (2001) attempted to argue such funding and gentrification can deconcentrate urban poverty however, such conclusions could be dismissed due to lack of empirical evidence. In recent years, research on the subject has been increasingly critical of gentrification as cities like San Francisco and London have become vastly unequal. Traditionally gentrification research has focused on the gentrifier’s perspective rather than the consequences on low-income groups (Paton, 2014). As such, Florida’s work

has been increasingly criticised for failing to incorporate the working class into his vision. Because of this, research on gentrifications benefits now tends to be sparse and as Atkinson (2002) notes, many proposed benefits have equivalent downsides.

Victims of gentrification are more frequently being researched and one of the most debated impacts of gentrification is displacement. Which is commonly associated with (but not limited to) the long-term working-class residents of an area being forced out by richer gentrifiers. Marcuse et al. (1986) categorise these different types of displacement as direct, exclusionary, and cultural. Direct displacement occurs when residents are forced to move due to evictions and rent price increases. Exclusionary displacement happens when a vacant unit becomes gentrified preventing a household from living there, whereas cultural displacement occurs when residents leave an area voluntarily due to its changing character.

Despite its commonality in gentrification research, displacement has been acknowledged as extremely difficult to measure (Slater, 2006). The term has even been coined ‘measuring the invisible’ by Atkinson (2000), with Bernt and Holm (2009) suggesting displacements diagnosis is dependent on how it is being identified making any significant conclusion difficult. Despite this, many studies conclude that displacement is prevalent in many cases in gentrification. One study by Marcuse et al. (1986) finds that between 10 and 40,000 households a year in New York city are being displaced.

Some studies alternatively have concluded displacement to be not as apparent. Freeman and Braconi (2004) studied the US housing and vacancy survey and found displacement to be negligible, however later acknowledged the dangers of rising house prices (Freeman, 2005). Such papers are rare, and Shaw (2008) concludes ‘that there are no serious studies demonstrating that displacement does not occur’. Therefore, displacement can be seen as a somewhat complementary evil of the gentrification process with scholars arguing that it should be considered intrinsic to the definition of gentrification (Elliott-cooper et al. 2019). Despite this, scholars have argued that different types of gentrification can have various impacts in terms of displacement. ‘incumbent upgrading’ or residents improving their houses is largely agreed to not create significant displacement (Van Criekingen and Decroly, 2003). A related conclusion has been made regarding

marginal gentrification. This is caused by economically struggling people such as artists and students who change the cultural identity of a neighbourhood and is not associated with displacement. On the other hand, ‘instant gentrification’ aka new developments ‘‘undoubtedly causes displacement’’ according to Davidson and Lees (2005) who comment that when built on brownfield land, developments can drive neighbourhood prices up and create forms of indirect displacement. It is therefore incredibly difficult to disprove displacement’s occurrence in gentrifying neighbourhoods due to the numerous ways it can affect people and as such it is incredibly likely such impacts are arising.

Some scholars have attempted to understand the psychosocial impacts of those experiencing displacement. This is important when considering the working-class who tend to have an intrinsic connection with their neighbourhood and home. Those residents who are displaced suffer isolation and may never truly feel at home in new neighbourhoods (Jones, 2015). Atkinson (2015) interviews displaced residents in Australia and finding that relationships and social networks are significantly damaged by the process. Also discussing the grief and feeling of loss that can be caused when displacement forces people out of long-term neighbourhoods. Such feelings of grief can create social resistance and strikes as residents become at risk of being displaced. In past years ‘Mug, a yuppie’ movements have formed in both San Francisco and London to discourage gentrifiers.

Despite its size, Manchester has not been researched intensively regarding gentrification. Most studies in the city have focused on resident experiences in regenerated neighbourhoods. Luke and Kaika (2018) document the community resistance experienced in Ancoats due to the demolition of community infrastructure, whereas Wallace (2014) investigates Lower Kersall and narrates the differing opinions of regeneration plans. He concludes that many residents did not see the benefits from the regeneration project. Lewis (2017) focuses on residents’ experiences within Beswick as they live through regeneration, providing interesting insights into local people’s attachment with their homes and the effects of regeneration on un-homing.

Few studies focus on the city as a whole. Hughes and Lupton (2018) use the typology developed by Robson et al. (2008) to measure inward and outward movement within Manchester neighbourhoods. The

study unfortunately isn’t particularly useful in explaining the extent and causes of gentrification in the city as it only focuses on deprived neighbourhoods and doesn’t consider multiple indicators. Silver (2018) provides a critical argument for evidence of financialization’s occurrence in Manchester using statistics. He, unfortunately, does not link these issues to the subject of gentrification and touches the subject of displacement.

It is clear when reviewing academic literature that most scholars argue that the process of gentrification is largely negative due to the prevalence of processes such as displacement. Despite this, there is no alternative to gentrification for cities, other than allowing inner-city neighbourhoods to decay. Therefore, scholars have now focused on the victims of the process through data and interviews to truly understand the implications of gentrification, which will then inform appropriate solutions.

Manchester has not seen any significant studies on its urban change, and it is unclear how and where the city is gentrifying. This literature review has highlighted a clear gap in knowledge regarding the city’s recent boom and its impacts on the livelihoods of its civilians. Therefore, this study aims to understand whether gentrification in the city is truly as negative as the majority of scholars would suggest and secondly to understand where mistakes have been made so the city can gentrify sustainably in the future.

How Is Manchester Gentrifying? Manchester has an interesting and decorated history; it is often known as the world’s first industrialized city in which the urban area became a hub for textiles. The city grew from 10,000 people in 1717 to 300,000 people in 1851 (Encyclopedia Britannica, 2021). Like many western cities, however Manchester was affected immensely by the global shifts of production to developing countries due to cheaper costs. The textile industry was one of the first to be affected by vast amounts of industry leaving the city. Through the latter half of the 20th century, the scale of dereliction in inner-city areas was huge.

The Thatcher government even labelled the city as ‘a symptom of British disease’ (Mengusoglu and Boyacioglu, 2013). The cities fortunes began to change in the 1980s, however in which alternate lifestyle bohemians began using abandoned warehouses for creative purposes due to cheap rents. Quickly, bars and cafes began to be established to serve these innovators. The Central Manchester development corporation was later founded in 1988 increasing the scale of regeneration

substantially with 2583 housing units being built (Mace et al., 2007). Throughout the early 2000s development began to spread into inner-city areas: such as Salford Quays and East Manchester. Recently, the city has seen unprecedented growth and change with 11,125 residential units under construction in 2017. This has been labelled a ‘billion-pound property boom’ by the BBC and marks a new period of immense change for the area (Manctopia: Billion-pound property boom, 2020). Despite this, the prevalence, and areas of gentrification in Manchester today are unclear. Thus, this chapter will argue that gentrification is common in the city and will identify key areas experiencing urban change.

Mean Weekly Household Income Estimates

(ONS, 2018)

The first indicator to investigate is household income which can indicate the affluence of neighbourhoods. Most of Manchester’s neighbourhoods earn below the county average income of £740 a week, which implies the city is still quite impoverished despite the recent property boom. Most poorer neighbourhoods are located to the east of the city with the poorest neighbourhoods such as Pendleton commonly contain large council estates and social housing. Worryingly, the data indicates huge disparities in wealth between neighbourhoods in Manchester. This is evident as the highest-earning area; Spinningfields; earns more than 3x the income of Pendleton. Spinningfields has gained this affluence through its proximity

MSOA Areas of Manchester

to jobs, amenities, and regeneration projects whereas, Pendleton currently contains a large, underfunded council estate.

one such example is Monsall which has one of the lowest property prices. Despite this, the area has seen a 30% increase in 5 years. This signifies that properties were previously undervalued and poorer residents may experience displacement pressures. The higher income city centre areas are still growing significantly above the county average, however advising that this part of the city is still experiencing ongoing gentrification. This is most evident in Ancoats which has seen rapid increases of 30% attributed to regeneration work in the area.

Mean Weekly Household Income Estimates Change 2012-2018 (ONS, 2018)

Figure above showing household income estimate changes in the city between 2012 and 2018. The data shows most neighbourhoods are growing above the regional average of 19%. This indicates the prevalence of gentrification in the city as most neighbourhoods are becoming more affluent. The two areas of largest increase are Central Salford and Ancoats. This may be due to a large number of developments in these areas like New Islington, pulling affluent people to the area. Central areas including the city centre also saw large increases of above 35% despite their existing high incomes, whereas the poorest areas of Salford identified are amongst the slowest growing highlighting growing disparity. The data is significant in suggesting a period of rapid economic change is being experienced in the city: especially the city centre.

Housing Property prices can be used to understand the locations of desirable neighbourhoods. The cities property price per square foot data (Figure 8) indicates such neighbourhoods are located within the city centre. On the contrary, Areas of East Manchester and Salford have low property values of below £210sq ft compared to areas of south Manchester which have higher values despite being of similar distance to the city centre. This pattern correlates to the income data results, with low-income areas having cheaper properties, suggesting the income level of a neighbourhood is dictated it by property affordability.

Next figure showing the average property price growth by neighbourhood. Compared to the county average of 23%, the inner-city area of Manchester is experiencing higher levels of property growth, which suggests the city is becoming more desirable for investors and residents. Some of the areas experiencing the largest growth appear to be the poorer neighbourhoods with lower property prices,

5-year Average Property Price Growth by MSOA 2016-21 (PropertyData, 2021)

Social Indicator- Education

The level of education can indicate affluence and locate professionals who tend to be gentrifiers. When looking at the proportion of adults holding a higher education qualification in Manchester neighbourhoods (Figure 10), it becomes clear that city centre areas have the highest values. Spinningfields has more than 2/3rds of its population highly educated, thus strengthening its argument as gentrified. Unsurprisingly, the poorest areas of Salford and east Manchester have the lowest proportion of adults holding a degree. This map shows a general resemblance to the income map and there appears to be a strong correlation between levels of education and household income within the Manchester region.

Percentage of the population that is 25-34 years old by MSOA (ONS, 2019)

Figure above shows the proportion of young professionals in different neighbourhoods of Manchester as these are the most common gentrifiers. The city centre areas of Manchester have the highest proportion of young professionals while surrounding areas such as Salford Quays, Ancoats and the Northern Quarter also boast high percentages. This aligns with a range of literature that concludes that younger people are drawn to city centre living due to its proximity to shops, cafes, and workplaces (Glaeser et al., 2018). This data also correlates with income and house price results. This is significant as it suggests that young professionals are driving the gentrification processes seen in Manchester’s neighbourhoods and could be a good predictor of future changes.

When observing percentage change of the young professional populations of Manchester neighbourhoods (Figure 12), most of the city centre has had a moderate increase in 25-34-year-olds. Ancoats and Ardwick have seen the largest increases of above 20%, suggesting an influx and retainment of young professionals from nearby universities. Spinningfields: the richest area studied in this paper, has seen a 6% decrease in the proportion of young professionals. Diluting the argument that gentrification is occurring in this neighbourhood, however When closely examining this area, the proportion of 35-39-year-olds has increased from 8% to 10%, suggesting the locality is retaining young professionals that have moved into the area previously. The areas experiencing large decreases in young professionals are Trafford and Salford which have slower income increases than the rest of the inner city.

Percentage of Adults with a Higher Education Qualification by MSOA (ONS, 2011)

The next map shows the estimated value of planning submissions made in Manchester neighbourhoods between 2020 and 2021 (Figure 13). The area with the highest value of planning applications is Greengate and New Windsor in central Salford. This

area has seen significant development due to multiple factors: its proximity to the city centre, its large amount of brownfield and council-owned land, and its regeneration masterplan proposed by Salford city council which encourages high-density developments (Feilden Clegg Bradley Studios, 2018). Salford Quays, northern quarter and Ancoats have also seen high values of development for similar reasons as they pose attractive conditions for investors. The areas with the lowest value of planning applications appear to be the poorest areas, including Pendleton and Monsall despite recent property price growth. Overall, many central areas are seeing significant investment in the built environment which implies ongoing gentrification. It is important to note this indicator does not include the value of developments that are currently under construction.

factors (Urbandisplacement.org. 2021).

They identify: the type of income bracket, housing affordability, changes in housing costs, rent changes and whether the area has gentrified previously to determine the neighbourhood’s category. They use regional averages to determine whether an area is high, moderate, or low income. Using this approach as a case study, this paper has categorized neighbourhoods into 6 categories. This is determined by combining the level of affluence (L, M, or H) and the speed of neighbourhood change (0-4) as both these factors can help identify the situations of areas.

been classified as intermediate gentrification with Ancoats seeing the largest increases. These areas are immediately surrounding the city centre suggesting that the past economic success of the centre is expanding to its less affluent neighbours. significant developments and regeneration projects are also being built in these areas as outlined in council documents.

Advanced Gentrification neighbourhoods have been categorised as high income and are experiencing growth above regional averages. This means that city centre areas and Whalley range are included in this category. The city centre benefits from proximity to multiple amenities and was one of the first to be regenerated in the late 1980s (Mengusoglu and Boyacioglu, 2013). This head-start means it has had more time to develop than other neighbourhoods reaching a more developed state of gentrification.

Neighbourhood Change Typologies used.

Estimated Value of Planning Submissions made between 2020-21 (PlanningPipe, 2021)

Table of Gentrification Map scoring system

6-year Percentage Change of 25-34-year-old population by MSOA (ONS, 2013)

& (ONS, 2019)

The Manchester Gentrification Map

The indicators analysed have shown drastic urban changes within Manchester, however the exact experience of each neighbourhood is difficult to visualise. Therefore, it is necessary for a map combining these factors together be produced so that neighbourhood stages of gentrification can be shown.

The Urban displacement project uses a wide array of indicators to create a gentrification map that categorises areas into 9 displacement typologies. This has been done for LA, San Francisco and London and uses the following

Using this methodology an MSOA gentrification map has been produced for Manchester (Figure 16). Firstly, two stagnant neighbourhoods are identified which are growing below the regional averages, these are Firswood and Higher Broughton which are both moderateincome areas. Most of the city is categorised as at risk of gentrification: these are low-income neighbourhoods seeing significant growth. They include the poverty-stricken areas of Pendleton and east Manchester which have seen increases in house prices and income which have occurred due to their proximity to richer areas. The increase of young professionals in some of these areas may suggest they are becoming more attractive to these age groups which may be driving the economic changes studied.

Monsall and Newton Heath have seen larger increases in housing values resulting in their categorisation as neighbourhoods experiencing early gentrification. These areas have very low housing values and thus may be catching up to the values of surrounding neighbourhoods. Neighbourhoods of south Manchester, Trafford, and Salford are at risk of further gentrifying, these moderate-income neighbourhoods have seen significant change. Greengate, Hulme, Green Quarter, Strangeways, and Ancoats have seen even larger change, however, and have

Manchester Index of Neighbourhood Change Typology Map.

Overall, this chapter has found that the majority of Manchester is either at risk or undergoing gentrification. With significant evidence backing up the hypothesis that Manchester is experiencing widespread gentrification and urban change. Alternative explanations could argue that there are a variety of factors for these changes, economic recovery since the 2008 recession and the country-wide housing crisis are likely contributors to increases. This however does not explain the significant increases above regional and national averages experienced in Manchester and suggests gentrification is a significant factor in these urban changes. The outcomes of this chapter are therefore significant as it demonstrates that most Mancunians are susceptible to the impacts of this process: justifying the need for the second portion of this research. It has also identified key areas for case study research such as Ancoats and the city centre so that the implications of gentrification can be understood.

The City-Wide Problems Created From Manchesters Approach To Gentrification

City Policy And Financialization Of Housing. The widespread level of gentrification seen in chapter 3 may have a multitude of causes. A large contributor to these effects can be attributed to the local authorities’ policy and approach to regeneration. According to Silver (2018), Manchester city council has used ‘property led’ regeneration to encourage development and construction within the city. This developer-friendly method encourages private investors and companies to build housing in the city through state aid and reduced planning restrictions. For example, the government have permitted higher density schemes in local planning guidance which allows for developers to construct larger apartment complexes than ever before: increasing their potential profits.

This approach adopted since 1997 could be argued to have benefitted the city in many ways. Firstly, the policy has allowed many declining areas of Manchester to undergo significant visual improvement becoming the ‘poster-child’ for regeneration. Additionally, this process has encouraged developments that would otherwise not have occurred or been profitable. This has created multiple jobs and aided the local economy especially in times of economic recession, such as the 2008 financial crash in which 500 units were still being built each year in the city centre (Silver, 2018). Finally, the policy has created thousands of new homes inside greater Manchester aiding the city in coping with the growing demand for housing. Despite these apparent benefits, there is a strong argument that this policy has exacerbated housing financialization in greater Manchester.

Financialization is the process in which housing is treated as a tool for accumulating wealth rather than a way of providing someone a home. The process involves elements of housing becoming increasingly financialised as financial investors become key developers of housing. Financial factors now have a huge influence on society as housing has become a commodity following the 2008 financial crash. This new asset is increasingly being sold on the global market – meaning more of Manchester is for sale, far away from its citizens. There is significant evidence of its occurrence in Manchester as many developments are seeing funding from foreign investors and international companies. These include PGGM which is a Dutch company involved in 2 major Manchester developments such as One Stanley Street (Fitzpatrick, 2017) Additionally, there is now a monopoly of 13 developers building

76 percent of the total housing units within the city centre (Silver, 2018), suggesting a large amount of development is controlled by a small number of key players. This increase in development follows the increase in gross yield of build to let properties within Manchester, strengthening the argument that regeneration in Manchester is profit-driven. Housing financialization in its very definition is incredibly damaging to the people of Manchester. New housing is no longer for the benefit of city residents or built to improve their lives: its purpose is to deliver profits to financial backers. The beneficiaries of this process are the few and not the many. Worryingly, the increasing involvement of international investors suggests that the beneficiaries are not even inhabitants of the city. This completely opposes popular concepts like the ‘right to the city’ proposed by French sociologist Henri Lefebvre. This concept focuses that we should reclaim the city as a communal created space and is a reaction to the growing role of capitalism in creating vast inequalities in cities. Although complex in its meaning and definition, the idea aims to give inhabitants a direct voice over all decisions affecting the ‘urban space’ (Coleman, 2015). This fundamentally shifts power from the state to the people of the city. Obviously, this idea is incredibly broad, and it is unclear how it may be achieved, but it does provide a goal for a social utopia in which the production of urban space is decided by the community and not individuals. The increasing involvement of international players demonstrates that we are moving further away from this idea of utopia: huge investment decisions affecting Manchester are occurring without any resident input and done without community interests in mind. Housing Financialization is not only fundamentally bad for Manchester but there is real evidence that it is negatively impacting the city. In recent years, developers managed to avoid £18,103,201 in section 106 fees (Fitzgerald, 2015). This is bad news for local communities as money from section 106 agreements are hugely important in funding local services, community facilities and road improvements. Communities have therefore been deprived of crucial funding because of city policy, reducing the benefits of regeneration.

Developers are now also marketing housing units overseas as opportunities to invest in Manchester. There is evidence that 78 percent of properties that can be bought are being advertised internationally. In some cases, new units are being sold across the globe before they are even available to local people, with Number One Cambridge street

having 2 out of 300 flats being British owned (Ellison, 2017). This evidence contradicts the argument that these schemes are helping to solve the housing crisis. New developments are not reducing the demand for housing if only a fraction of the units are available to locals: many units lie unoccupied. Manchester’s approach to regeneration has therefore created a new wave of gentrification driven by housing financialization and developer profits. Such profit-orientated focuses can destroy the very fabric and identity of places as developers favour building anew rather than restoring historic structures.

An Affordable Housing Crisis

The UK is currently amidst a ‘Housing crisis’ in which there has been an acute shortage of adequate housing. This involves the increased unaffordability and rising prices of homes due to high demand. As found in previous chapter, Manchester has seen huge increases in house prices in recent years and the council’s policy of property-led regeneration could be a major contributor to this issue. Their approach has created a vast number of expensive properties creating forms of ‘instant gentrification’ and exclusionary displacement. This is because developers have managed to easily drop their responsibilities of building affordable housing. The government require 20 percent of new housing to be deemed as affordable*, yet many developers use viability assessments to reduce their obligations by proving that building such units would reduce their profits significantly. As a result, in 2018, 5125 affordable units were projected to be built under the 20 percent obligation: only 5 of these built units were deemed affordable (Silver, 2018). Even when considering the council’s definition of affordable (30% of the current average gross household income of Manchester), only 41% of the properties in 2020 were categorised as such (Manchester City Council, 2021). This indicates a total failure by the council to keep Manchester prices down as most of the housing is not accessible to the average resident. Furthermore, lower quartile homes built in 2018 are six times larger than the lowest earnings, suggesting that the crisis will negatively impact the poorest residents in the city the most (Shelter, 2019). These statistics, therefore, demonstrate that gentrification within the city is largely being driven by the creation of new unaffordable properties which do not help most of the population.

The failure to provide affordable housing has meant areas are becoming increasingly exclusive and are out of reach of many lowerincome residents. City centre areas which

have experienced the most developments of luxury flats could be developing into a new form of rich ghetto. This hypothesis is backed up when looking into net income data.

the national average and house prices which are 13 times higher than the average income (Padley, 2020). The most pressing impact in the capital is the growing inequality, with the city having the highest poverty level in England despite having the largest average income. There are major warning signs that inequality in Manchester is growing in this direction with ‘unprecedented demand’ for social housing occurring. thousands are now on the housing waiting list despite only 28 social homes being delivered in 2018 (Shelter, 2019): a complete failure of the government to address a very pressing issue that has been exacerbated by gentrification.

Displacement And Increased Vulnerability

Renters, on the other hand, are not safe from sudden rent increases and evictions brought by the rent gap. Renters also do not own their property and are less likely to maintain and make improvements. This can affect the wellbeing and appearance of neighbourhoods.

Net Household income estimates of Manchester MSOA’s 2012-2018 (ONS, 2012) & (ONS, 2018)

Figure above shows the household income change of an area once housing costs are deducted. The data shows that areas of the city centre are becoming unaffordable to residents as the net income has reduced by -3% and -6% in 6 years. This graphic does not consider inflation either, which The Bank of England estimated to have increased by around 15% between 2012 and 2018. When this is considered, the city centre and other areas of marginal increase can be seen to be negatively impacted by gentrification. House prices and inflation appear to be increasing at a higher rate than income and if this continues, existing residents may be forced to leave these areas. This is backed up by a JLL report which concludes: ‘‘Manchester city centre has moved out of the price range of young professionals in recent years’’ (Place North West, 2017). More positively, the net income data suggests that areas of east Manchester are growing in affluence with poorer residents gaining more disposable income. However, there Is not sufficient evidence to conclude whether this is from new affluent gentrifiers or existing residents gaining wealth. The housing crisis is not exclusive to lower income people, young people are disproportionately affected by rising house prices. First-time buyers are finding it harder to enter the property market. As a young person myself, it is becoming increasingly frustrating to see house prices rise: The House price to earnings ratio of 5x has been the highest it has ever been. We forget that adequate housing is defined as a human right in Article 25 of the Universal Declaration on Human rights and the current affordability issues experienced in Manchester put risk to this very human requirement (Leitjen and De Bel, 2020). Concerningly, Manchester could be on a path to experiencing similar issues to that of London if problems persist. London now has a cost of living that is 58% higher than

The developer-led regeneration in Manchester has led to a huge increase in the number of residential units under construction. In particular, the private rental market is driving recent gentrification, accounting for over 44% of the units under construction. A total of 11,453 units for the private rental sector were being built in 2018 (Silver, 2018). The reason for this high number is due to its profitability. Developers in the Manchester region have managed to charge high rents by providing ‘luxury’ apartments that provide additional services to tenants such as, gyms, lounges, home cleaning services, free coffee, and free Wi-Fi. The growth of the private rental sector due to council policy has completely transformed the housing landscape of the city. Since 2003, levels of homeownership have dropped by 14% which is the largest decrease in homeownership in any English city (Evans, 2016). This is a statistic of concern for Manchester as owning property can become a significantly effective barrier for displacement. A study by Martin and Beck (2016) found that gentrification had no effect on homeowners moving, whereas renters were found to be susceptible to direct displacement.

The rise in the proportion of renters in Manchester means that a significant percentage of the population is negatively affected by the recent property price increases. Other than investors, the recent house price increases in Manchester only benefit people who own their homes. If desired, homeowners can sell their property for a higher price than bought and gain wealth, creating a form of voluntary displacement. The benefit of gentrification to homeowners is questionable however, as they may feel isolated if they sell and move to another area: losing their neighbourhood. if Homeowners choose to stay in their area, neighbours and key members of the community may be replaced by gentrifiers, severing communal ties.

When further investigating homeownership levels in Manchester, it becomes clear that much of the study area has very low proportions of homeowners. Only Kersall and areas of Trafford have most residents owning their property. Additionally, Areas identified as advanced and intermediate gentrification appear to have the highest number of renters: this suggests a link between gentrification and decreased levels of ownership. These neighbourhoods are likely to be experiencing the most displacement as a result. Pendleton only has 7% of its population owning property which is attributed to its high proportion of social renters who may still experience rent increases. Overall, this data suggests that most Mancunians lack protection against displacement and thus are increasing their vulnerability of being forced out of their homes and neighbourhoods.

Gentrification driven by developers within Manchester has therefore created a city in a precarious condition. Many families are likely to experience displacement if gentrification persists unrestricted. Displacement can also be exacerbated through governmentstimulated rent gaps created by regeneration projects, in which Manchester has many. There is also evidence that such disposition is already occurring with rises of homelessness in the city by 34%. This has been labelled as a Homeless crisis, with the city experiencing the largest number of homeless deaths in England (Booth, 2019). When combining this data with a record number of families waiting for housing, Manchester demonstrates it is dealing with huge issues. Such issues will be narrated at the neighbourhood level in the next chapter.

Percentage of MSOA populations that are Homeowners (ONS, 2011)

Case Studies: How Gentrification Is Damaging Neighbourhoods

The Northern Quarter: Gentrifiers Displaced?

The Northern Quarter is a neighbourhood located in the northeast of Manchester’s city centre. During the post-war period, the area saw dereliction and decline as the textile industry began leaving the area. The opening of the nearby Arndale centre in 1975 also hurt the neighbourhood considerably as foot traffic was reduced; properties became vacant creating many cheap dwellings and retail spaces. In the late 1980s, the low costs attracted a new wave of gentrifiers who opened many independent businesses and shops. Most of these individuals were creatives and young professionals who quickly created a vibrant music scene with the area becoming a key shopping destination. The area now has the largest concentration of creative industries outside of London (Champion, 2010) and is a valued image promoting youth and hip culture.

for companies to start up in 2017. This was the conclusion of a report conducted by Kashflow who found that more businesses opened than closed in the area in recent years (KashFlow, 2021).

Graffiti in the Northern Quarter (Williams, 2018).

Gentrification in the Northern Quarter has appeared to follow the typical definition of ‘first wave gentrification’ proposed by Marcuse et al. (1986) in which young ‘hippie’ academics settle rougher neighbourhoods making them more attractive places to live. This ‘first wave’ has been seen to be hugely beneficial to this area in many ways. Firstly, the process has transformed the quarter from a forgotten part of the city to a vibrant cultural destination. This has likely been achieved with little initial displacement as the area was never a residential neighbourhood and lay abandoned. Secondly, this organic growth due to cheap rents arguably created cultural diversity and social mix. Former resident and director of Urban splash; Tom Bloxham; explains this: ‘’you get people that are prepared to take risks, small businesses, artists, the photographers… you get a variety of cultures’’ (Champion, 2010). This suggests that the influx of ‘pioneers’ helped create a diverse community: a key aim of regeneration policy. Additionally, Richard Florida identifies Creative gentrifiers (bohemians) as key drivers of economic development in urban neighbourhoods (Florida, 2003). This argument is applicable to the Northern Quarter as the area features a large amount of independent small businesses and was the most active area outside of London

It is apparent that The Northern Quarter benefitted from its initial wave of gentrification, improving the local economy and appearance of the area. However, today, the area faces some very pressing issues. The area was identified in Chapter 3 as an advanced gentrifying neighbourhood due to its existing high house prices and income levels. Despite this, the neighbourhoods house prices continue to grow at over 27% in the last 5 years. This demonstrates an increasing risk of the area becoming exclusive from the cities increasingly financialised housing market.

The increasing house price levels can be attributed to the neighbourhoods growing concentration of short-term rentals. According to insideairbnb.com, Manchester city centre has just under 300 Airbnb listings in 2021 (Inside Airbnb, 2021). The highest concentrations are in the Northern Quarter with the area being advertised as a tourist destination. Although encouraging tourists to an area can be hugely beneficial to the local economy, such heavy concentrations of properties can exacerbate housing issues. The listings often take residential property away from locals, increasing demand and thus increasing prices. This can create forms of exclusionary and indirect displacement as residents can no longer afford to live in the area. Units are also removed from the market preventing families and individuals from accessing property they would have previously had access to.

There is evidence for these negative impacts in the northern quarter. Speaking to the MEN, Piccadilly councillor Sam Wheeler identifies population loss in the neighbourhood electoral register. He states: ‘’From June to December we’ve actually lost 500 people off the register’’ (Robson, 2019). This comment suggests that residents are leaving the area and may provide strong evidence for displacement within the neighbourhood. This

loss of population correlates with subsequent rises of Airbnb listings over the same period, indicating that the short-term rental market could be causing this resident loss. Financialization is a driving force for the rise of short-term rentals in the area. When dissecting the listed property data on Airbnb, 62% of all listings were owned by hosts who have multiple Airbnb properties (Inside Airbnb, 2021). This implies these hosts are using housing in the city as a business rather than as homes. This is most evident when Salboy Ltd. Proposed 122 new serviced apartments in the area. The development would potentially destroy a series of historical buildings and remove the local landmark ‘bighorn sculpture’ after 20 years of existence causing community uproar (Silver, 2018). Demonstrating a lack of consideration from developers to protect the area’s identity as they continuously drive for increased profits.

The Big Horn Sculpture, Northern Quarter (Walters, 2016).

The area is now experiencing large amounts of demolitions with many properties falling apart because of land speculation. The Northern Quarter Forum concluded that the council was ‘‘Destroying the Northern Quarter’’ as ‘’Property speculators were allowing buildings to fall into disrepair while waiting for land price increases’’ (Jennifer, 2018). Despite its status as a conservation area, many locals believe that the character of the area is changing. Resident Paul states in a MEN article: ‘’it’s just going to look like any other part of the country… they are tearing down the bits that make it unique’’ (Jennifer, 2019). Comments like this indicate that the initial character of the area which brought many creatives into the quarter is at risk of being lost.

Heritage destruction is not the only factor angering residents, many locals believe the area’s culture is now being transformed by tourists. ‘’laughing gas canisters are left in gutters while cleaners leave rubbish bags by public bins on the street’’ (Robson, 2019). Activity like this can damage the local community as the area becomes dirtier. local shopkeepers argue that guests don’t even buy booze from them and don’t go to local bars as they tend to get drunk in their Airbnb’s

The Northern Quarters independent businesses (Franganillo, 2021).

and nightclubs. Because of this, Independent businesses may be forced to leave or adapt to the new ‘users’ of the area as the number of locals reduces. This could destroy the ‘soul’ created by the original gentrifiers and replace it with a tourist-only party district. Several independent businesses such as the Wonder inn and Bonbon have already moved or shut entirely (Confidentials, 2018). The area therefore may lose its economic success if its businesses relocate.

The Northern Quarter is an area that has been completely transformed by gentrification. The area has shown how organic gentrification can benefit an area and improve the economic development of urban spaces. Despite this, the very character and culture established by the original gentrifiers are now at risk as the area moves towards becoming an exclusive party district. The Councils lack of involvement in this area was originally very successful but now lies partly to blame for recent issues. The Quarter demonstrates Marcuse’s observations that Creatives and first wave gentrifiers are inevitably going to be replaced by richer residents (Marcuse et al., 1986). It is now apparent there must be greater control and regulation on Airbnb properties before the benefits of the initial wave of gentrification are lost. The council should act before the character of the neighbourhood Is changed forever.

scheme involved restoring many forgotten buildings within the conservation area. One such project; Royal Mills; converted a huge six-storey former cotton warehouse into flats offices and shops and retained many of its original features. Today, the area is known for its cobbled back alleys and lively atmosphere.

The state-led regeneration in the area has transformed a decaying, avoided neighbourhood into a key destination for young professionals to shop, live and eat. The area was voted the 13th coolest place to live in the world by Time magazine and has a multitude of independent eateries (Day, 2018). On the surface, the gentrification of Ancoats is a huge success story for the city. It has managed to completely reverse the areas decline while retaining its unique and decorated history. However, when further investigating the area, not all Mancunians agree with this conclusion.

Ancoats has traditionally been a workingclass area and has been home to a couple of council estates. The Cardroom estate posed significant challenges to developers at the start of the regeneration project in 2000. The estate had fallen into significant disorder and neglect becoming a centre of crime. Cardroom residents believed the local councillors had little interest in repairing or retaining the estate and welcomed developers including them in a community steering group. Despite this, total demolition was decided upon so that the negative stigma of the area could be removed. As a result, all members of the steering group resigned out of protest. Residents wanted selective demolition but felt developers would not listen: ‘’they’d already made plans with what they were doing to this area’’ (Luke and Kaika, 2018).

lower-income people through CPO’s. This is backed up by scholars such as Ward who states: ‘’in East Manchester, those who did not fall in line with the new urban vision were physically removed elsewhere’’ (Ward, 2003), with Smith (2011) also suggesting such regeneration programmes ‘present a distinct form of class cleansing’. The system of regeneration employed by Ancoats relates to this and therefore can be arguably considered a form of social cleansing.

Ancoats: Urban Renewal Or Social Cleansing?

Ancoats is an area bordering the city centre which lies adjacent to the Northern Quarter. The neighbourhood was identified as the fastest-growing gentrifying area in chapter 3. Historically, Ancoats has been called the worlds first industrial suburb as the area became a prosperous manufacturing district in the late 18th century. Suffering economic decline like many areas of Manchester during the post-war period, numerous historic textile mills were left abandoned and unused. In 2000 the government approved a £250 million regeneration plan for the area, labelled: ‘The New Islington plan’ which promised to create ‘’an attractive, safe, accessible and friendly area in which to live and work’’ (New East Manchester, 2007). The regeneration

The decision to demolish the estate began a wave of displacement within the area when the council ordered compulsory purchase orders to many long-term residents. Residents were guaranteed a right to return, but after more than 10 years from the demolitions only 55 units of new low-income housing were built to house the 106 displaced families (Wainwright, 2012). Not only have locals been forcibly removed but they have not been provided with suitable alternatives to return, suggesting the regeneration was never meant for them in the first place.

More recently, adjacent areas are starting to suffer from forced displacement. Anne Worthington discusses how she’s set to lose her home in neighbouring Collyhurst: a neighbourhood she’s lived in for many years (Manctopia: Billion-pound property boom, 2020). These evictions of estate residents provide evidence for the targeted removal of

Displacement is not the only negative impact experienced by the area; many residents believe the community is being damaged from the destruction of working-class community buildings. The New Islington Baths, Ardwick Lads Club, Woman’s Shelter, and the girls home have all been demolished because of regeneration work (Luke and Kaika, 2018). Because of this, many communal infrastructures have been removed making it harder for social interaction between locals. Despite this demolition focus, new buildings do not replace the services that have been lost, with the consumptive spaces rebuilt to fit the ‘’creative’’ lifestyle of gentrifiers (Davidson, 2008). These include trendy restaurants and new shops, which will be unlikely used by the existing community, highlighting a conflict between the new polished image of Ancoats and its historical working-class habits. ‘’everything had gone, all social agencies that held this (place) together’’ (Luke and Kaika, 2018). Such feelings can create indirect/ voluntary displacement if residents believe the area no longer caters for their needs.

The anger of the existing community can be seen most clearly through the array of resistance and protests conducted within the area. Luke and Kaika (2018) argue that the community action against the demolition of the Ancoats dispensary building represents the locals desire to protect the last remaining historic symbol of the areas class background. More recently. protests have been conducted by boat owners within New Islington marina who were at risk of eviction due to ‘remedial works’, many with nowhere else to go, demonstrating the vulnerability of some of those at risk of being displaced.

LSA2021 221

Historic buildings left to decay are being bulldozed (Instruct, 2016).

Royal Mills, Ancoats (RoyalMills, 2021).

The regeneration of Ancoats presents a vicious form of ‘instant gentrification’ in which the council is mostly to blame. This case study has shown that the positives seen in the northern quarter have attempted to be replicated to create a new ‘hip’ area within the city. Although successful in some ways, this strategy has completely disregarded the existing population and its history. There is evidence of unfair treatment of locals through evictions and demolitions creating displacement and community resistance. This, therefore, demonstrates that state-led regeneration must always consider the existing population in its vision while protecting the historic infrastructure that ties the community together.

Pendleton Estate: Living Through Regeneration

Pendleton is a suburb within central Salford which lies to the west of Manchester city centre. In the 1960s, the area housing 300 families in slum conditions, was radically redeveloped. The existing ‘substandard’ housing was demolished and replaced with a selection of new flats and tower blocks. This clearance was promised to bring ‘‘a higher standard of environment… to fit the new centre of the motor age’’ (Municipal Dreams, 2016), and used many of the planning principles used in 1960s estates

concentrated poverty encouraged Salford council to announce the redevelopment of the estate in 2013.

families. The loss of communal members through displacement will only damage this cooperation and the identity.

Slum clearances in Salford 1964 (Municipal Dreams, 2016)

Today the area is amongst one of the poorest neighbourhoods in Manchester experiencing the lowest household income values found in the study. The area suffered large-scale violence and widespread looting in the 2011 Pendleton riots when large groups of residents confronted the police (Jeffery and Jackson, 2012). This incident as well as the areas

The £650 million scheme will see the poorest residents benefit from much-needed investment, which according to Salford council will be used to ‘reinvigorate’ park and green space while providing 500 jobs and modernising 1250 homes (Salford.gov. uk, 2016). Many residents have received upgrades to their flats including new boilers, and decoration options in which they would not otherwise be able to afford. However, the redevelopment has not retained and upgraded every home in the area, as over 885 properties have been demolished (Eccles, 2019). There are now significant concerns about gentrification among residents as they believe their property prices will increase. One local observes: ‘’it’s all just houses at moment, getting rid of all the old ones and building houses for people who’ve got money’’ (Adams et al., 2016), suggesting that some locals believe they may be replaced by more affluent people. Others express fear of eviction, those who are unhappy with flat upgrades are afraid of complaining, as they believe they may be easily replaced by another family. Stress and uncertainty of the regeneration process appear to be affecting the residents of Pendleton and could influence their everyday lives. Other locals have been more unfortunate and have physically lost their homes. 39 families on Holcombe close alone have now been displaced from council CPOs, many of whom no longer live near the area (Wilkinson, 2019). Some elderly residents who were rehomed in an unfamiliar place ‘‘mourned the loss of neighbourly support and identity’’ (van Aitken and Brake, 2016), one resident was even robbed. Living through displacement and regeneration can detach people from communities and from their homes. Pendleton, therefore, demonstrates evidence of domicide: ‘‘the deliberate destruction of home’’ (Porteous and Smith, 2001) as the council has ordered countless demolitions of family homes. Some families have even attempted to contest their evictions such as the Wilson family who wanted their children to stay in the area’s school (Wilkinson, 2019). This attachment to the area despite its many negative stigmas is clearly visible within Pendleton.

Pendleton has a clear sense of community with locals describing that: ‘’the sense of belonging and identity is strong’’ (Adams et al., 2016). Such strong ties can be established through a lack of opportunities, turning residents’ within to their estate and

Living through an area of demolition has also posed different challenges to locals. Despite demolition starting in 2013, no new buildings yet have been finished. The area is stuck in a dereliction ‘limbo-land’ in which the future Is uncertain. Many residents do not understand why such vast quantities of housing were demolished in the first place. ‘’I don’t know why they wanted to get rid of these houses, there’s nothing wrong with them’’ (van Aitken and Brake, 2016) states local resident Rose, demonstrating discontent with the regeneration strategy. The slow development of the area has led it to be coined: ‘The Ghost Estate’ by many, which now attracts a plethora of unwanted illegal street racing and other criminal activities. In 2016, Communal allotments for local school children experienced vandalism as fences were stolen and plants destroyed. Such occurrences can greatly affect morale. Children living in this demolished zone, also find it difficult to play outside, as their friends have been rehomed elsewhere. Van Aitken and Brake (2016) describes the area full of ‘empty grey streets’ with child scooters on a ‘sea of crumbled matter’. Pendleton’s demolition, therefore, has created an urban wasteland that isolates families and attracts criminals all because of the council vision of rebranding the area.

For many families living through Pendleton’s regeneration, the finished scheme may not improve the social issues found on the estate, many have been critical of the plans. Loretta Lees calls for a ‘‘socially just form of gentrification’’ (Salford star, 2017) after identifying that an area once starved of public funding now is suspiciously being redeveloped with luxury flats from private developers. The 500 affordable homes promised by the council also presents a net loss in the number of affordable and social properties within the area, which exacerbates the city’s housing issues and prevents some displaced people from returning. With 1,100 new homes being built for more affluent people, the plans also do not show how the long-term concentrated poverty issues of the estate will be resolved;

The Ancoats Dispensary (Glendinning, 2015).

Pendleton: ‘The Ghost Estate’ (Speed, 2018).

they merely plan to replace poorer residents with more affluent ones. Overall, Pendleton has highlighted the issues that occur when living through a state-led regeneration scheme, the estate hasn’t experienced any influx of affluent people, yet locals still experience stress about being priced out of the area. Demolition work has also affected resident’s livelihood greatly, damaging communal ties as people are isolated and rehomed. The council must stop demolitions and improve local facilities affordably to prevent repeating the areas 1960s regeneration mistakes. Only when a more sustainable form of regeneration is proposed can the areas historic poverty issues be resolved.

found that the city’s policy of property led regeneration had contributed to housing financialization, housing unaffordability and increased displacement vulnerability. ‘’This developer-friendly approach has involved allowing planning permission for most new buildings overriding concerns about heritage, neighbourhood impact, affordable housing, design and other gentrification.’’ (Silver, 2018). Housing financialization was argued to be fundamentally harmful to the city as it took away decision-making from its inhabitants and towards international players. Recent development had also contributed to a reduction in the proportion of homeowners in the city creating a population more susceptible to being displaced.

The statement that gentrification is negatively impacting Manchester could never be conclusively proven due to the complex and somewhat subjectivity of the statement. However, this essay has created a strong argument by using a variety of evidence, creating a critical perspective of Manchester’s recent property boom which highlights the damaging nature of the city’s gentrification.

To Achieve a more sustainable gentrification, Manchester must first take hold of financialization and prevent developers from dodging section 106 fees and affordable housing requirements. The city has already established a strong property market and thus stricter requirements should not hugely affect its development. State-led regeneration schemes should also prioritise utilising existing infrastructure where possible, minimising demolition which creates displacement and damages historic identities. Finally, Manchester should aim to build the assets of its citizens by helping them to purchase a property. This can be done by the creation of housing cooperatives and through location efficient mortgages which can make housing more accessible to low-income groups.

THE GENTRIFICATION MAP

An Unequal City

Displacement And Disparity

The problems debated within this study focus on the recent gentrification in Manchester, which has the fastest-growing city centre population in the UK (Centre for cities, 2021). This research aimed to understand the impacts of the process on Manchester. Based on various qualitative and quantitative data sources, this study constructed a critical argument showing how recent gentrification has damaged and created a more unequal city.

The initial chapters of this study aimed to understand the location and prevalence of gentrification within the city. Various statistical indicators were used at the MSOA level and a city gentrification map was produced. The emerging findings highlighted that the initial hypothesis: ‘’Manchester is likely to be experiencing widespread gentrification’’ appeared to be true with most inner-city areas being identified as: at-risk or experiencing gentrification. An interesting pattern was also found, with the fastest areas of growth surrounding the city centre, suggesting that the waves of gentrification are slowly expanding from the city’s core.

The main body of this paper intended to understand how gentrification was impacting and damaging the city. Chapter 4 aimed to understand the city policy and city-wide impacts of regeneration. It

Manchester has provided a clear example of ‘how not to do gentrification’, with the council’s decisions becoming the main contributors to this conclusion. This is most evident in the case studies discussed in chapter 5, which aimed to provide a narrative of community-level impact. Pendleton and Ancoats suffered displacement and community damage as a result of state-led regeneration favouring the demolition of existing infrastructure. In both these instances, the government could be claimed to be prioritising the needs of the new gentrifiers rather than that of the existing community. The Northern quarter which originally benefitted from organic gentrification is now being damaged by unrestricted financialization. A lack of government intervention and regulation regarding financialization in this case is increasing inequality.

By taking a holistic approach to Manchester’s gentrification impacts, it is wished that the new outlook may highlight the true consequences of Manchester’s property boom and show how various decisions by the local government have created a form of damaging gentrification. Most importantly this research calls for a more community-focused form of regeneration and a movement away from financialization: ‘’future projects of regeneration must take seriously the ways in which material transformation, such as the building of new houses, affects the individual, the family and wider sense of community’’ (Lewis, 2017).

This paper aimed at developing an understanding of the overall prevalence and impacts of gentrification in Manchester, a city that has been understudied in academic literature. Therefore, this study has its limitations and aims to act as a starting point for further research. Firstly, the gentrification map developed in this study has identified key areas which would benefit from further in-depth research. Poor areas identified as at risk of displacement require a more specific understanding of their causes and impacts so the most vulnerable of Manchester’s society can be protected.

Secondly, this paper encourages a more detailed gentrification map to be produced for the city at the LSOA level. This could become a useful tool in informing mitigation strategies and policies for different areas. Maps could also be produced for other English cities so that gentrification impacts can be identified before they arise: minimising the number of people who are affected.

Finally, this essay would have benefited from more primary research into the impacts of housing financialization and displacement within Manchester. This would have provided more concrete evidence to strengthen some of the conclusions made in this paper. This may be conducted through resident interviews or through a statistical analysis of displaced peoples.

Abandoned streets left for demolition, Pendleton. (Horne, 2019)

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Van Aitken, J. and Brake, J., 2016. Picturing Gentrification: Representations of Urban Change, Pendleton Salford. In: Contested Cities. University of Central Lancashire. Van Criekingen, M. and Decroly, J., 2003. Revisiting the Diversity of Gentrification: Neighbourhood Renewal Processes in Brussels and Montreal. Urban Studies, 40(12), pp.24512468.

Wainwright, O., 2012. How social housing in Manchester has reinvented the back-to-back. The Guardian, [online] Available at: <https://www.theguardian.com/artanddesign/ architecture-design-blog/2012/dec/18/social-housing-newislington-manchester> [Accessed 19 December 2020].

Wallace, A., 2014. Gentrification Interrupted in Salford, UK: From New Deal to “Limbo-Land” in a Contemporary Urban Periphery. Antipode, 47(2), pp.517-538.

Ward, K., 2003. Entrepreneurial urbanism, state restructuring and civilizing ‘New’ East Manchester. Area, 35(2), pp.116-127. Wilkinson, D., 2019. Life as the last family on a ‘ghost estate’. Manchester Evening News, [online] Available at: <https:// www.manchestereveningnews.co.uk/news/greater-manchesternews/life-last-family-ghost-estate-15673862> [Accessed 19 March 2021].

DATA SETS

Office for National Statistics., 2011. 2011 Census – QS405UKTenure- Households. NOMIS, [online] Available at: <https:// www.nomisweb.co.uk/query/construct/components/ stdListComponent.asp?menuopt=12&subcomp=100> [Accessed 7 February 2021].

Office for National Statistics., 2011. 2011 Census – KS501EW – Qualifications and students. NOMIS, [online] Available at: < https://www.nomisweb.co.uk/census/2011/ks501ew> [Accessed 7 February 2021].

Office for National Statistics., 2012. Small area income estimates for middle layer super output areas England & Wales 2011/2012. ONS, [online] Available at: <https://www. ons.gov.uk/employmentandlabourmarket/peopleinwork/ earningsandworkinghours/datasets/

IMAGES

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Glendinning, A., 2015, Untitled. [online] Available at: <https://www.manchestereveningnews.co.uk/news/greatermanchester-news/ancoats-dispensary-campaigners-finallygiven-869WW3865> [Accessed 23 March 2021].

Horne, C., 2019, The High street estate in Pendleton is set for demolition. [online] Available at: < https://www. manchestereveningnews.co.uk/news/greater-manchesternews/high-street-pendleton-salford-demolition-16355557> [Accessed 23 March 2021].

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Food: The Immigrant

Can Food Encourage Social Cohesion In Segregated Communities?

.

Abstract

Over the past decade, European Cities are transforming as they transition from a single society to a multicultural society influenced by globalisation and human migration. This has created a shift from a singular discussion between social-culture, economic and physical aspects of the city to a more complex cross-culture discussion. As the migrants settle within these cities segregated zones are formed, which can be identified by the food sold within that zone. The paper understands how segregated zones are formed in Leicester and how food can be used as a tool to create a socially cohesive design through the use of precedents and three case studies of areas within Leicester: St. Matthews, Highfields, and Belgrave. The research begins by evaluating patterns of migration and the meaning of home to establish how food and cultural segregation takes place.

The paper then reviews several pieces of literature on food and segregation to find examples and proposals through which food can connect migrants and the locals based on existing case studies. The results indicate that food has a significant impact in creating social cohesion thus providing an alternative approach to planning and designing the built environment. This research is then concluded with a proposal made by myself of a green corridor based on the study carried out, which would create the potential to use food to connect segregated communities and create social cohesion.

Keywords:

Migration, Food, Cohesive design, Segregation, Integration.

by: Abu-bakr Ahmed Saeed Desai Tutor: Dr Alona Martinez Perez

How

Abstract

With recent technological advancements, telepresence so far reached, at some point in time, is much closer than anyone anticipated. The early conception of interaction within a virtual environment was an ambition among advocate believers in the technology domain. Cyberspace, formally known as Virtual Reality, has revolutionised current technological cultures and provided exploration opportunities. This thesis will investigate how architectural skills can be applied within a virtual environment and help develop architectural discipline. Furthermore, the evolution of data visualisation within virtual reality will further help provide a straightforward and comprehendible platform for visualisation and collaboration in architecture. Innovative artists such as Marcos Novak have already begun exploring the limitations of architecture by integrating virtual world and the natural. It provides a new platform for new ambitious users to form cultures and subcultures, which creates vast data transfer networks with

incredible speed. The speed of data transfer will increase exponentially, rendering everything and everyone transparent for all to see. Cyberspace is an alternative representation of reality that explores the notion of real and simulated. Nevertheless, the finite equilibrium balances the acknowledgement of real and simulated. As Paul Virilio states in his book The Information Bomb (1999), “We are not seeing an ‘end of history’, but we are seeing an end of geography”.

The idea of interactivity between individuals and their environment will no longer be bound to a single reality but a multitude of alternative representations of reality. Architecture always had its reasonable amount of exploration with new technological advancements, and this exact crossbreeding of innumerable forms and styles can finally be liberated through interactivity with Cyberspace. Cyberspace provides an improved means of exchanging information and data visualisation in an instance, anywhere in Space.

Keywords: Collaboration, Communication, Cultures, Cyberspace, Data transfer, Data Visualisation, Simulation, Speed, Virtual Reality by: Boris Palic Tutor: Dr George Themistokleous

The Quantity of Place

A Study On The Agenda Of Placing Numerical Or Quantifiable Value On ‘Sense Of Place’ Abstract

Two-thousand and twenty appeared to be the year of the beautification agenda, with reports from the Build

Better, Build Beautiful Commission (BBBBC / The Commission) and Place Alliance; Donald Trump even threw his hat into the ring with an executive order declaring all civic buildings must be beautiful, (Block, 2020). Each one perpetuating the idea that beauty is intrinsic to both character and Sense of Place, that somehow the physical elements of our surroundings are all that affect our emotions and that if a location is beautiful then its inhabitants must be happy. This marks a shift in the conversation, from discussing sense and spirituality of place as a poetic construct, complicated and subjective, to discussing it as a binary and quantifiable series of logical elements that can easily be input to a spreadsheet, (Sutherland, 2011). This essay will question this move, and review the methodologies that the Commission and the Place Alliance use to facilitate it.

Moreover, the agenda of this will be explored, to gain a better understanding of exactly what is to be gained from quantifying place. By comparing the core texts to other writings by philosophers and architects, it highlights exactly what is omitted for the process of quantifying to work, and what the implications of setting these parameters are. Most significant of these results is that emphasis of place-making is taken away from people and communities and put squarely on the physical elements. This is clear in the use of phrases such as “the scandal of left behind places”, (BBBBC, 2020, pp. 7), the apparent scandal is in the appearance of the place, not the people associated with it. This suggests that the rationale for quantifying place is to facilitate its discussion as something measurable - something that is measured can be

ranked and scored; it is fundamental in being able to proclaim your own success.

Keywords: Sense of Place, Place Making, Urban, Post Modernism, Cities.

by: Joseph Benjamin White Tutor: Jon Astbury

The Social Context of Modern Housing

Understanding

Why

Social Space is Imperative for The Provisions of Good Modern Housing.

Abstract

Space is a very important aspect of our daily experience of the urban context. This paper looks specifically at the provision of social space within modern housing and the connection between space, perceived reality and security. The primary aim of this dissertation is to analyse design theories relating to social space and connecting them to modern housing, focusing mainly on the external space, both within the site boundary and beyond, and examining perceptions and realities of external spatial design on residents. Writers such as Gehl and Minton and Newman, who have theorized issues of scale, mass, density, ownership, perception and few, are reviewed, amongst others. Publications that have been influential in developing design principles such as ‘Secured by Design’ and local planning design guidance are among the literature reviewed. There are not many authors that have dealt with the context of social space specifically within modern housing in contemporary society. This dissertation attempts to understand what the current ideas and theories may mean in terms of

delivering the external environment of housing developments, with the community at the centre of the design. Two housing developments are studied, Madden Gardens in Letchworth Garden City by Barratt Developments, and Goldsmith Street housing in Norwich by Mikhail Riches Architects. The dissertation attempts to highlight potential weaknesses within current developer-delivered housing based on the scrutiny of the design, and to understand how the design of these developments have helped to make modern housing that is sociable, and has reduced the perception of fear and other negative connotations.

Key Words: Social Space, Housing Design, Modern Housing Developers, Spatial Theory, Secured By Design, Goldsmith Street, Barratt Developments, Modern Housing, Perception, Housing Density, Housing Scale, Fear In Housing by: Charlie Doman-Lees Tutor: Dr Jamileh Manoochehri

BA Architecture

BA Architecture/Full Time

We entered this academic year in the midst of the global coronavirus. Staff worked incredibly hard to develop and apply online learning; some of the changes were innovative and highly effective and we will be applying them in future years. Whilst commending staff is key, acknowledging the fantastic response of our students, particularly our final year students, is the imperative. Never before has so much been asked of BA final year students in terms of adapting, digging-deep and finding new ways of studying and collaborating. The course team doffs its cap to all our BA final year students. All of them should refer to themselves as ‘the Covid final year’ with immense pride; we are incredibly proud of all of them.

Under the year theme of ‘Spatial Justice’, final year design studios addressed sites, challenges and opportunities within Leicester. They tackled a range of issues in a variety of ways, but all focussed upon guiding students to research thoroughly, engage in critical design enquiry and synthesis, evident in extensive design portfolios, and resolve their design projects in final ‘exhibitions’ that celebrated their design thinking from the scale of the city to that of ‘detailed assembly & construction’.

A short design primer project started the year. Students addressed the spatial, social and ethical challenges of Leicester’s recent ‘dark factories’ revelations. Covid lockdown highlighted the poor working conditions in a number of Leicester’s textile/fashion businesses, and students were asked to design small (relatively) buildings offering and embodying more ethical working practices. The primer served to extend students’ understanding and skills in terms of technical design, or “technique”: the critical, integrated application of design strategies for environmental design (human comfort & delight) and structural/material assembly.

In their differing sites, programmes and methodologies, the design studios continued the “spatial justice” theme established in the primer project, foregrounded consideration of “retro-fit first” and focussed upon students establishing strong “narrative-tectonic-detail” alignment. The latter is a key aspiration of the course; it creates graduates with a keen sense of the importance of integrating spatial design decisions about city, site, socio-cultural context and programme, with those about ‘technique’ and design resolution.

Parallel studies in architectural humanities, in the completion of a written dissertation, and professional practice and ethics, in the completion of an extensive professional report, gave our students important critical perspective. The work our students produce in these fields is often overlooked – as all eyes focus upon ‘design’. The BA course commends and celebrates the range of dissertation topics and their quality, as well as the knowledge and critical awareness of architectural practice that our graduates acquire.

Difficult times warrant additional energy and strength, new skills and attitudes, and great flexibility and resilience. Our 20-21 BA final year have all risen to the challenge of the past year and the quality of their work is both a testament to this, and something of which the Leicester School of Architecture is immensely proud.

NEIL STACEY PROGRAMME LEADER

Year 3- Advance Intermediate Year 2- Intermediate Year 1- Fundamental

Year 3, Abraham Steward, Institute of Craft Development, Leicester Y3

BA Architecture/Year Three

The Year is the culmination of the key learning trajectory of the course, in which students have been extending their ability to integrate their wider architectural knowledge into the design studio work. Specifically this module aims to extend their understanding of the importance of the following to good architectural design: Undertaking thorough design research & analysis/ Using design enquiry methods to critically reflect upon research & analysis/ Applying good graphic skills to convey cogent strategic urban design thinking/ Applying a range of design enquiry methods & skills/ Aligning design narrative & architectural ideas/ Synthesising ideas to explore architectural resolution(s)/ Synthesising and integrating a range of ideas in a coherent architectural proposal/ Synthesising and integrating environmental, structural & construction techniques/ Applying drawing & modelling methods & conventions to present a cogent architectural proposition.

Architectural design is a culmination of both science and the arts. There are numerous theories and ideas that underpin numerous design methodologies. In this module you are offered opportunity to follow one of a number of ‘studio pathways’. Each will differ in the detail of its theory and methods. However, all are underpinned by the same set of

universal principles relating to good architectural design: [1] Thorough research & analysis, [2] Extensive design enquiry, [3] Critically reflective synthesis of spatial & material design ideas, including the[4] Integration of structural, constructional and environmental design ideas, and [5] Representation of a cogent architectural proposal.

Regardless of which studio pathway the student follows, and the specific theories and methods that underpin student work on that pathway, items [1] to [5] will determine the level of attainment. [1] to [5] are embodied in the module’s learning outcomes, Regardless of the detail of each studio pathway, each requires students to develop and graphically communicate a cogent architectural design than demonstrate their understanding across of range of scales, from city (eg. 1:2500) to detail (eg. 1:1).

Some pathways may place greater emphasis on one scale or another, but all require you develop and demonstrate thinking across the scales, from ‘city’ to ‘detail’. Each student in each pathway is expected to demonstrate cogency of thinking across the scales; we require them to align narrative-tectonic-detail. The context of the site/place is complex. A thorough design

Dan Farshi

response will consider the physical/ material context and the cultural/ social, including local-national-global issues. The story that students tell of their design, the narrative, needs to unify the context and offer the site/ place a trajectory into the future. The future that the narrative presents, should address the needs and aspirations, of those students are designing for – both building users and those whose lives it will affect. The design narrative is manifest in the social-spatial design ideas that they develop. What is key, is that the design tectonic[s] (material/ construction) align with the narrative.

Spatial Justice Research and study into this term and its implications for architectural design are required. A key question is ‘how does the idea of spatial justice, the idea of an architecture of equality, affect design strategies at different scales?’ As spatial justice is a term from geography, its manifestation at the macro scale is relatively clear. How a city is organised and the accesses that are afforded to citizens is usually evident. Greater research and thought on this might have implications for the design. However the key challenge is to consider how spatial justice is manifest at the meso and micro-scales; these scales are the realm of architectural design.

Retrofit First Critical engagement with this issue, and criticality with regards to the specific challenges that the site presents, in terms of reusing existing buildings, is a key part of this module. Retrofit First is focussed on sustainability, not on heritage or conservation per se. Sustainability in the built environment is complex and it is anticipated that many strategies and responses to ‘reuse’ will be developed.

Programme

Each studio pathway will produce and provide its own documentation regarding what you are to do, think about and design. Some pathways will be more directorial with regards to what the design – please refer to earlier comments about the difference between pathways and how they integrated thinking about site, programme, theory and methodology. It is important to note that many pathways will present information to you over several weeks; this reflects important ideas about co-creation that underpin learning within the School.

DNA Frank Breheny

Sylvester Cheung

CITIES

SYMBIOTE Geraldine Dening Neil Stacey Lena Vassilev

CO HANDMADE STUDIO EXISTANCE IN THEORY

Jee Liu

Jamie Wallace

The Dark Factories

Micro Homes Project

Module Leader: Francis Breheny

Y3

Year 3

This module consists of one assignment, the design of an environmentally friendly live – work prototype that might follow a micro, or modular, or portable, or temporary structural strategy and will serve as an exemplar for ideas informing how we might dwell and work now and in the future. This is an ‘ideas’ project commissioned by the client TRADA, the Timber Research & Development Association, to inform future practice. The thematic for third year studio in 2020 - 2021 is ‘Spatial Justice’, a term which has been defined by the Geographer Edward Soja as ‘…the search for justice and democracy in contemporary societies.’ (Soja, 2009) Leicester has made national news headlines recently for various reasons.

One such story related to the ongoing challenge of ‘Dark Factories’ operating within the City and the subsequent risks arising from the unsafe and cramped conditions within these organisations. The campaign group ‘Labour behind the Label’ recently blamed clothing sweatshops in Leicester for contributing to the local surge in Covid cases. This additional period of ‘lockdown’ has in turn damaged Leicester’s economy that in turn will see it fall further behind more prosperous parts of the United Kingdom. The micro economy in these

Dark Factories is reported as paying sewing machinists £4 to £4.50 per hour, whilst ‘packers’ are reported as making just £3 per hour. The architectural response to this localised urban phenomena is to develop design proposals for a micro or modular unit that can support both living – as this report raises the question of where people earning as little as £3 per hour might live – and working – so that a machinist might perform their role without the risks of working in factories where fire escapes are blocked, or they are forced to use old technology and intensive labour practices.

The overall aim is to speculate on how architecture might be used to imagine alternative futures. This project does not fall within an existing architectural ‘genre’ and so for research purposes will utilise aspects of micro architecture, modular architecture, temporary architecture, and portable architecture.

Tutors: Neil Stacey Geraldine Dening Jee Liu John Neale John Courtney Thompson Dominic Pask

Dan Farshi

Andrew Waite

Sylvester Cheung Jamie Wallace Lena Vassileva

B3.01TECH, Mateus Azmus

Hinoki House is constructed using both traditional Japanese joinery methods and more modern techniques in order to create a building which can be put together with ease, just like a jigsaw puzzle.

B3.02TECH, Joseph Kermode, Hinoki House.

B3.03TECH, Dylan Tank, Structually Insulated Capsule.

B3.04TECH, Helina Rai, Tiny House Unit for 3 clients. The first, Robert and Megan are a married couple in there mid 30’s who have been working in the clothing factory for the past 8 years. Second is Paris and Amy: mother and daughter. Paris is upcoming clothing designer, who spends a lot of time at her workspace, however, she can’t walk and is wheelchair-bound. Third is Ruby and Carla are both work buddies and best friends. Ruby came from the Philippines and Carla came from Thailand. They both became best friends in the UK while working together.

B3.05TECH, Alan Yakoub, Each cabin provides a living space (19 sqm - blue area) and a working space (11 sqm - Orange area) with total habitable space footprint of 30 sqm. two cabins with floor area of 60 sqm will provide 2 No. living and 2No. working spaces. The cabin is provided with the following sustainable systems: Rain harvesting, MVHR: Mechanical Ventilation with Heat Recovery) PV panels connected to an inverter to charge batteries and solar water heating.

B3.06TECH, Abraham Steward. This project responds to Leicester’s problem of ‘dark factories’. The brief highlights the ‘unsafe and cramped conditions’ for workers. This design seeks to provide a spacious, light, welcoming environment for both living and working. Key elements include a sense of community and individual privacy. The result is to restore personal dignity as well as promoting a communal spirit.

B3.07TECH, Sam Wimbush, Throughout the design 2 key aspects dictated the design process, creating a sustainable unit, not only in terms of it’s enviromental impact but of the social and economic impact, as well. with a clear focus on materiality and spatial quality. Importantly the units have the ability to be configured in a number of ways and be expanded from the basic seven-point five square meter unit, at the will of the occupant, to accommodate expanding families or businesses. Using a material palette of plywood, natural wood and aluminium, the unit will remain sustainable, with most of the interiors consiting solely of ply, creating a soft and warm enviroment.

B3.08TECH, Abraham Steward.

B3.09TECH, Paulina Maja Szczurek, Cardboard House

B3.10TECH, Dominic Cain, The Light Micro Factory, Affordable Operating Pod Design ‘For The Many’. The concept incorporates work and residential units connected together which can be self sufficient & provide passive energy for the occupant off grid. These transportable environmentally friendly, light weight construction mobile units can be easily placed in all areas and simply connect together to form a moving, living and working community as a cluster of units providing a central meeting place as a future village model. This concept aims to provide sufficient, usable space & facilites for factory workers, so that a machinist might perform their roles without risks of poor conditions, or old technology alongside long hours.

There is suitable space for an arts & crafts desk & workshop which links to the kitchen and living quarters efficently, with easy access to open bi-fold doors with balconies that wrap round the rear elevation, to provide a means of escape from work, enjoying time to socialise and relax. It also incorporates light, spacious 1F mezzanine bedroom layout with desk, storage & wardrobe facilities. The design further offers the key movement of freedom & support for all workers to have a more balanced healthy lifestyle and being able to work during their own hours.

B3.11TECH, Ieuan Thomas, Mikrohaus.

B3.12TECH, Hrisheeta Singh

Studio DNA

STEM vs STEAM

Francis Breheny, Sylvester Cheung

Year 3

Idris Cole

Tamsin

Y3

Helina Rai

Charlotte Anne Maire Vaughan

Mariette Asem

Adriene-Lyne Bathan Xiaoqing Cao

Sivashangar Chandrakumar

Max Oliver Coe

Marwa Daas

Mariah Gem Delos Reyes

Jamie Alexander Hand-Cooke

Viyan Ismail

Tejas Keshava Murthy

Nicolas Santamaria Orejarena

Jedsadaphon Thianphimai

Yuxuan Zhang

Lanna Schmitz Correa

This unit is concerned with the 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 will seek to take a line for a walk through the world cities to dermine how drawings and crafts can find ways to celebrate their exiting, elevating, life enhancing, and defining qualities that are suggestive of both personal and national identities, that allow us to see things in a clearer and clearer sense, or to discover the things that we really want to say. We shall create visions on paper and learn how to draw with our eyes, we shall create large drawings, small drawings, fast drawings, small drawings, machine drawings, collective drawings, individual drawings, beautiful drawings, ugly drawings, useful drawings, pointless drawingst, cheap drawings, expansive drawings, and drawings about drawings.

Unit DNA is a Co-Taught Unit run by Sylvester Cheung & Francis Breheny. This year to adapt to current conditions this Unit will run task based tutorials. Members of this Unit will be placed into small groups and given a series of tasks each week to undertake across the week, but also to be completed on the day. If you opt to join our group please take this into consideration. Successful completion of the tasks will lead you towards a varied and interesting portfolio of ideas. Formative & Summative submissions will be the only 1:1 tutorial / assessment space.

Mohammed Ahmed Olivia Alice Alltree

Beatrice Cabrera

Sophie Cantrill

Grace Angela Hills

Aliyah Minaz Hussain Sahed Sami Khan

Victor Kuforiji Wei Cheng Lei Monika Mermer

BA1.01, Yuxuan Zhang

Yuxuan Zhang

Soar Point Community Hub.

The aim is to envision Leicester as an ambitious and progressive city with renewed prosperity, where everyone meets his or her potential. The Core Strategy includes proposals for transforming the City to achieve the following priorities for action set out in the One Leicester vision. 1 Investing in our children; 2 Reducing our carbon footprint; 3 Creating thriving, safe communities; 4 Improving well being and health; 5 Investing in skills and enterprise. The new centre is designed to deliver a diverse series of indoor and outdoor spaces which can be used in

isolation, or together, to provide an ideal venue for countless local pursuits. The perimeter of the site is surrounded by undulating grass framing the rive and the city. As one enters, the view suddenly opens up towards broad horizons and the bright sky.

The perimeter of the site is surrounded by a dense forest of high-standing trees that secludes the uninhabited land from the city. As one enters, the view suddenly opens up towards broad horizons and the bright sky. The lighting details of the facility have also been carefully taken into account. The arc-curve arrangement has been determined on the basis of ensuring the lighting function. Echoing

the simple and pure interior design concept, it emphasizes a sense of sequence, tracing the lines of the domed roof. Simultaneously, natural light is introduced into the interior through circular apertures in the ceiling.

B1.03, Community Center courtyard at the center of the mound.

B1/02, Building axo next to Soar River.

B1.04, Youths must have a safe space to visit and take part in new activities. Community centres provide classes and events such as physical, creative or social activities. This programme offers countless opportunities for young people to make friends and learn new skills. Giving the younger generation a healthy outlet for their energy will prevent anti-social behaviour and nurture the indi vidual’s most positive attributes instead.

B1.05, The Earth-Sheltered Architecture takes advantage of the high specific heat capacity of the soil to create a comfortable body feeling environment with warm in winter and cool in summer.

B1.06, Earth-Sheltered Architecture also have good ventilation, sound insulation, anti-seismic advantages. The application of planting roof makes the green roof Architecture more ecology and blend in with the landscape..

Lanna Schmitz Correa Art Incubator

The Art Incubator is a new community space that embrace the vibrant surrounding of Berlin Mitte, bringing together arts, sports and green spaces within the area.

B1.07, View of Art Incubator from the main street as you approach the entrance.

B1.08, The area around the site has quite a few public and semi-private spaces, allowing people to stay outside. Although we can s.ee many of these spaces, except for temporary tents in the site, none of them offer protection from weather. We can also notice that some spaces are shared with parking lots which makos it dangerous for kids to be around.

B1.09, This area has large avenues and a few lmportant pedestrian crosses, although traffic is usually intonse, it seems to flow easily most of the day. Arrows indicate the direction of the traffic on each road.

B1.10, This area has many options for public transportation, with a good connection with other parts of the city by different lines of underground, trams, trains, buses and public places to rent bikes and scooters. There are two underground stations in the area, but AlexanderPlatz is the one with more people using, as it covers three different lines. The whole underground systom in Berlin counts with 1.4 million people using it per day. Many parking spaces can also be seen around, a few underground, others on street spaces.

B1.11, This building will host an art gallery, a cafe for the public and large and bright workshops for artists to work. During the time of working for a project, apartments are available for artist to use and be immersed in their design process. Public and private spaces are separated but they come together as the public can see through the glass windows of the workshops. Working and living area are located at the rear of the building to avoid noise and disturbance from the main road besides giving them a lovely and quiet view from the park.

B1.12, Art Incubator elevation showing the park, performance space, sculpture garden and urban farm.

B1.13, The master plan will redevelop the land and transform an old car park into a park, with an amphitheater, exercise space, gathering outdoor areas and an urban farm. The building use concrete as its main material, in order to better fit in the context, but in a more contemporary style. Its height changes to create the illusion of a tall building, making it stand out and be seen from a distance. Also allows natural light in, reducing the use of artificial and helping the environment.

Co-Existance in Theory

Year 3

We are living in the great era of globalized production and consumption. The making of architecture on the one hand serves the extreme efficiency of its capitalized purposes and on the other hand fills the content of the short attention span dominated media publicity of today, whilst the process of design is highly dominated by new technologies which alter how we think and have led to the birth of movements e.g. paramatrisim that are driven by the creation of forms and images. We are interested in the fundamentals of architecturewhy we build. We want to emphasise that creating architecture is a purposeful act embracing fundamental qualities of how humans respond to a space physically and emotionally. The form of architecture derives from the series of spaces that provokes or suppresses certain experiences /emotions, and that the journey extends beyond the boundaries of a building envelope. We want to explore those relationships - between a space and human emotions, journeys in a building, highly specific composed programmes/functions, combining/bringing together, finding a synthesis between elements that at first glance seem to be opposites. To engage with rich materials and colours and reject blank architecture. This unit will encourage the studies of space through physical models, sketchs and photography that help us to observe the different qualities of colour, form, materials, light and proportions.

Our approach will be individual and based on presentation and critique, we will support you to develop your own unique ideas rather than asking you to follow a prescribed methodology. Our studios will be organised around a series of ideas that we often think about in the buildings we have designed and that are described in more detail below. These will help to give some structure to the development of your projects whilst helping you develop your own perspective on design. Due to the ongoing pandemic this studio will take place online.

BA2.01, Mateusz Asmus Y3

‘ I do not design floor plans, facades, sections. I design spaces.’

Adolf Loos

Dan Farshi, Jee Liu, Jamie Wallace

Mateusz Asmus, Riverside Makerspace

There has been a recent shift in consumer behaviour towards the importance of quality and repairability. With movements such as right to repair being brought to light, this facility offers the opportunity to break free from the cycle of consumerism by providing the facilities to repair or upcycle existing possessions. By making such facilities accessible to the public, people are given the freedom to design and manufacture their own goods that are tailored to their own needs and taste.

The new intervention aims to contrast the heaviness and boldness of the existing brick walls with strategically layered dynamic spaces that encourages the flooding of natural light. The visual connection with surrounding facilities aims to encourage the mixing of people and the spilling out of activities into multi-use spaces.

At the heart of this project is a careful consideration of sustainability and efficiency. Workshops have been grouped by noise and a series of spatial requirements, ensuring a comfortable working environment. An understanding of spatial requirements ensured that common services are centralised and shared where possible. This is prominent with the centralization of hot elements for glassblowing and ceramics, with excess heat being stored in a thermal mass chimney stack and used to supplement other hot functions with heat. To improve the thermal performance of the roofscape, an air gap is sandwiched by double external channel glass panels and internal polycarbonate sheeting.

BA2.02, Mateusz Asmus, Courtyard View Y3

BA2.03, With the ambition of creating flexible open volumes, a thorough structural strategy is key. Large steel wall ties have been used to marry adjacent buildings together. These prevent the buckling of the brick walls when the integrated gantry cranes are used. Throughout the building there is a negotiation between the needs of human and industrial scale. Elements such as doors have been designed for easy human operation, with the ability to easily transform into a large industrially sized opening.

BA2.04, The new intervention aims to contrast the heaviness and boldness of the existing brick walls with strategically layered dynamic spaces that encourages the flooding of natural light. The visual connection with surrounding facilities aims to encourage the mixing of people and the spilling out of activities into multiuse spaces.

Abraham Steward, The Institute Of Craft Development

Five galleries give the public the chance to view the latest craft developments. This national gallery celebrates craft both in its architectural design and in the craft collections it displays. The displays showcase evolving styles and cutting-edge techniques, giving craftspeople in the UK an opportunity to present a wideranging array of crafts. These naturally lit galleries are found on the first floor of a series of adapted warehouses and are easily accessible via a prominent entrance. These galleries impress the viewer with a sense of the value of craft, both in its long tradition and its continued development.

BA2.05, Axonometric showing the five galleries its workshops for arts and craft.

BA2.06, These galleries impress the viewer with a sense of the value of craft, both in its long tradition and its continued development.

BA2.07

BA2.07-10, A series of bridges connects the galleries on the first floor. These reinstate a historical feature of the original buildings. Though a minimal intervention, these bridges create a strong focal point connecting the individual buildings. The bridges create an axis, a central spine to the gallery complex. Visitors are able to easily navigate the galleries as they circulate around each building and then return to the main axis. On the first floor, the bridges are both fully enclosed and largely transparent. Views from the bridges connect the visitor with the rich outdoor spaces in the courtyard below, including the outdoor workspace where craft production may be taking

place. The bridges reach down to the ground with a series of columns, creating an open yet protected threshold between buildings. As well as separating buildings, this threshold partitions the quieter green spaces from the central courtyard. Craft is closely connected with the natural world, where the materials for craft were traditionally found. The brick and timber buildings of the galleries and workshops emphasise this traditional ‘earthiness’ and humility in their materiality. The courtyard acts as a mediation space between craft created (in the workshops) and craft observed (in the galleries and archive).

BA2.08 BA2.09

BA2.10, The original buildings were predominantly of brick construction, the gallery design sought to incorporate brick as a key structural design element. The wide brick arches demonstrate the capabilities of this ancient craft, whilst effectively inviting the viewer into the gallery space.

BA2.11, A range of workshops are needed to house the craftspeople employed by the institute. While there are separate workshops for individual crafts (such as ceramics, woodwork, metalwork and weaving), the crafts people are able to learn from each other and thus advance their own projects.

BA2.13, Brick detail in main gallery hall. Y3

BA2.14

BA2.13-15, Beneath the galleries lies an opportunity to further explore craft and the process of making. The Craft Archive acts as a sample repository, with the many objects representing the journey to the finished article. These collections are for the benefit of craftspeople, both institute employees working on site and interested members of the public visiting the galleries. The Craft Archive supports the sharing of ideas

with the goal of furthering development with facilities for studying individual samples, the archive provides users with a tactile experience which allows for in-depth analysis. The lower ceilings and focused lighting suit the quiet, studious atmosphere. Though the galleries are the institute’s showpiece, it would not be complete without the archives and their focus on actively furthering the development of craft.

Tomass Stripinis, Vintage Fashion Hub

Leicester is known for its history in fashion, weather it be 17th century and creation of grand suits or 21st century and brands like Cole Buxton and others that are so much as a part of Leicesters textile industry. Vintage fashion hub is not space that mandates that people find online and drive, rather its space that is discoverable by the walk and can be interacted at. Every building hence is created

as a discovery something to look forward to and interpret.

Conservation and re-use not onlyu in fashion but in architecture too is very important in current climate, and addressing both is important, this project becomes about upcycling th the structure and the fashion. The aim is to show how both fashion and architecture can live in harmony and provide each other with value.

BA2.17, Exterior view showing the main workshops with hanging walkways.

BA2.18, Diagram explores axonometricaly spaces that will be needed to be both created and repurposed in order to make space for new industry.

BA2.19, Buildings are named with distinct numbers, these numbers symbolise the industrial era and are remembering and honouring past that is still stuck with the site. these numerals, numbers are inherit part of every building and is not going to be excluded or renamed as part of conserving the identity that is already existent.

BA2.21, Resting space has been created as a semi- open space that can be used to retreat, as the walk is long and involves huge amounts of walking. Main priority is creation of shelter and a welcoming enviroment that this reuse building can provide.

BA2.22, Building section.

BA2.22, Exterior and Interior of block F structure is dependant on approach of the building. Differences in every building are dependant on the use of them.

BA2.22, Interior of Stage One: floors have been removed and basic interior remade.

BA2.23, Reintroduction of the bridge provides a lost connection that once existed it can now be reintroduced and improved with the creation of small hydroelectric motors and water harvesting mechanisms.

BA2.24, Developing connectivity within old and new, creating parhways in order to connect the old and provide better acces to the buildings.

Yakoub Fashion Hub, Leicester

The concept emphasises connectivity by providing a new short-cut to link the tow-path with the courtyard through landscape. With the Retro-Fit First theme in mind, the scheme will utilise existing structures by dissolving a series of warehouse façades to provide sheltered recesses, which increases the public areas size near the canal. The scheme will house a fully functioning textile workshops for start-ups/ events with architectural transparency as a theme. This will exhibit the skills involved in making textiles hoping to educate the public on the process to encouraging considering quality items over bad quality mass produced ones.

BA2.25 & BA2.26, Proposed programme focus the importance of the internal yard as a movement node. It also emphasises the importance of the project’s edges (workshops) and the cafe/ seating area.

Alan

BA2.27, Visual 02, Approach to site/corner coffee shop external seating area and terrace - Bird’s eye view .

BA2.28, Building Elevations. Reflective surfaces, which reflect the canal’s tow-path landscaped opposite side. This addresses the issues identified at the start of the project (imbalance visual appearance between the canals two sides) Retaining distinct existing features and incorporate them in the scheme - this inspired the corner unit’s intervention of the proposal.

The Ashen Forest

There is an ongoing crisis pertaining to present-day graveyards within the United Kingdom, burial space is becoming scarcer, and existing graves are being forcefully re-purposed as a consequence. Lack of green space in Leicester coupled with the need for a sustainable intervention to deal with graveyards has resulted in dialectic programmes consisting of a crematorium and body recycling centre on Parker Drive. This scheme encourages users to sustainably cremate their loved ones through alkaline hydrolysis, resulting in reduced environmental damage.

BA2.29, Masterplan of the The Ashen Forest will serve to introduce life to dead spaces through vegetation, grown with the aid of cremation ash obtained from sustainable alkaline hydrolysis. The dead spaces will begin with Parker Drive and spread into the city centre, then the wider context of Leicester, ultimately regenerating the city and improving the quality of spaces as people pass through and interact with them.

Jai Vic

BA2.30, This scheme will deal with the recently deceased and recycled graves, through the re-purposing of ash for the manufacturing of items that can be taken home with the family, or immortalised in a columbarium. This process will honour the deceased and maintain the identity of those who do not have a family to return to.

BA2.31, Interstellar is set in a near-future Earth on the verge of total ecological collapse and on the brink of extinction. Professor Brand is working on plans to save mankind by transporting Earth’s population to a new home via a wormhole. But first, he must send a team through the wormhole to find out which of three planets could become mankind’s new home.

BA2.31, A tesseract is a ‘hypercube’, a four-dimensional version of a cube: a tesseract is to a cube as a cube is to a square. Here, it represents a physical space, the origin point of all circulation routes on site. austere - something very sombre contemplatingdeep in thought or meditation grave - serious; solemn; sedate solemn - serious; sincere tonal qualities.

BA2.32, The garden pod has adopted an ‘S’ shape circulation path to maximise time spent within the space and promote interaction with adjacent green space. Furthermore, steel archways can improve the tone of the space aesthetically, this can be strengthened through the use of lanterns affixed to the archways. Red brick walls encapsulate the design language of Parker Drive providing a visual connection in the sky, to the factories down below. The five trees selected share holistic connotations with themes exhibited in this project. Such themes consist of life, death and moments in between. The intention here is that the user can select a tree that is best suited to their desires for the recently deceased, both visually and metaphorically. The selected tree will then be planted and grow in remembrance and celebration of the life lived.

BA2.33, From top-left: Members of staff will enter the site through a different entrance, their journey through the site is purely utilitarian, not holistic. The visitors journey will begin long before they approach the site. Mourning begins around the time of death, therefore this site serves to aid with the closure of this ritual. The deceased will travel through the majority of spaces on site. The recently deceased and unearthed graves are transported to the site and enter through a separate entrance, an import bay. The tesseract space marks the beginning of the users’ one-site journey for the general public, This space aims to filter out different user groups and act as a core circulation space from which the rest of the site can be accessed. The crematorium will be private and the design intent will not be as dramatic as the other spaces, this is a staff space and therefore will not affect the overall journey of the visitors.

BA2.34, An architectural application of this concept serves to celebrate the dichotomy of life and death through a vertical park promoting interaction between neighbouring communities; this is achieved through the extrusion of steel frames from the existing industrial sheds, a reduction of existing facade elements and a balance of public and private space.

BA2.35, The Ashen Forest deals with the recently deceased and recycled graves’ cremation ash through the manufacturing of ornaments, that can be taken away with the family or immortalised in a columbarium. This process will honour the deceased and maintain the identity of those without a family to return to, as well as providing a journey through the multiple stages of grief to aid with he reconciliation of a recently lost loved one.

Enaldo Repaj

Sailing into The Dark

The scheme entails the complete redevelopment of a nineteenthcentury industrial island with the aim of introducing night-life and improving nature. The project is designed to lay the groundwork for potential expansion by highlighting main spaces and entry points and responding to changes on site through a series of events welded onto scaffolding structures. This collection of scaffolding is set to show how the site can be restored and transformed into a centre of activities that honour nature, from celebrations of flooding problems on site to creating opportunities for nature to take over.

BA2.36-Opposite Page, The design proposal in response to Bernard Tschumi and programme analysis inspired by Interstellar (Film). These structural elements were inspired by the Electrical Pylons on Site. Two opposing ideas coexisting together: Nature & Technology, Man-made vs Nature. These programmes are different from each-other but they both serve a similar purpose. Observatory - a place in observing nature beyond Earth. Nature Reserve - a place in observing nature on Earth. The

montage attempts to capture the idea of structural elements taking over the site providing a middle ground for nature (down) and the universe (up). This creates a clear differentiation of site elements, ground, structure and sky. This is also an attempt at demonstrating how night life on site can be transformed into something more friendly and inviting for people to feel comfortable and safe by giving it purpose. Some of the existing buildings are lit up with interior light to suggest their use in the project. The

structural elements represent the NEW which is an addition to the already existing architecture on site. It will attempt to create new spaces, access to site and frame nature/ skies. The center of the attention is the “Observatory Tower” inspired by typical observatory domes and pylons on site. The montage suggests that the observatory tower will be the main attraction and will stand out amongst all the electrical pylons on site.

BA2.37, This concept is a response to the previous one. The permanent rooms are being more planned out, and the building design is taking shape. The first floor is mostly taken up with offices and classrooms. The second floor is the most notable since the main planetarium has been divided into three smaller ones. People can walk through each one for a different play/show.

BA2.38, Inserting a roof frame within an existing building. A rigid frame is self supporting therefore the new roof will not need to rest on the existing walls. The existing buildings walls are not stable due to the method of construction.

BA2.39, During non raining season for most of the year, the platforms on the scaffolding are removed. as shown on this elevation.

BA2.40, The merging an observatory with an electrical pylon. This tower was then merged with a scaffolding structure to create staircases platforms for viewing.

BA2.38, Cafeteria+Gallery: The cafeteria pierces through the existing building and joins with the scaffolding structure on the left. Subsequently, this creates spaces on both sides that allows people to hang out and relax.

BA2.41, The gallery is built into the scaffolding frame. The artwork is then hung in various positions inside the scaffolding, enabling routes to be created.

BA2.42, Exhibition spaces was designed with the gallery design proposed on the previous page. This is a temporary event situated next to the permanent building.

BA2.43, The interior garden is located within the existing building (exposed roof). It will attract birds, further allowing people to watch birds The scaffolding platforms allows for people to get closer to the birds, and for extra seating of cafeteria.

BA2.44, A group of scaffolding elements decorates the back entrance. Their role is not only aesthetic, but it also encourages ivy plants to take over.

BA2.45, Although its primary function is to include staircases and allow rotation around the building, it also serves as a performance venue for various activities.

BA2.46, The Lunar Event will be a temporary activity as the lunar eclipse happens two to five times a year. The design was made with scaffolding where platforms will allow a group of people to enjoy the view of the lunar eclipse. the scaffolding elements are removed on top of the platforms so that the sky is framed.

St

Mary Mills Start Up Hub for Leicester Textile Industry.

The overconsumption of fast fashion within the UK is causing excessive amounts of waste which ends up in landfill. My hub aims to provide a space for start up textile companies to operate with access to cheap recycled fabrics and mentoring/ training from people in the industry in order to kick start a new wave of ethical, slow

fashion practices in Leicester. This design proposes ten studio spaces for start up fashion companies to grow their business, each studio comes with a ground floor boutique along the public canal front and a communal workshop located in the main building. The internal arrangement it informed by the rising platforms used for communal workspaces offering a range of multi height and smaller spaces.The public front along the river appears much more permeable and open in comparison to the overhangs above containing the

studios creating a dramatic experience for the public walking down the river and highlighting private vs public, furthermore, the perspex pavilion to the south of the site transitions people into the more natural side of the site as they move away from the urban. The earthy colour palate of the panels create beautiful illuminations beneath where the colours merge together to produce and exciting atmosphere. This space is to be used for temporary events such as weekend markets or thrifting events.

BA2.43, In order to kickstart a new wave of ethical fashion practices in Leicester, space will be made for 1O+ start up companies within the hub. Each start up company will have a boutique on the ground floor along the water front in order for people to naturally wonder in and interract with the shops. The manufacturing of the clothes will be transparent as it will be viewed from multiple angles as you walk along the river front.

BA2.44, In oder to maximise internal lighting during the day the rooflights are south facing and receive direct sunlight for a large amount of the day.

Shona Thomson

BA2.46, The shop along the public canal front are much more permeable and transparent in comparison to the brick overhang above which appears much heavier and closed off to the public eye.

BA2.47,

main communal work spaces.

BA2.45, Pedestrian moves down the waterfront they will experience a range of different internal heights within each shop as the internal arrangement of the building changes, creating a dramatic experience making each boutique stores unique.

Light is able to travel to the lower grounds due to the multiheight spaces within the volumes and illuminate many of the

Fortunato

The Great Escape: Elevating The Self Through A Dyeing Retreats.

The aim of this project is to create an escape from the city through a dyeing retreat. The site is tansformed from an industrial and recluse area, to welcome the keen observer through a journey of emotion and learning with skilled craftsmen and artisans. Taken ideas rom the case studies on boutique building conversions and village life, a narrative was formed to create a place crafstmanship and sense of belonging. The project is abstracted from dyeing process. A specific colour palettes have been chosen. Each can be formed, fast, precisely and expertly to create a new structure that prides itself on the three pillars of crafstmanship, pre-fabricated and environmentally conscious. For materiality, timber was used grown from the site. Each of the woods, spruce or timber, can be replaced at the end of their life times and transformed into frniture or other pieces. Bricks, coming either from the site and re-adapted and re-fitted come almost with no carbon footprint, and the new will be pre-fabricated to last for longer than the existing onces.

BA2.48, By developping these series of dyes, not only was the process of dyeing explored, but the natural colours and stains of the site were discovered.

Robin

BA2.49, An abstraction to the culture of waste in fashion. The dyeing retreat aims at making fashion as lasting craft that can be recycle not thrown.

BA2.50, A visualisation of the retreat. Each are celebrated with various roof openings, indicating the amount of people in the workshop at one time.

BA2.51, Programme based on rituals. Water: Water is arguably one of the most important resources of the dyeing process, from the cleaning of fabric to the water of the gardens, it is used at every stage of the development. It therefore requires the same level of respect and care put into the rest of the craft. Soil: Gardens are provide the raw product for natural dyes, plants are planted, grown and harvested for this single purposes. These gardens are placed as physical and visual separations within the site and even act as barriers to solidify the soil. Gates: Gates are used through the site as a direct tool for hanging the finsihed dyes, but also act as a visual tool to set hierachy and visual leading lines when walking through the new gardens. They are placed in key areas of the site, to indicate hidden paths or for ease of access. This new element, made out of timber is based of the structure of old wooden gowns from the 1920’s, re-appropriated to an architectural scale.

BA2.52, The water collecting points have been carefully placed around the site and the river, to peacefully co-exist with the process and the site. Thus this water collecting pod was made to harness water from the rain, and through a series of pipes water of varying purity qualities can be used for the dyes.

BA2.53, Gates are placed in key areas of the site, to indicate hidden paths or for ease of access. A single piece of fabric is taken down and put up at different stages of its working life time. In different areas of the site, when walking as an artisan or simply a passer-by it is possible to see a physical manifestation of this process as if floating in the air.

BA2.54, The main purpose of the project program is bring the textiles and fashion industry bock to Leicester, building a decent facilities for the sector and also connect the site with the nature. The landscape proposed let anyone from the main entrance hove views to the canal and the forest.

BA2.55, Mix structure of steel, timber and concrete to be used to reinforce the existing building. This is the exhibition hall. This space is multi-functional. It can be use for a fashion catwalk show and an exposition place for the students. It can even be used textile companies as a business hub.

Textilio Hub is a community centre focused on textiles and fashion industry. The site hod a bunch of opportunities but the most fair election was use the existing building in order to maintain the essence of the site but also deliver sustainable project. Some building hove to go to achieve a better connectivity with the surrounding which ore plenty of green spaces and nature.

Morio Castaneyro Gonzales Textilia Hub

BA2.56, Sectional Perspective through the hub and workshop spaces.

BA2.57, Entrance foyer and exhibition space. BA2.57, Cafeteria.

Handmade Cities

An Act of Discovery

Jon E. Courtney-Thompson, Andrew F. Waite

Y3

Year 3

Our unit programme, working within the guiding theme for the year of Spatial Justice, will ask you to examine and appraise an area of disused and partially redundant buildings within the heart of Leicester. Through a process of discovery and investigation, you will be encouraged to develop a programme for renewal and regrowth for the site and the surrounding area. By understanding and discovery, a very personal building programme will develop, and a site will become obvious. We will ask you to really look and observe, record, map and grade the whole site - including the sky from horizon to horizon, from distant views right down to the smallest detail on the site. We want you to consider landscape in your proposals and how you might approach the site.

Our unit is also concerned with ‘Living silently with the earth’. We will be asking you to derive an architecture purely from the site and its local environs. We will be seeking an architectural solution that embraces any existing structures on the site and finds new ways to use and repurpose them. We will also seek to design sustainably using the key tenets of sustainable architecture. We will have a strict framework that guides and

develops with your project. Our unit theme of Handmade Cities will explore the act of making and designing the buildings that are already, or have been, on and around the site. We will review what ‘hand-made’ means in the context of these city forms, textures and their variable architectural scale, form, and language as derived by the limits of technology at the time of their construction. We will look at how technology and architecture changes as hand-made technology is replaced by mechanical solutions.

Francesca Brown Eden Cox

Lauren-Ann Davey Charlie Flynn Alberte Gomez Fojo Frida Hellmark Maja Kotlicka Kyle Longley Rudolfs Priedolins Lauren Ruff Lauren Swift

Abigail Rebecca Watson Thomas David Wood William Andrews

Kirolos Monsef William Aziz Dominic Cain

Kai Eaves Aman Sian Hunjan Thomas James Joseph Kermode Sultan-Ahmed Mahomed Linto Philip Lincoln Mitchinson Phillips-Morris Dylan Taank Savannah Jade Talbott Ieuan Thomas

B3.01, Dylan Taank

The adaptive reuse architecture scheme implements the spaces for an interactive plant system that has been divised into three elements, Plant Breeding, Hydroponics, and then the main feature an extension of Abbey park, a functional Botanical Greenhouse with seasonal and exotic plants. The programme is in three sections, first for production and attraction including a Market, a roofop pavillion, and a garden extending into Abbey Park or perhaps board walks that provide outdoor space into the cafe and into a landscape garden within the site.

Dylan Taank Industrial Botanical Gardens

BA3.01, How this links into the Interactive plants is through a process called plant breeding, through vertical hydroponic structures we can produce an effecient and sustainable ecology that can produce higher yields of vegetables that can be produced freshley on site and sold within the market space to the public. Not only this but the fresh produce can be directly used within the cafe/ restuarant as an example of a sustainable method of local food production.

BA3.02, In terms of making this a growing community that runs for 24hrs, living accomodation was an important factor but through a non-traditional method. An institution/school/boarding school-esque temporary form of living would be better in educating and keeping this centre alive, running the site through maintenance, physical planting, scientific plant centre, produce production etc In this way we are creating an intergenerational community through botanical learning, sustainable and local produce in the heart of Leicester.

BA3.03, Growing unit systems. Interactive Botanical Community Growing And Revitalising Industrial Leicester.

BA3.04, Section through the growing unit building.

BA3.05, Interior of the repurpose barn.

BA3.06, Facade detail for growing.

BA3.07, Interior of the repurpose barn.

BA3.08, Interior view from growing unit facade.

BA3.09, South Elevation

BA3.10, A “Plant Based” Textiles Colony Inspired by the pioneer, Willaim Morris & his novel, ‘News From Nowhere.’

The Handwoven Labyrinth

A “Plant Based” Textiles Colony -

Inspired by the pioneer Willaim Morris & his novel, ‘News From Nowhere’ The project raises a critique on the contemporary view of work as com industry under socialism. Inspired by Morris’s idealism & theories, the project manifests a typology of work & workspace that blurs the boundaries between work & leisure; workspace & living space. The proposal is a textile colony, with ‘The Citadel’ a trading market at parts from operations of conformity as IKEA, manufacturing bespoke home furnishings & decorative arts. It attempts to reengage with craftsmanship whilst overlapping it with contemporary technologies & to reestablish the human relationship to work, workspace & pleasure of work. In addition, the relationship between consumers & producers is rees-tablished. Not an aspect of the colony is predictable, as each produc-tion space is uniquely tailored to bespoke stages of the production process. However, the colony as a unified entity is harmoniously de-vised to maximize visual & corporeal comfort. The colony adopts an interwoven spatial language, interspersing pro tional experience while preserving the settlement’s sense of transparency.

BA3.11, Morris inspired wallpaper abstraction of the Corah Factory Site.

Dominic Cain

BA3.12, The Handwoven Labyrinth Textile Colony is set within the Old former Corah Site, with clear connections through a series of canal Marina’s, bridgeways & tram lines to Abbey Park & the urban centre. It is envisaged that a new utopian headquarters for the local textile network of businesses of Leicester to flourish, creating inventive, colourful craftsmanship, following William

Morris practice & beliefs. A central trading post, capitializing on the multi, diverse cultural people of this historic city will reinforce this added flavour & attractiveness to this new way of creating, making & trading, stimulating new fashion trends to reflect this site former glorious manufacturing days.

BA3.13, Exploded Axo, Main Habitation unit, The Market Citidel.

BA3.14, A Textile Legacy Remade: Reviving its Powerhouse Heritage & Putting your Workers First. A strong commitment to re-establish the Corah Soul, adapting to everchanging globalisation colony acting as one company & rewarding its workforce to enrich a maze of imagination & ambition to exceed expectations through crafting hard & enjoying socialising with a creative, optimistic community.

BA3.15, ‘A Holy Sanctuary Dedicated to William Morris’ Celebration of Crafting Genius Following Morris & Co’s philosophy & their professional collabration to ‘get a job done right’ & to a extremely high standard. With a return to love, care & attention, a strong dedication & passion to express your personal identity through making is one of lifes greatest rewards, & can help transform a house into a home. An belief that is lacking in today’s globalised, isolat-ed, modern society we live in.

BA3.16

BA3.16, BA3.17, ‘The Market Citadel (Main Building) ‘To Live, Work & Trade’ A Cluster of Live Work Globe Units. Captivated by the bright fabric colours & professionalism of embroidery, the market acts as a hub for trading of hosiery and textile goods delivered & produced on site. It is a place for creativity & knowledge to interexchange & flourish, socialising and observing the beauty of craft fullfil your imagination. The traders will be housed within their own globe to live, work, trade on different floors. Their house will be their business workshop & market stall.

BA3.17

CORAH:

The Journey to Urban Betterment.

The scheme is particularly aimed at students, health enthusiasts and the general public. We have introduced buffer zones in the landscaping strategy to implement boundaries for public. semi-private and private spaces.

WHY?

Typically students must attain strict spending habits whilst at college or university. By introducing a modular student quarter we aim to cut these outgoings whilst also bringing the community closer together. No longer will students need to worry about food shopping - as part of the rental package they are entitled to 3 nutritious meals per day.

The pop-up food markets serve as an opportunity to bring day and night life back into Corah. An everform changing cluster of modular food and drinks venues will be spead across the scheme carefully intergrated into the landscaping. The future of farming is here! The introduction of the Agricultural quarter is contributing to the revolution of a green future.

Organic food is grown in an indoor hydropinic greenhouse - everyone is encouraged to visit Corah and the new compelling scheme. where you can eat and drink produce grown in front of your eyes.

BA3.18, Axo render of student habitation modules.

Joseph Kermonde

BA3.19, Landscape Strategy. Understanding the role of which the landscaping plays in connecting the scheme is crucial. The masterplan has been carefully considered in order to create visually segregating boundaries between private, semi-private and public areas with the use of strategically placed vegetation buffer zones. The journey of the water underneath the site has also been proposed, this allows one to come to grips with our considerations for the new spaces and its feasibility.

BA3.20, A hydroponic vertical farming system running on water sourced from rainwater as well as from the River Soar can be implemented to produce organic goods for the food market. This would cut the cost on fresh goods being ordered to the food market since they can be grown and maintained on site.

BA3.21, Ensuring a sustainable approach throughtout the initial construction and prolonged user interaction of the ubran scheme remains the top priority. This is why we look to use lightweight and salvagable materials (where possible) in the inti al construction and implement new spaces such as bike and scooter charging storages to deter the use of cars and buses.

BA3.22, Hydroponics and Aeroponics are both methods of growing plants. The latter, aeroponics, is a method used to grow plants in the air without the use of soil.

BA3.23, Proposed Sytem: The proposed hydroponics system eliminates the use of any soil. instead it uses only a nutrient solution in a water solvent which the roots are submerged in. Hydroponics is also a method that does not use soil. but instead, uses only a nutrient solution in a water solvent which the roots are submerged in.

BA3.24, Student housing modules.

BA3.25, Elevation/detail of housing module.

BA3.27

BA3.26

BA3.26, BA2.27, De-Construction: The site is prepared for the outer building shell removal which will involve the use of cranes and scaffolding accompanied by DMC crew specialists.

The C. E. I Centre

The new proposed C.E.I quarter is every aspiring artists dream. ‘A place to create, a place to exhibit, a place to inspire’ This sustainable quarter will attract artists from all around leicester with its top of the range art’s facilities specialising in sculpting and painting. Offering an inspirational gallery at the heart of the quarter. The C.E.I gallery offers many opportunities to create, exhibit and inspire others in a social environment. In collaboration with the St.Margarets college, the C.E.I quarter seeks to develop a strong relationship with the students creating a mature community of aspiring artists and encourage them to follow their creative desires. Designed for the convenience of the public the

c.E.I quarter produces an enjoyable experience for the passers by with an urban landscape to create a smoother transition between leicester city and abbey park. The landscape is tailored to people to encourage walk-ability and make the journey enjoyable. The narrative of the design is derived from elements of the existing character in the built environment. The main drive for the project was to adapt and re-use existing features and create an architecture that compliments the historic character of the site.

This was driven into the design of the new c.E.I center, where a change in dynamic of the built environment was enforced to display a dramatic change in the character, complementing the historic parts of the site with a refreshing

new architecture. Complementing the old by creating the new. The narrative of the project has influenced the facade of the building in the new form. By extruding the open and broken spaces in the existing wall the new facade will display the character of the site but also display the change in en-vironment in contrast to the sur-rounding buildings. With inspiration from Richard Rogers and the early high-tech movement, a cantilevered space was developed into a construction to display the artwork in a gallery with design framing the view of the park.

BA3.28, Perspective collage of the C.E.I Centre from the entrance.

William Andrews

BA3.28, This collage is a concept of the interior spaces when circulating through the building. This follows the narrative of the project pro-gramme: create, exhibit, inspire. This is a concept vision of under-standing the spaces within the building where one can see the process of the art being made and also be inspired through the fin-ished pieces in the gallery.

BA3.29, The narrative of the design is derived from elements of the existing character in the built environment. The main drive for the project was to adapt and re-use existing features and create an architecture that compliments the historic character of the site. This was driven into the design of the new C.E.I center, where a change in dynamic of the built environment was enforced to display a dramatic change in the character, complementing the historic parts of the site with a refreshing new architecture complementing the old by creating the new.

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BA3.41, The master-plan has been designed td provide convenient access to all areas on the site. By understanding the pedestrian flow around the current site it was important to link all access points. The design of the master-plan was derived from the main routes of access and purposely changing the site geometry to give an immediate, dynamic change in the new built environment to complement and contrast with the old existing character of the site. Providing access to all was part of the wider concept therefore driving the canal through the site opened opportunities for boats and rowers to dock up within the site.

BA3.40, This spatial diagram displays the schedule of accommodation of the programme within the C.E.I Gallery.

BA3.42, The public square is the breakaway space from the c.E.I gallery, a place to relax and enjoy the surrounding environment. The space was designed to create an atmosphere surrounded by creativity. By adapting and re-using parts of the old site the old basement has been re-designed to encourage social interaction where the public square is in the centre of the programme.

BA3.43, From top left, library- to ensure the design meets the requirement of having places to read and study. Student accommodation Type 1 this particular accommodation has been designed for students or tutors that are not permanent residents at the site. Therefore have been designed to be commonly used as live work units. Market- Offers opportunities for work for students. The space has been adapted and re-used from one of the existing buildings within the site. This space will be used for students to socialise outside of the studio .

Friends of Earth Garden Spa

This proposal will introduce a ‘Friends of the Earth’ Community to Leicester through both urban design and more specific introductions. Plans will incorporate health, history, sustainability and naturalism, aiming to attract people who share the same beliefs of the power of earth and the value of nature. Taking inspiration from the historical Roman Jewry Wall that still stands in Leicester not too far from the site and Ancient Roman architecture, a new Bath/Spa building will extend south from the existing courtyard that sits on the Grand Union Canal and will be surrounded by green allotment space, a natural swimming pool, and other exciting sustainable features. The spa building is separated into two areas: The Food and Beverage Wing, and the Wellness Wing. The wellness wing will feature baths and pools of different shapes, sizes and temperatures.

BA3.44, Master Plan for site incorperating the Spa Gardens.

BA3.44

Lauren Swift

BA3.45, BA3.46, Sustainable Material

Considerations. Using recycled rubble and brick from the Corah Site is the most sustainable choice for building material as it is readily available on site and will not require any transportation. A way of using the recycled brick could be to fill gabions with the material. Traditionally, gabions are made

with a wire mesh cage, but to take it a step further steel could be decoratively laser cut and then oxidised (see photo bottom right) to create a more aesthetically pleasing product. This would require a finer level of craftsmanship, but the job could be taken on by local labourers or even future residents of the Friends of the Earth community.

BA3.46

BA3.47, Materials salvaged from the Corah Site are to be repurposed and given a new lease of life from Leicester’s Ancient Roman history.

B4.01, Andreas Giakoumoglou Y3

SYMBIOTE

Geraldine Dening, Neil Stacey, Lena Vassilev

The studio has three tutors and two sites. The two sites are very different. This difference will be used to explore (and explain) effective design strategies. The three tutors invite you to join the studio and engage in their collective interest in exploring symbiosis in architectural design.

Liveable Neighbourhoods

The project is ‘live’. LCC are currently undertaking design work with regard to walking & cycling infrastructure and green open space planning and design. This studio will plug into this live project, underpinned by my involvement in the project as a DMU consultant to LCC. Part of the live project includes a ‘gateway’ for the east end of the green space. More will be explained in due course. The landscape and openspace resources in this part of Leicester have the potential to be exceptional. Beaumont Leys has a wealth of greenspace. It is underused and undervalued. There are possibilities to devise projects that link internal and external spaces and invite landscape into buildings to better support well-being.

Field Operatives

Our section will focus on themes surrounding the topic of Landscape Urbanism, an emerging theory of design practice which blends contemporary issues of site and ecology and uses landscape as the structuring medium of a given place. We will then develop architectural proposals through the systematic understanding of site to reveal hybrid architectural and landscape potentials.

Landscape_Building_Community

How can architecture address the Fourth Industrial Revolution in a way that puts social sustainability above profit? Historically the effects of industrial revolutions have been significant upheaval in working relations, fundamental social and economic change, with concomitant changes in living and working environments and conditions. While they are often described as mechanisms for progress and positive change, for those who are subject with little agency over these changes the consequences can be devastating: a reordering of society to one of complete surveillance, automation, artificial intelligence and the transformation of working and social life. What response can architecture offer to this situation?

Year 3

Syed Ali Ahmed

Sulaiman Ashraf

Daniel Brennan Jessika Elalam

Domenica Freire Lucero

Aristeidis Georgiadis

Yara Jajeh

Jordan King

Nikilla Patel

Anish Rana

Pattarasuda Sapnak

Samuel Wimbush

Michal Zymon

Ahmed Abdalla

Adeyemi Adebola Adeniji

Shaikh Ahsan Ahmed

Imad Mahmoud Almekdad

Seth Kwaku Amoah

Josef Brougham

Chrysanthos Georgiou

Andreas Giakoumoglou

Opeyemi Lekuti-Adesemowo Stella Makri

Shyam Patel

Mohamed Joheb Patel

Savvas Savva

Nadine Ahmed Abdelkarim Lydia Brant

Tatiana Camacho Pita

Maxime Ajoy Carnegie

Baljeevan Singh Deu Kai Doyle

Ryan Alexander Elliott

Emma Mainey Mohammed Amin Patel

Emilia Samociuk

Paulina Maja Szczurek

Emefa Gbinu Ahialey Takyie

BA4.02 to BA4.05, Domenica Freire, The Floating Biorefinary. An emerging platform for society’s transition to low-carbon energy and economy: The 4th Industrial Revolution the architect is no longer an individual, but a collective that employs empathy to connect networks by employing systems of thinking and collective

entropy to innovate and develop a revolutionary architecture that can solve world issues. The proposed structures stand alive, living symbiotically with its environ-ment by harvesting the Grand Union Canal quickly replenishing biofuel: Algae.

Jessika Elalam

Flax: The Sustainable Textile Factory

Corah factory was one of the largest and most prestigious firms in the UK hosiery and textile industry. Over time the site transformed from small industrial organizations to one big organization to now again small organizations occupying the factory. These smaller businesses are separated and the thing that used to connect them all together has been lost. Due to the huge impacts of fashion and textile production on the environment, I was looking for sustainable ways to produce textiles bringing back the historical importance of the site. Flax is one of the oldest clothing material that has been grown and sold in the UK for centuries. It is one of the most sustainable

fibres that can grow without water and chemicals. Growing flax on site helps to provide a sustainable raw material to make clothing creating a closed loop and flax helps to regenerate the land instead of reducing it. Various dye plants will be grown on site bringing back the old sustainable way of textile dyeing eliminating the need for chemicals.

The aim is to create a different kind of factory, where the raw material is grown locally to create locally grown natural fibres. It is about opening up the factory to the public weaving it with the surrounding allowing the public to engage with the production process. Two new buildings are proposed on site which includes textile exhibition space, flax manufacturing processes, textile design studios and indoor farming of

flax and dye plants (in indoor farming seasons can be extended providing raw material all year long).

All existing buildings will be refurbished and repurposed. Businesses and housing will be accommodated on site bringing more people in and increasing diversity. Recycling of textiles is proposed on site which helps in reducing the need of importing raw materials and start relying on recycled fabrics creating a sustainable community.

BA4.06, Corah site is situated to the North of the city centre. It is located between the city centre and the canal and Abbey park. The site has a significant industrial and social heritage. The site is currently utilized as a car park. Flax fibre plant helps to regenerate natural habitat and provide raw material for textile making. Dye plants used for dyeing textile naturally. Reed plant helps in cleaning the water and increasing diversity.

BA4.07, The Ground Floor includes the flax processing stages, spinning, weaving workshop, natural textile dyeing workshop and the public teaching space. The central atrium is part of the existing landscape, there are entrances from both sides allowing the public to enter from one side and exist from the other experiencing the different activities. The exhibition space and the café building defining the edge of the street and creating an entrance to the site allowing people to see the clothes made on site.

BA4.08, The sections shows the connection of the building with the existing landscape. The atrium is part of the landscape where people from the city centre enter and walk along the side South-east entrance experiencing the different activities of the building. There is another door on the North-west side where people enter from one side and exist from the other.

BA4.09, The building is mainly glazed increasing connection to the outside and allowing the public to engage with the production processes.

BA4.10, The Central atrium with seating and growing plants

BA4.11, Teaching space where people can learn how to process flax using traditional equipment.

BA4.12, Sewing workshop with north glazing providing adequate lighting.

BA4.13, Indoor farming of Flax. BIPV glass solar panels brings light in and generate energy.

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Symviosi

Gardens and Research Centre.

Beaumont Leys is a suburb and electoral ward in north-western Leicester, UK. It’s Green space is used daily by its locals to walk their dogs, cycle or take their kids to school. What is we could unite all these activities and locals by reintroducing this green space? Walking

through Beaumont Leys one can feel their senses combining as they enjoy their stroll. The taste of fresh air, the sound of animals, the feel of grass and the smell of nature. Symviosi Gardens and Research centre presents the Funghi Project, introducing a series of sensory gardens and educational facilities in which visitors can actively and passively learn about the benefits of funghi and how to incorporate them into their daily

life, from food to medicine. It aims to help the local community by producing about 200kg/w of funghi through the facility’s fruiting station which can then be sold to local supermarkets or pharmacies but also allows visitors to sustain a local garden within the gardens or greenhouse helping anyone in need of fresh produce.

BA4.14, Space configurations.

BA4.15, Project manifesto for sustainibility centering on funghi as the main thematic idea.

BA4.17, The site surrounding the building is a water catchment area . The aim to filter or purify the collected water so that it can be reused for plant growjng, farming or general use. 8 steps are use from different research technologies of filteration and precipitation. The aim is to get the best result for clean water without the need of heavy machinery contributing positively to the

Stella Makri

BA4.16, Plan utilising the slope and adding reed bed system to aid oxygenation in the system. Overhangs surrounding the building makes circulation easier for visitors with extending rafters.

sustainability. Visitors walking around tne gardens can observe this process, contributing to the passive learning offered by the buildings themselv,es. The purification will hopefully benefit the ecological diversity of the site and offer emission reduction.

BA4.18, Form expressions with intergration to landscape design. Experimenting with frame. Wire, wood, and mesh to help show changes in level, materiality and dynamic.

BA4.19, The Beaumont Leys Site has vast changes in contour/topography and it is important to document them because they will be critical in a lot of decisions made in the development of this project. On the site sections we can see that the site pathway is located on slopping contours, which means that it can be seen in an abstract way as a small valley, with all the components wrapping around the site.

Andreas Giakoumogiou Beymont Community Bath House.

BA4.20, The materiality and the surfaces chosen in this project consist of light tones, and combine natural features. Concrete, The layering of those materials allow for transitional corridors to help the circulation and play with transparency and light through the interior of the building all the way to the exterior.

BA4.21, Space creating a sence of inclusion. The wall is build to also accomedate vegetation and trees that were located here before hand, allowing for space in between for the trees. The building intergrates nature as the protagonist while its simplistic rather struc-ture, allow for the view to be the true visual focal point.

BA4.22 Atmospheric render of the bathing pools as spaces to boast well being. Evidence suggests there are five steps that improve and help define wellbeing. First of all, connecting with people. This helps build a sense of belonging, self-worth and provide support to individuals, that also sup-port others. The second step is being physically active. This will help raise self-esteem and help an individual set goals and challenges that they do achieve. The third step is to practice mindfulness, paying attention to the present. Not overthinking neither planning too far ahead. The fourth step is an important one, and its about leaning new skills. Keeping some-ones self busy with new tasks. This boosts self-confidence and it raises selfesteem, helping to build a sense of purpose.

Jordan King

The Cable Car System for the Uncooked City.

The cable car station provides an alternative to motorvehicle travel into the city centre, whilst also giving the surrounding component factory a method of moving goods and materials in and out of the city. Sat at the heart of a corporation manufacturing CLT components, the cable car station provides a unique interplay of multiple urban systems to the city of Leicester.

Lydia Brant The Forest Project

Targeting the demographic of local primary school children, The Forest Project addresses the need to educate children on the importance of health and fitness. Such ideas are explored through three activity schemes - the culinary classes, the gardening/ allotment schemes and a cycling programme. The building offers an array of interactive design features to encourage activity as well as increase involvement with architecture and nature including a partial mezzanine lunch space in the tree canopy. Interior design aspects involve a green wall ‘maze’ embedded with perforated seating and view points to enable participants to experience nature internally and explore further into the activity centre. Further interactive design features

revolved around manual mechanisms to open skylights or fold the vertical-concertina doorincreasing ventilation and light throughout spaces. Additionally, The Forest Project addresses sustainability via green roof and living wall schemes, solar-tiled facades and locally sourced materials. When experiencing the health-oriented spaces, children also engage in a narrative throughout the activity centre that continues through the Beaumont Leys site in the form of street furniture interventions.

Both green design features of the activity centre offer sustainable aspects - the green wall maze moderates the ambient temperature of the internal environment and produces a positive effect that can improve a persons well-being whilst creating an interactive space for the children. With children part-taking in various activities, the

green roof reduces the ambient noise levels as well as creating a gradual integration of The Forest Project with its environment. The aluminium cladding is combined with solar tiles, producing an interesting facade as well as providing energy to the building. Additionally, this concept can be used to educate children on the importance of sustainability.

BA4.26

BA4.27

BA4.25 BA4.28

BA4.25- BA4.28, One of the key identities to the Beaumont Leys site was the minimal encouragement to remain within the area for pro-longed activity - such observations stemmed from the limited variations in nodes and landmarks, leaving an ordinary site with little distinguishable features. The narrative begins when children arrive at The Forest Project and embark on a journey through the main building continuing through a courtyard to the gardening and cycling activity pods. Distributed along the site are furnishing details to encourage visitation and activity.

BA4.29, Arriving via bus, pupils/students approach an architectural structure that forms a shelter for the bus drop-off zone. Following a main route through the “welcoming-pod”, smaller areas divide into various activities tail off into individual pods. A room for bike collection or hire, another for health class introductions and finally a gathering point for gardening equipment. Towards the end of the site, participants are faced with another building appearing similar in design to the reception space. This area indicates the end of the “learning journey” as well as doubling up as another bus collection point.

BA4.30, Detail Axo showing the strategy for sustainable design.

BA4.31, Each pod presents a new task or opportunity to learn about health and well-being. Moving through the site shows pods that include classes for healthy recipes, how to maintain allotment produce all year round and classes explaining the benefits of cycling / road-cycling. Amongst these pods there are fitness interventions to aid physical and mental health such as yoga and smaller team / community building activities. With every pod along the site, there is an opportunity for both internal and external learning meaning that regardless of the weather or COVID/any future pandemic scenario, all pod areas can remain open and lively.

BA4.30, Building Elevation.

BA4.31, LANDSCAPING- to develop the existing landscape, the grid system is made up of hard wooden landscaping and soft grass landscaping. The grid system pattern and the existing trees help to create both soft and physical ‘fortress-boarder. GRID FORMED FROM NET- geometric space highlights the boundary for landscaping. Planting boxes enable pupils to experience an outdoor activity surrounded by existing landscapes. pods. A room for bike collection or hire, another for health class introductions and finally a gathering point for gardening equipment. From here, sub groups begin to travel through the Beaumont Leys from the East to the West, each taking their own designated “group activity” route.

Aristeidis Georgiadis

Architecture For Human Senses

The purpose of the iirst board is to start making the viewer familiar with my approach and proposals. Firstly the collage is inspired by the fowt.h industrial revolution showing key characteristics of it. Next below it there is a new path way collage, the reason that goes all aroW1d the site is for the people visiting to e.xprerience and view as much as they can. To the right of the collage diagram there is site plan showing the location of my proposals and the general area. Beow the collage diagram there is an axonometric diagram focusing on the landscape strategy and the connections between the pcrposals which water areas are formed and under the paths tube that produce sounds using air exist. To tl1e right of the axonometric diagram there is the combination of senses, which are the spaces between my propasals. Restaurant(taste) and perfume shop(smelJ) space a wine tasting bar was designed, Cinemas(vision) and recording studios (hear) an underground space was created to exprerience sound with the lack of light. Cinemas(vsion) and scultpure workshop(touch) and outdoor scultping workshop was created since in the proposal scultpting workshop there is lack of Light. Finally at the left of the board there are ground floor plan, basement plan and a detailef section of the scultpting workshops which has a green roof

BA4.32, Site Plan.

BA4.32, Axonometric diagram focusing on landscape strategy.

BA4.33, Collage depicting the 5 senses as building conceptual idea for form and space.

BA4.34, Section through the underground study hall.

BA4.32, Axonometric showing the distrubuting of space from the interpretation of the five senses.

B2.01, Trondhiem Communal & Nature Centre, Joseph Holmes, Building Performance & Technology 3. Y2

Challenging Deep-Seated Typologies

Year 2 offers the students diverse approaches and ideologies to architectural design under a certain thematic umbrella in which students can explore their own personal interest and passion. The module focuses on giving the students ownership of the project’s brief and approach to explore their personal ideas under one of the different studio pathways offered.

Studio Pathways

The thematic umbrella for this year’s studio pathways revolves around the idea of Challenging Deep-seated Architectural Typologies. A key point in this project is for the students to crose barriers of taken-for-granted categories, blend new programmes to old ones, expand the potentials of those typologies and leave behind the unchallenged mainstream of what is often expected and accepted as the norms for those typologies. We are offering different projects in which a certain typology are studied in depth and then challenged from a different angle (e.g. change of habits and ways of life, technology, response to climate change, Post-Covid changes, etc.)

01: CHALLENGING THE OFFICE TYPOLOGY

Live-Work Place In A Pandemic Age. (Russell Vernum, Mark Hillier)

The pandemic has posed a number of questions about how we work, how we travel to work and how we should minimise contact to reduce transmission rates. For a lot of people this has led to prolonged periods of isolation and a lack of social contact leading to psychological problems. ‘Working from home’ has led to additional pressures increasing the levels of domestic violence and divorce. Therefore, this project considers the creation of a small complex of live work units,

and office starter units flexible adaptable and truly sustainable. It is about the conception of a piece of architecture that will provide a new era in office and home living, green space clear air and a sustainable future a good context to be explored within the scope of this project. The area will need to be car free. The project is about the design of a modular concept that addresses cultural aspects of the city, whilst helping to creating a sense of place. It is expected to have a 10-15 years life span that these structures will develop and expand with companies and starts ups merging and flexing in a modern world. The project will involve the development of a sustainable strategy with a view of taking 20%+ materiality out of architecture and has the added complexity of developing an environmental strategy for a carbon neutral site.

Challenging The Norms In The Workplace. (Yasser Megahed)

This project is about the workplace, the office; a building typology that had dramatically changed in the last hundred years or so. The office building is a very rich exercise in architectural terms. It is one of those rare examples where the client of the building (The employer/The Corporate) and its users (The employees) are directly interrelated. From the early industrialists to multinational banks, insurance companies, up to our current moment where giant IT and online shopping conglomerates are leading the global economy; the office building typology always acted as a showcase for values and attitudes towards work.

Yasser Megahed, Russell Vernum, Mark Hillier, Rokhshid Ghaziani, Clare Bowman, Muthar Al-Salloum, Steffan Davies, Alona Martinez Perez, Selim Halulu, Adriana Massidda.

0.2 RECONSIDERING SCHOOL DESIGN

A Post-Pandemic Primary School. (Rokhshid Ghaziani)

The classroom, as we have known it for centuries, will also be re-imagined. Anthony Salcito, Vice-President of Education at Microsoft, predicts technology will see schools morphing into “learning hubs.” This project, therefore, explores a long-term solution for a post-pandemic school typology: an adaptable, flexible and simulating school that considers health and wellbeing of children and staff. This project aims to explore rethinking learning and re-imagining the classroom, as we have known it for centuries. Research should be carried out to inform the decision making for the concept and its development. The design process needs to be recorded on the learning journal. A careful study of requirements, types of accommodation, technical standards and building regulations is needed. The school building must sit well with in the urban context and respond to it in a contemporary way.

Children’s Library At Loving Community Ahmedabad, India (Steffan Davies)

The Loving Community in Ahmadabad is a sector with a wide variety of families who live from the street trade and begging, among other sources of income. This population is vulnerable and of low economic resources that hardly allows them to meet their basic daily needs. To assure the family income, parents and other adult family members need to guarantee their children basic care because their work forces them in most cases, to leave the community throughout the day. Children at the Loving community do not have a suitable space to contribute to lifelong education, access to knowledge and culture equally and freely in which bibliographic material can be provided for the entertainment, teaching and culture. All these aspects allow us to identify within the Loving community unique conditions in which there is a clear lack of spaces suitable for cognitive, social and cultural development that allows them to develop as creative people within such an adverse society. Thus, the Children’s library project arises from this need.

The Imagination Hub (Clare Bowman, Muthar Al-Salloum)

A conscious use of space light and materials Leicester City Council Task Group for Change have identified a need for access to education facilities for all ages and have allocated funds to create learning resources with direct access to the Museum and Art Gallery. The Council require a long-term Masterplan vision for the sensitive alteration to the existing museum and art gallery to meet the changing needs of Leicester within the context of a pandemic. They also require a more detailed proposal for an extension which includes creation of adaptable, accessible and simulating flexible education facilities to provide to support the study of Arts’, Science & Music for all.

0.3 CHALLENGING THE CULTURAL TYPOLOGY

Leicester Dance Centre. (Alona Martinez Perez)

The aim of this project is to create of a medium sized mixeduse multipurpose space in which dancing and movement can become a centre for National Dancing Excellence that support local community groups, and citizens can gather for small exhibitions, offering a café and also some artist’s offices and social incubator for community activities, such as classes for Parkinson Patients, school programmes, and programmes for dance and refugees etc.

0.4

CHALLENGING THE COMMERCIAL TYPOLOGY Wild @ Heart 2 (Selim Halulu)

The Studio is interested in architecture as a bi-product of experiments that seek to connect the unconnected and at the same time, as a continuation of the catalogue of searches that derive from individual observations. The studio requires each member to: engage in fluid learning, produce responses rather than establishing solutions, maximise the scope of knowledge around a specific idea, oscillate between the mundane and the extraordinary, develop an argument through zig-zagging the work, consider format and relevance, and delight in the unknown!

0.5:

CHALLENGING THE HEALTH/CARE TYPOLOGY

VULNERABLE SPACES. (Adriana Laura Massidda)

We live in the context of an aging population, yet the spatial experience of older people in the city, and often also in domestic space, is fraught with conflict, discomfort and even anxiety. In addition, spaces designed for the elderly rarely consider the different sensitivities and speeds which we live at as we age, nor our different capabilities. The spatial quality, variety of scales, and attention to materiality in the design of the spaces that older people use are key to their wellbeing and sustained activeness, as well as the experience of those around them. Current debates and interest in designing for older people are gaining momentum in the UK. However, the bulk of the attention is placed on accommodation buildings, while aging in one’s own home is the preference of many older people. This project challenges the centrality of accommodation in later life design by producing a day centre aimed at enhancing life quality for local aging residents. In addition, conceived of as an extension of their homes, it challenges the house as a typology by seeing it as not restricted to what lies behind the entrance door.

Year 2

Albert-Fowora Sam, Antoniou Panos, Salar Ashkboos, Bell Cameron, Carrier Euan, Carrol Daniel Peter, Chrysanthou Constantinos, D’Ambrosio Charis, Garewal Jayden, Ghodiwala Faizan, Holt Jack, Hussain Aaid, Hutchinson Matthew, King Harry James, Kochanova Irina Tsenoslavova, Lambert Adam, Muggeridge Elisha, Mwithiga Ike Onzere, Nagar Prina, Neofytou Korina, Patel Palak Priteshkumar, Perry Brandon, Sanwo Clare, Singh Vikas, Theodoulou Aria, Wojnowicz Filip, Abdul Sattar Bilal, Anil Emy, Chapman Joseph, Foulkes-Nock, Matthew Oliver, James, Jarvis Muflahi, Aseal Khalid Ahmed, Orton Jake, Starr Kieran, Stolarz Oliwia, Tahiri Art, Underwood Samuel Gray, Edward Austin, Horsnall Benjamin Mark, Rana Drishika, Staves Jonathan, Tembo Chisomo, Thornley Harry Michael, Trakrutkaeo Wiraphan, Warman Chad, Warren Sadie Rose, Cooper Declan, Kayumba Katshilumba, Sara Ntumba Mercer, Dylan Thomas, Ajala John, Asahd Ali, Davenport Sean, Dus Sandra Maria, Ivanova Siyana, Jenkins Jack Oliver, Lecznar Karol, Patel Dillon, Salama Diana, Salama Mark, Wang Jia Long, Sedgebear Luke, Shadrick Joe, Sandhar Amar, Exton Bethany Jade, Kuri Gregory, Nurul Farah Haji Mohamed, Mohammad Shenie, Satam Neha Chandrashekhar, Satchell Elise, Wasilewski Gabriel, Debocs Natanael, Wrobel Wiktoria Maja, Goldsbury Callum, Modac Veronica Victoria, Naveed Kamran, Alam Shafiul, Burton Myron, Dobrescu Madalina-Maria, Fragkou Eleni, Edward Goodridge, Habal Rama, Houlden Maria, Idris Mohd Wafiy Nafiz, Jumaa, Hamza Mussa Zain, Ndumbogani Iddy, Parikh Vidhi, Kai Fung Ching, Aizul Rohan Julia, Chopra Prisha, Eggay Hannaan, Ganesh Rohan, Georgiev Aleksandar Miroslavov, Hirica Horia, Knight Samuel, Nnabugo Michael Jide, Russell Perkins, Lorien Satti, Dalia Savage, Rachel Sharma, Jay, Ssekabira, Jamal Vakhnova Daria, Ciuraru-Pal Ana-Maria, Dyer Luke, Gajjar Mihir Girishbhai, Gerulskyte Neringa, Joseph Michael Langford Holmes, Jabiri Zaid, Metcalfe Emily, Nasrin Tamanna, Okoye Chidera, Oyekan Manuela, Perkins Lucy, Poiana Sabrina Maria, Wimolrat Gemmie Poolsiri, Karim Mustafa Bilal Cevik, Chromiec Agata Lucja, Dong Yiming, Durrell Nicole, Emsen Debra, Kowejsza Martyna, Kwofie Lillian, La Sabrina Mei Yee, Mcleod Samuel, McPherson Faith Sarah Louise, Nieckula Aleksandra Thao, Pattni Bhavika, Uwazie Gift Chimdinma, Ventura Angela Miles.

B2.02, Jack

B2.03

B2.04

B2.03, Jack Oliver Jenkins, An Extension on the Georgian Promenade, Interior perspective of the community centre. B2.04, Window design textured with brick, stone work. polychrome detail and Chinese pan window

Oliver Jenkins, An Extension on the Georgian Promenade, Building Axo. Design 3.

B2.05, Jack Oliver Jenkins, An Extension on the Georgian Promenade, view from New Walk, Leicester. Design 3.

B2.06, Jack Oliver Jenkins, An Extension on the Georgian Promenade, view of entrance with disabled landscape entrance.

B2.08-2.09,

B2.10,

B2.07, Euan Carrier, The Leicester Centre for Architecture, view from New Walk.

Euan Carrier, The Leicester Centre for Architecture, elevations.

Samuel Knight, The Arcway Center for Architecture, New Walk.

B2.12,

B2.11, Manuela Oyekan, Wild@Heart, The Synergy Of Everyday And The Extraordinary. The aim of this project is to combine the elements of cinema and theatre with the typology of a Day and Night market. The synergy aims to communicate the phycological and behavioural challenges one faces in a commerical setting and amplifying the atmosphere and dynamics through theatrical and cinematic elements. This project will address the importance of the performance as a everyday system which allows us to experience the extraordinary. This project will address the importance of the performance as a everyday system which allows us to experience the extraordinary through a combination of spaces that either can be connected or altered by the user.

Manuela Oyekan, Wild@Heart The Synergy Of Everyday And The Extraordinary.

B2.13, Manuela Oyekan, Wild@Heart The Synergy Of Everyday And The Extraordinary. Day+Night, Showing the dynamics of the synergy pathway creating a extention of the day and night market. The DAY focus is for users to explore the elements of the architecture. The NIGHT implementation of theatrical elements create a immersive experience.

B2.14, Aaid Hussain, The Architecture Centre, New Walk.

B2.15, Josepth Holmes, Wild@Heart, The proposal focuses prhnarily on greenery, overgrowth, wildlife, and rejuvenation of the surrounding island. Focusing primarily on creating an Eco-friendly island environment, the proposal aims to combine a sustain able supermarket with a bird aviary.

B2.16-2.17, Josepth Holmes, Wild@Heart, Supermarket & Bird Aviary, Soar Island.

B2.18-2.19, Josepth Holmes, Wild@Heart, Supermarket & Bird Aviary, Section through the market hall and bird aviary.

B2.20, Samuel Knight, MOVE, The scheme is intented to be use as an open space for social activities for the Bath and Talbot Lane area. The main spaces are dance rooms and a hall for the dance school benifiting the local and students living within the area. Each spaces are with natural lighthing to encourage sustainability while a green roof is applied throughout.

B2.21, Shaifiul Alam, Loving Community Library, Ahmedabad, India.

B2.22, Jack Holt, How to Live/Work in a Pandemic Age. To develop is an adaptable Live/Work unit that tackles the negative effects of living in a pande1nic where rules socialisation, exercise, and recreation. It should also develop a sustainable passive ap proach to combat the current situation. Another goal of the design is to promote positive mental health through biophilic design and views to nature. The overall reason for this is to create design that is future proof, it is able to adapt to expanding families, a pandemic, and it may even he ahle to be moved to a different location depending on the circumstances.

B2.23, Jack Holt, How to Live/Work in a Pandemic Age. Exterior render showing the modular living unit set in a woodland area.

Experiencing Architecture

Architects constantly refresh and expand their ways of experiencing and imagining space. In the first semester, year one students initially experimented with the representation and re-purposing of a mechanical object - Architecture of the Object project. This then led to the re-conception of their object into a Break Space within the city. The second semester focused on the design of a collection of artefacts– Exhibition Space as ‘event’.

In the Architecture of the Object project, students produced orthographic drawings of different objects that they selected including 1980s cassette players, watches, photographic SLR cameras, typewriters, toy guns, etc. Students represented the dissection of their objects. Spatial compositional arrangements of components in exploded isometric drawings allowed for a re-formulation of the dis-assembled components into new and unexpected object assemblages. This led to the conception of identifying potential spatial relations from their objects in order to develop an Imaginary Space. These would then inform their design studio project, the Break Space. In this project students expanded their imaginary spaces by designing a small intervention space within the Lanes. This ‘sensory’ room (max 5 sq. metres) that could only be used for up-to one hour would alter the participants’ perceptual field. Students proposed experiential spaces within the city that included mirrored labyrinths, playrooms, sleeping pods for the homeless, gardening rooms, viewing platforms for children, etc.

In semester two, students designed the Exhibition Space. They selected their own collection or ‘event’ and developed a secondary programme in relation to their primary exhibition space. The projects would be based on how inhabitants’ experience the collection/event, and its secondary spaces. Students developed imaginative proposals on various themes that included a library for getting lost, a speculative exhibition on the Covid pandemic, an exhibition on connectivity within urban space, as well as exhibitions on doors, wedding dresses, video game experiences, musical instruments, shoes, sporting activities, etc. Throughout the year students explored context, spatial organization, materiality, programme, scale and narrative in architecture through drawing, model-making and mixed media techniques. During the academic year, students challenged their pre-conceptions of what architecture is, and sought to produce their own approach towards space-making that acknowledged their own spatial experiences and desires.

George Themistokleous, Christina Agathangelou, Rebecca Sturgess, Sylvester Cheung, Phil Cooksey, Anisha Meggi, Vinesh Pomal, Teresa Stoppani, Marco Fiorino, Shaukat Patel.

B1.01, Max Cook. BA-Y1

Year 1

Naell Aboubaker,Fatima Ahmed, Khadijah Aigbehinmua, Magdalena Hristova Altanska, Andreas Anstee, Afzal Ahmed Anver, Joycelyn Arthur, Michael Asante, Anna Marissa Azrai, Mateusz Ballue, Timothy Bela, Marks Belinovs, Cameron Bennett, Tegan Bennett, Amir Ali Kanwar, Ivan Bobylev, Simona Bordea, Conor Bressington, Mya Aliyah Bridgewater, Abigail Broadbent, Jordon Broughton, Fayeti Buyanga, Chelsea Kate Cariazo, Thelma Chakanyuka, Carrie Cheung, Sunvir Chohan, Mohammed Atif Chowdhury, Maximilian Cook, Riccardo Crainic, Jennifer Cusme, Saabir Dadu, Robert Dargue, Supriya Dinesh Koparde, Arnold Duenas, Nor El Shahat, George Fink, Ben Foster, Ioana Frandes, Thomas Garbould, Avantika Ghanata, Amreen Gill, Marcus David Goss, Laura Grajcevci, Ayla Hadzovic, Finley Harper, Denis Hoxha, Yan Naing Htun, Paige Emma Hurst, Nadir Ismail, Charles William Jarvis, Anisha Jassal, Zachary Jennings, David Jonjo Jr, Yagmur Kabala, Gulcan Kara, Miroslav Kenderov, Tariqa KhabiaSulaiman, Zaynah Khan, Areej Khatri, Omer Koldju, Nadya Kostenska, Aleksandra Kowalik, Kyriakos Kyrou, Alfie Larke, Enioluwami Luwoye, Alexis Malcolm, Razvan Mercea, Vongai Ruth Mhembere, Maroje Miljan, Jon Morris-Sharpe, Jarrard Mytton, Barbara Maria Naciasta, Ijeoma Nwajagu, Olubusola Oduleye, Chisom Ogakwu, Miriam Ogunyemi, Noah O’hare, Belgin Okatan, Emmanuel Onigbanjo, Kye Ostler, Olga Georgia Papadopoulou, Hari-Arjun Parmar, Amelia Peacham, Maria Pereira Guarda, Laura Pietryga, Vartik Quessou, Khondaker Uthsha Rahman, Raj Rajesh, Amie Redfern, Ara Rhema, Ana Irina Risnoveanu, Matthew Robinson, Jakub Rozanski, Daniel Samuel, Raven Schneider, Kristian Shaawi, Karyna Sharifi Dorani, Tejaswi Sharma, Yash Sharma, Styliani Siamisii, Marcos Sisamos, Jake Southcombe, Maddison Taylor, Hussain Tejani, Arushan Thavathalagan, Sanjay Thind, Tom Thomas, Samad Tijani, Filip Tomasz Wichrowski, Ashly Tomy, Hiba Allah Touiger, Bethany Alexandra Towell, Michalina Ulatowska, Yusuf Umarr, Rory Ursell, Sujal Vasant, Katherine Waller, Hasan Waqar, Antonia Whyte, Weronika Wilk, Courtney Willsher, Max Winfield, Karolina Bogna Wojtaszko, Ashanti Wright, Olimpia Zakrzewska, Mya Ejieme Eromosele, Kera Gregory.

B1.03, Jake Southcombe

B1.04, Aleksandra Kowalik

B1.02, Ricardo Crainic

B1.05, Abigail Broadbent B1.08, Paige Hurst

B1.06, Mateusz Ballue B1.07, Mateusz Ballue B1.09, Anna Marissa Azrai

B1.10, Rob Dargue

B1.11, Rob Dargue

B1.12, Ricardo Crainic

B1.13, Jake Southcombe

B1.14, Abigail Broadbent

B1.14, Thomas Garbould

B1.15, Paige Hurst

B1.16, Amelia Peacham

B1.17, Marcus David Goss

B1.18, Magdalena Altanska

B1.19,Magdalena Altanska

B1.20, Marcus David Goss

B1.21, Paige Hurst

B1.22, Max Winfield

B1.23, Ivan Bobylev

B1.24, Ivan Bobylev

B1.25, Paige Hurst

LUIS ZAPATA MONTALVO PROGRAMME LEADER

Bsc-Y3

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.

Taylor Baston, New Walk Hotel.

BSc1.01, Taylor Baston, New Walk Hotel.

Integrated Design Project

Architectural Technology focuses primarily on the science attributed to the built environment, highlighting the due consideration required to embrace sustainability and human comfort within construction evolution. The BSc (Hons) Architectural Technology programme encourages scrutiny in areas such as Environmental Design, Building Technology, Professional Practice, Building Economics, Project Management, Technological and Environmental Innovation, Contractual & Legal Obligation, Integrated Design, and Building IT & Modelling.

The conclusive integration of subjects within the BSc (Hons) Architectural Technology programme allows the student to gain a full and robust knowledge of all major aspects within the construction industry, endorsing the formation of informed decisions and structured guidance required to further develop their understanding and skills as they progress through their career.

Whilst several components within the BSc (Hons) Architectural Technology programme focus on the formalities & legalities of working in practice, codes of conduct, etc, Integrated Design requires the documentation and discussion of a ‘conceptual idea to final design’ development process encompassing all aspects. In effect, the student is encouraged to explore all roles found in an architectural practice. The ability and skills to discuss and communicate design decisions is explored, closely guided by both senior academics and industry professionals. Integrated Design embraces the further development of sustainable building composition, exploring through the formulation of strategies appropriate with technological design, facilitating support and consolidation of core areas within the Architectural Technology programme. Further to this, emphasis is settled on the expansion of knowledge of statutory regulations, local planning context, and best practice within sustainable design.

The desired outcome is a low energy building, embracing functionality and sustainability whilst demonstrating a response to economic, environmental, and human comfort requirements. This development of design requires independent research and critical analysis of concepts, tools, and techniques relevant to sustainable buildings. This Integrated Design component allows the demonstration of student’s understanding, skills, and abilities through the design of a medium sized building such as a complex hotel & conference facility in an urban location.

Year 3 Bsc

Fai Yousef Albalawi Saara Sulaiman Alwheeby Taylor Baston Ethan Taylor Buttifant Lameck Chipatuko Jessica Dance Rawan Elkharbotly Maciej Lucerski Seif Nazirguiri Natvargar Nagargar Taijan Patel Mohammed Salloo Syeda Tasmiya Tajamul Nour Wappi Natalia Patrycja Wilkowska

Luis Zapata Montalvo, Simon Bird, Melvyn King.

BSc1.02, Taylor Baston, New Walk Hotel.

BSc1.03, Taylor Baston, New Walk Hotel.

BSc1.04, Taylor Baston, New Walk Hotel.

BSc1.05, Taylor Baston, New Walk Hotel.

BSc1.06, Taylor Baston, New Walk Hotel.

BSc1.07, Taylor Baston, New Walk Hotel.

BSc1.08, Fai Al-Balawi, New Walk Hotel.

BSc1.09, Fai Al-Balawi, New Walk Hotel.

BSc1.10, Taylor Baston, New Walk Hotel. View of the back of the hotel for services and car drop-off. This view is from King Street.

BSc1.06, Taylor Baston, New Walk Hotel. View from the lower street of New Walk. The angle is to contrast the flat facade on the right side of the street. It also highlights the entrance to the building.

BSc1.08, Fai Al-Balawi, New Walk Hotel. View of the covered courtyard with restaurant and entrance facing it.

BSc1.08, Fai Al-Balawi, New Walk Hotel. Entrance foyer with cafe on the ground floor.

The Architecture Research Institute

Head of the Architecture Research Institute/ Dr Beniamino Polimeni

4.Architectural Geometry & Fabrication - deals with a rich lexicon of forms and shapes based on precise construction methods and potential prototyping. It also explores digital technologies to produce architectural and design objects, including Islamic geometric patterns. Such digital fabrication could focus on competitions, artefacts, exhibitions and publications related to architectural design

Our dynamic and diverse community of PhD students form part of the DMU Doctoral Training Programmes. The Institute of Architecture is building on strong foundations in research already recognised as impacting society, and as making a real difference to people’s lives, especially through improvements to the UN’s SDGs 11 (sustainable cities and communities) and 13 (climate action).

The Architecture Research Institute has excellent selfcontained premises in the historic cottages on the main City Campus. This environment engenders a clear sense of identity, common purpose and an excellent community spirit. The PhD students have been relocated to the historic 6 and 7 Castle View cottages, helping to create a vibrant and a diverse community of 24 PhD students from around the world, including Africa and Asia, to support scholarly activities that align with the following research themes:

1.Low Impact Built Environment - explores design strategies and building physics to promote and encourage sustainability, human thermal interactioWn with the built environment and computer modelling. We are currently working on methods aimed at improving alignment between houses, contexts, climates and energy performance.

2.Housing and Dwelling - deals with housing policy, how we inhabit our homes, and the effect on our wellbeing. The research examines a theoretical perspective to link housing to the built environment in terms of alienation and self-agency. It also explores dwelling within the urban environment in relation to our physical and mental health.

3.Cities & Urbanism - deals with architecture and urban design of the periphery and high-rise buildings. It focuses on how people engage with places, and on the development of strategies to enhance their experience within the built environment.

We are well placed to help meet these and other challenges through our internationally recognised areas of expertise in architecture and the built environment. With a range of specialist skills on offer, they enjoy close working relationships with their supervisors, who share their passion and can fully support their individual journeys.

DMU offers flexible ways of studying for international research students. You can either study full-time at DMU’s vibrant Leicester campus and enjoy the benefits of being part of a successful research community. Or you can study full-time or part-time in your home country with full remote supervision from DMU. This option offers the potential of studying for a PhD from a UK university while maintaining existing professional and personal commitments.

Professor Ahmad Taki, Director of the Institute of Architecture/ Simon Bradbury, Pro Vice-Chancellor and Dean, Faculty of Arts, Design and Humanities/ Kate Cheyne, Head of School, School of Arts, Design and Architecture. Dr Adriana Massidda/ Dr Luis Zapata Montalvo/ Dr Rokhshid Ghaziani/ Dr Jamileh Manoochehri/ Dr Yuri Abdul Hadi/ Dr George Themistokleous/ Dr Yasser Megahed/ Dr Amal Abuzeinab/ Dr Alona Martinez Perez

Institute of Architecture Postgraduate and Research Study Options

Architecture MArch (Part 2)

The Architecture MArch programme develops the emerging architectural professionWal and challenges the individual to discover or develop a personal stake in the architectural world. Central to the course is a series of advanced design studios that are integrated with studies in Humanities, Technology and Environment, Digital Computation and Fabricated and Professional Studies.

Architectural Practice Diploma (Part 3)

The Postgraduate Diploma in Architectural Practice (PG Dip) is a qualification leading to exemption from the ARB/RIBA Part III examination. Our Architectural Practice PG Dip enjoys close relationships with established practitioners, academics and consultants, who provide guidance on to topical issues in contracts, law, economics and management.

Architecture Professional Experience Development Record (PEDR) The PEDR will provide you with the opportunity to enrol on a Part 3 programme in order to take the RIBA/ ARB Part 3 exam in architecture and to register as an architect in the UK.

The PEDR is an electronic record of a graduate’s professional experience, development and competency in the practice of architecture. Monitoring and endorsing of Professional Experience Development Record (PEDR) sheets is conducted through

the graduate monitoring service at the Leicester School of Architecture (LSA). This is a self-directed, work-based exercise which centres on the RIBA PEDR sheets.

There is no formal syllabus and completing the PEDR sheets carries no academic credits. These are an essential component for taking the Part 3 exam, and on passing, gaining admittance to the register of architects held by Architects Registration Board (ARB).

Architectural Design (MA)

The course will enable you to establish a comprehensive understanding of architecture rooted in the theories of its making. This is an internationally popular course that attracts students globally and currently offers entry to the rigorous design teaching we offer at the Leicester School of Architecture (LSA). The LSA has an extensive national and international lecture series, attracting leading academics and professionals from around the world.

Architecture and Sustainability Architecture and Sustainability

MSc explores a wide range of approaches related to sustainable architectural design, with a particular emphasis on building physics and design strategies that promote and encourage sustainability. The course appreciates the interface between the environmental, economical and sociocultural dimensions of sustainability in terms of building design and carbon neutrality.

Architecture Research Degree

MPhil/PhD Research in the Institute of Architecture ranges from technical and empirical to practice-based outputs.

The strength of the institute lies in its multidisciplinary staff and their collaborative research. The institute explores fields of thought around sustainable development and the built environment from a holistic perspective. It considers social, economic and ecological factors, aspiring for operational sustainability. Our research collects data through case studies, questionnaires, interviews, observations and archival research. Data is examined using statistical analysis, content analysis, thermal and dynamic simulations. This showed that bioclimatic design solutions have the capacity to enhance human living conditions and save our natural environment with minimum use of resources, land, energy and reduced CO2 production. This research has developed housing models for Libya, Nigeria, Jordan and Saudi Arabia that would enhance sustainable housing provisions and meet socio-cultural needs.

For information regarding postgraduate research contact Professor Ahmad Taki, ahtaki@dmu. ac.uk

“The overall aim of my PhD research work was to produce a framework for designing energy efficient dwellings satisfying social-cultural needs in a hot climate with reference to Libya. My supervisor, Professor Ahmad Taki, has been one of the supporting pillars throughout my PhD journey through his support and encouraging approach to research. In addition, DMU has outstanding values of hard work and academic rigour. It has instilled in me a fearless approach to learning and I would recommend DMU to anyone.” Dr Nagah Ali (graduated 2019)

The Impact Of Mashrabiya On Building Energy Performance And Social Cultural Aspects In Hot Climates

by: Shafiaa S. Alghamdi Supervisor: Prof Ahmad Taki Abstract

With the adoption and influence of Western designs, the architecture in Jeddah has experienced a loss in Hejazi architectural identity resident’s lack of privacy, contributing to the increase in energy consumption. In this study, a clear outline of the background to the causes and the effects of the increase in energy con sumption will be elaborated focusing on the actual specific research area of Jeddah. In the construction of buildings, the shift from traditional to contemporary architecture resulted in the use of air condition (AC) to improve the indoor environmen tal quality due to the hot climatic conditions.

The over-use of air condition in resi dential buildings led to the increase in energy usage which resulted in the government suspending the subsidy for electricity for residents followed by the increase in electricity tariffs in an attempt to minimise the usage of electricity. The research study aims to address the problems associated with the shift in architectural and the effect of operational systems by analys ing the impact of mashrabiya on en ergy performance and identifying the social cultural needs of residents to

preserve privacy and Hejazi architectural identity in residential buildings in Jeddah, Saudi Arabia. The research approach included an initial pilot survey to ensure the effectiveness of the research methods, questions, and overall research procedure.

In this survey the researcher interviewed 3 residents who owned and built the villas for 3 days. The survey questions addressed mainly the three areas of the research which include energy consumption, identity, and privacy as well as mashrabiya. According to the pilot survey results all the residents interviewed acknowledged the fact that re-instating mashrabiya would provide privacy and enhance Hejazi architectural identity. In the area of energy consumption, the results indicated various factors that impact on energy consumption including the area, number, and behaviour of people. The relevant information identified from the literature review in relation to the ob jectives of this research, the historic facts about mashrabiya in terms of energy performance, particularly VII in Saudi Arabia, were combined with data collected through 261 online questionnaires. The respondents also included 8 specialists’ interviews from 4 government organisations and 48 residents from Albasateen district as well as observations and results from measurements which were then used to calculate the entry information to simulate the modelled case study villa.

A range of simulations were than conducted to evaluate the building performance in terms of lighting and energy consumptions together with indoor environmental quality’ and social cultural related issues. According to the specialists’ interview results, 100% state that mashrabiya is the most significant Hejazi architec-

tural element which provides identity. In relation to the residents’ privacy the online and interview results show 94% of respondents who claim to have privacy while from the obser vations and further investigation on privacy 100% use window treatment such as curtains, blackouts, and shut ters to provide privacy which indicates that they lack privacy. Therefore, the use of mashrabiya will provide both identity and privacy. One of the research areas included the energy usage, the results from simulation showed significant reduction in total energy usage in an existing villa case study compared with the villa case study with gypsum mashrabiya with large hole design.

The results showed a decrease from 106, 114 kWh to 94, 115 kWh a total reduction of 11, 999 kWh (11%). It can therefore be concluded that if mashrabiya is re-instated it has great potential to restore not only the Hejazi architectural identity but will also provide residents’ privacy while reducing the energy consumption as a shading device in residential build ings in the city of Jeddah.

Towards Reusing Private Non-Monumental Architecture: Diu Town

by: Anisha Meggi Supervisor: Dr Yuri Hadi Abstract

Every town needs a set of old build ings, plain, ordinary low-value build ings. However, in India old buildings are being demolished by owners, developers and authorities. In Diu Town, a former Portuguese

colony, older buildings are being abandoned, neglected and left to ruin with native heritage owners being migrants’ structures are demolished and new homogenous concrete residential blocks constructed at a rapid pace. As a result, the distinct Mediterranean essence of the town is being lost. The construction of commercial tourism-related infra structure adds to the loss of identity and culture for the town.

A sequence of onsite urban mappings and building surveys of the primary case, this research documents and analyses the urban fabric of Diu Town consolidating Diuenses seemingly conflicting issues of treatment of urban heritage environments, their devalued status and the complexities between owners, local authorities and globalised aspirations by reconnecting key stakeholders.

The research formulates an approach in the form of a set of bottom-up guidelines for the owners of privately-owned heritage structures in Diu Town to be informed and guided for the future treatment of their structures. Rather than attempt to list the structures and restrict development or modification through bureaucracy and legal matters, the guidelines will allow for disconnected diaspora members to be influenced and directed towards a bottom-up regeneration approach where owners can better utilise their heritage buildings for the town and their own benefit. Also allowing for intangible heritage to be sustained, support and regeneration of the local economy and encourag ing environmentally sustainable and self-sufficient methods within the building processes.

The thesis contributes in the area of bottom-up regeneration of cultural neighbourhoods in South Asia by un-

dertaking of the “heritage” paradigm in a town affected by global influenc es and processes due to the native migrant populations. survey and anecdotes). By doing so, the research attempts to discover something new about Arabian Suqs through its own dwellers’ ‘intime’ experiences, descriptions and stories.

The research concludes that despite the persistence of some particular spatial references, such as the fadaa/ tareeq duality, in the perception and experience of Arabian Suqs, the understanding of Suq-ness today points to some dialectic tensions relating to an Arab’s relationship to modernity, tradition and progress. The meth odological application of this ‘new’ approach for investigating Arabian socio-urban relations substanti ates the research’s contribution to knowledge, positioning it within the larger sphere of current theoretical discourses (phenomenologist, situationist and semiotic) that emphasize the importance of lived experiences—everyday practices—and poetics as key sources for understanding socio-urban phenomena.

List of Current Post Graduate Students Research (PhD) Students

Abbakyari Maryam, Abedi Mahtab, Almaawi Haya, Alsheglawi Bilal, Ayodele Tunmise, Doan Ha Xuan Viet, Egoh Enifome, Ko Ya-Hsuan, Mohammed Zainab, Odesola Enoch, Onitiju Olande, Onyenokporo Nwakaego, Phittayakorn Thansak, Shahin Jasmine, Shoaib Mah Noor, Small-Warner Kaie, Wang Daben,

Our Programmes: Leicester School of Architecture 2021/2022

Architecture BA (Hons)

Studying Architecture offers you the opportunity to pursue a career in an exciting, creative and fast-paced industry which hugely influences the world around us. On this course you’ll discover how to bring your visions and designs to life, with successful graduates progressing into rewarding careers which have the potential to improve and enhance the lives of countless people. With the knowledge gained as part of this degree, can witness your work turn into tangible creations that serve the communities around you.

You will learn about the history of architecture and design, alongside completing technical, practical and professional exercises relating to ethical architecture in the commercial world. You’ll have opportunities to undertake design projects in a range of spatial, social and topographical settings, from the smallest of residences and objects through to complex megacities and events.

This course is a professionally validated undergraduate degree which prepares students for a postgraduate degree in Architecture, which most graduates will progress to. Graduates pursue successful careers in non-pro fessional pathways using their skills in creative design, strategic thinking, leadership and organisation. The course is on the Commonwealth Association of Architects’ approved courses list.

Key features:

1: This course is accredited by the Royal Institute of British Architects (RIBA) and the Architects Registration Board (ARB), ensuring the content you study meets and exceeds the criteria set out by these professional bodies, with students also exempt from RIBA and ARB Part I examinations.

2: This course benefits from global op portunities thanks to its accreditation with Lembaga Arkitek Malaysia (LAM), the Board of Architects Malaysia, which allows graduates to pursue a professional qualification in Malaysia. It is also approved by the Common wealth Association of Architects, a membership organisation representing architects in Commonwealth coun tries, which provides access to an international network of schools for further study and better employment prospects.

3: DMU’s Leicester School of Archi tecture - is only one of five schools of architecture in the world to win more than three RIBA Part II design awards in the past five years. It’s also one of the oldest architecture schools in the UK, established in 1897, allowing you to draw on a wealth of experience and expertise.

4: Gain valuable international experi ence as part of your studies with our DMU Global programme. Previous trips have taken students overseas to work on live projects in Berlin in collaboration with Aedas, a leading international architecture and design practice. Students have also travelled to destinations such as Ahmedabad, India, where they designed and built homes to help those living in disad vantaged communities.

5: DMU is ranked in number one for Architecture in the East Midlands for ‘Graduate Prospects’, according to The Complete University Guide 2020, many of our graduates have gone on to work for some of the best architectural practices in the UK and

worldwide, including Heatherwick Studio, Make Architects and Shigeru Ban Architects.

6: Benefit from the very latest facilities – dedicated multipurpose stu dios, CAD labs, workshops offering metal working and woodworking to digital printing and water-jet cutting and prototype workshops. Our award-winning Vijay Patel Building provides both the space and the fa cilities to foster creative thinking and explore your design potential.

7: We provide core workshop mate rials at no cost, and give cash awards – £150, £200 and £300 in years one, two and three respectively to support personal materials/printing costs*.

Architecture MArch

Our Architecture MArch programme is designed to respond to contempo rary issues in the industry, grounded in both theory and professional practice. Our enquiry-led approach to education will teach you to tackle complex problems, unending questions and help you synthesise your ideas to produce critical work. You will be supported to take risks, learn from mistakes and be bold in creatively exploring your ideas.

Current issues in architectural debate are studied through deep founda tions in historical and philosophical thought, contemporary states of urban inhabitation, challenges to a sustainable ecology, the ramifications of modern technology, legal and economic contexts, and the state of the profession. Our design studios are delivered through advanced, research-by-design led units and offer a range of specialist pathways for you to develop an independent and critical position on architecture.

Studio options range from high-density housing to sustainable futures, and advanced material investigations. We encourage an open-ended spirit of enquiry to advance knowledge through rigorous, exploratory and playful processes. Our experience and knowledge, combined with your personal ambition, will enable us to challenge existing conventions and redefine the future of architectural practice together. A number of our Architecture MArch graduates have been awarded multiple national and international design awards, including four prizes at the Royal Institute of British Architects (RIBA) President’s Medals, five regional RIBA Awards and the prestigious RIBA Wren Insurance Association Scholarship.

Key features:

1: This programme offers a profes sional level architectural education with Architects Registration Board (ARB)/RIBA Part II exemption. Grad uates can progress to professional registration/licensure examinations, allowing access to markets in the UK, EU or other legal jurisdictions.

2: You will be supported to tackle real-world issues, while speculating and proposing new futures through bold experimentation and boundless enquiry.

3: Tutors come from industry and research and our community is a place where academics, practitioners and students are co-designing new ways of thinking.

4: Teaching is delivered in a dedicated postgraduate studio space, equipped with computer worksta tions, model-making facilities, large format printers and Ultimaker 3D printers.

5: Receive expert teaching through our Leicester School of Architecture, which has a national and internation al lecture series attracting leading

academics and professionals from around the world, such as Sir Peter Cook, CJ Lim and Alison Brooks.

6: This course benefits from global opportunities thanks to its accredita tion with Lembaga Arkitek Malaysia, the Board of Architects Malaysia, which allows graduates to pursue a professional qualification in Malaysia. It is also approved by the Common wealth Association of Architects, a membership organisation representing architects in Commonwealth of Nations, which provides access to an international network of schools for further study and better employment prospects.

Full-time graduates from the MArch programme, with a minimum six months’ professional experience prior to entry, gain exemption from Lembaga Arkitek Malaysia Part II, allowing progression to professional registration examinations and poten tial employment in Malaysia.

to practice and management and the evolution of the professional architect

3: Develop your professional acumen in business organisation, manage ment and commerce, marketing, advocacy, ethics and marketing, contracts and interpersonal skills

4: Benefit from a wide exposure to current issues in contracts, law, eco nomic context and management

5: Study on a course that prepares you for registration and chartership

6: The new Vijay Patel building has been designed to provide the space and facilities where ideas can devel op and flourish for all of our art and design courses - find out more

The course offers a flexible learning programme comprising of three Study Units of three days duration each typically running from October to October. Study Units cover the following topics: Marketing, Manage ment and Practice

Architectural Practice Post graduate Diploma (Part 3)

The Postgraduate Diploma in Archi tectural Practice (PG Dip) is a qualification leading to exemption from the ARB/RIBA Part III examination. Reasons to choose Architectural Practice PG Dip at DMU:

1: Successful candidates gain eligibility to join the register at the Architects’ Registration Board (ARB) and chartered membership with the RIBA

2: Reflect on the changing nature of professional practice, relevant legislation and alternative approaches

This component covers the skills, awareness and knowledge needed to understand the set-up, professional and economic management, mar keting of a professional architectural practice in various forms. Building Contracts: This component covers the range of common building contracts, their application and the contractual relationships between contracted parties. Architect and the Law: This component covers legislation affecting contract law, planning and development, and the wider regula tions related to architecture and the building industry. Our Architectural Practice PG Dip enjoys close relation ships with established practitioners, academics and consultants, who provide guidance on to topical issues in contracts, law, economics and management.

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Architectural Technology BSc (Hons)

This programme focuses on detailed decisions about the design and con struction of buildings and their immediate surroundings. Architectural Technology is concerned with new and existing buildings and examines how detail relates to the design con cept. This field is also central to the communication of design decisions to members of the construction team and vital to ensuring that work is carried out in the correct manner.

Our course will help you evolve the knowledge and skills required in understanding, application, analysis, synthesis and evaluation relative to design, technology, management and practice. It will also help advance your architectural management proficiency by bringing together all aspects of the design process, from concept through to completion. In addition, this degree examines design strategies to promote and encourage sustainability. You will explore methods of sustainability to inform architectural design, and develop an awareness of ecological footprints, materials and embodied energy along with processes of achieving sustainable design.

Key features:

1: Benefit from our 125-year history, which makes Leicester School of Architecture one of the most established schools of its kind in the UK.

2: Accredited by the Chartered Institute of Architectural Technologists (CIAT), meaning that you can apply for associate membership of CIAT, with the opportunity to progress towards chartered membership (MCIAT).

3: Accreditation from the Chartered Association of Building Engineers

(CABE) enables you to apply for graduate membership of CABE, with the opportunity to progress towards chartered membership (MCABE).

4: Boost your career prospects with an optional industry placement year. Our students have benefited from working in roles such as Assistant Ar chitecture Technologist at Isherwood McCann, a leading architectural company with expertise in large-scale logistics warehouse developments.

5: Gain valuable international experience as part of your studies with our DMU Global programme. PreviousW trips have taken students overseas to work on live projects in Berlin in collaboration with Aedas, a leading international architecture and design practice.

6: The award-winning Vijay Patel Building provides both the space and the facilities to foster creative thinking. You will also benefit from a range of industry-standard tools and simulation software, including Thermal Dynamic Simulation and Building Information Modelling.

7: We provide core workshop materials at no cost, and give cash awards £150, £200 and £300 in years one, two and three respectively – to support personal materials/printing costs*.

facility. You will learn to understand contracts, budgets, quantities, meas urements and sustainability to achieve the best quality and value within the project’s specifications. You are likely to be involved in a range of services, from cost consultancy to contract management.

You will be able to advance your professional skills through an optional industry placement between years two and three. This placement year can count as part of the required experi ence for Royal Institution of Chartered Surveyors professional status.

Building

Surveying BSc (Hons)

Quantity Surveying and Construction BSc (Hons)

Quantity Surveying and Construction focuses on controlling and managing the costs of construction projects; you could be involved with any stage of a project, from feasibility, design and construction, through to exten sion, refurbishment, maintenance and even demolition.Our course will help you gain an understanding of the technical aspects of construction over the whole life of a building or

Building Surveying focuses on all aspects of property and construction from supervising large mixed-use developments to planning domestic extensions; you could be involved with the conservation and restoration of historic buildings to contemporary new developments. Our course will help you gain an understanding of the technical aspects of construction, management and measurement skills bringing together all aspects of the building process, from concept through to completion. You will learn to understand design, technical and legislative elements and sustainability to achieve the best quality and value within the project’s specifications. You are likely to be involved in a range of services, from building pathology, land and building surveying to contract management.

You will be able to advance your professional skills through an optional industry placement between years 2 and 3. This placement year can count as part of the required experience for Royal Institution of Chartered Survey ors professional status.

Key features

1: Benefit from our 125-year history, which makes Leicester School of

Architecture (LSA) one of the most established schools of its kind in the UK; it has a strong technical and design ethos that recognises the interdependence of academia and the profession.

2: On this course you will study a range of topics including Methods of Measurement, Sustainable Building Principles, Building Technology, Practice and Management in the Construction Industry and Contracts, Law and Procurement.

3: Enhance your studies with DMU Global, our international experience programme. Students in the LSA have previously visited Berlin, Malaysia, Switzerland, Paris, and Amsterdam, as well as built homes in India and rammed-earth shelters in Morocco.

4: The award-winning Vijay Patel Building provides both the space and the facilities to foster creative thinking. You will also benefit from a range of industry-standard tools and simulation software, including CostX and Building Information Modelling.

5: We provide core workshop materi als at no cost, aWnd give cash awards – £150, £200 and £300 in years one, two and three respectively – to support personal materials/printing costs*.

6: Both courses is currently pending accreditation from the Royal Institu tion of Chartered Surveyors, which will mean your learning is kept rel evant to industry and recognised by employers as a benchmark of quality.

popular course that attracts students from across the world and currently offers entry to the rigorous design teaching and enquiry-based learning that we offer at the Leicester School of Architecture (LSA). You will join a community of academics, practition ers and students that is co-designing new ways of thinking and you will be supported to tackle current real-world challenges while proposing new futures.

We provide state-of-the-art facilities for you to realise your ambitions, with workshops offer cutting-edge digital fabrication facilities, alongside a wide range of craft workshops, where you can innovate with materials and processes.

You will benefit from the LSA’s exten sive national and international lecture series, attracting leading academics and professionals from around the world. Working both collaboratively and individually, you will undertake design projects in various contexts, while gaining skills in visualisation and fabrication. As a graduate you will be empowered to take a personal and critical position in the globalised architectural world, with the expertise to pursue careers in allied industries including planning, architectural conservation, urban design, facilities, estate and project management.

Key features

1:Join a community that is co-de signing new ways of thinking and meaningfully challenging conventions to redefine the future of architectural practice.

design choices.

4: This programme helps you master both professional and research skills that will enable you to address the future challenges of sustainable architecture and development.

5: The integrative nature of the programme will provide you with an understanding of the situational structure of architecture and can serve as a foundation for a more fully developed human ecology.

Your dedicated tutors come from in dustry, practice and research, which ensures your work is responding to contemporary, real-world issues that are grounded in both theory and practice. Forge important and in ternational connections for potential partnerships by working closely and collaboratively with students in your cohort. Our award-winning Vijay Patel building has been designed to provide the space and facilities where all of our art and design students can develop their ideas and flourish.

Architecture and Sustainability MSc

Architectural Design MA

Our Architectural Design MA is a pre-professional programme to help you develop a specialist approach to architectural thinking and design execution. This is an internationally

2: Learn both collaboratively in groups and through personalised teaching experiences with our ad vanced enquiry-based approach.

3: Our enquiry-led approach will encourage you to boldly explore your ideas and learn from your mistakes in a way that will shape your future

Reducing energy consumption which contributes to global climate change and pollution is an international imperative, and the future architect must be equipped with the skills and vision to tackle this challenge both innovatively and responsibly. This course helps you master the knowl edge and skills required to produce thermally comfortable, healthy, and habitable building designs while minimising energy consumptions.

The curriculum embraces the inter face between the environmental, economical and socio-cultural

dimensions of sustainability in terms of building design and carbon neu trality. You will join a community that is co-designing new ways of thinking and challenging architectural con ventions through bold experimentation and boundless enquiry. This enquiry-led approach to education will encourage you to take creative risks and to learn from your mistakes in a way that will shape your future design choices.

We provide state-of-the-art facilities for you to realise your ambitions, with workshops offering cutting-edge digital fabrication facilities, alongside a wide range of craft workshops, where you can innovate with materi als and processes. We’ll help you to graduate with the tools to take your own personal and critical position on embracing the challenges of sustainability in the globalised architectural world.

Key features

1: The long-standing Leicester School of Architecture is one of the oldest schools in the UK and our approach meaningfully draws upon years of experience to challenge conventions and redefine the future of architectur al practice.

2: We will empower you with the tools to become a responsible global architect, with the skills and mindset to tackle the complex environmental challenges ahead.

3: You can choose to undertake a year-long work placement, gaining valuable experience to enhance and embed your practical and profession al skills.

4: Your dedicated tutors come from industry, practice and research, which ensures your work is respond ing to contemporary, real-world issues that are grounded in both theory and practice.

5: Benefit from our advanced

enquiry-based education which embraces collaborative learning in studio groups alongside personalised teaching experiences.

6: Our award-winning Vijay Patel building has been designed to provide the space and facilities where all of our art and design students can develop their ideas and flourish in a way that will shape your future design choices.

Architectural Design MA

Our Architectural Design MA is a pre-professional programme to help you develop a specialist approach to architectural thinking and design execution. This is an internationally

ACADEMIC STAFF

Simon Bradbury

Kate Cheyne

Prof Ahmad Taki

Dr Jamileh Manoochehri

Neil Stacey

Ben Cowd

Tim Barwell

Dr Luis Zapata Montalvo

Dr Yuri Hadi

Dr Beniamino Polimeni

Dr Alona Martinez Perez

Dr Jamileh Manoochehri Frank Breheny

Dr George Themistokleous

Dr Yasser Megahed

Ashley Clayton

Dr Adriana Massidda

Abi Von Hoorebeek

Geraldine Dening

Dr Rokshid Ghaziani

Steffan Davies

Dr Douglas Cawthorne

Dr Amal Abuzeinab

Ashley Clayton

Sudhir Rao Christina Agathangelou

Sylvester Cheung

Phil Cooksey

Selim Halulu

Anisha Meggi

John Neale

Vinesh Pomal

Prof Teresa Stoppani

Graham Thompson Nills Feldmann Selim Halulu

Mark Hillier

Vasilena Vassileva Russell Vernum Clare Bowman Muthar Al-Salloum

Andrew Waite

Sylvester Cheung

Jee Liu

Jamie Wallace

Dan Farshi

Alexander Mills

James Flynn

Jonathan Astbury Sid Oujla

Dominic Pask Alastair Macquire

Chris Rogers Sam Culling

John Illingworth Tim Richardson Tom Bush Marco Fiorino Dom Pask

Paul Michael Pelken Tom Robertshaw

Hamish Herford Joseph Little Michelle Tomlinson

Arjun Rajah

Charlie Cornish Satnam Flora Robert Atherton

Dom Pask

Danai Sage

Prof Sarah Lupton David Watkins

Paul Bussey Stephen Mealings

Indu Samawramy Peter Wislocki Judith Farren Bradly Melanie Perkins Rima Yousef

Jon Courtney-Thompson

Tim Martin Rory Keenan

Thomas Hopkins

The Leicester School of Architecture is one of the oldest architecture schools in the UK, established in 1897. Validated by leading industry bodies, our degree nurtures emerging architectural designers and thinkers. The School continues to thrive and develop, building on its 120 year history. Its vision is one where it will continue to emphasize the “craft of making” whilst challenging students to take more critical positions in their world-view of the discipline of architecture. The emphasis in materiality, new technologies, promoting sustainable solutions to architecture, the community and urban design issues, rooted in a humane approach to architecture, is demonstrate by projects that you see in this year book. The School benefits from an excellent relationship with Leicester City Council (LCC) and is now moving forward with the Leicester Architecture & Urban Design Learning Lab which will promote a range of live projects with the city.

ISSUE 4, 2021, Leicester School of Architecture Showcase Book

All rights reserved. No part in this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any mean, electronic, mechanical photocopying, recording or otherwise, without the prior permission of DMU.

First Published in APRIL 2022

De Montfort University

The Gateway Leicester LE1 9BH Leicestershire, United Kingdom.