Leicester School of Architecture Yearbook 2020

THE LEICESTER SCHOOL OF ARCHITECTURE 2020

#covid-19 #workfromhome #beresilient #wearearchitecture

2020 #workfromhome

#covid-19 #workfromhome #beresilient #wearearchitecture

THE LEICESTER SCHOOL OF ARCHITECTURE

2020

Front Cover Artwork by Joseph Silva, Y5 MArch “2020-Work From Home”

THE FACULTY OF

ARTS DESIGN & HUMANITIES Artwork by RIA MAISURIA, Y4 MArch “Hackney Wick: The Trip”

The Faculty of Arts, Design and Humanities at De Montfort University (DMU) belongs to one of our four faculties. Each faculty delivers a wide range of courses to students as well as overseeing world-changing research and fostering enviable commercial links that inform our teaching and ensure DMU courses are relevant to modern employers.

The Faculty of Arts, Design and Humanities brings together DMU’s creative disciplines.

Its courses range from traditional to boundary pushing and research is rated as internationally excellent. Names such as shoe guru Jimmy Choo and novelist Adele Parks have lectured students thanks to the faculty’s exceptional industry links.

THE SCHOOL OF

ART DESIGN & ARCHITECTURE

Plaster castwork by FRANCESCA BUFANO, Y5 MArch “The Post-Digital School for Art & Craft”

Welcome to the Leicester School of Architecture 2020 Degree Book. The Leicester School of Architecture joined with Visual Arts and Design to form a new School of Art, Design & Architecture last September, 2019.

Being invited to lead this new school from February of this year, has been an honour. It has also been an uncommon time to commence such a role. Leading a new School through a pandemic is not written into anyone’s career plan!

But I would like to use this opportunity to say how overwhelmed I have been with the dedication and maturity I have seen from both colleagues and students in their response to the difficult situation everyone was thrown into. What is most impressive is that even with being moved off campus so abruptly, divorced from workshops, studio spaces, technical facilities and peer groups, that the students successfully created home studios and continued with their studies. Sometimes these were formed with other students, so mimicking practice, other times they shared kitchen tables with younger siblings and home working parents. But they still worked their hardest to complete their degrees to a high standard. This is never clearer in seeing that our students continue to have won international and national awards and competitions this year.

What you will see in the following pages is students’ projects that reflect our new school ethos of work needing to be relevant to contemporary issues, addressing social and cultural conditions whilst also being visually and aesthetically mature and critically engaging. This has never mattered more than in a year when the world has had to react to a pandemic with all the resulting social and spatial injustices it has amplified. Our students have not only had to address these issues in their work – they are these issues, and so the work is often intensely personal, whilst aware of the wider, collective context it is made in.

So, join with me in applauding the students of 2020 for doing more than surviving, for having succeeded and wish them well in their chosen futures.

Please enjoy the work.

Kate Cheyne Head of School of Art, Design & Architecture (ADA) 2020/21

THE

LEICESTER SCHOOL OF ARCHITECTURE

Digital Render by DANIEL HAMBLY, Y4 MArch “The Biorefinery”

Contents 2020 14

16

Foreword Chris Jones, Head of School Architecture

Course Introduction / BA (Hons) Architecture (ARB/RIBA/LAM Part I) Dr Yuri Hadi, Programme Leader

19

Year One / Experiencing Architecture

Dr George Themistokleous, Year One Leader

31

Year Two / Reading and Extending the City

Dr Yasser Megahed, Year Two Leader

53

Year Three / BR-EXODUS, or…

Voluntary Prisoners of Architecture?

Paco Mejias, Chris Jones

57

73

Frank Breheny

Jon Courtney-Thompson and Andrew Waite

95

103

115

Year Three / The Diogene Project Pathway One / Earth Studio : Elements Pathway Two / Drawing and The Nexus in Architecture Frank Breheny and Sylvester Cheung

Pathway Three / Exodus Chris Jones

Parhway Four / Alternative Narrative Geraldine Dening

129

Pathway Five / Why We Build

Jee Liu

139

Pathway Six / Ark Studio

Neil Stacey

145

Pathway Seven / Context and Content

Jamie Wallace

149

Dan Farshi

Pathway Eight / Co Existance in Theory

Editor, Dr Yuri Hadi CoEditors, Joseph Silva, Jessica Sayer Editorial Assistants, Natasha De Castelo Branco, Anaida Luis, Mahdi El-Amin, Rebecca Jarvis, Ben Harrell, Hannah Bird, Veniamin Bampilis, Francesca Bufano, Charlie Domane-Lees, Joe Shadrick, Mark Chapman, Malvir Johal, Dechannell Decosta, Cory Staton, Ebrahim Variava, Ruta Adamonyte, Naleen Bancil, Rahul Baria, Julia Desperak.

Design, Yuri Hadi, Joseph Silva, Jessica Sayer.

Cover Artwork, Joseph Silva ISSUE 3, 2020, Leicester School of Architecture Showcace 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.

Photographs (non-student works) by, The Venue, Leicester, De Monfort University, Haithar Zulkeflee, Yuri Hadi, Rebecca Jarvis, Prof Ahmad Taki First Published in 2020 De Montfort University The Gateway Leicester LE1 9BH Leicestershire, United Kingdom.

162

165

211

261

301

337

378

395

Course Introduction / MArch Architecture (ARB/RIBA/LAM Part II) Ben Cowd, Programme Leader

Unit One / Wild City Ben Cowd, Tim Barwell

Unit Two / States of Verticality Dr Yuri Hadi, Lena Vasilev

Unit Three / Material Futures Alexander Mills, Era Savvides

Unit Four / Making Waves Tom Hopkins, Rory Keenan

Unit Five / Spatial Figures Ashley Clayton, James Flynn

Comprehensive Dissertation Dr Jamileh Manoochehri

Course Introduction / BSc (Hons) Architectural Technology (CIAT/CABE) Dr Luis Zapata, Programme Leader

Studio : Technology

Dr Luis Zapata

410

416 430 436 440 442

THE ARCHITECTURE RESEARCH INSTITUTE Prof Ahmad Taki

DMU GLOBAL OUR PROGRAMMES THE BASE PUBLIC LECTURES/EVENTS ACADEMIC STAFF 2019/2020

Foreword Following nine enjoyable years part time and full time at LSA I am returning to practice. The School continues to thrive and develop building on its 120year history. The School’s vision is one where it will continue to emphasize the “craft of making” whilst challenging the students to take more critical positions in their world-view of the discipline of architecture.

The emphasis in materiality, new technologies, and promotion of sustainable solutions to architecture, the community and urban design issues, rooted in a humane approach to architecture, is demonstrated by projects that you see in this year book.

Our School has two main pathways into the construction industry – our ARB/RIBA accredited Part1, Part2 & Part 3 Architecture programmes, including the newly accredited opportunity to combine studying alongside our Part 2 and Part 3 programmes as an architecture apprentice , and our Built Environment programmes, combining our CIAT accredited Architectural Technology degree with our new degrees in Building Surveying and Quantity Surveying.

There are well-trodden pathways from all our degrees onto our Masters programmes, MSc Architecture and Sustainability, MA Architectural Design and MSc International Urban Design, that then feed into postgraduate research degrees supervised by our growing numbers of internationally acclaimed researchers.

In this book you will see projects that span from intensely local design ideas, supported

by DMU Local, to globally impactful projects, supported by DMU Global. The School continues to build on our 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. Through DMU Global, our students have had study visits this year to Berlin, New York, Malaysia, Germany, Paris, Ahmedabad, Amsterdam, Barcelona, and Morocco, giving them an international outlook to architecture and the knowledge that the construction industry is a global industry.

The School of course has had to face the challenges of the COVID-19 situation and this has seen staff and students addressing the situation and achieving remarkable results. Highlights of the year included our Architecture Big Event that brought the whole School together at the start of the year and introduced the Year 1 students to the culture and community of Architecture School. Organised by Post-Graduates, Jay Sayer and Joseph Silva they curated a diverse range of key speakers - Alison Brooks, Matthew Barnett Howland, Oliver Wilton and Louise Palomba.

It has been a challenging year for our community of 750, but one full of ideas and enthusiasm, which would not have been as successful without the hard work and dedication of our students.

Well done and congratulations to all.

CHRIS JONES HEAD FOR ARCHITECTURE (LSA) 2019/20

16

LSA - 2020

Architecture BA (Hons) The Architecture’s BA (Hons) programme offers specially crafted integrated studies that develop emerging architectural designers and direct their informed creative design abilities with the design studio as the focus of this training. The studio is encouraged to be a place of dialogue and investigation through a series of carefully considered projects set in a range of spatial, social and topographical situations from the smallest of dwellings and artefacts to more complex urban contexts and events. In order to foster critical thinking and reflection studio projects are supported by relevant theoretical studies in the philosophy and history of architecture and design, as well as technical and practical studies in material and structure, and professional practice.

Our ability as architects to project into the future as we imagine future architectural inventions requires an ethical responsibility that you must be prepared to take seriously as custodians of that future. Our course therefore explores the challenges of designing for diverse communities and cultures in our current globalised world where modernisation continues to threaten traditional cultures and the complexities involved in generating sustainable environments threatened by the constantly changing technological aspects of modern life.

DR YURI HADI PROGRAMME LEADER Year 3- Advance Intermediate Year 2- Intermediate Year 1- Fundamental

(Hons)

17

LSA - 2020

BA

18 LSA - 2020

Architects constantly refresh and expand their ways of experiencing and imagining space. Year one students explored architecture through their bodily senses. In the first semester, students initially experimented with the representation and re-purposing of a mechanical object - Architecture of the Object Project. This then led to the design of a temporary experiential room Break Space: an intimate space within the city. The second semester focused on the design of a collection of artefacts or ‘event’ – Exhibition Space.

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 fabrication of an object instrument that would become a bodily extension, challenging their spatial perception of the Leicester Lanes.

For the Break Space project students expanded their perceptual experience of the body instrument 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. The Lanes would thus be hijacked by micro-installations. Students proposed experiential spaces within the city that included mirrored labyrinths, water pavilions, sleeping pods for the homeless, gardening rooms, viewing platforms for children, etc.

In semester two, students designed an Exhibition Space: a space that would house a collection of their own choice located in the New Market square (100-150 sq. metres). Students visited the National Space Centre and other museums, galleries or exhibitions in and around Leicester. 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 monument to waste/recycling centre, an exhibition on video games based on the Pokemon Go experience of the city, an exhibition on protests, as well as exhibitions on chairs, rockets, astronaut suits, musical instruments, typewriters, shoes, sporting activities, haunted houses, 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.

U1.01, Joseph Holmes - Final render of exhibition spaces with artist studios.

one Tutors

Christina Agathangelou Dr Douglas Cawthorne Sylvester Cheung Phil Cooksey Dr Rokhshid Ghaziani Selim Halulu Anisha Meggi John Neale Vinesh Pomal Prof Teresa Stoppani Dr George Themistokleous

Teaching Assistants Natasha de Castelo Branco Will Dudley Madona George Ben Harrell Tsvetan Hristov Alex Lorrimer-Roberts Anaida Luis Ashfaaq Mohamed Ali Murtaza Taizun Can Ozerdem Antrea Panteli Shaukat Patel Jessica Sayer Joseph Silva Vytas Zalys

LSA - 2020

Year Leader: Dr George Themistokleous

YEAR

19

Experiencing Architecture

20

LSA - 2020

Year 1 Bilal Abdul Sattar, Saater George Achado, John Ajala, Shafiul Alam, Emy Anil, Panos Antoniou, Cameron Bell, Padmini Priyatharshini Bhaskar, Sagarika Bhatti, Julia Binti Aizul Rohan, Myron Burton, Euan Carrier, Daniel Peter Carrol, Joseph Chapman, Prisha Chopra, Agata Lucja Chromiec, Constantinos Chrysanthou, Ana-Maria Ciuraru - Pal, Charis D’Ambrosio, Sean Davenport, Natanael Debocs, Madalina Maria Dobrescu, Lana Drozdova, Nicole Durrell, Sandra Maria Dus, Luke Anthony Dyer, Debra Emsen, Matthew Oliver Foulkes-Nock, Eleni Fragkou, Mihir Girishbhai Gajjar, Rohan Ganesh,Jayden Garewal, Aleksandar Miroslavov Georgiev, Neringa Gerulskyte, Faizan Ghodiwala, Callum Goldsbury, Edward Austin Gray, Rama Habal, Nurul Farah Hana Binti Haji Mo, Horia Hirica, Joseph Michael Langford Holmes, Jack Holt, Benjamin Mark Horsnall, Maria Houlden, Aaid Hussain, Hennah Hussain, Matthew Hutchinson, Mohd Wafiy Nafiz Idris, Jarvis James, Jack Oliver Jenkins, Hamza Jumaa, Sara Ntumba Kayumba Katshilumba, Harry James King, Samuel Knight, Irina Tsenoslavova Kochanova, Nadya Kostenska, Panna Kovacs, Martyna Kowejsza, Lillian Kwofie, Adam Lambert, Sabrina Mei Yee La, Dylan Thomas Mercer, Emily Metcalfe, Vongai Ruth Mhembere, Christiana Michael, Veronica Victoria Modac, Shenie Mohammad, Aseal Khalid Ahmed Muflahi, Elisha Muggeridge, Zain Mussa, Ike Onzere Mwithiga, Prina Nagar, Tamanna Nasrin, Kamran Naveed, Iddy Ndumbogani, Korina Neofytou, Aleksandra Thao Nieckula, Michael Jide Nnabugo, Chidera Okoye, Jake Orton, Manuela Oyekan, Vidhi Parikh, Dillon Patel, Palak Priteshkumar Patel, Bhavika Pattni, Lucy Perkins, Brandon Perry, Sabrina Maria Poiana, Wimolrat Poolsiri, Drishika Rana, Lorien Russell Perkins, Diana Salama, Mark Salama, Amar Sandhar, Elise Satchell, Dalia Satti, Rachel Savage, Joe Shadrick, Abdimaalig Sharif, Vikas Singh, Brandon Michael Skinner, Jamal Ssekabira, Kieran Starr, Jonathan Staves, Oliwia Stolarz, Art Tahiri, Chisomo Tembo, Karim Termos, Aria Theodoulou, Harry Michael Thornley, Samuel Underwood, Angela Miles Ventura, Jia Long Wang, Chad Warman, Malgorzata Wiktoria Wojnowicz, Wiktoria Maja Wrobel

U1.02, Lucy Perkins, Exploded Isometric of dismantled Glue Gun, part of the representattion of the Sensory Object Project

U1.03, Luke Dyer - Render of Market inspired by conveyors.

LSA - 2020 21 U1.06, Joseph Holmes - The process of re-conceiving a Playstation controller to re-view the site.

LSA - 2020 22

U1.07, Joe Shadrick , Process of deconstructing the typewriter and repurposing it into a sensory tactile object.

LSA - 2020 23 U1.08, Joe Shadrick, SSensory glove worn that is used as sensory tool to stimulate how built surfaces are felt.

LSA - 2020 24 U1.07, Joseph Holmes, DDigital drawing assign¬ment, cabin for Year 1 Architecture Communications.

25

LSA - 2020

U1.08, Maria Houlden - Concept models of the break space as mirrored labyrinth

U1.09, Wimolrat Poolsiri -Concept model of seasonal facades, Final Year 1 project

26

LSA - 2020

U1.10, Joseph Holmes - Sketch models, experimenting with light.

U1.11, Perry Brandon, Sole Structure, exploded isometric.

27

LSA - 2020

UG1.12,Joseph Holmes Isometric diagram of internal spatial experience. Bottom, Perspective of narrative spatial according to movement.

28

LSA - 2020

U1.13, Top, Joe Shadrick, Axonometric diagram showing the movement of people through the Sound Pavilion’s external and internal spaces, with locations for seating, busking and performing.

U1.14, Right, Joe Shadrick, Exploded axonometric-section of the Sound Pavilion. Sound travels through the lower spaces creating multiple pockets of musical performances that the participant can choose to interact with. Sound emission is then channelled across the site via physical openings amplifying the range at which the sound is heard, and encouraging more passer-bys to watch and interact with the busker and the urban space.

U1.15, Joe Shadrick, Exploded axonometric of the Sound Pavilion.

29

LSA - 2020

30

LSA - 2020

U2.01, Azmus Mateusz, Wild @ Heart, A project that imagines an ideal shopping experience in the middle of a pandemic. With supermarkets being one of the only open public buildings during the worst of a pandemic, their importance really shines through. In such a situation a supermarket can be interpreted as a sacred space. One of the only ways to achieve human contact.

A place that brings one back to normality. This project provides the faciilities for one to dwell and contemplate their existence during their shop.

Year 2 is the intermediate year in the BA course. It focuses on empowering students with a broader understanding of the city as an urban and architectural outcome through a series of design, technology and written exercises varying on their aims from designing the brief, spatial complexities and explorative approaches to dealing with the built environment informed by a deep and critical understanding of architectural history and theory. We also focus on the idea of practicing ‘Practice’ in which we deal with each individual group in the studio as a mock-up of an ‘Architectural Office’.

ARCH2060 is a directed project that asks students to build their design project from a research inspired urban analysis. Project 1-1 ‘Reading the City’ asks for an extensive urban study of Leicester’s city centre on its wider scale, reading its different aspects in terms of Historical Development, Genius Loci, Legibility, Permeability, and Visual Qualities. The study crosses over different scales beginning from the city’s macro-scale, which represents the wider context of the project, and then zooming into the specific site of Project 1-2 at Leicester Museum Square. The project works in conjunction with the module Arch2062 – Urban Studies.

Project 1-2 ’Extending the City’ asks for adding a small library space as an extension for New Walk Museum and Square, which will be part of its facilities.

It aims to re-imagine a new civic space in the city that enhances Leicester’s reputation and image as a dynamic and livable city and to provide a platform for the exchange of knowledge in conjunction with museum. The project is an opportunity to explore the potential for extending the historical building of the New Walk Museum.

The modules Arch2063/2064 Building Performance and Technology involves the research and analysis of design strategies for different climate regions and how building performs in response to climate. In these modules, students have developed a design for a children school building that embraces sustainable characteristics in design, construction and use. Both the design modules and technology modules are integrated with the module Arch2053 Architectural Communication.

The module of “Architectural Theories” Arch2052 explores through a series of lectures the cultures, values and philosophical underpinnings of key branches of architectural thinking that have emerged since the 1870’s. It involves a sustained emphasis on the poetics of construction in the 19th-21st centuries which is intended to form a broad base of appropriate historical and theoretical knowledge which can meaningfully support creative design in studio.

two

Tutors Dr Alona Martinez Perez Graham Thompson Nils Feldmann Selim Halulu Mark Hillier Vasilena Vassileva Russell Vernum Steffan Davies Clare Bowman Dr Adriana Massidda Muthar Al-Salloum Dr Yasser Megahed

LSA - 2020

Year Leader: Dr Yasser Megahed

YEAR

31

Reading and Extending the City

32

LSA - 2020

Year 2 Ahmed Abdalla, Nadine Ihab Ahmed Abdelkarim, Leidee Angelica Acosta, Adeyemi Olamide Adebola Adeniji, Jai Adusei - Charles, Mohammed Ahmed.

Shaikh Ahsan Ahmed, Syed Ali Ahmed, Olivia Alice Alltree, Imad Mahmoud Almekdad, William Andrews, Divine Ashong, Sulaiman Ashraf, Rainier Lance Asia, Mateusz Asmus, Kirolos Monsef William Aziz, Altan-Od Baatarsuren, Adriene-Lyne Bathan, Yash Bharat, Boryana Birbotchoukova, Adam Bobat, Lydia Brant, Daniel Brennan, Josef Brougham, Francesca Brown, Beatrice Cabrera, Dominic Cain, Tatiana Vanessa Camacho Pita, Sophie Cantrill, Xiaoqing Cao, Maxime Ajoy CarnegieRiviere, Mario Castaneyra Gonzalez, Jianjun Cen, Pui Chak (Bernard) Chan, Sivashangar Chandrakumar, Hauyu (Senni) Chi, Max Oliver Coe, Idris Cole, Samuel Cook, Eden Cox, Marwa Daas, Unathi Dambuza, Lauren-Ann Davey, Mariah Gem Delos Reyes, Baljeevan Singh Deu, Kai Doyle, Kai Eaves, Sarah Mohamed Ahmed El Nowairi, Jessika Elalam, Ryan Alexander Elliott, Marvel Eni-Uwubame, Mariah Fabian, Achraf Fekouss, Charlie Flynn, Ty Follis, Robin Fortunato, Domenica Freire Lucero, Natalia Gasienica-Makowska, Aristeidis Georgiadis, Andreas Giakoumoglou, Siddhant Goel, Alberte Gomez Fojo, Iulianiya Grigoryeva, Jamie Alexander Hand-Cooke, Joshua Mark James Hawkins, Linda He, Frida Hellmark, Tamsin Grace Angela Hills, Boren Huang, Aman Sian Hunjan, Mohammad Iftehar Hussain, Aliyah Minaz Hussain, Namira Ibrahim, Yusuf Iper, Viyan Ismail, Yara Jajeh, Thomas James, Erikas Juchnevicius, Gozde Nazli Kahraman, Joseph Kermode, Tejas Keshava Murthy, Sahed Sami Khan, Jordan King, Maja Kotlicka, Julia Magdalena Kozinska, Victor Kuforiji, Dik Him Kwan, Kristian Lee, Wei Cheng Lei, Opeyemi Lekuti-Adesemowo, Ketsara Lertpanyabuppa, Jiaming Li, Rowan Logan, Kyle Longley, Tarun Pal Mahaveer Chandeli, Sultan-Ahmed Mahomed, Emma Mainey, Stella Makri, George Oliver Marley, Joshua Mastin, Simeon Mcpherson, Jack Meehan, Monika Mermer, Ashfa Mohamed Ashraff, William, Edward Moss, Mawra Mushtaq, Bernard Mutsure, Kc Narito, Victoria Temidayo Omisore, Andrianna Panayi, Mohammed Amin Patel, Mohamed Joheb Patel, Nikilla Patel, Shyam Patel, Linto Philip, Lincoln Mitchinson Phillips-Morris, Moesha Philpott, Panayiota Poyiatzi, Rudolfs Priedolins, Jonathan Mark Quail, Zeshan Qureshi, Helina Rai, Anish Rana, Enaldo Repaj, Conor Richardson, Shavel Toni, Ti-Ajah Robinson, Lauren Ruff, Emily Rutter, Adel Salim, Sanni Salo, Emilia Samociuk, Nicolas Santamaria Orejarena, Pattarasuda Sapnak, Savvas Savva, Luke Joseph Sedgebear, George Shaw, Abdullahi Sheikh Nur, Hrisheeta Singh, Abraham David William Steward, Tomass Stripinis, Lauren Swift, Walid Zia Syed, Paulina Maja Szczurek, Dylan Taank, Emefa Gbinu Ahialey Takyie, Savannah Jade Talbott, Giana Sen, Melissa Zuniga Tatel, Jedsadaphon ( JP) Thianphimai, Leuan Thomas, Shona Louise Thomson, Charlotte Anne Maire Vaughan, Jai Vij, Abigail Rebecca Watson, Samuel Wimbush, Thomas David Wood, Alan Yakoub, Ain Nadhirah Binti Zubir

U2.02, A physical model of the site of Project Arch2060 centred around the New Walk Museum Square - by Abraham Steward

U2.03, 2nd physical model of the Museum Quarter, Leicester, New Walk.

LSA - 2020 33 U2.04, Linto Philip, Site Model of New Walk Museum Square, Leicester

LSA - 2020 34

U2.06, Viyan Ismail - Map of the City of Leicester showing distribution of Land use as part of the Project: Reading the City.

4

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Site Enviroment Types

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main commercial & industrial areas of Leicester

1 This is probably one of the most essential

09

nodes of Leicester as it connect the main radial rodes that go across the city. The memorable point here is the Mc’Donalds restaurant.

Site Key edges Traffic network

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Leicester’s air pollution sources

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3 Melbourne Evangelical Church is the memorable point of this node.

Industrial services Domestic & commercial

5%

LSA - 2020

Melbourne Road

03

03 04

15% 01

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02 53

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Road traffic

Welford Road

01

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The memorable buildings of this node are the 3 supermarkets facing against each other varound the node.

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The focal point of this node is Tesco express supermarket and The Old Aylestone Social Club.

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Sketch of Air Quality Monitoring Station placed on Leicester University Campus.

Nodes air pollution represented above was studied the INRIX Monitor app for road traffic daily forecast.

12:00 hrs

Traffic fluid in all the city.

15:00 hrs

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18:00 hrs

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21:00 hrs

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Main City Edges

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ProjectDomenica summary U2.07, Freire Lucero - HAP Node Map of Leicester based on Kevin Lynch’s Image of the City.

Leicester has two main air pollutants of concern: nitrogen dioxide (NO2)and particulate matter (PM2.5). The main source of these pollutants is road traffic.

Early studies & analysis

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04

04

Site Enviroment Types

diameter(d): 2.5 micrometers (µm) N02 concentration (NO2.c): 30-35 µm/m3

Green spaces

d: 2 µm NO2.c: 20-30 µm/m3

Soar River

d: 1.5 µm NO2.c: 10-20 µm/m3 d: 1 µm NO2.c: 0-10 µm/m3

Railway

urban area suburban area

Site Key

Air pollution concentration edges nodes with high traffic concentration

+

monitoring stations air pollution direction

Soar River Railway

nodes with medium traffic concentration

rural area industrial area

Green spaces

-

air quality management area

U2.08, Aristeidis Georgiadis - Facades and roofline analysis of the New Walk pedestrian street.

Site Enviroment Types

Site Key

urban area

edges

suburban area

nodes with high traffic concentration (AIR POLLUTION NETWORK)

rural area main commercial & industrial areas of Leicester

monitoring stations air quality management area

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1

Visual Analysis Elevation Study (Princess Road West) Weightmans

Monster Leaflets Printing & Distribution

Sovereign House

Arch 2060, Project 1.1, Reading The City Group 4: Selim Halulu Alberte Gomez Fojo, P2417563

Facade analysis of Princess Road Westbuildings facing the New Walk park

Paget House

Bosworth House

John Woolman House

Site Plan Scale 1:1500

Site Plan Scale 1:2500

Symmetry Comparison Scale 1:300

Rooflines and Openings Scale 1:300

L E G I B I L I T Y M E N TA L M A P S A N D L A N D M A R K S (Doors and Windows Scale 1:150)

Storm Window Single Hung Window Fence Door

Door/Column 2xSingle Hung Windows

Brick Filled Windows Single Hung Windows

Arched Window

Arched Window 2xStorm Window /Brick Filled Window

Proportions Scale 1:300

Awning Automatic Roof Door Window Sliding Door

Door/Column

Single Hung Window

Brick Filled Window

Single Hung Windows

Single Hung Windows Double Door /Column

Single Hung Window

Jalousie Window

Awning Windows Line

Single Hung Windows Door/Column

Windows Line

Single Hung Windows

Double Door /Column

Double Door /Column

Door/Column Single Hung Windows/Arched

Main Door/Arch/Wall

Facades Study Scale 1:150

niversities

John Woolman House

Sovereign House

Bosworth House

U2.09, Alberte Gomez Fojo - Facade and roofline analysis of the New Walk pedestrian street.

1 . 1

Leicester there re two universities c a t e d in t h e cit y e n t r e . T h e u n i v e r s i ty f Leicester was riginally f o u n d ed s a c o l l e g e in 1927 . he U niversity of eicester received h e award o f R o y a l harter in 1957 . was then that eicester be c a me university c ity.

Although landmarks ar e c o m m o n ly associated with buildings a landmark can be an y t h i n g t h a t h as a c l e a r a s s o c i a t i o n t o a p a r t i c u l a r ar e a . T h e r e ar e m an e x a m p l e s o f t h i s t h r o u g h o u t L e i c e s t e r wo u l d be t h e t r e e s o n Ne w walk. T h e y h a v e be e n a in t e g r a t e d pa r t s i n c e t h e early 1 8 t h c e n t u r y . A d d i t i o n a l l y , t h e r e is a st r e e t ar t Monster Weightmans House festival t h a t is h e l d e a c hPagetyear, Bring t h e Leaflets Printing & Distribution p a i n t . T h i s e v e n t al l o w s artists t o de c o r a t e particular si t e s in t h e r e o wn ar t . M o r e o v e r , an o t h e r e x a m p l e o f a u n o f f i c i a l landmar k would be t h e gr a f f i t i o f t h e Le i c e s t e r w o r m wh i c h a p p e a r s al m o s t e v e r y w h e r e.

R

as a P o l y t e c h n i c in 992. T h e De M o n t f o rt t t r a c t i o n s . T h e y ar e e r C ity and C h a r l e s C e n t r e Bu i l d i n g , t h e f o r d S p o r t s C e n t r e,

A

LSA - 2020

E D

36

I N G T

ception of the world, this be done by remembering e idiosyncratic. It is used by wing a sense of direction.

H E

of the exterior physical mage is the product both mory of past experience, and to guide action”

A R T F R O M T H E B R I N G T H E PA I N T F E S T IVA L

PHOTO S H O P H A N D D R AWI N G - B R I N G TH E PA I N T - A R T I S T AC H E S

C

e

of

the

City.

I

Colour

20

Blue

21

Yellow

Y

orian ches,

Age

T

ses, s,

U2.10, Yara Jajeh - Visual analysis of building elevations on site.

museum, 22 es, De are.

Pink

atue, 19 useum.

Red

es, De are.

23

Black

eum, e are.

44

Brown

U2.11, Charlotte Vaughan - Render of route through site based from Gordon Cullen’s Townscape Studies.

HOTOS H O P H A N D D R AWI N G - L E I C E S T E R W O RM

PHOTOS H O P H A N D D R AW I N G - N E W WA L K

LSA - 2020 37 U2.12, Charlie Flynn - Genius Loci Analysis

3

LSA - 2020 38

UG2.13, Top, Alan Yakoub, GF Plan of Library Extension.New Walk, Leicester.

The proposal aims at changing the “typical” library setup to something more informal and adaptable to the fast paced life style. The site is located within a busy area on the way of a lot of professionals going to or back from work between 9am to 5pm. It is also located within the conservation area of Leicester with a big TPO tree in the centre which acts as a New Walk landmark. Hence the design intention was to emphasise on the tree and make it the centre of the pro-posed building.

External steel structures were plotted on site edges to frame the view of the tree when approach-ing the site.

UG2.13, Bottom, Alan Yakoub, First Floo Plan, the cinema’s roof is stepped so public can use it as seating areas. This compensates for the public space taken by the building’s footprint. The cinema’s GF door is sheltered behind a curved white wall that works as a projector screen. The projector is housed in a tower near the tree trunk. There is also outside seating areas for outdoor cinema/ sport events.

UG2.14, Left, Alan Yakoub, The oak tree is retained, proposed frames located to emphasise on existing site qualities.

Adjacent museum facade is identified as a start point for massing guides.

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UG2.15, Right, Alan Yakoub, Perspective of building from New Walk.

UG2.16, Sivashangar Chandrakumar - NWMS Library Render

UG2.17, Rudolfs Priedolins, Library view into the park.

Students have to developed the ability to critically assess the principles and properties of building technologies, building materials and construction methods as well as applying appropriate procedures and tools to evaluate environmental building performance in response to selected case studies in different climates.

This project is located in in the southern part of Costa Rica, which borders with Panama. It is located in Bribri which is the homeland of the Bribri tribe, indigenous to Costa Rica.

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A Building Performance & Technology project that focuses upon the technological strategies related to mid-scale buildings and the forces, which dictate their sophistication - namely climate, site, and scale.

Students are required to develop a design for a primary (infant/junior) school building in one of the three climate regions.

UG2.18, Dominic Cain, Building Performance & Technology Project - A School design in a Tropical Climate.

UG2.19, Dominic Cain, A detailed elevation showing the tropical climatic response in the proposed school in Costa Rica.

LSA - 2020 41 UG2.20, Dominic Cain, Exploded Axonometric view for the construction of the school.

UG2.21, Dominic Cain, A technical sectional diagram showing a set of tropical climatic responses to the design of a school in Costa Rica.

LSA - 2020 42 UG2.22, Dominic Cain, The key characteristics of tropical climates are that they involve hot, wet summers, high concentration of humidity and minor alteration between day and night temperatures. Also, the air movement is an vital factor and strategy for cool-ing people down because the body has more difficulty cooling itself with sweat in humid climates. The most important passive design strategy in the tropics is to open up houses as much as possible, even during the heat of the day, to achieve maximum cross ventilation and convective air flow.

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UG2.23. Lydia Brant - A proposal of a library and nursery for the Loving Community Project in Ahmedabad

U2.24, Lauren Swift - Section of ‘Grow’ a multifunctional public community space in Leicester.

UG2.25

UG2.26

UG2.26 & UG2.27, Zeshan Qureshi - Soar Island Open Market, A project revolved around the theme of celebrating the unkemptness of an environment by adopting the existing materialistic forces of the site to visualise the environment as alive and reactive.

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UG2.25, Lydia Brant - Both Ahmedabad and The Loving Community express colour on a large scale within buildings. The community in particular displays a range of colours amongst each street. Colour is a key cultural aspect within the community - these samples represent the many colours found around the community.

UG2.29

UG2.28, Ty Follis Soaring Arches Aviary, The design of this aviary was inspired by the habitat of England’s migrating seabirds. The aviary serves as both a recreational tourist spot as well as a bird conservation facility in the East Midlands.

UG2.29, Abraham Stewards , Exploded axonometric, Soar Island Community Market.

UG2.30, Ty Follis The first floor aviary raised platform .

UG2.30

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UG2.28

UG2.31, Zeshan Qureshi, Soar Island Open Marketadopting health and wellbeing approach by pro-posing that supermarket should less be publicised and more personalised by allowing people to become members to reimagine shopping as a more tailored experience.

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U2.32, Victor Kuforiji, ‘A Bird’s Haven’ A design proposal sits on top of what is left the Bowstring bridge at Braunstone gate. The birds’ enclosure space is designed to resemble a nature walk, letting birds to freely fly without feeling trapped.

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U2.33, Ismail Viyan, Adaptive Re-Use of Bowstring bridge at Braunstone gate, Leicester.

A spatial intervention interlocking the old and new for community use.

This project proposed, inserting pop-up cabin structures that can be use as meeting rooms while the lower arches a converted in cafe’s and shop. The Bowstring Brigde sits in between De Montfort Campus and Leicester’s West End. The urban connection between both was disconnected when the Brigde was torn down, while leaving its arches on site. By reviving the site into public use, the project hopes that it creates a connection between the University and the West End, thus improving the physical condition of the area.

BLIND EYE

SITE ANALYSIS

Civilization is collapsing and mother nature is here for revenge over the death and pollution we have caused.

The only resort to save the world from the inevitable dystopia future we have set ourselves is to come back in time and educate people on a world of ecological balance. The only hope will all fall on Alice, as she is the only architecture who has not fallen to corruption and not turned a blind eye.

Alice arrives in Leicester on the only surviving site left from her time.

She wakes ups in one of the abandoned tunnels under the railway.

As Alice familiarities herself, she knows that she has no time to waste and begins to set off. The first thing that needs to be done is a site analysis this is to gain an understanding of the site before the designing process begins.

IN EXAMINING THE SITE, ALICE MADE A CLEAR ANALYSIS THAT THE CURRENT STATE OF THE SITE IS RUN DOWN AND ABANDONED. ON THE GROUND THERE IS RUBBISH EVERYWHERE AS WELL AS MANY REFRIGERATORS DUMPED ONTO THE SITE. UPON SPEAKING TO AN OWNER OF A CAR ON THE SITE HE EXPLAINED TO ALICE THAT AN OWNER OF A STUDENT ACCOMMODATION NEAR BY LETS HIS STAFF USE THE SITE AS A CAR PARK. HE THEN GOES ON TO SAY THAT IT IS LOCKED UP ALL THE TIME AS MANY HOMELESS PEOPLE COME IN TO SLEEP ALONG WITH MANY DRUG DEALERS AND USERS ACCESSING THE SITE DURING THE NIGHT TIME.

JANUARY 2020 ABANDONED TRAIN TRACK, LEICESTER 2

1

The initial on site analysis reviled the a heavy pedestrian pathway directly opposite the site.

3

Alice notices that this side of the site is mainly a combination of private shops shared with a flat on the top. moreover, the use of materials is main brick.

Views

General sun path

River soar In the 18th century, the Soar was initially between Loughborough, Trent and then through to Leicester. It was in the early 19th century that it was linked by the Grand Union Canal to the south and through to London. it is one of the impenetrable edges of Leicester city.

The Braunstone Gate Bridge Opened on 15 March 1899, it was a previously a railway bridge for the Great Central Railway which was over Western Boulevard and the River Soar. The bridge had been in a poor state and neglected by the local council leading to its demolish on 3 August 2009. however this originally started in 2005 but there were many protests as it the people felt it was a landmark.

INITIAL SITE ANALYSIS CONCLUSION

After the initial on site analysis Alice purchases a laptop to be able to research more about the site. additionally , she felt she was ready to start exploring concepts for the research hub.

GLASS MATERIAL + UNIVERSITY BUILDING

BRICK MATERIALS + RESIDENTIAL WITH SHOPS

NOISE - HEAVY TRAFFIC AREA 4

Traffic lights 6

7

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When moving further up the street the atmosphere noticeably changed. Alice was surrounding by loud heavy traffic and her attention was drawn to the glass building.

Alice knows that her design needs to be ecological to save the future but what really is ecological design? Although it is designing with consideration of the environmental impact Alice is now faced with which approach she uses. When thinking back to her time she remembers the lack of nature and how when the last tree fell it made everyone crazy. The last hope of going back to normality crumbled as that tree died. Seeing first hand the impact nature has on our mental and physical wellbeing its clear that this will need to be a main feature of the design.

The first thing that springs to mind is a physical representation of nature and using nature as part of the architectural design.

Possibly using trees internally to encourage the interaction between humans and nature.

Alice initially began searching for sustainable builds which show many design using cargo boxes and incorporating nature into the design. However, none of these she felt was bold enough.

Eventually the eden project popped into her brain like a bubble. It was then that the realisation of this self supporting, energy efficient geodesic dome was the perfect way to revitalize the abandoned railway.

INITIAL IDEA

8

ADAPTING TO THE NEEDS OF THE SITE...

9

RESEARCH

Nevertheless, this design is only an idea Alice will need to research and create concepts to ensure that this geodesic dome is tailored and reaches the requirements of the building.

10

11

AS THE IDEAS BEGAN TO FLOW ALICE NOTICES THAT SHE WAS DROWNING IN HER THOUGHTS WITH NO CLEAR PATH OF HOW TO CONVEY HER IDEAS INTO AN ARCHITECTURAL DESIGN.

alice uses a wooden model of the bridge and some clay to physcially represent her ideas. she orginally had the positioning of the domes symetrical but noticed it resembled mickey mouse. therefore, she continued to re arrange the model. the dinal layout she came to was size order decending as that is the part that gains the most views from all directions.

12

To make steps in the right direction Alice analysised the potential of the site. her initial examination showed that the rear of the site was blocking the beauty of the site aswell as the amount of light accessing the building. additionally the horizon is flat and the idea of the domes would help to break the simplicity of the area and draw attention to her building from all views. This was a good base to start drawing her ideas.

In a fit of rage from attempting to work out the positioning of the domes Alice grabs rocks from the ground and launches them. as she paces around the site the rocks she launched landed in a perfect sequence. this reminder her that to develop her idea she needed a phsycial model to work with.

13

14

U2.34 Charlotte Vaughan, Design process and Final Year 2 project presented in form of graphic novel title ‘Turning a Blind Eye’.

15

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U2.36, Mateusz Asmus, In a world where overconsumption is commonplace and the demand for convenience evergrowing, the reliablitiy of a supply chain is key. This calls for automation. This project aims to supply the ever growing needs of the consumer through the use of an autoamated warehouse. In an attempt to promote more concious and responsible shopping, the user is informed of the enviornmental impact of each item and their carbon footprint is tracked.

This building is poetic in the sense that there is an ongoing interplay between the idea of machine and human landscape, along with the suggestion that they can be at one with each other and coexist peacefully. The automated wearehouse is set on a rigid grid, which the human landscape breaks out of and is consumed with nature and the sound of falling water from the adjacent weir. The project aims for people to question their being and relationship to the envionmrnt in which they are in. The transparency of the warehouse allows one to become familiar with the interi-or workings.and admire their efficiency.

UG2.37

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UG2.38

UG2.39

UG2.37, From left- The open nature of the building ensures that the air is fresh and min-imises the risk of spreading disease. ‘QUICK ORDER PROCESSING’ ’INFORMED PURCHASE’, UG2.38, Structural conception. UG2.39, Building elevation.

LSA - 2020 52

‘Once, a city was divided in two parts. One part became the Good Half, the other part the Bad Half.

The inhabitants of the Bad Half began to flock to the good part of the divided city, rapidly swelling into an urban exodus.

If this situation had been allowed to continue forever, the population of the Good Half would have doubled, while the Bad Half would have turned into a ghost town.

After all attempts to interrupt this undesirable migration had failed, the authorities of the bad part made desperate and savage use of architecture: they built a wall around the good part of the city, making it completely inaccessible to their subjects.

REM KOOLHAAS EXODUS or the Voluntary Prisoners of Architecture.

(1972)

The discourses of inclusiveness and exclusiveness even boundaries and borders are coming back to the political arena and architecture has to react to it. Everything political belongs to the polis (or city), and because of that, it needs to be attended by our architectural thinking. Inclusiveness could be the architectural statement in this time of political exclusion.

Inclusive architecture has to be understood in a very open way, for hosting the particular interests of the different studio pathways. Architecture firstly needs to include people as a fundamental agent of the decision-making process. Architects have to be always aware of how to improve people’s living conditions from both, the practical and the emotional sides. Identifying social concerns and aspirations is the first step of a mandatory reflection about how architecture can contribute to alleviating undesirable situations, and how architecture can collaborate to a more exciting life. Acting attending people and on behalf of people’s welfare is the most profound way to be political.

Architecture also needs to include context, natural and artificial. Including the natural context means to consider what is the impact that the construction and maintenance of the architectural artefacts will have in the existing natural environment and how to mitigate or minimise this impact. To include the artificial context would mean to be conscious of the current city or built environment, for contributing to its values and for moderating its problems. By the last, but not least, Architecture has to include you as Architect that means showing your capacity for understanding the circumstances and stating an innovative solution able to be demonstrated as the fairest one for the context and the agents involved. Architecture could reinforce dichotomies through the delimitation of closed boundaries between interior and exterior. Sharp separations trigger other ones based on social and economic differences and can be used as instrument of undesired segregation and control. Architecture can also generate open borders, as synergetic in-between places able to promote interaction integrating both sides. As explained by Steven Gould, in a boundary, things end, in a border, both sides interact. This general brief paraphrases Koolhaas including a question in its subtitle: Voluntary Prisoners of Architecture? With this, we want to bring your attention to these different kinds of architectural delimitations, aspiring to make you think about how to position your architecture in this dilemma.

Koolhaas’s project, presented in 1972, consisted of a series of drawings and photomontages, and an explanatory text describing some of the project components and the events expected to happen in there. The proposal was a caricature of the consequences of exclusive approaches in the London urban context, inspired by the situation that Koolhaas could observe in a wall-divided Berlin, working in some way, like us, in the connections between these two cities. EXODUS also had the ambition of using exclusion for reformulating human relationships and our connection with the natural and artificial environments through a set of new programmatic inventions. In this brief, under the title BR-EXODUS, we want to invite you to update the Koolhaas’ vision.

three Tutors Jon Courtney-Thompson Andrew Waite Frank Breheny SylvesterCheung Geraldine Dening Jee Liu Jamie Wallace Neil Stacey Dan Farshi Paco Mejias Chris Jones

LSA - 2020

Year Leader: Paco Mejias + Chris Jones

YEAR

53

BR-EXODUS, or… Voluntary Prisoners of Architecture?

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U3.04

U3.01 (Left) Haus De Statistik, Sie Model.

U3.02 (Right) Veniamin Bampilis, Urban Studies and Appraisal or Bauhaus Museum Site Berlin.

56 LSA - 2020

This project is consists of one assignment, the design of a small construction and low energy living prototype that will serve as an exemplar to others for the design and construction of other housing, possibly bigger more complex housing.

This project provides Year 3 students with a base from which to commence their research. Students are to demonstrate a sense of universality, that is, it should explore the idea that it could be erected anywhere (in temperate climate). However, for the purposes of this module is technology, they are to demonstrate and illustrate their design being erected on the site. It is in Leicester, on the corner between of Braunstone Gate and Western Boulevard.

The project must comply with the following parameters: >Have a maximum internal floor area of 17m2. >Be made primarily of 18mm birch plywood, or timber. >Be set out on a grid that is divisible by 1.2m; >Use plywood components that are co-ordinated to an 18mm birch plywood sheet – either 2440mm x 1220mm x 18mm – or 3050 x 1525 x 18mm, without wasting material. >Offer one person living accommodation – in affect a micro-flat; >Be made primarily of timber; >Make use of prefabrication/ off site module construction ideas; >Be completely off grid – that is no ‘plugging into’ sewerage, electricity, data, water, drainage; gas; >Be made of ‘sections’, including all ‘services equipment’ that fit into a 20ft ISO Standard ‘high cube’ shipping container. The internal dimensions of which are Length: 5898mm Width: 2344mm & Height: 2695mm >Utilise structural zones of between 150mm to 300mm as appropriate.

The project is required to respond to both technical and environmental thematics. How can the design be as light as possible? (Relating to weight).

How could the micro unit be made environmentally lighter in its response to light, air, heat, carbon, power, materials, water, and landscape? (Relating to consumption of resources).

U3.03, Veniamin Bampilis, Micro house project as a shelter unit for Artic explorations.

three

Tutors Neil Stacey Jon Courtney-Thompson Andrew Waite Frank Breheny Slyvester Cheung Geraldine Dening Jee Liu Jamie Wallace Dan Farshi Paco Mejias Chris Jones Technical Support John Neele Dominic Pask

LSA - 2020

Module Leader: Frank Breheny

YEAR

57

The Diogene Project

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U3.04, Veniamin Bampilis, Micro house project exploded axonometric showing construction and technology applications to the module.

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U3.05, Veniamin Bampilis, Micro house technical section.

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U3.06 & U3.07, Anson Hau, Top: Axonometric of the micro haus Bottom: Elevation of the micro haus applied to site and with habitation.

U3.07

LSA - 2020 61 U3.08, Anson Hau, Technical plans and sections of the micro living unit

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U3.09

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U3.10

U3.09, Liam Whittington, Micro Living Unit Site Studies and placing on context.

U3.10, Liam Whittington, Technical Section of Micro Living Unit

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U3.11

U3.11 Cory Staton, How to assemble the Micro Living Unit from container pods.

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U3.12

U3.12 Cory Staton, Micro Living Unit Technical Diagrams +Axonometric Studies.

U3.13

U3.14

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U3.15 U3.13, U3.14, U3.15, Jumana Abu-Sitta, Kinetic house is designed to fit any climate. The moveable units adapt to the location where the hosue is placed. If it were to be placed in a hot climate the small glass structure could be exposed in the middle alowing maximum sunlight to enter the space, or this unit could move inside to create an opened space in the middle allowing for outdoor activities such as BBQ. Also, the wooden unit could slide on top of the glass unit creating a mini balcony in the entrance.

If it were to be placed in a rainy climate, the double glazed structure could be exposed in the middle or the wooden moveable unit could slide on top of the glas unit creating shelter and warmth to the inside. This structure challenges the ability and strength of an al made wooden structure, without using steel to create a lighter structure and easier to put together relying on epoxy glue and friction.

U3.16, Ruta Adamonyte, Section detail of the micro living unit on water.

U3.16

LSA - 2020 68 U3.17, Ruta Adamonyte, Exploded Axo, materials used within the micrc house shall be locally sourced, helping bring down the overall carbon footprint. Also, the fact that sustainability is a key point, majority of the living module will be recyclable.

LSA - 2020 69 U3.18, Rahul Doll, The cargo living module has been designed as a micro house which can sit on any site without having to alter the overall structure. The elements will play a large role with the micro house as this will ensure its “offgrid” feature. Light will ensure both natural heating and day lighting ore used to their maximum potential. Plus, photovoltaic panels will allow for the creation of electricity which will then be used for heating, cooking and artificial lighting.

Rain water harvesting will allow for a constant flow of clean water throughout the module, with a solar evacuated tubing system being in place to help ensure clean running water throughout. Not only will solar power be used for electrical purposes, installation of wind turbines on site will provide a further boost and finally a small motor will be placed within the cargo living module which can then be thrown into the river soar to create a hydro-electric power source.

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U3.19, Bobby Elston, Micro Living Unit - MicroPod. Taking inspiration from Cork House with a focus on what is solid, simple and sustainable, the project is an inventive response to the complexities and conventions of modern house construction.

Instead of the typically complex, layered building envelope that incorporates an array of building materials, products and specialist sub-systems, the design attempts to make the structure, walls and roof from a bio-renewable material.

As sustainability becomes integral to all construction, this design attempts to push further beyond the requirements and aspire to integrate construction with nature.

LSA - 2020 71 U3.20, Bobby Elston, Construction Diagrams and Drawings.

The Idea is that Cork could replace the idea of the frame inturn what this would mean that the Cork concept would Provided and distribute the loads from roof to wall and into the leg foundations. Due to the properties from the bark from the

tree in which it comes from, once recycled via Wine Cork making companys at near ZERO cost from the unused cut offs cork construction system made of plant-based materials, using a dry jointed interlocking block system for simple assembly and disassembly.

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Our unit brings together two ideas. Firstly, the ideas of the [Sci-ARC] and CALTECH exhibition ‘Souper-Green! Souped up green architecture’.

Its premise is that “architects should address the challenges posed by the environmental crisis by demonstrating that green technologies can both perform and produce engaging experiences that can alter, enhance and transform public understanding of the environment.

Architects should therefore reconsider ‘greenness’ by the measurement of environmental performance, which is often low-key and discrete, and should instead create an architecture that not only maintains performance but creates an actively engaging and highly conscious lived reality. The resulting architecture will bring a new way of experiencing and understanding the environment that is inherently more ecological” Doug Jackson, Souper Green! 2017.

Our second idea is PROPINQUITY, which we use with this sustainable approach to architecture, as a framework to establish a personal philosophy that deliberately considers new forms of social, artistic, or spiritual engagement as a community in the current epoch. By exploring individual programmes in which a new community group of city dwellers might choose to live, work, or experience spirituality we have thought about the creation of beautiful sustainable buildings that contribute to the city by making places in which participants of the new community will enrich their shared and personal life experiences.

Our work considers and uses the four synonyms of Propinquity: Proximity [nearness in place], Kinship [nearness of relation], Affinity [nearness of nature], and Nearness [in Time]. By exploring and developing these architectural ideas, the unit has developed sustainable architectures that relate to those new forms of community that our students have chosen to create, and the architecture they need to facilitate those ambitions. By embracing propinquity, we have sought delight in the personal and collective spaces of the occupants of the new community and found new forms for their public and shared facilities. The outcome for each student at the end of the project is that they have derived an individual architecture specific to the chosen site, a programme for a new community, and a personal philosophy derived from their research..

U3.1.1, Veniamin Bampilis, Entrance to the gallery space via the Bauhaus Museum.

one

Technical Tutors Alastair Macquire Chris Rogers Clare Bowman Dominic Pask

Year 3 Jumana Abu - Sitta Veniamin Bampilis Harvey Liam Case Jayren Cheung Zhilner Deguilmo Fridah Keter Jingyuan Lan Hamad Malik Prabhjot Mann Estefania Mino Garcia Gareth Mutezo Naristha Naicker Anthony Namba Abdi Nooridin Hashim Noormohamod Precilla Osazemwinde Boris Palic Khaled Salameh Mona Lisa Sibanda Tyrell Taylor Robson Tlhabanello Ebrahim Variava Liam Whittington

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Jon Courtney-Thompson, Andrew Waite

STUDIO

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Studio: Elements

U3.1.2

VENIAMIN, BAMPILIS

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“Tag It Central” aims to channel graffiti off the streets and turn the art into a legal activity with a timeless quality.

Providing residential accommodation for the centre’s staff and families as well as the live -in graffiti artists, the complex is a self sufficient community akin to the adjacent surroundings. The pivotal role of the centre processing graffiti into a viable process is a first for Berlin. The Airink factory generates ink from polluted air and the Upcycling room transforms construction waste into a platform for art. The graffiti artists then turn their inspiration into reality. This is presented, viewed and sold in the Gallery allowing the public to purchase a unique work of art, the proceeds of which offset the costs of running such a hive of activity.

The residential areas boast an air of privacy but yet the complex is welcoming and can be freely used by passers by and employees in the neighbourhood. It forms a generous project, giving back to Berlin by cleaning up its streets, ensuring freedom of expression via the medium of graffiti whilst sharing itself with the Berliners.

(CH3)2CO (CH3)2C6H4

C6H5CH3

U3.1.2, Veniamin Bampilis, Technical Axonometric showing environmental elements embedded into design.

U3.1.3, Veniamin Bampilis, Axonometric of the main gallery space.

U3.1.4, Veniamin Bampilis, Living units for artist rehabilitation.

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Berlin has always held a colourful place in history but nowadays the colour palette of the vibrant city has literally been transformed due to graffiti.

Plagued by this form of street art, there is little appreciation for this illegal activity which has the ability to unleash unlimited creative potential if 􀀇hanneled correctly.

What if we could clean up Berlin physically and environmentally? Tag it Central aims to heal. Amateur graffiti can be nurtured via teaching and experimentation in a controlled and supervised environment. Vandalism becomes legal in a designated hub of activity, the temporary can be permarrent works of art to be exhibited and purchased to sustain the community of graffiti artists living within the complex whilst the carbon footprint can be reduced as the revolutionary AIR-INK bonds carbon dioxide emissions with a pigment to replace the toxic spray can. There is no better place for such a pioneering centre to be located than next to the Bauhaus Archive, housing a pivotal movement in architecture. Tag It Central respectfully slots in beside the iconic building yet stands proudly in its own unique way allowing graffiti to deliver its message and work its magic on so many levels.

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JUMANA, ABU-SITTA

U3.1.6, View of community space.

U3.1.7, Building and contextual response.

U3.1.8, Interior view of the main community space under the giant roof.

U3.1.9 Building exterior view.

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“Production Stream” The ubiquitous nature of gardening has always existed as the social and economic heartbeat of different cultures, driving city morphology and urban density.

In an effort to aid the plight of teenager orphan refugees arriving in Berlin from around the world fleeing war, persecution and other trauma, this project casts a critical eye on the essence of forming a community through the engagement of nature driven activities that are both therapeutic and enhances their skills to offer them the first steps into their new stable life in Berlin.

The proposed transformation challenges the current system of mass-production by re-focusing the process of making back to the urban identity and cultural character of Berlin by developing an emphasis on local and ecological production through a netzero-workshop-cycle that commemorates the legacy of the Bauhaus workshop curriculum.

The transparent production stream of consumption enables the users to experience and understand the environmental strategies by allowing them to view and engage in the process.

U3.1.7

U3.1.6

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U3.1.6

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ESTEFANIA, MINO GARCIA The “Kinderdorf ” community centre is a proposal that is based in a concept of educational opportunities from and for a greater development of Berlin’s society in a practical and functional way. The community constitutes of families with young children in a vulnerable situation and will operate based on two spaces where the main space will be aimed for members of the family to learn all the necessary background to teach children and the second space will come as the result for the same to put in practice the learning outcomes gained. This project will cross boundaries and promote greater literacy, supporting opportunities for higher education, building vocational skills and enhancing career prospects among different members of the family with their own children and with other children in Berlin.

U3.1.10, Building Axonometric

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U3.1.11, Site and Contextual Response

U3.1.12, Urban Response and Technology Axonometric.

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U3.1.13, Ground Floor Plan

U3.1.14, External view of building from the Berlin Wall Memorial Site.

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NARISTHA, NAICKER

U3.1.16,

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U3.1.16, The “ARTHAUS” is a project created specifically for artists and designers. It pays homage to the original Bauhaus School by providing a safe place for all creatives to express their talents as well as teach the local community their skills.

HASHIM, NOORMOHAMAD

U3.1.17, “Break the Bread” The Germans are famous for their bread all around the world.

Nowhere else can you find so many different types of breads and baked goods. This project creates a community around the breaking of bread to create interactions and an event to share experiences and culture.

BORIS, PALIC

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“Chaos in Harmony” is youth parliament that was inspired through the rebellious acts of teens that overwhelmed the city of Berlin. It is a mixture of Reinforced concrete, Cross Laminated Timber and Stained-Glass structure that creates a cohesive amalgamation of architectural languages. Which focuses on providing a stable future for the rising generation.

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U3.1.20

U3.1.21

U3.1.19, Plan of the public forum.

U3.1.20-U3.1.21, Sectional studies of the public forum design.

U3.1.22, Interior view of the public forum.

EBRAHIM, VARIAVA U3.1.23,“Garten De Musik” Following the site typology, the “Musik Gehweg” traverses over the garten with an overhanging green canopy.

The walkway connects the public to each sector of the garten, whilst providing space for people to relax, observe, and even perform (with platforms distributed across the site).

The walkway serves as the core of the entire garten, a central hub for the entire community to connect and traverse.

U3.1.1.23

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U3.1.1.22

LIAM WHITTINGTON “The ‘Berlin Skills Training Centre: Bauhaus Archive’ U3.1.24-U3.1.26, Aims to give the homeless population temporary accommodation in a permanent, designated space, during which time they can find asense of purpose and a drive to elevate themselves in society. Simultaneously, visiting artists, critics, councillors and teachers are oered places to stay as they hold workshops and lessons within the main building located next to the Bauhaus Archiv. Participation in these workshops by the homeless population is essential to securing accommodation spaces, which are located up and down the Landwehr Canal, which is located right next to the site. Artists are able to benefit from the inner-city ex-posure by exhibiting their work along the gardens which stretch up to the Tiergarten and down past the Lutzow-platz.

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U3.1.1.25

U3.1.1.26

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LIAM WHITTINGTON, The ‘Berlin Skills Training Centre: Bauhaus Archive Sustainable Intelligent Building Design, The building aims to ensure minimal waste is produced during and after construction. Biophilic Design principles help integrate the building with nature, which help to improve the mental health and wellbeing of its users.

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Walter Gropius Ramp Public Flow, The footprint of the building reflects the curve of the nearby Landwehr Canal and directs people towards the existing ramp designed by Walter Gropius. This helps to mainrtain the site’s close relationshop to the Bauhaus.

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This option is interested in the nexus between drawing and architecture, and the visual literacy of our wider society as a whole. Recent economic pressures have focused governments towards investing in education that promotes the sciences, technology, engineering and maths (STEM subjects), in the belief that these skills can stimulate growth in future markets. England, for example, is expecting to produce 1.6 million more engineers and scientists from the school system in the years ahead. The position of this option is to challenge this STEM bias by creating arguments for the inclusion of the Arts & Making, to instead propose an inclusive STEAM2 agenda by adding ‘Arts’ & Making to the STEM equation. In a recent article in The Guardian, many of the UK leading artists criticise the demotion of ARTS subject from the primary and secondary education curriculum as ‘placing the largest and most successful global industries at risk’.

The second ‘M’ ste[a]m from MAKING. Etymologically, the term ‘Architect’ derives from the Greek (arkhi-, chief + tekton, builder), i.e., chief builder / master builder2, which emphasis the Architects role in MAKING within the construction process. Many of the creative industries also involve MAKE in their profession following the art in drawings and design. It is therefore important that all designer in the creative industries to have a reasonable understanding of the process of MAKE and the best way to gain the knowledge is to practice by create prototype of the design.

This overemphasis in the potential of STEM risks the future of capital cultural value added by creatives which must be considered to ensure that the creative markets, one of the fastest growing sectors in the UK economy, are recognised for their financial contribution, having added £77 billion pounds, or 5% of the total economy in 2013. The relationships between drawing and the sciences and the collaborations between artists and the sciences have not been well documented.

However, the synergy between drawing and science has a long history that includes the work of Leonardo Da Vinci and that of Su Song, who both used drawing to communicate their ideas from ‘flying machines’ to ‘star maps’.

3.2.1, Hardeep Bilkhu, Conceptual collage, Art for the Heart, Ely’s Yard, London.

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Technical Tutors Sam Culling Selim Halulu John Illingworth John Neale Tim Richardson

Year 3 Laurence Bush Zaki Fergusson Tia Betton Hardeep Bilkhu Charlotte Bromley Alice Butts Sanjidah Chowdury Queeny De Souza Emile Desai-Rathod Aristos Dimosthenous Katie Durkin Oreoluwa Joanna Fakeye Oliwia Florkiewicz Goerge Fuller Joseph Higginbotham Seda Kalkici Kilouea Xyza Minel Toluwalope Oluwatoyin Odumosu Alameen SuleOnosipe

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Frank Breheny, Sylvester Cheung

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DNA/ Ste[a]m

3.2.3

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3.2.2

SANJIDAH CHOWDURY 3.2.2-3.2.7, “Business of Art” The idea is that art encourages creativity and the greatest of these pushes the limits of one’s creative mind, thus the gallery design intends to challenge the usual norms of architecture. The fracturing of the white cube ideal is implemented via suspension, also bridging the business world with the artistic on the site of Bauhaus Archive.

3.2.8, Section of the gallery with the flying cube spaces suspended from the main roof.

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3.2.9, “Business of Art”Perspective view towards the Bauhaus Archive.

3.2.10, “Business of Art”Perspective view from above showing the relationship of the galleries and the park on the ground level.

3.2.11, Isometric diagram showing the hanging galleries.

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SEDA KALKICI 3.3.12, “Unravelled Urban Art Gallery” A space designed to be an extension of the art that happens on the colourful streets of Berlin. The Bauhaus structure on the site has influenced the design of the building, experimental drawing machines were also used to create patterns and aid the design process.

3.3.13, View of the gallery interior. The gallery is designed to be flexible as the walls are movable to suit any exhibition in the space.

3.3.14, View of the gallery from the Bauhaus Archive.

3.3.15, The outdoor courtyard space.

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3.2.15

3.2.16

3.2.16-3.2.17, “End to the Berlin Wall” As a symbol of separation, the wall Politically and Economically separated Berlin, this project uses the form of an arch and the craft of carpentry as a contrasting symbol of unity. The joinery of the timber arch and floor structure reflects the communal activity occurring within.

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LAURENCE BUSH

3.2.18

CHARLOTTE BROMLEY 3.2.18, The building is an art institute and gallery, it is open to all abilities from people who simply wish to view and interact with art to those who pursuit art as a career.

3.2.17

QUEENY DESOUZA 3.2.18-3.2.19, One purpose of art is to turn creativity into ink and this project looks to engage with the craft of making and producing pigments and botanical inks for creative processes. The architecture celebrates the act of making the tools by which creativity can become visible.

3.2.19

KILOUEA MINEL

3.2.21

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3.2.21-3.2.22, The magic of recycling is to turn things into other things and the proposition of combining artists with work based on recycling with the recycling plant generates interest.

Combining the two makes the throw away consumer society more ethical.

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Chris Jones

The studio commenced speculatively, starting by redoing Koolhaas’ photomontages and rewriting his tales about the different episodes of the project. Starting from the Koolhaas document and reacting to his provocations from a contemporary perspective and on the idea of architecture as an inclusion/exclusion tool.

three Technical Tutors Chris Jones Tom Bush Marco Fiorino Dom Pask

Year 3 Ruta Adamonyte Augustyna Janczak Zeyneb Caglar Anson Hau Fatima Patel Jordan Steele Julia Grzesiak Maja Klich Mike Zymon Yarni Chohan

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This could guide us to the master-planning of the public space and the articulation between the project and the city. The reflection about the city will be accompanied by a critic reflection about the society that inhabits it Topics included the entrance, the tip of the strip which proposed a kind of community and collaborative effort, cooperation and organization and the idea of the allotments. During the year concerns of sustainability, pollution, global warming were investigated and a direction that involved contemporary issues within the city and the community was developed. The idea of making and authenticity developed in the detail of the projects that you see illustrated.

STUDIO

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EXODUS

3.3.1, Anson Hau, “Encapsulated cities” Inspired by Rem Koolhaas ‘Exodus’ project conceptual drawing.

ANSON HAU

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3,3,2, “Encapsulated cities” Inspired

by Rem Koolhaas ‘Exodus’ project, the encapsulated cities project aims to capture the essence of Berlin and have it all expressed through architectural intervention and exploration within an integral part of the city of Berlin. Inspirations such as films like ‘Ghost in a shell’ 1997 has been a major driving force for the project. The concept of capturing the essence of a city and encapsulating it within the architectural shell.

Emphasis throughout the project has been placed in exploring interactions between digital and physical at a micro and macro scale, from the synergy with projection mapping within building detail to philosophical hierarchy hidden within the Eco-Loop.

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3.3.3, Technical Axonometric of Houses on the ‘Ceremonial Square’.

Sustainability and self sufficiency is a key element of the encamsulated cities proposal, starting from the baths to the towers, a closed water loop is formed through phase change reactions throughout the Strip, each individual elements aims to be fully self sufficient and require very little external interjection, techniques such as rain water collection, solar power, passive heating and natural filteration methods used throughout the project.

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3.3.4, Starting from the Baths, steam is collected through a phase change system and turned back into water, gravity then allows it to fall into a reservoir requiring no pump. Water is then pumped into pipes and are now in circulation of the loop, several filteration rooms of vegetation which is used seasonally for public viewing will then filter the water until it reaches an element. The Modular Spaces of the Ceremonial Square is the centre of it celebrating the system within the urban condition.

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Reception Module, The mutisensory space is the result in the extrusion of earth itself, buildings main structure is con-structed with rammed earth tech-nique. Resulting in superb thermal properites similar to concrete as well as being a sustainable way of construction requiring very little artifical components.

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Reception Modules.

3.3.7

‘Ceremonial Square’ Housing Modules.

3.3.8

Urban Cornubation facing the Spree River, Berlin.

JULIA GRZESIAK “Rehabilitation Centre” The Second World War and Berlin Wall history affected every family in Berlin. So the purpose of my project is urban filtration, but also filtration of their memory. Wellbeing centre as the end of painfully story figuratively and literally because the site is located at the end of the Merlin Wall memorial path.

3.3.9 ,Vegetative areas create a pleasant nature landscape. It improves the quality of fresh air and strengthens people’s well-being.

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3.3.9

3.3.10 3.3.10, The multifunctional photo exhibition is a space where each of the residents can participate - send to the office or come in person with photos presenting their different memories related to his familly and Berlin. Thanks to this, communities will create a historic place by tightening their ties.

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3.3.11, The fact that the centre is meant for therapy and wellness, but have to be design in a busy, noisy and polluted city node is a challenge. The main entrance is a fragile sculpture that filters everything that penetrates deep into the site.

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3.3.12 3.3.12, Medical center is the place where people affected by different problems can find emotional and practical support. Project aims to establish a domestic atmosphere in a garden and greenhouse setting.

MAJA KLICH

3.3.13

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“The Institute” It is placed on the old site of The Prinzessinnengarten.

Design of the building connects modernism architecture of the German capital with the environmental friendly background of the site. The function of the ‘The Institute’ is to bring hidden desires to the surface by undertaking eight parts of the journey.

3.3.14

3.3.14, Augustyna Janczak, Technology Diagram Showing Structural Concept.

“London Centre of Nature Arts” The main idea for the design was inspired

by The Park of Four Elements from the Exodus project by Rem Koolhaas.

Rem Koolhaass’ Park of Four Elements is characterised by being divided into 4 separate rooms where each of them symbolises a different element of nature that visitors explore. The principal aspect of my building was to create a possibility for people to experience all four elements at the same time rather than individually.

Therefore, all the gallery’s exhibitions are nature-centred where people can explore and connect with the elements with all their senses.

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AUGUSTYNA JANCZAK

3.3.16, Section of the gallery and its hanging gallery pods.

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3.3.15, Cut section of the gallery space with eveloping sensory wall within the interior space.

3.3.16

RUTA ADAMONYTE “National Library” National Library is the complex of the buildings expressed by journey which leads people throughout experience. Education is only way to escape and go further from the past. The idea is to show the look to future with the journey of the wall augmented by learning and to show how people grow by education. The building design strongly stands for environmental strategy by its ventilation, water and green systems.

3.3.17

3.3.17, Conceptual Collage.

3.3.18, Section of the Memorial Library.

3.3.19, Site Plan showing Library in Urban Context.

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3.3.18

3.3.19

LSA - 2020 113 3.3.20, The project aims to explore the difference sides of the history of the Berlin Wall. The library acts as collection of memories of Berlin when it was a divided city.

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Narratives are the stories we are told to explain the way things are.

These fictions are not neutral however, and are often used to create a sense of fear, of alienation or of desire. The architecture you produce is the direct product of the values you hold, and serves to reproduce those values whether you are aware of it or not.

In his project “EXODUS, or... Voluntary Prisoners of Architecture” Koolhaas talks about a city of two halves, and we can read this to some extent as the architectural and spatial consequences of inequality.

Through his narrative allegory Koolhaas illustrates the world that we are currently inhabiting: A city of contrasts and violent contradictions.

Architecture is not simply a reflection of this contemporary social and economic system, it is a willing collaborator, producer and reproducer of those systems on social, cultural, economic, and environmental levels. Building and landscapes are not only the environments in which stories take place, but they can create new relationships which enables the possibility for new kinds of stories to emerge.

This studio will explore how we can produce an architecture, which not only exposes, confronts and challenges the existing narratives and hierarchies but disrupts, distorts, and proposes alternatives to them.

3.4.1, Simran Berik & Rowan Crouch, Urban Apraisal Site Model.

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Technical Tutors Paul Michael Pelken Tom Robertshaw

Year 3 Simran Berik Rowan Crouch Rahul Doll Rebecca Jarvis Titus Lee Raheel Pasha Prakriti Paudel Ally Peerally Lux Saravanapavarajah Cory Staton LSA - 2020

Geraldine Dening

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Alternative Narratives

CORY STATON

“Farm Follows Function”

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The proposed ecological development will revolve around a Vertical Farm standing against the tide of un-sustainability. The project is tasked with feeding and housing the vital yet most often overlooked needs of the modern urban citizen. It attempts to humanize the urban scale while urbanizing the farming scale.

The holisitc approach creates and distributes food through a community market, knowledge through tutorial spaces and information through a biodiversity research centre. It aims to answers the need for clean air, clean water, fresh locally grown organic food and perhaps most importantly a public space within which to share them.

3.4.5, Shared Living Unit conceptual diagram.

3.4.6, Vertical Planting Boxes as area for Community Integration.

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3.4.4, Ground Floor Plan

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3.4.3, Site Plan and Master Urban Layout.

LSA - 2020 118 3.4.7, (From Top), Elevation of the housing project in relationship to the Urban Context. Section showing the habitat units and vertical farming.

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3.4.9

3.4.8, Section of the vertical farm on the habitat tower.

3.4.9, Various angles of the development and its relationship to the urban context. The vertical farms are intergrated in each towers with a market on the ground level.

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3.4.10

3.4.11

SIMRAN BERIK

“Simply Nature” Research is focused on Biophilic design a concept used within the building industry to increase occupant connectivity to the natural environment through the use of direct nature, indirect nature, and space and place conditions, and therefore improve wellbeing. The project contains a mixed programme to improve Mental Health and break down stigmas attached to it. The biophilia concept states that we are drawn to environments that have supported human life in the past, so responding to nature is part of our genetic makeup. The biophilia theory, though not universally embraced by biologists, is supported by a decade of research that reveals how strongly and positively people respond to such things as open, grassy landscapes.

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3.4.12, The right shows a massing model in plan locating it on the site. The annotated diagrams draws all advanatges of the site and experiements this on site. It uses the vertial fins from the precedent and rammed earth another natural material on site to create the majority of the spaces.

3.4.10, The site model is made from all recyable materials and offcuts of wood.

As Prinzessinenngarten is sustainable and constructed with reused with, we wanted to create a model that resonates with the site. The wall surrounding the gardens is built with offcute random pieces of wood which we wanted the model to mimic this. Another feature we took from the gardens is the idea of self-build, so the model is cut by hand and not laser cut.

3.4.11, Ground Floor Plan.

3.4.13, Section. Berlin’s pioneering urban gardening project began in 2009 on this site on Moritzplatz, which had been abandoned for over 60 years. The nonprofit group Nomadic Green inspired a small army of volunteers to help turn this wasteland into a fertile farm. Today there are workshops on gardening and beekeeping, activities for kids and a cafe.

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3.4.15, Site Model

3.4.16, To the left of the page, it looks at the refugees of the city, potential users of the site. Refugees in Berlin are forgotten. In September 2015, The German Federal Chamber of Psychotherapists found that between 40-50 percent of refugees were experiencing mental health issues.

3.4,17, To the right is an illustration that depicts the struggle Berliners face when it comes to technology and how the world is concerned about social media and online presence that this causes there to mental health issues in users.

3.4.19

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3.4.18, Section

ROWAN CROUCH The aim of this project is to provide affordable housing units alongside a sustainably built community that grows upon the ideas and beliefs of the sites previous inhabitants, Prinzessinnengarten. There will be opportunities to grow food and recycle waste and water along with space for community activity and opportunities for education and training throughout the life of the project. The project sets out to involve the residents in the design, construction and long-term management of their homes from the start, in order to sow the seeds of a resilient future neighbourhood.

3.4.20, Site Plan, Prinzessinenngarten.

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3.4.21, Section showing the main courtyard.

3.4.22, Section showing Market.

3.4.23, Axonometric with Market.

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RAHUL DOLL “Brecht Centre”

Bertolt Brecht, a German play write, was best known for creating a new wave of performing “Epic Theatre”. Having been raised in Berlin, Brecht’s contemporary style conveyed his views on the political spectrum and the realm of theatre. “Epic Theatre” encouraged characters to present different viewpoints within an argument, rather than simply providing a realistic depiction of their personas. This project will allow a once oppressive building to be reborn, giving life to the ‘Brecht Centre’ which will encourage education and theatrical performance. In this new chapter, the built library will benefit the permanent programme and during seasonal periods, its versatile nature will allow Brecht’s “Epic Theatre” to be commemorated by being performed.

3.4.24

REBECCA JARVIS “Kunsthaus”

3.4.25, Long section through tower and residential block.

The Kunsthaus (arts-tower) brings together a variety of communities through art.

The housing crisis has led to a drastic increase in homeless figures. Located where The Berlin Wall stood it allows Berliners to tie together the east and west methods of dealing with homelessness to tackle a modern crisis. Housing the poor in a monumental tower gives a powerful message of change; in a modern society people oversee the government.

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3.4.26, Perspective of building from Prinzessinenngarten.

3.4.27, Structural Axonometic of the cultural forum.

PRAKRITI PAUDEL “Voice”

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This project exposes the existing building’s wall to reveal the existing structure that represent the hidden past. It works with this structure to create a place for both, the local community and the wider public to freely express their “voice”, whether it be through the activities in the multi-purpose arena, performance space in the cafe, recording studios, community radio station or online in the library.

3.4.28

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In the context of globalized production and consumption, build means growth. The making of contemporary architecture on the one hand serves its capitalized purposes and values (efficiency) and on the other hand fills the content of the short attention span dominated media of today (publicity). New technologies which we rely on to provide our architectural services also subconsciously alter how we think.

Tech industry is the industry of today’s world. Active engagement with technology in architecture also led to the birth of movements e.g. paramatrisim which praises form generating and image making.

We look, we touch, we hear, and we smell. We react and interact. Every single aspect of human senses can be explored to the maximum via the making of a space. Such as the Japanese gardens play with the distortions of an abstract landscape to build our imagined perceptions of nature, such as art work of James Turrell which are designed to break our consciousness or awaken the senses lies behind our awareness.

What we believe is that architecture can impose ideology but the act of creating architecture should embrace fundamental qualities of how humans respond to a space physically and emotionally.

The result can be bold but purposeful. A well thought decision also includes when and how the physical fabric of architecture should step back, and allow life to take place.Having developed architectural spaces and experiences, we can then start to curate them into a journey that form the whole of your project.

‘Until man enters the building, climbs steps, and takes possession of the space in a ‘human adventure’ which develops over time, architecture does not exist.’ Lina Bo Bardi This studio will examine the core spaces of architectural design in depth through making and photographing detailed physical models in addition to drawings. Discussions will be around the impact of your design on human senses via the presence of proportions, colours, view, opening, light, material and so on to clarify the design proposition.

3.5.1, Styliana Manthopoulou, Markethalle.

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Technical Tutors Hamish Herford

Year 3 Ian Caadan Warren D’Cruz Vasiliki Kaminioti Awais Khalid Agnieszka Lewicka Preston Lo Styliana Manthopoulou Beatrice Tartaglini Yuxuan Wan Seim Yati LSA - 2020

Jee Liu

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Why We Build

STYLIANA MANTHOPOULOU “Markthalle”

How to produce, store and sell all in the same place?

The architectural concept comes from the contemporary reinterpretation of the traditional Market Hall, expanding the ideas of Prinzessinengarten and to offer education form environmental principles and the importance of reusing and self producing. The architectural concept comes from the contemporary reinterpretation of the traditional Market hall but with an urban twist towards an interactive and multi-functional programme.

MARKTHALLE is offering an integration of functions and spatial experiences including an outdoor market pavilion, organic cafe & bistro, as well as a market hall & central sitting area that are located on the ground floor of the building.

3.5.02, Site Axonometrix 3.5.03, Facade detail of the enveloping skin of the Markethalle.

3.5.2

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3.5.4, Section cutting through the front roof of the Markethalle.

3.5.5, Markethalle interior.

3.5.6, Markethalle exterior facing Marienplatz.

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PRESTON LO “Family Living”

The proposed masterplan aims to produce a mixture of council housing apartments, deeply integrated into the surrounding community, ranging from studio to 3 bed apartments a community centre, and workshop all help to create a physical barrier from the noice pollution created by the railway adjacent to the site.

The special nature of the design is that there is a balcony in each of the two levels and connected by a flight of spiral staircases to enhance connectivity and enjoyment of the users. The lower level is best for social gathering and connecting with users, while the private space (bedrooms) for the users is located at the upper level.

3.5.8, Conceptual Diagrams illustrating site approach.

3.5.9, Site Plan of Development.

3.5.10, Massing Studies.

3.5.8

3.5.9

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3.5.10

3.5.11, Elevation material studies.

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3.5.12, The design concept is to erect multiple low-mid rise apartment with ground-floor retails and public spaces to ensure the residential/retail streets to be filled with meanings and movements.

3.5.13, Housing units with balcony access and entrance from the main corridor.

3.5.15, The Community Centre.

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3.5.14, The series of complex apartment buildings are aligned in order to take advantage of the southern sunlight, with facades and level variables to maximise openings, thereby creating multiple light sources and enhance ventilation in most of the apartments. A long community + workshop building which wraps the northern side of the apartment complex, forming a kind of shelter from the pollution caused by the railway.

GNIESZKA LEWICKA

3.5.16

“Culture Eutopia”

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Project is located on the West side of Brick Lane, London area, within the Ely’s Yard.

Today Brick Lane is the heart of London Bangladeshi community, home for wide range of local businesses, shops and restaurants. Project is a response to the conflict between the local Bangladesh community(families) and newcomers such as night clubs, busy street activities and new communities. The aim of this project was to find a balance between late opening clubs, new activities and the peaceful enjoyment of residents.

The proposed community pool provides a place for local children to play in, as a way to encourage cultural integration, through children.

3.5.17

WARREN D’CRUZ

3.5.19

3.5.18

“Unite”

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3.5.18-19, The ideology behind the proposed project was to reverse the role of the imposing existing building that has been abandoned for so many years, thus, incorporating it into the surrounding community.

The development facilitates the integration of living and community wellbeing by incorporating all the necessary amenities of the 21st Century.

SEIM YATI “Meditation Oasis” 3.5.20-21, The brief of the project is to provide a meditation centre complex in the heart of Berlin. The project includes an administration centre, acourtyard, long walkway, café, library and residential flats.

Providing a place where people can come and enjoy, relax and release their stresses. They can come either a couple of hours or book for two weeks to stay in residential flats.

3.5.20

3.5.21

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3.6.1, Elene Georgieva, Arts and Performance Centre, Conceptual Model.

This was one of several “heavy & light” studies undertaken by the student.

These studies prompt consideration of Semper’s architectural elements, as well as “permanent & temporary’, “enclosed & open”, “robust & delicate” and “carved & assembled”.

ARKStudio invited students to develop architectural projects for a site chosen from a series in London or Berlin (defined for the whole year by the Year Leader(s)). The Studio presented a narrative that required students to consider the contribution architecture can make to health and well-being. The studio encouraged students to develop project briefs in response to the studio narrative, to research into the city, locality and specifics of the site and to personal interests and ideas that emerged from their initial study and research.

Projects ranged from urban well-being retreats to university study centres, community support facilities, an urban market and an immersive tunnel museum in Berlin. Most projects were multi-use, in that they involved living accommodation of some sort alongside another use or function; this emerged from the studio’s initial focus on monasteries as a means to discuss how architecture might encapsulate a model for exemplary living, learning and working.

Students were asked to undertake a series of urban design site and project/ programme intention. By “imagining a….” [1] rewilding [2] city park [3] fortress [4] imprinted typology [5] social strata and [5] massing and erosion, students developed an urban schema. The schema then underpinned each student’s design exploration of their architectural project and ideas.

Design exploration exercises commenced with model-based studies of ‘heavy and light’. Unfortunately much of this successful model work was left behind in studios in the sudden, corona-virus exit from the University buildings. Students were then expected to define further design exploration exercises in discussion with tutors - en route to concluding their architectural designs.

six Technical Tutors Nils Feldmann

Year 3 Tomi Anisfowoshe Naleen Bancil Rahul Baria Katie Davis Ibrahim Fagbenro Elena Georgiev Wiktoria Jatczak Nathan Nselala Jay Surti Sophie Uttams LSA - 2020

Neil Stacey

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ARK Studio

RAHUL BARIA“

“The Green Tower””

3.6.2, Elevation.

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The green towers provide with strong visual connection with nature, as nature has huge impact of physical and mental health of people.

This tower will perform as a healing sanctuary as it brings variety of plants that emit and have bug impacts on human health. It has been proven that nature can resolve many architectural problems such as bad air inside interior spaces. plants can decrease the chances of moulds and bad air bacteria by 50% to 60% than in rooms without.

The tower consists many open openings to the outside with strong visual connection to the cities, also being taler than all the surrounding buildings help with fresh supply of fresh air which medically helps to decrease stress and maintain strong mental health. Indoor plants have potential applications in other fields, including sensing, solar energy, acoustic, and people’s health and comfort. Making full use of various effects in plants benefit human health and comfort.

3.6.3, Section showing Vertical Gardens.

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3.6.4

3.6.4, The site boundary is highlighted in red which outlines the open space near Truman s Brewery workshop. The site is walled by large existing building that hides this open space from other streets. The site boundary is measured by 60 meters in length by 27 meters 1n width The site holds the foot print of 30000sq feet which is used for many different purposes throughout the year as the site is surrounded with over 250 businesses household.

NALEEN BANCIL

3.6.6

“Berlin Wall Market”

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A Market Hall celebrates different cultures through food during the day. This space can also be used in winter for Christmas Markets, and on historical anniversiers to celebrate events such as 40 years since the Berlin Wall came down.

SOPHIE UTTAMS

“Bricklane Exhibition, Research and Learning Centre” The design will incorporate learning spaces for PhD students under a Goverment programme and funded by the government, in order to facilitate their research and studies.

The learning spaces can also be rented out by people from the employment sector such as businessmen and women, to hold meetings, seminars and other activities.

3.6.7-10, Model Studies, The range of models are initial explorations of the’heavy and light exercise’. he structures ontop of each base represent the ‘light’ aspect, i a frame-like manner. The formaton of each ‘light’ structure enabled further exploratios of light and shadows, as reflected by the nature of the images.

3.6.7

3.6.10

3.6.8

3.6.9

“Nature & Well Being Centre” is a combination of a Visitor, Community and Art Centre. More than an Art Space the building raises the importance of conservation work and also our own well being and that of the planet. The bulding aims to create an outstanding, memorable and functional building that supports artist within the area.

3.6.12

3.6.12, View of building from Von-Der-Heydt Street next to the Berlin Bauhaus Archive.

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AUGUSTYNA JATZCAK

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3.6.11

3.7.1

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The production of the contemporary European city is a global exercise in the movement of capital in search of value it can extract from a physical place through the building of things. In places with little value it does this through the application of a new ‘valuable’ identity (suburban housing developments) or through increased convenience (Ikea sheds, office parks).

In places of high value it does this through the production of global spectacle (The Shard, The Gherkin) or the Simplification of valuable local identity into a marketable lifestyle product (residential development sales brochures).

The response to these powerful economic forces from those concerned with the quality of the city has been the creation of the accepted urban design methodology of ‘place making’. Through the application of ‘good design’ principles, place making attempts to tame global capital in pursuit of an idealised historic form of the European city. In so doing it can be equally responsible for the eradication of nuance and complexity and can lead to the creation of highly generic urban space.

We reject both of these propositions as starting points for the creation of the city. On our specific sites in Berlin and London we will seek to explore the complexity of their current situation, to seek what value they hold beyond the monetary, and what kind of ‘place’ it is already.

Through our architectural and landscape interventions we will explore how we can exaggerate these pre-existing qualities in the search for a highly specific architecture.

3.7.1, ROBERT JERMAIN, “The Exhibition” A schema is extruded ‘out of ’ the existing buildings and grounded within the community and landscape. As the project developed to hold elements of a neglected estate, it subsequently re-placed the local pub in favour of a reimagined, recreational space. Instead, providing an open restaurant [eating and drinking area] with a beer garden/urban farming combined (above).

‘The Exhibition’- a multi-functional establishment aimed at a bridge between the old and the new (saved or destroyed).

seven Technical Tutors Joseph Little

Year 3 Yazan Al-Haji Drew Baker Joseph Fraser-Fitzsimons Miles James Artemis Karavolia Nicole King Jermaine Roberts Adam Suchanek

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Jamie Wallace

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Context/Content

ARTERMIS KARAVOLIA

3.7.2

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The healthy lifestyle centre is a multipurpose building that aims to assist the people in leading a healthier lifestyle.

It includes all the necessary functions to influence the user physical activities, diet nutrition and to “recharge” the body. This building works like a “bridge” to install the agricultural culture of Germany into the urban fabric of a berlin and create a building accessible by a wide range of people to use it in their everyday lifestyle.

3.7.3, Robert Jermain, Front Entrance of the Exhibition Space

3.7.4, Robert Jermain, Plant Space and Cafe.

MILES JAMES “Creating a Heart” This project was centred around “creating the heart” of the Carpenter Estate community. The community had been destroyed because residents were relocated due to refurbishment.

My proposal consists of a mixed-use high-rise building, public square, and private yard, which together, provide spaces that aim to socially and economically, support, enhance, and enrich the lives of those living in the community.

ADAM SUCHANEK “Football Centre/Car Park” The building structure of huge concrete slabs stacked on each other will accommodate football pitches and supporting facilities, at the same time they can be easily transformed into car park spaces which will support west ham stadium during match days and events in Olympic Park. The sports centre will link the neighbourhood with the Olympic Park and west ham stadium. It will encourage people from outside to visit the estate. The sport will effectively connect kids and adults, by givinthem

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“Deceased” In the year 2050 70% of the world’s population will live in Cities, and 100% of those people will die.

Cemeteries and Mausoleums are becoming overcrowded so move further onto the outskirts of cities. but these rural cemeteries take up a lot of room and are far away from relatives who wish to visit. Exodus is Berlins answer to the vertical cemetery movement. Comprising of five floors this structure caters to the funeral rituals of the main five religions, Christianity, Judaism, Islam, Hindu and Buddhist.

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DREW BAKER

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3.8.1

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We ask if memory and avant-garde theoretical strategies can coexist. Is it possible for Genius Loci (Spirit of the place) + Genius Seculi (Zietgeist/ Spirit of the times) to co-exist? The studio explores concepts learned from theoretical texts through a design process of experimentation.

We reject conventional design approaches as a valid method of questioning potential. We work on the premise that place is defined physically by degrees of enclosure & metaphysically by aspects intangible to the humans who occupy the space.

The sites comprise a disused Stazi base in Berlin and the dejected Carpenters Estate in London. Both sites struggle to connect to their context due to invisible borders comprising of historical and social stigma.These metaphysical borders are fortified with the physical borders of the heavily trafficked Roads and Railways.

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

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

3.8.1, Samuel Joy, “Berlin Ebenen”.

eight Technical Tutors Michelle Tomlinson, Arjun Rajah, Charlie Cornish

Year 3 Julia Desperak Bobby Elston Betty Fawole Ian Gomes Jay Hayer Sam Joy Akshay Ayadathil thazha Kuniyil Jake MacLean Anisha Sharma Dreama de Souza Georgina White

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Dan Farshi

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Co-existence in Theory

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3.8.2

JULIA DESPERAK The ex-convicts are one of the most deprived social groups. As a society, we would like them to become healthy members of the community. Thus, the scheme combines rehabilitation centre with half way houses, where the exprisoners not only prepare for the re-settlement, but also acquire knowledge about themselves.

LSA - 2020 151 3.8.2, The front entry is a place where all of the important features of the project meet. connection of the old and new, of the public and private of the open and quite space. All of those characteristics are the front of the building and in front of the people. This view aims to close the aim of the project in one glimpse.

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3.8.3

3.8.3, Therapy pods axonometric section.

3.8.4

3.8.4, Rehabilitation centre for the ex-convicts who are deprived members of the society.

3.8.5

3.8.5, Existing Facade Transformed Into A Neighbourhood Onebed rooms are connected with communal spaces, this allows integration of the The closed and impenetrable facade, which from the very beginning was inhabitants and highlights the temporariness of the scheme. The once inhabitants considered as problematic, was converted into a lively neighbourhood. The get efficient help, they are able to move out and start a new life. boundary that was closing the site from the city life, was opened and started to be a feature not restriction. The housing units aim to gather ex-prisoners who temporarily need accommodation.

By using rotatable shading panels people are able to adjust ‘the bars’ to their needs. The usage of the timber as a primary material aims to highlight that the users -ex-prisoners - are no longer in a lockdown because no prison is made out of timber.

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3.8.6, The therapy pods are an important part of the whole scheme. It was proved that in order to positively influence peoples’ minds, a place of rehabilitation and retreat should provide a variety of spaces. From big spacious halls for group gatherings to small rooms for contemplation. The pods not only provide a privacy, but also break and twist the idea of the prison bars being oppressive.

3.8.7 3.8.7,Interior Of The Cafe Overlooking The Entrance To The Swimming Pool Embracing The Timber.

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3.8.8

JAKE MCLEAN “HAUS DER STATISTIK, BERLIN- Downhill Longslope X Countertop Dining” Prespective view of the re-use of the House of the Statistics , utilized as an adaptive reuse process in order to have positive impacts of the urban regeneration.

3.8.9

3.8.10

3.8.9 &3.8.10, Plans showing the Longslope integrated into the Haus Der Statistik.

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3.8.11

3.8.11, Section of the Longslope Structure into the existing builing.

3.8.12

3.8.12, Perspective of the complext from above showing the integrated Longslope.

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BETTY FAWOLE

3.8.14

This project starts by highlighting the need for innovation in the city of Berlin and it’s residential popularity. An analysis of the history and transformation of Haus of Statistic, which aims to create a fun, creative space and a community, reinforced by the Tower-Hub. We undergo an environmental analysis and critically discuss significant areas of the building.

3.8.15 3.8.16

3.8.13, Massing studies for the residential tower. 3.8.14, Site Plan. 3.8.15, Plan. 3.8.16, Entrance view of the tower.

3.8.13

ANISHA SHARMA

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The scheme entails temporary accommodation and workshop facilities for refugees co-existing with a market for both refugees and locals, based on the site of Haus Der Statistik.

This design proposal aims to unite both the refugees and natives to help the refugees integrate into the Berlin society.

3.8.17

SAMUEL JOY “WHAT IS BERLIN EBENEN?”

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Berlin Ebenen, or Berlin Levels, creates a vertical landscape throughout the urban ruins of the Haus Der Statistik building providing various attractions to the general public, as well as temporary work and housing for homeless residents of Berlin. It incorperates local cuisine through various food vendors throughout its levels, performance spaces for local talent and buskers.

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Architecture MArch 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 co-designing new ways of thinking and meaningfully challenging conventions to redefine the future of practice.

Our design studios are delivered through advanced, research-by-design led units. Offering a range of specialist pathways to help students develop an independent and critical position on architecture. Studio options range from high-density housing to sustainable futures, and advanced material investigations. All studios encourage an open-ended spirit of enquiry to advance knowledge through rigorous, exploratory and playful processes. Students are supported to take risks, learn from mistakes and be bold and fearless in creatively exploring ideas.

MArch graduates have been awarded multiple national and international design awards, including Five prizes at the RIBA president’s medals, five regional RIBA awards and the prestigious RIBA Wren scholarship.

BEN COWD PROGRAMME LEADER Year 4- Advance Upper Year 5- Advance Final

MA (Architecture)

“The fact is that no species has ever had such wholesale control over everything on earth, living or dead, as we have now. That lays upon us, whether we like it or not, an awesome responsibility. In our hands now lies not only our own future, but that of all other living creatures with whom we share the earth.”

David Attenborough, Life on Earth How can architecture adapt and transform from being a destructive force to natural habitat to being a generator and provider for plants, insects, birds and mammals capable of inhabiting our cities and streets? How might we reimagine living in a ‘Wild city’ and how would our habits and every-day life need to adapt to accommodate our new neighbours? How might we re-imagine our city plans and reorganise our streets and transportation to promote cleaner more habitable environments? Will our timetables change to accommodate seasonal migration or hibernation? And how might our own lives and health (mental and physical) be improved by us being closer and intertwined with nature?

Working at multiple scales students were asked to consider how these questions might change architectural topology and typologies. What technical advances will be required to resolve issues of multiple habitations? How might we think differently about technical detailing, material specification and the life-scales and cycles of buildings? Will new architectural forms emerge from a blurring between landscape and building? Skin and surface? And how will architectural representation need to change to communicate an architecture that might grow, blow in the wind and change seasonally?

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

M1.01 Natasha De Castelo Branco ( Y5) - Entropic City

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Year 4 Yomna Amer Karen Isaac Nur Hazira Mohd. Zahari Flora Zejnullahi Samuel Sandercock James Evans Utsav Baid Wing Sum Leung

Year 5 Adam Ayub Catherine Cook Natasha De Castelo Branco Steven Ferreira Sameerah Khalid Alexander Poma Jessica Sayer Joseph Silva Santa Sangar

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Ben Cowd, Tim Barwell

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The Wild City

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CATHERINE COOK (Y5) ‘Urban Entomology: The Insect Village’ The Insect Village will re-wild the city with insects; using excavated ground for bug hotel workshops, educational lecture spaces with wild living roofs. The exterior will become alive with pollinating trees and wildflowers, insect habitats and hotels, including community vegetable gardens to encourage families to learn and grow together.

JOSEPH SILVA (Y5) ‘Vaedena Gama - The Growing Village’ This project is a sustainable village set on the outskirts of Colombo, Sri Lanka. Illegal settlements have appeared around the city, predominantly on flood plains, meaning homes are destroyed and lives are lost annually.

Vaedema Gama houses those living in these settlements, while inviting the flood and nature into the site.

ADAM AYUB (Y5) ‘Senga Bay Vocational Lake School and Fishing Village, Malawi’ This scheme aims to combat recent damage being done to the shores of Lake Malawi, from sand mining and overfishing, to the ‘braindrain’ of skills away from the locality. A vocational school together with accommodation and new fishing-village provisions aim to teach and inspire locals to appreciate their environment, and how to practice about their local trades sustainably.

SAMUEL SANDERCOCK (Y4) ‘The Elevated Route’ The area above the the road that was the old railway stationwill be converted in to a community park for children to play community allotment and community gatherings. The structure of the route can allow plants to grow up and over it allowing people on the route to feel wrapped in nature protecting them from the pollution from roads below.

NATASHA DE CASTELO BRANCO (Y5) ‘Entropic City’ Leicester is taken as the experimental city, as it presents very distinctive spaces: some prosperous and others neglected. In order to create healthier living / working spaces, the celebration of wilderness is considered the source of re-planning design.

Therefore, the abandoned industrial site of Corah’s Company and the overgrowing nature is celebrated, proposing a community which grows with and from the first arboretum to be designed within and for Leicester’s city centre.

YOMNA AMER (Y4) ‘The Scout Sanctuary’ The city and its grassroots are re-imagined in themes of the Scout Movement whereby there is a balance between the immersive experience of being in nature and active participation in projects that benefit the community. The project provides provisions to ease the hardships of child poverty in the local community.

ALEXANDER POMA (Y5) ‘Humber Common’ The emphasis was to rewild a pre-industrial dock on the banks of Hull. The programmes aim is to cultivate a community that support the foodbank and soup kitchen, through agriculture. The focus was to reduce the shame felt by clients of the foodbank by integrating them into a wider architecture.

SANTA SINGH SANGAR (Y5) ‘Wild Primary School’ This project is carefully designed architecture to subtly allow young children to become aware of the risks of unhealthy living, obesity and their side effects from a young age.

STEVEN FERREIRA (Y5) ‘The Extinction Centre’ The Extinction Centre aims to show its visitors the life and history of planet Earth through the fossils found on The Jurassic Coastline. Its focus is on creating an eye opening educational experience that will improve our connection to the planet and save millions of species from extinction.

SAMEERAH KHALID (Y5) ‘Architecture as a Metaphor : Treatment of Narcissism’ The project begins to look at reimagining a more sustainable fashion school, by analysing the issues of the fashion industry; improving our own lives and mental health by intertwining nature and nurture and setting a healthier precedent for both the environment and the individual.

JESSICA SAYER (Y5) ‘The Wild Village’ This project is a settlement that creates a community and encourages the citizens to treat nature as their own. Architecture should adapt and care for the environment by being a provider for plants, insects, birds, and mammals alike. By allowing nature 10 years to ‘rewild’ the site the design can flourish.

JAMES EVANS (Y4) ‘The Osprey Library’ The Osprey Library is a bookhouse designed for birdwatchers and wildlife photographers set adjacent to the River Soar in Leicester, emphasising views of the natural environment and intending to encourage visitors to appreciate the native bird life in the UK. KAREN ISAAC (Y4) ‘Bee in the City’ Sustainable weaving with nature, architecture and us eof space can fix the missing link and reunite the displaced public. By creating temporary hives for people to connect, communicate and be educated, it will restore the publics connection to its natural resource.

NUR HAZIRA MOHD. ZAHARI (Y4) ‘Frog Island Fashion Artisan Market’ Leicester, a historical textile powerhouse, shadowed with fast fashion induced, modern slavery issues. The Frog Island Fashion Artisan Market weaves the industrialism of the historical textile industrial areas and the wildness of the River Soar. Integrating ribbons of creative studio space for upcycling fashion artisans to promote sustainable fashion culture.

FLORA ZEJNULLAHI (Y4) ‘Forest Primary School’ The idea behind the project concludes, that there is a lack of understanding of nature itself from the poeple in Leicester, so by building a forest school it will help to re-educate the future poeple in the city. Adding levels of round spaces will ensure that children are able to enjoy a three-dimensional playspace.

UTSAV BAID (Y4) ‘Soar Wild Swimming’ This project aims to use the River Soar as a place for Wild Swimming near the Ciry Centre of Leicester. Wild pools and saunas creates a gateway for the busy urban life for people in Leicester.

LSA - 2020 167 M1.02, A model exploring the delicacy of butterflies and wings to create spaces, shadows and connections. Life cycle of the butterfly manifested within the delicate paper butterflies printed on maps of leicester.The decomposed and broken parts show the extinction rate and death of butterflies.

CATHERINE COOK (Y5) ‘Urban Entomology: The Insect Village’

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The past decade has seen an alarming decline of insect numbers, this is largely attributable to the decrease of their natural habitats. Insects are the species humans need to survive on the Earth, and the species that are declining the fastest.

Re-introducing them to urban environments where there are fewer green spaces than rural areas in which the insects thrive is something that is paramount to combating current population problems. A localised action will be the interventions along the river soar, this can be implemented on wider scale, using the same program throughout other cities and rivers to re-wild them also. The importance of using water as a part of the site and newly formed habitats is because rivers carry nutrients and water to all areas around Earth, they act as draining channels for surface water, draining nearly 75% of the earths land surface. They provide habitats and food for many of the planets organisms such as ducks, otters and beavers. Kingfishers eat small fish from rivers and in warmer climates, animals rely on rivers to drink from.

LSA - 2020 169 M1.03, 1:200 Model exploring a new insect habitat, drawing them in from the vegetation across the river to populate the residential. The model examines the existing elements on the site, the canal boats and electricty plyons. The new habitat will bring life to the site without interferring with the existing set up in a destrucive way. The site was chosen because it is a bare peice of land along the river with little other use.

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M1.04, An attribute of these new types of architecture within Leicester is the ability to merge and cling onto what is existing; nothing is torn down and stacked high but simply nestled within the landscape to provide new habitats and new spaces for education and the community.

LSA - 2020 171 M1.05, The learning cave crawls into the banked up earth and has a cave like appearance and character, it respects what is already there. Similarly, the old viaduct on site 2 is reused and to connected the history to the community and to nature without damaging or removing any part of it. Developing existing and creating life from it is what this project embodies.

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M1.06, A 1:100 model exploring a slice of the new habitat; showing cavities to introduce bee nests, wildflower meadows and platforms and places to for insects to perch and patrol.

M1.06

ADAM AYUB (Y5) ‘Senga Bay Vocational Lake School and Fishing Village, Malawi’ As there is a ‘Brain Drain’ of professionals and skills going out of Salima and into the capital of Malawi where there are more opportunities and better provisions for workers, the programme of this scheme must continue to re-tain this skill within the local area.

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One aspect where it can achieve this is by providing further facilities to resident workers who have trav-elled from afar to come and teach or to practice their trade. Teach-ing staff in Malawi are known to be provided with very little facilities both professional and personal and so as well as the accommodation as-pect of the scheme, it also includes a Faith space and prayer room. The closest Mosques and places of wor-ship are located along the roadside in between Salim and Lilongwe and so they are not at a commutable distance from the fishing village locallity.

M1.07

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LSA - 2020 175 M1.08 , Site analysis for Malawi showing the Fishing VillageFootprint, Fishing Village, Surrounding Architectire, Route of Processed Fishout of Salima, Marshy Stream, Water Basin at the end of the Marshy Stream, Holiday Homes & Route of Sand

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LSA - 2020 179 M1.10, A graphic comic representation of the conceptual design procees showing how it be considered on site, and this would be beneficial for a school and education related programme. Another concept exploring a boardwalk to direct users through the drying zones and move between the internal and external spaces.

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1.14 -Architecture Model of ofdesign concepts andstrategy initialand ideas M1.12, trees model of Planting design plan

NATASHA DE CASTELO BRANCO (Y5) ‘Entropic City’

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M1.13, A masterplan that explores the growth and architecture of tree areas, represented by the growth of greenert, from the centre of the reserach and tree care habited by the arborists and researhcers, the first staff to habit and work on the site from the start of the development.

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M1.14 In an old long unused industrial space, a new idea emerges, maybe this abandoned area is the start of a new era. A group of recently graduated arborists found help within the council to start this new plan, what if the near park could inspire more than a park? Plants already had their head start, growing through the ruins of what could be found in an old map, so the arborists help the wild plants to even further manifest.

1.19 - How the seeds fly away from site

LSA - 2020 185 M1.15, Various models showing the timescale of the growing trees, with different speices beeing shown with different colours.

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M1.16 Chimney Exploration The high chimney which grows from the house helps the seeds travel and finally come out, with the help of the winds flowing through the space, the hot air teaches the little seeds how to fly again. Going up through the chimney they blow into the skies and under the sunlight they find home in the soil to grow one more time.

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ALEXANDER POMA (Y5) ‘Humber Common’

M1.18

The site’s history has being used for Hull’s industrial past, but before that time the site was part of the Humber estuary wild ecosystem. With the removal of the flood walls and allowing nature to reclaim the landscape it will allow the site to re-establish itself as part of the Humber’s ecosystem for migratory and resident birds.

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M1.19

M1.20

M1.28 - M1.20 Foodbanks rely on donations to run sustainably, a method to help increase funding would be to utilise the market where sellers can come and sell produce for a profit. A small amount of the profits will be injected into an emergency fund to help the food-bank buy supplies when they are experiencing a shortage or high demand.

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M1.21, View across the wilding, in which the growing of crops will help the community support some of its most disadvantaged members.

Growing crops has multiple aims, but the main purpose is to grow produce for: the market, food bank and soup kitchen. For example, crops such as samphire and wild potato will be grown and combined together to form soup for the soup kitchen.

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M1.22, Exploded Axonometric showing the four major functions including teh Soup Kitchen.

During the school holidays food-banks have an increased volume of families needing emergency food supplies. A method to alleviate this increase in demand is the use of a soup kitchen. This soup kitchen can also help with the City of Hull’s homeless in providing them with hot food.

SANTA SINGH SANGAR (Y5) ‘Wild Primary School’ M1.23, The school will be a place designed to help educate children,

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teach them how to cook and prepare healthy meals from an early age as well as help them appreciate the severe need for high quality produce. The school will not only educate them about a healthy lifestyle but also how to reuse the waste.

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M1.25

M1.25 & 1.26, As the seasons change, so will the buildings aesthetics and the architecture. Different colours and smells will be present, both inside and outside allowing the architecture to evolve. Various nature sounds can be heard by the students throughout the year.

As the seasons present different fruit and vegetables, the children will be able to taste and learn about the fresh produce, providing a healthier lifestyle.

M1.26

M1.24, The design follows the existing landscape geometry; however, an almost circular playground is introduced to the design to break the geometry to some extent. This almost circular playground can also be used for growing fruits and vegetables.

STEVEN FERREIRA (Y5) ‘The Extinction Centre’ M1.27, With the addition of the new underground path, the buildings would then need to adapt to all three. These plans show the way the path and buildings are joined to allow for an basement floor and a ground floor that is directly connected to the exterior.

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M1.27

M1.28

M1.28, Upon reaching a developed stage the plans required to be detailed and given life, to do so details such as doorways and furniture were included but most importantly people were added in an attempt to understand the route this building would take a visitor on.

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M1.29, Development of the initial block plan of the programme to allow the building to follow the ideas of layers peeling away to tie in with the design of the elevated route. Trees and plants in the forest provide nesting spaces for birds and sometimes bat. Trees also being a source of food for wildlife. Access to the forest is provided at ground level and with a ramp leading up to the tree top walk. Ground level and tree top paths lead around the forrest taking people to different features.

Rocks produce habitats for many insects that like to live in these dark and damp spaces, these insects will help with the whole ecosystem of the forest. The pond attracts dragonflies, offering water for birds and small animals, providing habitats for frogs, newts and many aquatic insects. Ponds are important for a huge diversity of species, some spending their entire life cycle in the water while others come and go.

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SAMUEL SANDERCOCK (Y4)

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M1.31

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M1.30 & 1.31, YOMNA AMER (Y4) ‘The Scout Sanctuary’, A major source of inspiration for the project is the film Bridge to Terabithia. The project aims to identify the hardships that children in the local community face in order to create suitable provisions to ease and overcome these difficulties.

M1.32, JAMES EVANS (Y4) ‘The Osprey Library’ The building attempts to cohabitate natural life with urban cityscape, by offering two somewhat separet exteriors. A communal green garden space within the urban context lies to the west and the east is camoflaged within the trees and foliage.

SAMEERAH KHALID (Y5) ‘Architecture as a Metaphor : Treatment of Narcissism’

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M1.33, This highlights when the trees have been removed the will be moved to the to end of the site, where the design will be left to become a marsh, creating habitats for wild life.

JESSICA SAYER (Y5) ‘The Wild Village’

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The Wild Village is a settlement that creates a community and encourages the citizens to treat nature as their own. Architecture should adapt and care for the environment by being a provider for plants, insects, birds and mammals alike.

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M1.35

M1.36

M1.37

M1.38 M1.39

M1.34, Formation of all conceptual models and ideas, based upon the textile chimneys within leicester and adjacent to the site. The basic chimney massing evolved through modelling to relate the the concept of a village.M1.35 - M1.38, One model encorporating an elevated foorpath weaving in and around the units, allowing the existing landscaping to remain mostly untouched. M1.39, 1:500 model showing the contrast between the northern edge and the southern edge. The southern edge, in which plants will thrive, slopes to encourage growth, while the northern edge is start and vertical, as it will be in the shade.

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Scan here for Timeline Animation

LSA - 2020 201 M1.40 The Wild Village resides just outside of the Leicester city centre, however its basic principles can be taken and applied to other communities. The urban setting makes the village prefect due to the strong advantages of living in a city, but also the advantages of living in a rural setting.

The ecology on-site is important, and the design of the village needs to cater to both human and non-human inhabitants.

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M1.41, The Wild Village concentrates on the climate crisis, how animals are losing their habitats and at least 10,000 species go extinct with every passing year. Cities are becoming polluted and over-run by humankind; there is an ever-growing population and how settlements are built and designed needs to be addressed. To address these issues, there must be a way to live alongside nature and incorporate ecology within the architectural design.

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M1.42, While community values are practiced, the indivdual can still thrive, taking time out to relax your mind and body, or to have a quick catch up with old friends. As long as you do not bother others, all freedom of exression is accepted here.Children run along with their kite, while an elderly couple reminise old memories and experience their true love.

M1.43, New families begin new journeys and a new way of life. The community values that are utilised within the Wild Village are those of unity and sustainability. Growing your own food and playing your part for everyone.

Whether it is watering the plants orgetting knees deep and fishing

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LSA - 2020 205 M1.44, As you walk closer to the River Soar edge, the marshland opens up and becomes a place of wild nature. All the plants have had a few years to mature and have ‘taken over’ what was once a flat area of soil. The troughs have now filled with overspill from the river and natural rainfall, and with their increase in volume, the wildlife has also made habitats, as the water is rarely disturbed by mankind.

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JOSEPH SILVA (Y5) ‘Vaedena Gama - The Growing Village’

LSA - 2020 207 M1.45 (left), This key iconic piece of imagery defined the Karava caste of Ceylon. While the caste system no longer exists, the Karava are hailed for their influence on the economy of Sri Lanka and therefore their iconography is still respected. Makara is the Sinhala term for dragon, but the general representation of the Makara, is a hybridised animal, comprised as the head of an elephant with the body of a fish.

M1.46 (right), All of the members of this community, though they are part of their own branch, they are also connected as part of the whole tree. The whole community engages with one another in the social spaces, while still having their own huts. The internal spaces of the huts maintain some minimalism, but offer far better comfort than the current situation of many of the residents. In lieu of traditional beds, the residents will sleep on hammocks, as they are a much more local and affordable solution.

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LSA - 2020 209 M1.47, The community is bustling, vivacious and ever growing. You can witness the life and activities occuring through out the community.This extract shows how the entire site would be full of life, and excitement with endless possibilities. Through welcoming in animals, flora, fauna and people, the Growing Village can thrive and not only grow across the site, but across the country and potentially beyond.

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M1.48, The hybridised plan/axonometric represents the atmosphere of the village huts, paired with the following sentiments:

“This hammock is so comfortable! I’ve never slept so well” “Can you say amma?” *Baby blows raspberry* “I will make extra kotthu for the neighbours!” *singing* - “Sumihiri pane”

M1.50, Isometric Extract of Designed River Edge - “Peace comes from within. Do not seek it without.” “This young Aliya is filthy, fortunately I have this coconut brush perfect for his skin.” “Catch it Mali” “You’re out, I’m batting next!”

DI V E R SE F IG U RE S vividha samkhy

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M1.49, Isometric Extract from Old Negombo Channel - “It’s biting!

It’s definitely a big one!” “What a sweet monkey!” “It’s a purple faced langur, they’re endemic to Sri Lanka. They are so docile!” “I am so glad to finally have an accessible home, and feel like part of a community.”

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MON K EY BUSINE SS vanduru vyaparaya

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

two Year 4

This studio will begin with investigations into the contemporary megalopolis, a term coined by many urbanists including Patrick Geddes, Oswald Spengler, Lewis Mumford to initially define overdeveloped cities in it decline or apex of power. Since the latter half of the 20th century however, the megalopolis has been the trend rather than the exception, with over half of the world’s population now living in cities. The implications of this phenomenon will be examined through research and formal experimentation, focusing on the global themes of urban density, growth and fragmentation. The critical body of knowledge will then be applied to the city of London.

Aminah Althuwaini William Dudley Daniel Hambly Benjamin Harrell Pan Leung Noor Abbas Mohamed Hag Janusz Moore Can Ozerdem Shubham Rathi Julia Singh Oon Wong

Like many large urban centres today, London is undergoing the challenge of mitigating unprecedented urban growth, while tackling the social, cultural and environmental challenges that face its diverse population. The subject of the studio will include a contextual analysis of global urban trends and an indepth study of London and its current speculation in development, planning, and politics. We will examine the urban dialogue between London’s many districts as well as its various states of density in the city, which often conflict with its otherwise fragmented nature.

Lauren De Souza Matthew Leach Anoushka Patel Safwaan Patel Safwan Sheikh Luke Spence Alexander Waithe

Students will work to develop a body of research that will identify opportunities for equitable development with respect to density, energy independence as well as social equity and policy. In particular, we will focus on East London, specifically in the Hoxton and Shoreditch areas.

Students will be encouraged to develop their own research agenda which will culminate in a year-long project. In the first semester, students will produce in-depth site research focused on experimentation in model making and 3D representation that will identify relevant issues and site contexts. Students will analyse their site’s fabric in the political and social context of its makeup.

Later in the semester, students will use the gathered information to take a position on the questions posed by the studio and develop a proposal for a cohesive project that will inevitably focus on promoting density, identity and equitable design.

M2.01 Daniel Hambly ( Y4) - The Old Street Biorefinery

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Dr Yuri Hadi, Lena Vassilev

STUDIO

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LAUREN DE SOUZA (Y5) “Uncompromised Density: The Pitfield Estate Regeneration” A project that aims to introduce a more socially sustainable approach to urban regeneration. One that achieves high density, without demolishing existing homes. The newly-formed courtyards are social hubs which unite the old and new. They encourage better neighbourhood integration, which will strengthen the growing Pitfield Estate community.

LUKE SPENCE (Y5) “The Shoreditch Distilery” Cities were once home to mills, potteries, cloth, brewing and manufacturing however over the decades these have shifted away from the dense urban sprawl and are now located on the periphery or have even completed been relocated out of the UK. With the densification of our cities, Is it therefore possible to reintroduce urban manufacturing and production back into our cities, with the aim of rejuvenating the industrial past of the UK?

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MATTHEW LEACH (Y5) “The Shoreditch Works” Shoreditch was once a key area for the UK’s furniture trade. However, the rise of flat-packed furniture caused a rapid decline of the industry. The Shoreditch Works is a multi-use development that aims to re-introduce the furniture trade to Shoreditch, creating skilled jobs and homes for craftspeople and their families.

SAFWAN SHEIKH (Y5) “Surat Upcycling Market” A landscaping/building project as a prototype for resilient architecture in the wake of environmental problems caused by global warming. The design was based off an initial masterplan study with a programme resembling a social enterprise model, addressing social and cultural factors relating to the site.

ANOUSHKA PATEL (Y5) “Co-Housing Project-Isle of Dogs, London” A vision is a Britain where in 2030 people of all ages are respected and valued, where they can mix and share activities and experiences, living alongside each other in homes and communities that are fit for life, work, learning and play.

SAFWAAN PATEL (Y5) “The Shoreditch Mosque” How can an authentic mosque design can bridge social/cultural gaps within the current urban environment in the UK through it’s achitectural identity deriving new inspiration from the Muqarnas. Exploring density and a state of verticality to enable a unique approach towards authentic Islamic/Mosque architecture.

JANUSZ MOORE (Y4) “The Reconstructed City” The Reconstructed City is a research inspired project that allows communities, displaced by estate regeneration, to retain their right to the city through the formation of autonomous evolving neighbourhoods within the underutilised sites of London. This new urban typology responds directly to the needs of its inhabitants, whilst retaining the unique character of the chosen site.

DANIEL HAMBLY (Y4) “The Old Street Biorefinery” A research-inspired project in MArch Part II reviving the idea of Japanese Metabolism of merging technology and infrastructure. The expansion and failings of the London sewerage system produce an interesting proposition for sustainability in which vertical infrastructure can be placed and designed. Instead of transporting London sewage out of Central London, we can used it as a bio-fuel within multiple trigeneration plants in a vertical building.

BENJAMIN HARRELL (Y4) “The IMPOSITION Art Centre” This project aims to recreate the artistic community of Shoreditch in a densified volume on the site. This was done by creating an informal habitat in which artists create the spaces they require to live, socialise, pursue their creative outlet, and display their work.

WILLIAM DUDLEY (Y4) “Progressive Babelism” With gentrification of the area, the infamously creative nature of Shoreditch became a brand rather than a culture. In the face of rising prices, many lost their home. In response to this circumstance, Progressive Babelism is an architectural movement to reclaim the city and revive the sense of community.

AMINAH ALTHUWAINI (Y4) “Floating Community: Reconstructing The Urban Condition” The floating community is a piece of urban infrastructure that brings new urban conditions to a chosen site. The function of this proposal focuses on vertical farming and a re-imagined floating market. It aims to densify and create a better quality of social space, whilst also promoting local food transportation and spreading awareness of carbon footprint.

PAN LEUNG (Y4) “Hotel Voyuer” An examinition of spatial relationships, materiality, form and space in modern architecture changed how people looked, what they looked at, and to what extend they looked. Where was it appropriate to be seen, or seen looking and how this new found phenomenon of looking and being seen evolved from public spaces to private space, and even more to contemporary art.

NOOR ABBAS MOHAMED HAG (Y4) “Stress Free Space” High density living can have a negative impact on mental health and well being. Common issues, such as social isolation and nature-deficit may lead to high levels of burnout in society. Nature deficit disorder is the idea that human beings, especially children, are spending less time outdoors, and the belief that this change results in a wide range of behavioral problems.

SHUBHAM RATHI (Y4) “BakeryWorks” Food production were once part of the urban infrastruction particularly bakeries in cities of London. This project looks at how a modern bakery can be design as part on the urban infrastruction, as a multi-use developement for people in the trade.

JULIA SINGH (Y4) “Hoxton Square Food Gardens” The concept is to create a greener community that has the capability to grow their own produce throughout the year; to which can be sold locally on site and even used within the restaurants. Having locally sourced produce will not only create more of a sustainable community, it will bring the community together as a whole.

OON LAM WONG (Y4) “The Oriental Night City” Taking inspiration from Hong Kong and Tokyo for its vibrant night activities, can we re-create this urban condition in London? Night life are synonamous with vice and crime in the West but in part of Asia, it is vibrant for social life. Can a Night City be re-imagined for communities in London?

LSA - 2020 213 M2.02 Lauren De Souza ( Y5) “Uncompromised Density: The Pitfield Estate Regeneration”

LAUREN DE SOUZA (Y5) “Uncompromised Density: The Pitfield Estate Regeneration”

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The Pitfield Estate Regeneration aims to set the tone for re-evaluating how we view urban regeneration through a socially sustainable model that can still achieve high density, without the need for demolition of existing homes. Not only will this proposal provide additional quality homes but it will improve the existing and therefore strengthen the already-established communities, for a far more vibrant and cohesive city.

Not only does the quantity of social housing need to increase drastically, but also the quality, in hope that social homes can be redeemed to its former glory and once again embody a home fit for all. Situated in Hoxton, the regeneration of the Pitfield Estate looks at developing the existing social infrastructure and also building an additional 108 social homes, without the need for demolition of existing homes.

The courtyards are the driving force behind this development - they are what unite the old with the new and set the scene for interactivity and new memories. Playgrounds and gardens fill these spaces and act as a social hub for residents; fostering social cohesion and strengthening the growing Pitfield Estate community. These courtyards are formed by the newly built dwellings that circle them, linking from tower to tower, dipping and peaking to appear like an urban mountain range with a series of green roofs. These urban valleys not only invite light in and views out, but they break up the elevations and epitomise a nature-inspired reflection of London’s urban landscape.

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M2.03, View of the childrens playground from the main artery tunnel cutting into the 3 couryards of the project M2.04, Cut perspective from housing block 1 from Pitfield Street, M2.05, View of housing block from Pitfield Street M2.06, Communal Facilities facing playground

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M2.06

M2.07

LSA - 2020 217 M2.06,Cut section showing the 3 courtyards. These courtyards unite the old with the new and set the scene for interactivity and new memories. Playgrounds and gardens fill these spaces and act as a social hub for residents; fostering social cohesion and strengthening the growing Pitfield Estate community.

M2.07, Elevation view from Pitfield Street

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M2.08 M2.08 & M2.09: The development sees numerous new amenities take shape across the estate, all of which are needed for a socially sustainable community. These public spaces are accessed either via Pitfield Street or the courtyards. The amenities more aimed at the wider community are situated toward the front of the site, facing the busy Pitfield Street. Other more localised amenities, specifically aimed at the Pitfield Estate residents - such as the Laundrette, mini-market and crèche - are located further into the heart of the development. All of these new indoor public spaces have a strong connection to the outdoors, with floor-ceiling curtain walling that provide panoramic views of the courtyards and the surrounding context.

M2.09

M2.10,

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M2.10, Plan showing the ground floor plan for The Pitfield Estate Regeneration.

Throughout the development, the proposal incorporates different outdoor spaces which evoke different social activities. Thus these same spaces also range in their accessibility to the public.

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M2.11, The cafe space is a significant element to the building’s facade as it marks where the main entrance is to the estate. The large curtain walled facade brings teems of sunlight into the space, which is only accentuated further by the perforated brick walling that lies beyond the curtain wall. This scene can be celebrated with views from the mezzanine floor-above the entrance.

M2.12, The front entrance successfully captures a lot of the significant architectural details in this project.

The brick detailing is used throughout the development to define particular spaces. Many of the public spaces (especially those that face Pitfield Street) are easily identified by the ‘hit and miss’ brick detailing that perforates the facade and brings unique shadows into the spaces.

M2.14, The new Community Centre sits at the very heart of the estate, situated between two of the existing tower blocks and directly above the main pedestrian pathway The community centre’s architectural language speaks very differently compared to that of the residential.

The materiality consists of mostly timber structure with internal and external concrete floor finishes.

The building is elevated above the ground to allow for movement below it, connecting the garden / allotments and the playground together, via a sheltered space for seating. Only the vertical circulation can be found at the ground floor level, which is the only access to the building above..

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M2.13, What this project aims to successfully achieve is a new sense of community. Through not only designing suitable and adaptable dwellings, but paying more attention to what lies just outside the home.

Ensuring that no space is just an urban void, but instead a possibility for new ways of interacting and connecting with others. It is within these unnoticed moments that a new and improved way of living can emerge..

M2.15,

LUKE SPENCE (Y5) “The Shoreditch Distilery” Urban production, as the manufacture of marketable goods on a large scale in cities, is a misunderstood aspect of urban areas that is often overlooked in urban planning. After years of decline, cities are now potentially at a turning point. Jobs in industry have quickly shifted to the service sector, creating major gaps in the labour market. This poses the following questions:

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Should cities continue to manufacture products in the 21st century? If so, what must be made and where?

Will industry take a stronger place in the urban economy or will it simply disappear and replaced for urban space and jobs?

M2.16,

Urban production has both a sentimental and important place in urban areas, but is still poorly understood within the urban economy.

In more recent years, initiatives have emerged that aim to revitalised local production by linking it to quality and value creation.

Similarly, in this globalist world with almost negligible transportation costs, governments have never had to act so strategically in attracting and supporting the industries that serve the local economy, and at the same time investing in the necessary infrastructure to support this.

This can have a positive outcome for the cities with companies who align their goods and technology with local markets and needs, while using local raw materials and residual materials.

Now is the time to decide whether we want to continue a decades-long trend to drive production out of cities or embrace it in the local economy?

M2.15,Conceptual collage showing the main structure attached to Shoreditch Viaduct M2.16, Conceptual collage of the market spaces underneath the distillery M2.17,The distillery towers

M2.17

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M2.18, The distillery tower with labs, garden and gin barrels stacked as building facade

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M2.19

M2.19, Various models from exploring the site lines, key areas of interest around the site form part of the connectivity, and building form of the design.

The Overground Station crossover various lines begin to formulate architectural shapes and spaces. Areas are also identified in which it would be advised not to build on instead encourage movement.

“Generating life and activity, pedestrian movement is at the heart of the urban experience” The aim would be to enable public thorough by opening up the existing archways and enabling markets and workshops to be situated underneath my proposition.

This would maximise user engagement and provide a vibrant hub.

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M2.20

M2.21

M2.20, Section showing the distillery structure M2.21, First floor plan

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M2.22

M2.22, Collage exploring the street interface, how greenery and an urban park could be introduced into the site. System of grids and frames for climbers, elevated walkways exploring the levels of the site and provide access into buildings.

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M2.23, Distillery component elements being tested for form and space.

MATTHEW LEACH (Y5) “The Shoreditch Works”

M2.24

The aim of this proposal is to create a live/work facility that seeks a sustainable solution to high urban density with the aim of reducing the potential for overcrowding in urban environments. The facility also aims to reduce homelessness and unemployment by creating a development where people can learn new skills and sell their handmade goods. The location of the site is ideal for this type of development as it is located in a London District with high urban density, meaning the streets are full of life.

The facility should act as a creative hub that encourages the inhabitants to learn new skills, with a particular focus on furniture making. Furniture making has historically been associated with Shoreditch, however it is a trade that has now, unfortunately, all but died out. Therefore, this proposal is seen as an ideal opportunity to reintroduce the furniture trade, particularly at a time when consumers are preferring bespoke handmade goods over ‘of-the-shelf ’ furniture produced on mass by large furniture manufacturers.

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Materials for the facility can be brought into the facility by utilising the existing train line that passes through the site. This could also be utilised to transport finished goods out of the facility so they can be distributed to the wider world.

M2.24, Building Axonometric from Holywell Lane M2.25, Building perspective from Shoreditch Street M2.26, Building Axonometric from New Inn Yards

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M2.31

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M2.30

M2.28, Ground floor plan showing the makers workshops and the goods yard with entrances from Holywell Lane and Shoreditch Street M2.29, First floor plan showing rhe workshops and access to accomodations.

M2.30, Second floor plan with the Shoreditch Line cutting into the building M2.31, Elevation from Holywell Lane

JANUSZ MOORE (Y4) “The Reconstructed City”

M2.31

A research inspired project that explores upcycling buildings for an autonomous evolving settlement in the heart of Shoreditch. Taking inspiration from Oliver Micheals Building Art Collages, The Japanese Kintsugi philosophy of preserving broken objects and surgical anatomy studies of elements of existings buildings.

The project aims to illustrate architecture apart from function and sustainability can be beautifully designed by upcycling existing material from existing buildings.

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M2.32

M2.31, Site de-construction and re-construction diagramme.

M2.32, Building location in Shoreditch M2.33, Building parts de-construction into taxonomy of parts for up-cycling

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Janusz Moore ( Y4) - “The Reconstructed City”

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M2.35-Left, Building parts research taxonomy for upcycling M2.36-Right, Collage experimentation building elements being tested for form and material.

Using the taxonomy, combined with materials from upcycled materials, this was use to speculate how the community build their habitation and workspace in the development

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M2.37, The Reconstructed Village weaves together a seamless combination of existing and new structures created with upcycled parts and materials deconstructed from the original building. This section illustrates how the village will look like at its full capacity, with studios, workshops, public spaces and housing.

M2.38, The internal courtyard acts as the communal space once the construction gantry is removed.

LSA - 2020 235 M2.38, The creative space situated directly above the workshops. The form of the structure is made by up-cycling materials from deconstructing the previous built on site.

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M2.39, The Reconstructed Village-Elevation. The elevation is design to reflect the richness in form and material reflected by the context it sits. The use of upcycled materials is fused with the new.

M2.40 Night axonometric showing the lighting affects from the luminous parts of the building particularly the workshops with its glass roof

LSA - 2020 237 M2.41, Building view from street approching the gallery entrance M2.42, View of the internal courtyard

DAN HAMBLY (Y4) “The Old Street Biorefinery” A research-inspired project in MArch Part II reviving the idea of Japanese Metabolism of merging technology and infrastructure. The London Borough of Hackney is situated in Inner London, is made up of nineteen wards and has a popu -lation of 246,300 people. An Air Quality Management Area (AQMA) was first introduced to Hackney in 2001, following the exceedances of nitrogen dioxide and the risk of exceedances of PM 10. This included the Shoreditch Area, as well as major roads and junc­ tions. The AQMA was then expanded in 2006 to cover the whole Borough.

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The failings of London’s current sewer system, as well as the proposed price for the Thames Tideway produce an interest­ing proposition. What if instead of trans­porting londons sewage out of central london, it was used as a biofuel within multiple trigeneration plants across the city. That way, the rising amounts of sewage could actually be used to power the city .

M2.42, Sectional Perspective cutting the heart of Old Street Station

LSA - 2020 239 M2.43, The Tri-Generation system for sewage managment and process parts in detail M2.44, Axonometrix view of the inner structure with the Tri-Generation machine connected to the current sewerage system below Old Street Station

Rejuvenation of the spatial condition of Old Street roundabout at ground level. An approach aimed at increasing social interaction around the site, reactivating the disused public spaces, and creating a new grand entrance to the station.

The proposition includes: Implementation of a peninsula - this re­moves a quarter of the roundabout, reconnecting it to the largest existing public spaces to the north west of the roundabout, thus reacti­vating the existing public space and producing a pedestrianised promenade toward the station.

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Re-design of Old Street Station entrance -the re design will include a grand opening con­sisting of a double helix ramp that spirals down to the platforms below, producing an awe-inspiring space, as well as a tourist attraction that will entice people to visit the site even if they are not travelling via Old Street Station.

Demolition and relocation of abandoned and run down buildings to the north east of the site - this produces a second pedestri­anised promenade leading toward the new grand entrance to old street station, while improving the permeability and accessibility to Cranwood Court, freeing up public space.

M2.45, Building axonometic-Old Street Station

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M2.48, View of building above the Old Street Tube Station

This image displays the ground floor interface of the Biorefinary, as if the viewer had emerged from the double helix ramp, then turned to look back at the entrance and the surrounding building. The aim is to campture the exxlesiastic spatial sensation, in which light glorifies the machinenary and scale of the biorefinery.

To further develop the cathedral like elements of the space, each material has been carefully selected. The polished concrete floors, the brass handrails and polished alluminium shell of the biorefinery all reflected light, further illuminating the space, adding its grandeur.

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Where as the tactile nature of the bio-concrete facade, hanging vines and meadow like plantings add a comforting sense of texture that contrasts the other materials.

M2.49, View of from ground floor entrance of Old Street Tube Station

This image displays the central atrium of the building as it appear for users making thier way up through the biorefinery. The space is illuminated by sunlight as it cascades through the open void at the top, creating a shaft of light that dances across the curved staircases thant connect to the residential programmes.

The main tower of the biorefinery is opened to reveal the water recovery unit, which becomes the centre piece of the atrium. The walls that line the inner face of the tower are the green walls, which are irrigated by the water produced by the wastewater recovery unit, and act as a sound insulation between the biorefinery and the residential units.

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The space is left intentionally open to elements, in order to promote the continual growth of the internal ecosystem, which ensures the gardens are continual throughout the Biorefinery.

M2.50, View of central atrium building

BENJAMIN HARRELL (Y4) “The IMPOSITION Art Centre” The primary goal of this project is to create a facility that can help re-establish the identity of Shoreditch back to an artist community. This needs to be done by creating, cheaper, exclusive creative housing, with facilities, to not just do their work but to also display it and intermix with others in their community. The facility should be executed by incorporating the ideologies and typologies of Shoreditch, being a mixture between Suitable infrastructure and quirky self-builds allowing individualism and personality to shine through. For example, like how Stik paints on the front of his facades.

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In its essence, this project aims to try to recreate the artistic Shoreditch in a densified volume on the site. By creating an informal habitat in which artists can create the spaces that they need to pursue their creative, outlet, and live, either alone or with others.

These spaces should also be in a size in which it would be impracticable for large companies to take over.

LSA - 2020 247 M2.51, Scheme isometric, The Imposition Art Centre

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M2.52, from top left.

1: Artsit where given a 3 storey, live, create, display unit, which each floor was able to expand to suit thier needs, loosley based of Stik’s studios. The more formal element was based off the PET facade studies. These units where placed around a communal green to act as a centre point to the community.

2, Astist habitation imposition onto site.

3: Habitat Prototypes 4. Habitat Prototype 3. Looking into the history of the artistic community of Shoreditch, the way in which they lived was by squatting. Going into abandoned buildings and taking ownership as they were abandoned, as there wasn’t a high demand for properties in that area. While speaking to a former squatter in Shoreditch they walked me through the process of how they made their homes.

5: Abstraction Of The Shoreditch Facade.

6: The nest units where designed with three key aspects in mind.

One of which was to avoid an issue famed in London housing, the lack of storage. Another aspect is comfort, yet limitation, these units are still larger than the minimum London standard of 37 square meters for a studio, however, the space doesn’t allow for dual purpose, encouraging their third aspect expansion. With threes doors per unit and the cast concrete frame their they are ready to be expanded in a multitude of ways.

7: 3d Dual Grid Imposition The as to recreate the aesthetic and theory behind the third imposed concept model, the two grid where laid over each-other, creating a bounty of unique spacial opportunities. By using the same amount of squares, it appears as though one had simple been rotated a shifted, an aesthetic, that became a key component of the design later on.

8: Dual Grid Imposition tranfer to site.

M2.53, Exploded axonometric, Stik’s habitation unit

M2.55, Assigned Areas Artists Residence

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M2.54, An experiment to overlapped iterations of the grid in particular the block on the north side of the site.

M2.56, Pre-Habitation by assigned artist

M2.57, Post-Habitation by STIK

M2.59, O’keefe’s Habitat Exterior

M2.60, Claire Perry’s Habitat Studio

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M2.58, Assigned Areas Artists Residence

LSA - 2020 252 M2.61, Axonometric of Kings Basin, Post Urban Intervention

AMINAH ALTHUWAINI (Y4) ““Floating Community: Reconstructing The Urban Condition” ”

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At the heart of this urban infrastructure is the informal night market. The informal food sector can adjust to socio-econom-ic conditions in crisis such as economic decline. This brings an opportunity for employment and income to the working class. Framed within cultural, social and economic concerns, the endeavors of creating a place from the daily practices of hawking produce a phenomenon that contrib-utes to the daily lives of the locals as part of their daily earningsexperience while in return, locals and visitors bring dynamism to the social public space; by social in-tegration, entertainment, and economic exchange.

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The Floating Community is a piece of urban infrastructure that creates new urban conditions on a site. The function of this proposal focuses on markets due to its absence in Shoreditch. Situated in Kingsland Basin, the prototype examines the possibility to expand within the canals of London. The prototype is to be spread along the canals of London. Within 10 years, the project aims to revive the old Hoxton Market of Shoreditch and bring back the quality of space, bringing density and an enhanced social environment. It also promotes local food transportation and brings awareness towards carbon footprint.

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M2.61, View of The Kingsland Basin Market at night. The phenomenon of night markets appearing in neighborhoods and streets can aid in eco-nomic growth by densifying the spaces becoming busier and more dynamic due to the effect of placemaking.

M2.62-M2.65, Infrastructure prototypes as to generate a better social eperience within the urban space. The bottom ground circulates towards densifyng the area through a series of activities to enhance the quality of the space.

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M2.62

WILLIAM DUDLEY (Y4) “Progressive Babelism”

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Progressive Babelism revolves around meaning ful, yet casual journies between informal spaces. Specifically this is a movement which explores architecture without the architects, an experiment which focuses on ordinary people building spaces for themselves which inexora-bly reflect their own lives. The movement intends to bring an almost chaotic energy to cities, exposing the potential dynamic effect of organically assembled pathways between new dwellings.

While the residential elements of an occupied site are the main vitality of a Progressive Babelist scheme, much of the settlement’s life comes from communal areas. This includes all open spaces, services, and facilities: bathrooms, kitchens, gyms, etc.These spaces greatly vary the activity and should be spread meaning fully throughout a settlement.

While it is crucial to avoid racial districts forming (by maintaining a healthy population reflective of the occupied city’s current ethnic mix), there is no reason to prevent buildings being constructed for religious purposes so long as they conform to the established guidlines. Religious activities can greatly contribute to the overall well-being of a neighbourhood as core teachings in all religions involve cleanliness and respect for neighbours.

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M2.66, “Living in high-rises required a special type of behavior, one that was acquiescent, restrained, even perhaps slightly mad” JC Ballard M2.67, The first steps towards building the movement’s momentum are finding people to support it and finding a place to demonstrate. For a movement to gain the traction it needs to make an impact, it needs to capture the dissatisfaction of all who would be prepared to rise up.

M2.68, The idea of a vertical city is present in the minds of researchers around the world.

In a collection of highly personal spaces, it is the control over individual sur-roundings which keeps residents satisfied in their daily lives. The courtyards, the walkways, the balconies, all of these spaces must be ‘defensible’ and offer people a sense of territorialization.

With the mutual shared sense of ownership between residents, issues of security minimise as inhabitants feel responsible for maintaining their surroundings.

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M2.69, Scheme Axonometric.

The conurbation springs forth from the city. In this site the settlement emerges undeterred from beneath a bridge, surrounded on all sides. There are entrances from the road which joins the main high street and also between the bridge and adjacent buildings.

The settlers and the city dwellers can view each other from their own worlds. The residents of the conurbation rise above the dreary life they left behind and those in the city can only gaze upwards before succumbing to the temptation of freedom.

Until joining the movement those in the city can but watch as the settlement reaches ever greater heights.

M2.70, The path matrix envelops those who venture into the conurbation. They are caught in the flow of the settlement, like a tourist they meander through in every direction. No matter how deep or how high one goes, there is always a consistent connection to the ground and the other floors.

Each individual activity in the public can be observed, leading to them no longer feeling like an individual; rather, a small part in a larger event.

LSA - 2020 259 M2.71, Moving around the settlement is an experience in itself, the light, the sounds, the movement, all come together and carry you along in no particular haste. Regardless of whether you engage with a shop or dwelling, to walk through the settlement is to be a part of it.

Materials are at the heart of countless conflict, consternation and disaster – trending aesthetics of artificiality, craft traditions on the brink of extinction, concrete pollution, plastic overuse, building waste, ecological disaster, socio-political crisis, austerity, overpopulation and limited planetary resources are issues that present a grim view of our future. At the same time, we are living in an age where emerging technological advancements, workflows, and modes of production are beginning to fundamentally challenge the homogeneous conventions of architectural tectonics, craft and materiality, offering new possibilities in the way we build and live.

Students of Studio 3 looked to the indeterminable future to tell us the what, why, and how, of its making. Is the future high-tech, high-density, hand carved, extruded, grown, bio-engineered, poetic, pragmatic, or all of the above? Studio 3 aimed to develop radical material and tectonic approaches in order to critically respond to the ubiquity of digital technologies which are influencing and framing contemporary architecture.

To become architecture, matter must be collected, combined, and transformed. While it is often tempting for digital investigations to remain in the controlled environment of the computer, our studio will propose research that shifts between modelling software and hands-on experimentation.

The designs developed are directly informed by the students personal material and digital research and respond to a carefully defined programme that is able to further express the project’s relationship to and position within the studio’s thematic focus.

M3.01 Francesca Bufano ( Y5) - The Post-Digital School for Art & Craft

three Year 4

Nezamadin Azizi Mahdi El Amin Ria Maisuria Yassir Omar Amina Faizal Osman Vinojan Vigneswaren Aquil Humayun

Year 5 Mertcan Abay Yewande Ajibola Andreas Hadjikyriakou Jon Magnar Lonseth Paulo Nicolas Disha Paresh Francesca Bufano Alexander Lorrimer-Roberts

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Alexander Mills, Era Savvides

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MERTCAN ABAY (Y5) “Museum of Human Evolution.”

Since ancient times, the human body influenced architecture in various ways. However with the increase in the usage of- the standardized materials architecture has become disembodied. The Museum of Human Evolution project explores this neglected quality by investigating the connection between the human body and architecture.

DISHA PARESH (Y5) “Porous Traditions” The project is about connecting the traditions and culture of Bristol to its young generation. The city itself has numerous stories from ages to the present and to represent the heart of Bristol Harbor the design project is about a Library but also a Story-Telling space.

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YEWANDE AJIBOLA (Y5) ‘Journey Through Flesh’ The Journey Through Flesh urges society to reconsider how they relate with the Human Flesh. We have been programmed to find Flesh repulsive rather than appreciating its true Beauty, ‘flaws’ and all. From an Architectural standpoint, Flesh does not present a high level of intelligence or aesthetics and therefore has no place in architecture.

FRANCESCA BUFANO (Y5) “The Post-Digital School for Art & Craft” The design proposes the evolution of building over time into a PostDigital school for art and craft. The building grows from moment of connection in the existing rooms, forming clusters that expand the school and connect new and old rooms across the exposed facade of the existing building.

ANDREAS HADJIKYRIAKOU (Y5) “Salt Bath-House” This project aims to rethink and reconsider the public bathhouse in the contemporary urban context. This new approach introduces the salt as a material in order to create a connection point between material and conceptual architecture. Through crystallography architecture finds its form to reintroduce the lost meaning of the ancient baths.

JON MAGNAR LONSETH (Y5) ‘Aalborg’s Fishmarket’ Based on sustainability, social and an atraction point, the site of Aalborg reflects the idea, workflow, process of how Aalborg reinvented itself as a knowledge and cultural city. The ‘twin city’ of Norresundby is situated on the respective side of teh water where harvesying then energy of the tidal current is key.

PAULO NICOLAS (Y5) “Grafting Architecture” Located in St. Luke’s church, Liverpool. The project looks to preserve and develop the decaying structure of the church by grafting a greenhouse that will provide a symbiotic relationship between the old and new structure.

AMINA OSMAN (Y4) “Coexisting with Play” Designed to bring play back into Hackney Wick. Public play spaces on the ground floor as well as the structure being exposed that acts like a concrete jungle. Private play is also found in and between the apartments with various surfaces, and slides and staircases.

RIA MAISURIA (Y4) “Hackney Wick: The Trip” Developed through an exploration of psychedelia, The Trip is an exclusive, underground setting in the heart of Hackney Wick that celebrates rave culture through a series of spaces that are dedicated to after-dark activities. The project is a response to reviving the night time economy that is jeopardized by the extensive gentrification and licensing policies found in the hipster settlement, and addressing the taboo nature of illegal raves by providing a permanent and discreet proposal.

NEZAMADIN AZIZI (Y4) “Canal boats factory.”

The scheme aims to regenerate hackney wick abandoned boathouse site and bring in new life and importance to the area. A researchbased project which looks into canal boats as a form of temporary and affordable living around the canal. The building aims to produce new canal boats and repair old ones.

MAHDI EL AMIN (Y4) “Mortal Dichotomy” Architecture acts as a primary physical instrument to evoke diverse emotional responses within the individual. Exploring those emotional responses that are dichotomies in human nature, is thus to cross through the forgotten relationship between the living and the dead in a city. Subtracting, adding, and weaving from and on top of earth, creates a multidimensional scope of material experiences.

YASSIR OMAR (Y4) ‘Mosque Journey’ Mosque is the Arabic word for mosque, meaning prayer house, community space, court house, school and university. The Qur’an being the centralised source of laws, teaching and Islam. The domes and court yard are more the sub Indian continent. Decorations are strict as animals and people are forbidden but are replaced with nature and geometric shapes and versus from the Qur’an. This soon turned into a art form.

VINOJAN VIGNESWAREN (Y4) ‘Dermatology’ Designing a Dermatology clinic centre which gives best possible support free to anyone with any skin related diagnosis and their families who walk through our doors. The idea to create this space is to help people take back control when cancer or any skin related diagnosis such as Hidradeni-tis Suppurativa turns life upside down, with professional support for anything from treatment side effects to money worries.

AQUIL HUMAYUN (Y4) ‘Division 9’ A Car Showroom and workshop for the Division 9 motor compony in the city of Leicester. Project utilise ideas and concpet from high performance cars.

LSA - 2020 263 M3.02, MERTCAN ABAY (Y5) “Museum of Human Evolution.” Since ancient times, the human body influenced architecture in various ways. However, with the increase in the usage of the standardized materials architecture has become disembodied. The Museum of Human Evolution project explores this neglected quality by investigating the connection between the human body and architecture.

MERTCAN ABAY (Y5)

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The project originated from an interest in the possible variations of bioplastics, and the application of the material within architecture. Through a process of casting numerous aggregate mixtures, the viability of bioplastic as a building material was tested. The natural biodegradable material was combined with a rigid frame to explore structures which emulated the layering of the human body, from skeleton to skin. Effort was made to control these structures digitally before they were utilised within a building design.

Situated in Plymouth at the focal point of several prehistoric monuments, The Museum of Human Evolution houses anthropological and biological exhibits and artefacts, and showcases the past, present, and possible future of humankind. Positioned around a central atrium and oculus, visitors first experience the beginning of human history enclosed by dense monolithic walls. As the building is ascended, gradually becoming more porous and translucent, more light filters in to illuminate the bony structure.

M3.03, As the height increases, the building structure gets thinner and more translucent, in areas.

This feature is inspired from the connections of the human bones. For instance, the bones in the human hand are connected from thicker to thinner. This means less weight, as well as better aesthetics and physical benefits.

LSA - 2020 265 M3.04 Structural Axonometric drawings influenced from bone structure to create moments when two parts connect. These moments were then removed from the model, with their plans and elevations extracted and subsequently drawn.

M3.05 & 3.06 Experimentations with light create openings that are specifically designed to bring in daylight and illuminate coridoors and spaces.

NEZAMADIN AZIZI (Y4) “Canal boat factory.”

DESIGN NARRATIVE 2nd Floor; Isometric Studies

Through the modelling of a series of space frames, the relationship between structure and ornament was examined. The project aimed to exploit the possible variations of form which could be drawn from a series of repeating components, to create architecture which was both highly individualised and exceedingly practical. Situated in Hackney wick along the Lee Navigation Canal, the resulting building utilises easily manufactured and constructed components for the housing and making of canal boats. Geometric terracotta tiles are held in the façade between the structural pattern in reference to surrounding red brick industrial buildings along the canal.

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The scheme aims to regenerate a hackney wick abandoned boathouse site and bring in new life and importance to the area. A researchbased project which looks into canal boats as a form of temporary and affordable living around the canal.

The building aims to produce new canal boats and repair old ones.

second floor is where the bow, ribs & roof of the canal boats M3.07, The mezzanine acts as a viewing platform for the publicThe are welded together. Later on the canal boats are polished and to access and use in exploring how narrow boats are built. Whilst sanded in preparation for the next stage of build. keeping a safe distance from mechanical machines and avoiding track hazardous materials.

FINAL CONCEPT MODEL Illustrative plans

Contractors must work only to figured dimensions which are to be checked on site, any discrepencies are to be reported to the architect before proceeding.

All rights desribed in chapter IV of the copyright, designs and patents act 1988 have been generally asserted.

Information contained within this drawing is the sole copyright of TMV Architects and should not be reproduced or imparted to a third party without written permission.

Laminated sills replaced.

19thc. cast iron windows refurbished and re-glazed

No.22

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Laminated sills replaced.

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M3.08, Using Rhino Grasshopper to scale an arc with non-uniform factors. Scaling a set of arc, using array, rotated plan, weaver and loft, creates this plan.

E 24.09.19 Window added to the front elevation (right hand side) and ground floor plan (WC).

NA MDV D 08.08.19 Changes made to suit planning officers comments.

NA MDV C 17.07.19 Amendments made to suit planning/conservation officers comments.

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DOUBLE SKIN ARC Photographs of 3D printed models

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The Repeater Station, London Road, Norman Cross, Peterborough, PE7 3TB

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M3.10, Various models digitally created and explored using grasshopper to generate extruded curve and applying structural pattern to the outer skin of the extrusion. These digital models were then 3d Printed due to their delicate nature.

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Single skin structure

Double skin structure

MAHDI EL AMIN (Y4) “Mortal Dichotomy”

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“Mortal Dichotomy” M3.11, The project was inspired by a short piece of writing by Lebbeus Woods in which he described our yearning for ‘pure forms,’ for simpler, solid architectural expressions in an increasingly chaotic and complex present. Drawing from phenomenological philosophy, notions of idealism and utopia, the significance of ‘volume’ in architectural space was explored first physically through cast making and then digitally through the Boolean operation.

The act of physical subtraction led to a building project which confronted the physical and emotional void produced by death. An irreligious crematorium was proposed which would be universally accessible, focusing on shared humanist values.

The complex functions as a social hub providing services to the community whilst deeply engaging the building occupants. Several passageways direct the grieving through a series of isolated courtyards and gardens, with moments throughout for selfreflection and solace.

LSA - 2020 269 M3.12, “The void of the space, and the nothingness is what makes the space purposeful and comprehensible.”

Martin Heidegger

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1.2 M3.12 The Cremetoriam Chapel in which the space itself acts as an amalgam of objects to be reinterpreted.

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M3.16 M3.13 View of the Cremetoriam M3.14 View of the Mortuary M3.15 View of the Outdoor Open Space M3.16 View of the Underground Seating Areas

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M3.17, In a Post-Digital context libraries will continue to be relevant as a location for storing and reading books. While students can become nomadic and access texts online, physical copies of books will continue to be a valued resource in education. At any point in society the library will continue to act as a quite place for contemplative study.

FRANCESCA BUFANO (Y5) “The Post-Digital School for Art & Craft”

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The proposal speculates on an architectural scenario that explores, questions, and critically engages with the constraints and qualities of the site and its context. The proposed contemporary school of crafts is a building that will allow for the school to evolve over time. The design grows from moments of connection in existing rooms, forming clusters that expand the school, connecting the new and old across the exposed façade of the existing building, binding analogue and digital.

A ‘Tower of Things’ celebrates the 3D printer as the dominant tool for the post-digital craftsperson, while the library provides a constant base for studious reflection, in contrast with the kinetic spaces that unravel around it.

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M3.18, Plaster cast explorations and assemblance using negative moulds

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M3.19, The library of things houses the Post-Digital craft tools, 3D printers.The machines use a variety of filaments to print objects for various uses. Objects themselves can be considered crafted items or utilised to assist with crafting processes.

LSA - 2020 276 M3.20 The building can expand with time to both accommodate for emerging digital crafts in addition to providing new connections between the old and new structure as and when they are required.

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M3.2, Terracotta machine bays interlock to form shelving while an inner ladder provides access for maintenance. The printing machinese are stacked for displaying pieces taht are complete with an outer ladder providing access to bays on all levels.

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M3.22 View of the entrance to the building.

M3.23 View of the Library M3.24 View of the Scultping Workshop

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ANDREAS HADJIKYRIAKOU (Y5) “Salt Bath-House”

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This project aims to rethink and reconsider the public bathhouse in a contemporary context.

This new approach introduces the salt as a material in order to create a connection point between material and conceptual architecture. Crystalline geometry is employed throughout the design to reintroduce the ideals of healing and spirituality from ancient baths into a modern context. The bathhouse and spa retreat revolve around Halotherapy, the practice of breathing salty air. Situated along the Portsmouth coast, the design utilises its serene surroundings to create contrasting moments of community and of personal agency.

M3.25

M3.25, Digital exploration of crystalised salt as a cheap and environmentally friendly material due to how it can be grown.

M3.26, In crystallography, the triclinic crystal system is one of the 7 crystal systems. Created digitally through Rhino, inspired by the crystal system, this pattern was made.

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M3.27 As a natural crystallisation process occurs under specific circumstances based on symmetry and scale, it is what is hidden behind the conceptual idea of how the accommodation part of the project is designed.

M3.28

M3.28, The design originates within a conceptual architectural approach found in crystalization process. Since its built above the sea a steel structure of “I” shape beam and columns created to represent the grid lattice of a crystal field as a crystal’s crystallisation growth naturally happens.

M3.29, It turns out that the combination of non-porous materials such as aluminim that is strong enough to constitute the structure of the components with porous materials such as cotten has positive results.

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M3.30 The effect of the gradient of aluminum can have on the growth of salt crystals showing that the spirals are much larger and on one side the crystals are less acute which can guide the shape of complex components.

M3.31 Computer analysis of crystal growth through artificial intelligence.

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M3.32 View of the entrance to the bathhouse

M3.34, The paint pour technique was used to create the marbled, trippy patterns; this involved pouring various colours of acrylic paint into a plastic cup and then pouring onto acetate sheets. The outcomes of this experiment were better than anticipated as a range of aesthetics were achieved - concentrated areas of marbled colour and more fluid patterns.

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Exploring the trippy world of psychedelia, artwork themed around distortion, perception, and illusion formed the basis of this study into how textures, patterns, and colours can create sensory experiences.

Notions of altered sensory perception and distorted spatial configurations led to the design of an underground hipster club in the heart of Hackney Wick.

Situated in an industrial context, and responding to issues of gentrification and counterculture, the design provides a discrete arena for a community seen as unhealthy and hedonistic. Invited occupants move through a series of spaces which celebrate various aspects of rave culture, unified in one location. The blurred boundaries and questionable morality of dance, drug culture, and excess are exemplified in the amorphic nature of the architectural design, which is liquid-like and surreal.

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RIA MAISURIA (Y4) “Hackney Wick: The Trip”

LSA - 2020 286 M3.35, The advantage of pouring on acetate meant that two 3.6 patterns were created, one on either side and both of which were intersting. A thickness of paint was formed during the drying process which gave a subtle texture.

LSA - 2020 287 M3.36 As a natural crystallisation process occurs under specific circumstances based on symmetry and scale, it is what is hidden behind the conceptual idea of how the accommodation part of the project is designed.

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M3.37 After work favourite for a wind down and a tipple.

Feel transported to the trippy 60s with lavish furnishings and patterns galore

3D forms

These distorted forms were developed from the linework derived through the marbling paint experiments.

M3.38 A parasitic form protruding through the railway bridge becomes a sculptural art piece within the Yard, The organic language follows through internally and occupies the bridge, creating an arrangement of covert psychedelic spaces that thrive with Hackney’s hipsters at night.

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M3.39, Sensual pools provide escapism and a space for reflection, much like the dreamer pods found in the building. Dip Trip pools are located on the eastern wing to benefit from the sunlight at dawn in the early hours of the morning. Enchanting hues help bodies to rid of tension and the shallow waters drift the mind towards happy thoughts and the land of unicorns.

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M3.40 The light from below highlights the curves of the model, creating highlight and contrast on every curves of the model M3.41 Translucent gothic inspired model showing how the textures are highlighted when illuminated from below.

M3.42 The depth that the light created on the wall, a very clear contrast between the top and bottom part of the model is heightened by the light

PAULO NICOLAS (Y5) “Grafting Architecture” Located in St. Luke’s church, Liverpool. The project looks to preserve and develop the decaying structure of the church by grafting a greenhouse that will provide a symbiotic relationship between the old and new structure.

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The plant research facility reuses the decaying shell of St Luke’s Church in Liverpool, situating at it core a translucent greenhouse. The glassy translucent language of the addition relates to the gothic but is equally digital in its aesthetic.

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Grafting Architecture addresses the matter of building reuse within a historically valuable context.

Through the analogy of grafting - the technique of joining the tissue of two separate plants together contemporary and historical structures are unified.

M3.43, Office space axonometric showing the various greenhouses that are situated underground.

Contrasting the effect between the bright and dark spaces create a cinematic experience within the structure.

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M3.44, The synergy between the old and new structure created a new program while maintaining a similar atomosphere that the old church provides.

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M3.46 , It is crucial for a city to be able to integrate planys and agriculture into its urban fabric in order to supply the needs of the people

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M3.45 Dark spaces are essential for the growth of crafted plants. Dense 3D Printed walls are used to filter daylight.

AMINA OSMAN (Y4) “Coexisting with Play” Designed to bring play back into Hackney Wick. Public play spaces on the ground floor as well as the structure being exposed that acts like a concrete jungle. Private play is also found in and between the apartments with various surfaces, and slides and staircases.

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Play was the focus of this design for an apartment block in Hackney Wick.

The project evolved at two scales: the overall site and the smaller building units. Toy building blocks inspired an iterative design process of organising and disorganising spaces. Several variations of room were explored and then clustered together with freestyle play equipment. The medium density scheme would provide vibrant homes for families and blur the boundary between house and playground.

LSA - 2020 295 M3.47 This drawing shows different elements seperated and pulled apart in the form of an exploded axonometric. Staircases, balconies and each flat are seperated. Variety of the balconies also adds a sense of play as well as variations in the layout of each floor. The balconies have various shapes cut out which allow light in and children to free play by sticking their hands through or peeking through.

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M3.48 - 3.50, Close-ups of Facade design with textures. Began to develop physical 3d model digitally in Rhino based on Hotel Martel Rue Mallet. Showing rendered, isometric and plan drawing with grids.

DISHA PARESH (Y5) “Porous Traditions”

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The project is about connecting the traditions and culture of Bristol to its young generation.

The city itself has numerous stories from ages to the present and to represent the heart of Bristol Harbor the design project is about a Library but also a Story-Telling space.

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M3.51 - 3.54, Porosity, is one spatial quality that can definitely benefit the public spaces, especially in places like, where the individual is getting isolated from the community in his efforts to cope up with the pace of life that the city has to offer.

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M3.60, In order to characterize the geometric and structural properties of pore structures of porous materials, it has been confirmed that the fractal technique is a powerful technique. Fractal is considered a self-similar system. A fractal is a neverending pattern. Fractals are infinitely complex patterns that are self-similar across different scales.

The perspective shows how the spiral stair case wraps around the Fluid Tower leading to the upper floors. This will act as the main circulation for this sub programme.

M3.61 YEWANDE AJIBOLA (Y5)

project explores the concept of introducing flesh into architecture through characteristics that are otherwise perceived as imperfect or sThis eCtions and eevations

visually displeasing. Ecclesiastical Renaissance architecture was used as a starting point. Notions of order, hierarchy, and asymmetry were utilised and translated into a fluid architectural language. The resulting programme is a series of spaces which exhibit the sublimity of the human flesh through monumental spaces, each with a function orientated around art, science, and spirituality.

The perspective shows the circulation in relation to the floors

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This drawing observes how the three floors correspond together and revolve around the core. The radial passage can also be seen from this drawing.

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The drawing reveals how all programs relate to one another with the variation of the vertical twisted structure.

M3.62, As this sub-programme targets the mind, the spaces are designed with smooth and curved geometries to encourage the free thinking and open mindedness that will aid the brainstorming of new innovations and creative ideas.

As this sub-programme targets the mind, the spaces intelligence and aesthetic to an embodiment of great value, intelligence are value designed with smooth and sublimity. and curved geometries to encourage the free Targeting and challenging the psychology behindthinking the definition of 'Beauty' in and mindedness that Architectural Design using open Flesh. will aid the brainstorming of new innovations and creative ideas. Although there is more flexibility drawing within this The perspective programme, the emphasis of reveals a clearer view of the the core still it observed Tower andis how relates and with the other components. the layout revolves around it.

Changing the way Flesh is observed in Architecture from an entity of low

M3.63, The displace-ment of the core between the floors has been Natural light from the skylight designed in such a waypenetrates to imitatethetheTower fluidity Flesh.This drawing through to the Ground floor. observes how the three floors correspond together and revolve around the core.

M3.64, The Healing Garden offers therapeutic benefits to visiting individuals. Regardless of any health needs, this space provides the visiting individuals with a sense of restoration from stress amongst other positive impacts. not

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It was King Canute who attempted to ‘turn back the tide’, in latter-day Westminster, starting a long tradition of humanity attempting to tame the ocean The border between land and sea has been the fertile shores where most of our major cities have been born and global heating and rising sea levels will have drastic consequences for our cities. The UN estimates that there are “570 low-lying coastal cities that will face sea level rises by 2050”. Some of our greatest cultural institutions, monuments and homes exist in these locations. To allow an Atlantis style scenario would be to abandon our built heritage.

If these watery masses seek to reclaim us, we must think bravely and radically how to adapt our cities. Centuries after an ancient King’s attempt to test his power over nature, it seems the oceans, river and seas are ready to test us.

This studio sees itself as an architectural think-tank do-tank and we aim to think & do boldly. All opinions, skills, activism and speculations are welcome to produce radically yet rigorous executed architectural propositions.

To do more with less, we propose an act of architectural ‘spolia’, utilising not just the existing context and materials but also memories and local histories. This year students are asked to search the shoreline between land and ocean for concepts, typologies, mythologies and chronologies to develop their projects. Even in our era of increasing material scarcity, we must still aim to create spaces that fulfil our needs programmatically and phenomenologically, connect us societally and enrich our lives.

‘Making Waves’ is a short phase describing a significant impact.

Construction contributes 6% of the global greenhouse gas emissions, contributing to global warming and changing sea levels - Climate change is clearly the challenge of our time.

As a studio of makers, thinkers, and architects, we aim to rise to that challenge.

M4.01, Charlie Doman-Lees ( Y5) - Viewing Dungeness

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Charlie Doman-Lees Briony Fung Madona George Sonia Hassan Louis Holwell Benjamin Wiles Haithar Zulkiflee Jon Francis Javier Marasigan Nurgul Gurbuz

Year 5 Mohammed Al-Maliki Anaida Enid Luis Maria Fernanda Karali Zainab Karim Matthew McCurdy Joseph Nunn Ashfaaq Sulaiman Quang Tran

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CHARLIE DOMAN-LEES (Y4) “Viewing Dungeness” The Dungeness estate sits as a seemingly under nourished arm of the Kent district, with a rich history of fishing, art defence and heritage. Viewing Dungeness aims to provide a piece of architecture, that will enable the increasing number of visitors to learn and explore, while protecting and enhancing the local community.

LOUIS HOLWELL (Y4) “The Climb” Using movement and accessibility as drivers for the design while floating above the town to provide not only sustainability but also uninterrupted views of the towns historic surroundings, The Climb gives the small coastal town of Dymchurch an environmentally adaptive and unique centre to help and grow both the town and community.

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BENJAMIN WILES (Y4) “Denge Quarry” Viewports provides an alternative sustainable response to ever changing climates, this design proposal aims to redevelop a disused quarry at the end of its life. The final proposal feeds off the thorough research into a phenomenological topic earlier explored, yet also seeks to provide a pragmatic approach to delivering it into a feasible proposal: A vessel of memory of the landscape. Viewports within the architecture not only offer a visual frame for the present, but can be repurposed to be gateways of exploration in the future, when as predicted, climate change will alter the nature of the surrounding landform.

ANAIDA LUIS (Y5) “Melintasi - The Ability to Traverse” An integrated infrastructural and architectural intervention that aids in the development of coastal communities. The potential development of neglected coastal areas is believed to possess multiplier effects which impact the livelihoods of the people as well as improves the economy of the region through fisheries and marine related activities.

HAITHAR ZULKIFLEE (Y4) “Inflatable Dungeness Fish Market” To tackle the one of our greatest fears of climate change, rises of sea level, is to built building that can float, using lightest material; believe to be one of the most effective solutions to adapt with the issue. Dungeness has a big reputation in its fish industry for hundreds of years. The idea of this Dungeness Fish Market is to revive Dungeness to its glorious days of fish industry, even upon facing the issue of rising sea level.

MARIA FERNANDA KARALI (Y5) “The Lighthouse; An Environmental Agitrop” The project proposes an Agitprop (agitation propaganda), as a modern tool to address climate change in a vulnerable context area, Dungeness.

Through appropriating the symbolism of the traditional lighthouse, it is transformed into a projection apparatus, to agitate the masses and compel action over the critical condition of the planet.

MOHAMMED AL-MALIKI (Y5) “Coastal Resuscitation” The English coast has always been vital in the countries deep rooted character. We must work cleverly to navigate the complexities of the coast to build structures that make the most of, but don’t negatively impact, the local environment. Additionally, when constructing properties in coastal regions, there is often more of a need to build using materials that are resistant. Unlike structures built inland, coastal properties are exposed to saltwater environments and high winds, which can have an effect on the buildings over time.

JOSEPH NUNN (Y5) “Rebuilding Dungeness” Challenges what sustainable architecture is, by repurposing one of Dungeness’ Decommissioned Nuclear Power Plants as an algae farm.

Generating a sustainable energy source for it’s Aquaponic Farm. In addition, visitors can learn about the history of nuclear power, learn about Aquaponics and be at one with nature as they are guided through the old Nuclear Power Plant.

ASHFAAQ SULAIMAN (Y5) “The Professional Burniut Centre” The project is a therapy centre for professionals that work in high demanding jobs which lead to emotional exhaustion and depersonalisation. The project combines elements from psychiatry and spirituality in its design strategy.

The plan reflects a journey through different spaces with different functions to target symptoms of professional burnout. These spaces fit alongside therapy spaces with psychiatrists; conversational therapy is crucial to treating professional burnout.

QUANG TRAN (Y5) “The Isle of Dungeness” Mindfulness of the future and our perceived projections of what is to come plays an important role in the progression of human kind and architecture.

Much like Jersey with their strong agricultural ties to potatoes and husbandry, the Isle of Dungeness aims to establish a community upon an island, hundreds of years into the future as a result of rising sea levels and global climate issues.

BRIONY FUNG (Y4) “Rising Green Waves” The project starts off by using organic influences, such as sealife forms like sealife tails, as well as growing nature such as leaves. All of the massing of spatial requirements are placed on the pier. To re-establish the connection the site model was utilised to create massing models that better fit into the context particulary in left over land.

MADONA GEORGE (Y4) “Dungeness Seed Bank” Looking at derelict vessels within dungeness, empthasized the overall desolation of the landscape. Dungeness is the largest expanse of vegetated shingle within the UK. As part of the existing netowrk of seed banks that exposes the public to remembrance of a land that once was.

SONIA HASSAN (Y4) “360 Dine-in” The 360 Dine-in, located in Dungeness, is designed at the top of the old lighthouse with a circular platform. The dining area rotates to capture a panoramic view, which the colourful glazing wall further enhances this, along with the relaxing sea waves. A swirling ramp is also wrapped around the tower to liven the whole building.

ZAINAB KARIM (Y5) “A Protective Space for the Body and Mind ” The following project explores biophilic design for the physical and mental wellbeing of Cancer patients. The design tries to create an essence of protection and comfort in architecture, to help those that have been through the most, creating therapeutic spaces to help with recovery and ongoing treatment methods.

MATTHEW McCURDY (Y5) “Theology of Place” This project will look at how we can rebuild commonality in a community given the commuting culture. It asks, how can we rebuild the connections between individuals in a community that were historically produced naturally by way of common program.

JOHN FRANCIS JAVIER MARASIGAN(Y4) ‘Eternal Baths of Dungeness’ The Eternal Baths of Dungeness, is a complex created to cope with climate change and rising of sea levels. It is set to hold its significance purposely to be flooded, but the upper levels of the building adapting to the surrounding environment as the extension of the boardwalk also afloats with the rising sea levels.

NURGUL GURBUZ (Y4) ‘Sound Mirrors Visitor Centre’ The Sound Mirror Visitor Centre is designed to host and educate visitors, as well as to protect a lost heritage before it is eroded away. The Visitor centre is located in Lyyd Greatstone, where it hosts three Sound Mirrors.

CHARLIE DOMAN-LEES (Y4) “Viewing Dungeness”

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Dungeness is a headland on the coast of Kent, England, formed largely of a shingle beach in the form of a cuspate foreland. It shelters a large area of lowlying land, Romney Marsh. Dungeness spans Dungeness Nuclear Power Station, the hamlet of Dungeness, and an ecological site at the same location.

It lies within the civil parish of Lydd.

Once dubbed the 5th continent, being the only registered desert in the UK its importance and signifi cance is second to none. With over 600 different species of plant and is recognised and protected mostly through its conservation designations as a national nature reserve (NNR), a Special Protection Area (SPA), a Special Area of Conservation (SAC) and part of the Site of Special Scientifi c Interest (SSSI) of Dungeness, Romney Marsh and Rye Bay.

M4.02, Through the approach to the entrance, the landscape will have plenty of low lying planting to provide colour and contrast to the shingle.

As well as this, arches will be erected through the pathways to provide framed moments.

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M4.03, The idea of the viewports is to add a layer of complexity to the simplistic task of seeing, watching others react to something that you haven’t yet seen, which in turn adds an extra layer of excitement and wonder.

LSA - 2020 305 M4.04, The idea of the viewports is to add a layer of complexity to the simplistic task of seeing, watching others react to something that you haven’t yet seen, which in turn adds an extra layer of excitement and wonder.

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M4.05, The approach to the exhibition space, is punctuated by two key pieces of art, namely: “Blue” by Derek Jarmen, and “Aids is Fun” also

by Jarmen, but in conjunction with Ataxia.

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M4.06, The approach to the exhibition space, is punctuated by two key pieces of art, namely: “Blue”

by Derek Jarmen, and “Aids is Fun” also by Jarmen, but in conjunction with Ataxia.

LOUIS HOLWELL (Y4) “The Climb”

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M4.07, The approach to the exhibition space, is punctuated by two key pieces of art, namely: “Blue” by Derek Jarmen, and “Aids is Fun” also by Jarmen, but in conjunction with Ataxia.

LSA - 2020 309 M4.08, The approach to the exhibition space, is punctuated by two key pieces of art, namely: “Blue” by Derek Jarmen, and “Aids is Fun” also by Jarmen, but in conjunction with Ataxia.

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M4.09, The plans of the ‘Beach’ Level of the design portray the three key aspects featured. The main feature of this level is the Beach Huts, that are to be sold to the Dymchurch community. This works in parallel with the ‘Vertical Beach’ level, highlighted in yellow, that provides expansive coastal views.

LSA - 2020 311 M4.10 & M4.11, Final Render exterior views showing the movement on site, the pathways and the elevated walkways.

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M4.12

BENJAMIN WILES (Y4) “Denge Quarry” M4.12 & M4.13, Viewports provides an alternative sustainable response to ever changing climates, this design proposal aims to redevelop a disused quarry at the end of its life. The final proposal feeds off the thorough research into a phenomenological topic earlier explored, yet also seeks to provide a pragmatic approach to delivering it into a feasible proposal: A vessel of memory of the landscape.

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M4.16, Render of the Viewports By combining design, biology, computation, and material engineering. Advanced Digital Modeling and Material Research testing offered a deeper understanding of the impact of architecture to its landscape. Ideas were tested through mock-ups, material experiments and investigative proto-typing.

LSA - 2020 315 M4.17, Render of the Viewports Community is limited here, and what does exist is tight-knit. There are no shops, no schools, no trading posts or natural meeting places for humans to exchange ideas and culture.Notopia is commonly associated with major cities, yet in reality, can exist in even the most barren of places.

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M4.18 & 4.19 The project not only addresses our current Anthropocene but also our future predicament. Using a strategic research approach to site investigation through time and place, speculation on future conditions aid development of a design strategy to drive decision making.

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LSA - 2020 317 M4.20, Render of the Lightwell “How much does your building weigh Mr. Foster?”

Buckminster Fuller to Norman Foster

LSA - 2020 318 M4.21, Render inside the Caves, “If these watery masses seek to reclaim us, we must think bravely and radically how to adapt our cities.” Thomas Hopkins & Rory Keenan : Making Waves.

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ANAIDA LUIS (Y5) “Melintasi - The Ability to Traverse” An integrated infrastructural and architectural intervention that aids in the development of coastal communities. The potential development of neglected coastal areas is believed to possess multiplier effects which impact the livelihoods of the people as well as improves the economy of the region through fisheries and marine related activities.

M4.22, Conceptual studies and pattern investigation to further understand the elements in order to carry out further explorations. of coral.

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M4.23, The A1 drawing aided in extracting lines and patterns which played a crucial role in this exploration. This further enhanced the study and understanding towards growth, textures and the idea of layering.

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M4.24 & 4.25, Sections and perspectives showing the Fish market concept aiming to add to the community of Dungeness, attracting fish mongers.

HAITHAR ZULKIFLEE (Y4) “Inflatable Dungeness Fish Market”

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M4.26, The fish industry is strong in Dungeness. But as fish imports grow, the fish industry in Dungeness decreases, this project aims to revive the fish industry.

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MARIA FERNANDA KARALI (Y5) “The Lighthouse; An Environmental Agitrop” M4.27, Montage theory suggests that an emo-tional or rational outcome ensues when people view a series of images.

As Lev Kuleshov’s research proposed, no image within a sequence is perceived in isolation. Arguably we experience Architecture in much the same way.

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M4.28, In a fictional scenario a group of extremist environmental activists - “TERMINAL WORLD” - have occupied and transformed the light-house in the coast of Dungeness, into a projection apparatus to agitate the masses and compel action over the critical condition of the planet.

M4.29, By appropriating the symbolism of the traditional lighthouse, the projection warns that our planet is be-coming unlivable at a much faster rate beyond our perception.

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MOHAMMED AL-MALIKI (Y5), “Coastal Resuscitation” M4.30, A large site models which sits on a custom built contraption which allows it to spin on its own axis. The model spans 2m wide and allows for a thorough understanding of the elements which represnt dungeness.The plans for the final stage which this model was going to develop into included a further model of the final intervention which would link the elements highlighted and 3D printed present in the photographs.

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JOSEPH NUNN (Y5) “Rebuilding Dungeness” M4.31, The site visit broadened my vision as to climate change not only being an environmental problem but very much a political, economic, social and most importantly, personal.

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M4.34 M4.33 View of the Aquaponic Ponds, M4.34 View of the Aquaponic Labs, M4.35 View of the Reactor Core

ASHFAAQ SULAIMAN (Y5) “The Professional Burniut Centre”

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M4.35, Imagining the Journey as spaces, using the information on burnout, its symptoms and treatments, along with the understanding of a spiritual journey that uses peace as the central driving factor; the following journey has been curated to help people with professional burnout. It allows them to isolate themselves from the external world. The journey allows them to reflect on their inner thoughts and feelings. The journal at the end can be used alongside therapy to help treat burnout.

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M4.39, Render of the approach. Using the information on burnout, its symptoms and treatments, along with the under-standing of a spiritual journey that uses peace as the central driving factor; the following journey has been curated to help people with professional burnout. It allows them to isolate themselves from the external world. The journey allows them to reflect on their inner thoughts and feelings. The journal at the end can be used alongside therapy to help treat burnout.

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M4.40, Render of the approach to the sea. The perceived notion of the creeping sea coming to consume the land is an important message behind the architectural project.

QUANG TRAN (Y5), “The Isle of Dungeness” M4.41, Render of the approach to the sea. The perceived notion of the creeping sea coming to consume the land is an important message behind the architectural project.

LSA - 2020 335 M4.42, Exploring the art of cranberry cultivation and harvesting in a more detailed manner, ranging from looking at satellite photos of cranberry fields to understand form and the process involved with this type of farming

The history of architecture is primarily a history of humans shaping space. This studio wanted to test the belief that the work of artists can often possess the embryonic ideas that lead to architectural proposals.

In the centenary year of the Bauhaus School’s inception this studio resurrected an idea first proposed by Walter Gropius (1883-1969), the belief that it is possible to transmit the insights and advances made in the realm of art to the realm of architecture and design.

A particular interest for Studio 5 is how the character of a particular place can be recorded by observing, sketching and modelling.

Simultaneously, the same approach can be applied to a space - existing or imagined - with iterative attempts to capture the materials, light and form; with reference to its purpose and context, each time becoming clearer and more understood. As the year developed, students started to develop their own methods of recording and understanding spatial qualities and how these are communicated, enhanced and manipulated to serve architectural purpose.

Students were tasked to work within various contexts that possessed differing degrees of scale, openness, natural landscape and urban density.

Reacting instinctively to the built form and built traditions, we encouraged students to explore spatial ideas that arise from the mapping of the existing environment. The relationship between the opposing spatial characters and the possibility of effecting the imagined or presently built - what can be felt and seen or what is hidden - students explored themes of; natural light, scale and temperature, memory, materials, the visible traditions, rituals, and historical narratives.

U5.01, Joseph White- Render showing the internal courtyard

five Year 4

Rubi Akter Parmida Amininavaei Hannah Bird Sunil Issuan Sook San Kan Digvijay Kate Giyaseddin Mercan Ismail Mohammed Abdulrahman Muhammad Haruna Monisha Ravindra Reddy Kunalan Siddharthan Aimee Tait Murtaza Taizun Joseph White

Year 5 Sandra Arinmah Kieren Blanch Sri Lakshmi Meghana Kuppili

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KIEREN BLANCH (Y5) “Ruins, Reuse & Recycling” Much of the development and improvement that the electronics and technology industries need to reduce waste and reuse existing materials is being held back by profit-driven models currently in use. The new E-waste Research, Recycling and Education Centre is intended to act outside of that system to undertake the research and development needed to further the industry and tackle the E-waste problem. It will act as a ‘proof of concept’ for the sustainable circular design and manufacturing of electronics.

SANDRA ARINMAH (Y5) ‘Reigniting the narrative of Soar Island’ Soar island creates a beacon for young people to learn new skills through apprenticeships or skills-based education centre. Influenced by the islands’ industrial past, the centre becomes an avenue to master the use of new materials and technologies. This project is about understanding and building future innovations.

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SRI LAKSHMI MEGHANA KUPPILI (Y5) ‘Community Farming’.

The primary focus of the project is to provide a new social infrastructure that will link people to the production of food. This project deals with making a relationship between the farmer and the customer, on a wider scale as well as a micro-scale.

RUBI AKTER (Y4) ‘A journey through Fading Shadow’ All journeys from existing situations which start from a Beacon Hill winter tree to Maggies center in Old Milton Road, Leicester. To bring out existing site grains, to define the philosophy of a project, to allow urban music. Line work to emphasize from beginning to end, a journey through fading shadows.

PARMIDA AMININAVAEI (Y4) “A Journey above The Ground” A unique space for uniting the local community with homeless people it is nurturing environment where service users can benefit from fresh air and exercise, explore their creative expression, practice helpful life skills and benefit from the therapeutic effects of working with plants.

HANNAH BIRD (Y4) ‘The Magic Theatre’ An immersive theatre on Belgrave Gate, Leciester, is designed to house a theatrical adaptation of the novel Steppenwolf. The theatre is a rennovation of the derelict ‘Garden Street Island’, the last remaining ‘slum’ housing in Leicester, an important piece of the history of Leicester’s working class housing.

SUNIL ISSUAN (Y4) ‘Keplers Space-Astronomical Space Observatory’ Our existence is in the universe, so it becomes a part of cosmological theory, so we must know ourselves as well as whatever is surrounding us. The goal was to bring the essence of this theory into the architectural form and function.

SOOK SAN KAN (Y4) Dead ends are not the end, but they are the beginning of the city ready to be revived. The structures celebrate the coexistence of lichen-mosses and people, it emphasizes the benefits and beauty of lichen and moss that are being neglected as they are still surviving in harsh conditions.

SHREE DIGVIJAY KATE (Y4) ‘Maggie’s Centre, Leicester’ The thought behind the Maggie’s centre is to create and provide a feeling of being safe. The concept of a cocoon works as a form and emotion, a cocoon looks dead but there is life inside.

MONISHA RAVINDRA REDDY(Y4) “Liecester Open Air Theatre” Space designed to providv ehelter to the people of Leicester, replicating the high street architecture, integrates with open-air theatre that provides a public gathering space. This also visually binds all the historic buildings together.

KUNALAN SIDDHARTHAN (Y4) ““Jewry Wall Museum, Leicester” The design provides a visual and psychological link between the broken elements of the Jewry Wall Museum. The concept reflects the adjacent Roman Ruins foundation pattern throughout the design.

Being contextually ssensitive, the building is a combination of gallery and activity spaces that informs about the Roman history in Britain.

AIMEE TAIT (Y4) “Burleys Flyover Intervention, Leicester” This project explores the relationship between modern Leicester and the historic Fosse Way with the aim to create an urban park that tells the story of the cities evolution.

MURTAZA TAIZUN (Y4) ‘Stimulating Romance: City and the Sky.’ The project generates a romantic architectural linguistic by capitalizing on silhouettes of the sky in a Leicester street. It is intended that by reminding the pedestrian of the ubiquity of the sky a more profound experience of the street can be achieved.

JOSEPH WHITE (Y4) The project revolved around a standard kit of parts, using scaffolding as a ‘trial system’ to allow the end user to adapt and evolve their own space. This semi-permenant structure could then be replaced with a solid timber one. A less homogenous way of developing a city, evolving and devolving and developing as required.

LSA - 2020 339 KIEREN BLANCH (Y5) U5.02, “Ruins, Reuse & Recycling” Site Model- Chatterley Whitfield Colliery.

KIEREN BLANCH (Y5) “Ruins, Reuse & Recycling This project is born of two very simple ideas; to preserve and celebrate Chatterley Whitfield Colliery’s industrial heritage, and to help lessen the impact of E-waste through recycling, reuse and the generation of a circular approach to the design and manufacturing of electronic products.

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The reuse of Chatterley Whitfield Colliery as a new E-waste Facility aims to tackle these ideas through the provision of three key elements;

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U5.03 & 5.04, The key elements on site that are crucial to the character and history of the site are highlighted in this sketch. These are elements that will be celebrated as the project develops, and their preservation, evolution and ultimate reuse is a central focus of the programme.

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U5.05-U5.08, TThis collection of photographs shows a quick sketch model of the new walkway network on site and its relationship to the existing buildings and the new ones that will be built around it. When viewed from the top, in ‘plan view’ the network weaves between the sites buildings nicely and succeeds in reintroducing some of the pathways that were used during the sites colliery days.

However, when the network model is viewed from different angles, captured in the photographs below, it starts to look flat and one dimensional. It doesn’t necessarily follow the movements of the land below.

In the second iteration of this model, some of the network paths should be split up and arranged at different levels around the site. Methods of level change can then be introduced to reconnect each section.

Whitfield R&D Centre Building Form Generation Diagrams

Stage One

Stage Two

Stage Three

Stage Four

Stage Five

The initial building footprint was derived by replicating the footprint of the main boiler house. Due to the location of the surrounding buildings, the footprint was slightly reduced.

The footprint was then extruded to the level of the remaining walls of the boiler house, this provided the datum line for the first floor.

Key paths were then cut through this block to form multiple sections. The paths are taken from the car park and the centre of the building towards the key features on site, the shafts and winding gears.

The paths through were pushed and pulled to create a sculptural landscape through the blocks. Some pathways were elevated to allow for key views to be captured.

Two courtyards were created at first floor level. An orthogonal 5m grid system was used to create this in an effort to connect the angular lower section with a more traditional pitched roof.

Stage Six

Stage Seven

Stage Eight

The basic room layout was then extruded up and cut to match the reconstructed volume of the old boiler house (shown in a dashed line).

Rendered Perspective Section A-A

Parts of the roof were then pushed back down, creating the appearance of a collection of roofs. This also differentiates between spaces and programmes. Glass was then added to cover the remaining circulation space, creating a covered semiexposed atrium.

Whitfield R&D Centre

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U5.09

The slab connecting all of the first floor structures was then opened up along many of the ground level paths, allowing views of the key site features to be captured through the entire building.

U5.10 U5.09, Building Form Generation Diagrams.U5.10, Whitfield R&D Centre, Rendered Perspective Section A-A. U5.11, The Ridge/Path Roof Idea An alternative roof idea that was explored along side the individual roofs was the idea of creating a single unified roof that reflects the form and usage of the building below by placing ridges over key paths through the building.

Several iterations of this idea were tested as shown.

Whitfield R&D Centre Rendered Perspective Section B-B

U5.11

Construction P

U5.12, Developmental 3D Views

Phase Two External concrete structural walls and lift shafts

Phase

Landsc

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Phase One Pile Foundations

Phase Six

Phase Seven

Cross Laminated Timber wall panels

Glue Laminated Timber Roof Beams

U5.13, View of the The Whitfield, Research & Development Centre.

Phase

Insulation, Cladd

Process Phases

Phase Five

Intermediate concrete floors and secondary internal concrete walls

First floor concrete floor slab and reinforced concrete columns

e Eight

Phase Nine

Phase Ten

Glazing

Fixtures, Fittings and Furnishings

ding and Roofing

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Phase Four

caping

SANDRA ARINMAH (Y5) ‘Reigniting the narrative of Soar Island’ The root of this project sprung from my hometown of Chorley, Lancashire, and my personal experiences whilst living here.

During my time in Chorley, I realised that it is not so diverse, and not many job opportunities exist even for graduates. This means that any persons who has done further education cannot find any worthy opportunities in the town. Of course one cannot compare it to a mini-megacity like London which is seen as a land of opportunities by lots of migrants from my birth country, Nigeria.

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Most of the young people also prefer to go into apprenticeships after their High School education, though some others prefer to go outside the town for further education like myself who decided on Leicester. Therefore, this project stemmed from this issue. The question is: How can we get young people to stay (like students/graduates)?

How can we invest in young people?

How can we bring interest into a town?

How can we stop small-scale emigration?

Leicester has a similar issue of getting people to stay, seeing as majority of the population are from outside the city, and are students. The questions above also apply to Leicester: how can we retain people in the city? What can Leicester offer compared to other competing cities?

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RUBI AKTER (Y4) ‘A journey through Fading Shadow’

U5.15

The reality is very hard when someone hear that he or she has a cancer. The person entire world become dark. surrounding circumstance is going to stop on which he or she has dream. The site with a three storied brick wall(covenant church) is the past or reflection of a life.

Here try to make a support center which is basically comes from this brick church wall.

When you lost everything or may fall in risk, you have to start yourself from past. This past may be your friend,your family, your childhood, your parents,your memorable home.

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Student ID - p2557225.

U5.16

PARMIDA AMININAVAEI (Y4) “A Journey above The Ground”

U5.17

U5.18

U5.17, Pathways and people movement studies.

U5.18, Elevated pathways derived from the patterns of movements.U5.19, Structural column studies.

U5.19

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A unique space for uniting the local community with homeless people it is nurturing environment where service users can benefit from fresh air and exercise, explore their creative expression, practice helpful life skills and benefit from the therapeutic effects of working with plants.

U5.20

HANNAH BIRD (Y4) ‘The Magic Theatre’.

In his 1927 novel, steppenwolf, hermann hesse illustrate a journey through darkness, hope and learning to laugh.

This project adopts the novel steppenwolf as a means of designing a theatre to sit in and around the last remaining ‘slum’ in leicester, which narrowly avoided clearance in the 1960’s.

One of the key reasons that this novel was chosen over others lies with the quote :

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‘For Haller is one of those people who end up caught between two eras, deprived of all security and innocence; one of those fated to experience to an intense degree, as a personal torment and hell, all that is questionable about human life.’ (Hesse, H. 1927) I very strongly believe that the chosen site, much like the protagonist of this novel, is caught between two eras, and left to suffer. therefore, i propose a solution, reintroduce love, life and laughter much like the lessons of this novel, and see what results.

U5.20-5.21, Development collages from Steppanwolf Novel for the Magic Theater..

U5.21

Thus, in the early hours, in a remote outlying district of town that I hardly knew, I found myself entering a pub where, behind the windows, I could hear loud dance music.

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full of smoke, the smell of wine and the loud cries of the drinkers

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‘I can’t possibly go home, I can’t, I can’t. I want to stay here, next to you, if you’ll let me. No, I c a n ’ t go home.

the place was packed with people,

since she moved as if to get up, I suddenly felt my spirits sink. I feared she would go and

leave me on my own

and I would be back where I started.

U5.23

U5.24

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U5.22

5.22, Section showing actor-participant interface in variou spaces. U5.23, U5.24, Interior visualizations of the interactive spaces within the magic theather.

U5.25

U5.28

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U5.26

U5.27 A TO FIRST FLOOR STAGE

STAGE

-ST

DO

CK

W/C

GE

BA

W/C

A

STA

COURTYARD

OR

AG

E

‘MAGIC DOOR’ STAGE

FOYER TO DRESSING ROOMS

W/C

TO LANDSCAPED GARDEN

CAFE BOX-OFFICE ‘AUNT‘S LIVING ROOM’ STAGE

BAR

TO FIRST FLOOR STAGES

MAIN ENTRANCE

U5.25, Axonometric drawing showing fron entrance space of the Magic Theatre.

U5.26, Axonometric drawing studies.

U5.27, Plan og the Magic Theatre Layout.

U5.28, Elevation of the Magic Theatre.

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U5.29

5.29, Internal view of the Auditorium showing the informal seating, new roof and retained wall with original openings to rear.

DETAIL The design for Scene 3 : Learning to Dance.

A 3D rendered section to illustrate the details of the ‘Viewing Room’ below the Dance Stage.

Two main features of this detail are the gaps in the floor boards where a weathered copper edging forms a finish and directs light to the floor below. Annealed glass to bridge the gap in the floor boards is held by a frame and suspended from the boards.

The other feature is the bench, which is an extension of the existing window sill, attatched the the wall with a floating appearance, the bench has downlights to add a halo effect, the only direct lighting in the room which doesnt come from the floor above.

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The gaps in the floor boards include a weathered copper edging which forms a finish and directs light to the floor below. Annealed glass bridges the gap in the floor boards is held by a frame and suspended from the surrounding boards.

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U5.30

The other feature is the bench, which is an extension of the existing window sill, attatched the the wall with a floating appearance, the bench has downlights to add a halo effect, the only direct lighting in the room which doesnt come from the floor above.

5.30, The design for Scene 3 : Learning to Dance. A 3D rendered section to illustrate the details of the ‘Viewing Room’ below the Dance Stage. Two main features of this detail are the gaps in the floor boards where a weathered copper edging forms a finish and directs light to the floor below. Annealed glass to bridge the gap in the floor boards is held by a frame and suspended from the boards. The other feature is the bench, which is an extension of the existing window sill, attatched the the wall with a floating appearance, the bench has downlights to add a halo effect, the only direct lighting in the room which doesnt come from the floor above.

U5.31

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U5.32

U5.33

U5.31-U3.3.33, ‘‘Moon Phases’’Moon phases experience is applied as a interaction in one part of the design. Giving the users an ability to under-stand the phases of moon through architecturally. As rep-resented, evidence of images demonstrates the different phases taking shape on the surfaces at different times of the day due to natural lighting.

SUNIL ISSUAN (Y4) ‘Keplers Space-Astronomical Space Observatory’.

U5.34

357

The design space also allows the user to stand in one of the platonic solids ( Hexahedron ‘earth’) as the viewing point around other platonic solids... allows them to understand the platonc shapes, which ap-pear in creation. Goal was to achieve this experience through this information through architecturally as important as interacting with it, thus, it involves spiral ramp around the design space as you observe around the ramp you are constantly experiecing the platonic s

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‘‘Platonic solids’’ Inspired from site 2 ‘Withcote Chapel’ undertaking the the patterns and colours of existing windows and how this architectural element can particular enhance user’s experience within the building.

Here, the building represent the idea of James Turrell installations, where we incoporate the idea of lighting such as ‘red’ representing ‘fire’ as even described in case study of platonic. This part of the building also showcase the Kepler’s space telescope, with informa-tion of the telescope as described also in case study.

U5.35

ABDULRAHMAN MUHAMMAD HARUNA (Y4) “The Architecture for Healing- Maggie Centre, Leicester” Maggie’s Centres are places where cancer sufferers can obtain emotional support and practical advice as a means of complementing conventional treatment. The organisation behind the centres is based in Britain and was founded by Charles Jencks and his wife Maggie (who died of cancer in 1995). Maggie’s centres are a network of drop-in centres across the United Kingdom and Hong Kong, which aim to help anyone who has been affected by cancer. They are not intended as a replacement for conventional cancer therapy, but as a caring environment that can provide support, information and practical advice. They are located near, but are detached from, existing NHS hospitals.

U5.36

Section through the Atrium.

The building uses wood for flooring and ceiling with brick walls in the interior. Selected for its thermal properties a the wood is used to create an organic and natural environment within the Maggie’s centre, as wood is a non-t material.

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The atrium with glass walls descends from the roof terrace to the ground floor which allows light down to each fl floor, seatings are provided around the atrium. It also surrounds plants that offer an aesthetically pleasing view w The glass also allows a person to see everything that is happening on the floor he or she is on.

U5.37

Section through the brick seating wall joined to the brick wall

Brick seating walls attached to the brick walls have been provided on the ground floor for people to sit and relax, and also vie ferent spaces within the buildings.

U5.35 & U53.36, The atrium with glass walls descends from the roof terrace to the ground floor which allows light down to each floor. On the ground floor, seatings are provided around the atrium. It also surrounds plants that offer an aesthetically pleasing view within the building. The glass also allows a person to see everything that is happening on the floor he or she is on. U3.37, Brick seating walls attached to the brick walls have been provided on the ground floor for people to sit and relax, and also view dif-ferent spaces within the buildings.

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U5.38, A roof terrace is provided at the top of the building with green spaces and seatings where people can sit and relax, as well as view the surrounding environment and the city.

U5.39

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MONISHA RAVINDRA REDDY(Y4) “Leicester Open Air Theatre”

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Open air theatre is supported structurally by columns. The theater plays dual purpose; it serves as a seating area as well as shade for the people below the seats. Levels have included to designate landscape, seating and pathways. Entrance to the open-air theatre is designed from the balcony and front seats are dedicated to challenged people

View of the theatre from w alls to block the sound waves from reaching open air theatre.

Walls are of different height in order to reflect back the sound waves. When the sound waves travel from the source object, the brick absorbs are certain frequency sound energy and it reflects back the others. Walls higher the height of the open air theatre helps to create a noise free theatre zone. These walls also guides the separation between two different areas.

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U5.40, Acoustic Plan, Blocking the sound energy from reaching open air theatre. An advantage of orienting the open air theatre opposite to the main road is the riser of the open air theatre will absorbs and reflect the sound energy making the space noise free zone .Brick and stone wall behind the open air theatre stage area is to reflect the noise created by the adjacent pedestrian pathways and also stops the public from entering the theatre from all the sides. Surrounded brick buildings will also absorbs the reflected sound energy.

U5.41, Walkway towards the semi open seating below open air theatre

KUNALAN SIDDHARTHAN (Y4) “Jewry Wall Museum, Leicester”

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This project involved exploration of designs by two different concepts which involved two different design approaches. The fi rst concept explored having a look out tower on one end of the building as a design feature in order to attract people since one of the issues that the site had was the lack of traffi c. Another design experimentation was linking the Jewry Wall Museum and Jewry Wall to the St. Nicholas Circle thus providing a visual continuation all throughout.

U5.42, Building exploded axonometric

AIMEE TAIT (Y4) “Burleys Flyover Intervention, Leicester”

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This project explores the relationship between modern Leicester and the historic Fosse Way with the aim to create an urban park that tells the story of the cities evolution.

U5.43, Conceptual plaster work of Fosse Way Viaduct, Leicester.

U5.44

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U5.45

-1M -1.5M -2M -2.5M -3M -3.5M -4M -4.5M -5M

U5.46

1:50@A1 1:50@A1

U5.44, Perspective of the public gardens under the Burley Flyover connecting Belgrave road and Leicester City Centre. U5.45, Section. U5.46, Elevateed walkways and sitting spaces.

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U5.47

MURTAZA TAIZUN (Y4) ‘Stimulating Romance: City and the Sky.’ The section above cuts through the Showcase Cinema building which predominantly has a continuous and opaque exterior. The façade extension implanted to the existing building as such does not affect the programme inside the building, but is seen to completely alter the character of the street.

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U5.48, West Side of the Street, Looking East St. Peter’s Square.

The elevation above demonstrates the building extensions as a romantic element that influences pedestrian movement, street life and the pedestrians’ relation with the sky.

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FIG. 11

Its Not As Wild As It seems.

Task 01/ The curated wild.

The way in which the user experiences the parkland, is entirely dictated by how ‘the curator’ wants it to be viewed. It is a handcrafted experience, with every line guiding the eye, twisting it into a different perspective. The above drawing aims to highlight this, altering the natural grain of the rock in order to distort it. This takes the image further away from the photograph it began as, overtly and unashamedly adding the lines to over-dramatise the shadows, lightness and sharpness of the rock. This is akin to the hyperbole used in romantic novels. So long as you cannot see the barbed wire fence, the viewer is submerged in the ‘unspoiled’ yet highly curated wild - a contradiction in terms.

FIG. 12

FIG. 13

FIG. 11

The curated wild, hand drawn linework over photocopied image of rock face.

FIG. 12

High contrast view through fencing surrounding site

FIG. 13

High contrast view past barbed wire surrounding site

FIG. 14

image over post and rail fence on site

FIG. 14

Task 01/ Palette knife paintings JOSEPH WHITE (Y4) “Spatial Figures” U5.49-U5.52, Conceptual Studies, A scratch model exploring different potential materials. Each section of the grid uses a different texture. Both timber and canvas could offer elegant architectural detail while still retaining an airCOLLECTION of semi-permanence.

OF MATERIALS The palette knife paintings were each produced in under twenty seconds; and each one is based on a region of The Curated Wild drawing that attracted the eye. The time limit ensured they were immediate responsesmade quickly with intuative marks - experimenting with further distortion of the hyperbolic linework.

FIG. 28

A scratch model exploring different potential materials. Each section of the grid uses a different texture.

FIG. 29

FIG. 30

Both timber an

LSA - 2020 369 U5.53, “It is proposed that, rather than hoping and waiting for the withering away of the object... it might be more judicious to allow and encourage the ob-ject to become digested.” Rowe, C. and Koetter, F. (1993). Collage city.

U5.54

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U5.55

Cast in place

in place FIG. Cast 44 Theexisting structure as a leach, using the existing as a base The structure acts as a leach, using the as acts a base from to which expand. With close proximity to the existing from which to expand. With close proximity the to existing road, realm the intention road, the intention is to expand the public into the is to expand the public realm into the Firstthis units would accomodate pop up shops, this would site. First units would accomodate pop site. up shops, would take the form of a linear stretch. take the form of a linear stretch.

U5.60, Cast in Place, as areas of the site begin to become permanent, CAST INTO PLACE CAST INTO PLACE

FIG. 45

other areas remain as tem-porary structures. ollowing the development of the standard kit of parts, and the way in which it would be used, the question of perma-nence still remains. The way in which the site will evolve and devolve acts as a trial system, ensuring that demand meets supply and vis versa. In the event that a unit, after a period of time, is successful and is no longer on site on a temporary basis - by what method does it’s permanence become physical?

As areas of the site becomeaspermanent, other areas remain as temof the site begin to become permanent, otherbegin areastoremain temporary structures. porary structures.

Developing to perminance

to perminance FIG.Developing 45 Theexisting structure as a leach, using the existing as a bas The structure acts as a leach, using the as acts a base

from to which expand. With close proximity to the existing which to expand. With close proximity the to existing U5.61, Castingfrom around the already erected scaffolding could offerTO a PERMANENCE road, realm the intention road, the intention is to expand the public into the is to expand the public realm into the DEVELOPING First units would accomodate pop up shops, this woul DEVELOPING TO PERMANENCE site. First units would accomodate pop site. up shops, this would take the the formuser of a has linear stretch. solution. Poetically freezing or locking unit in a state that take the form of a the linear stretch. tested. The scaffolding would provide ad-ditional re-enforcement for the andwould steel be would be cast to concrete stone,for creating a stronger st Wood and steel would toWood stone, creating areplaced stronger structure concrete pillars, andbethecast timber joists with continued development. continued development. planks. This solution would also allow the scheme to continue to grow, as the scaffolding can still leach from the concrete - pro-viding additional structural support. The concrete would be sealed to reduce water penetration, and the sliding panels would mean that the aesthetic of the unit would not alter drastically.

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U5.56, Stage One: An example of how the system would enable the natural evolution of space, is to look at how a singular unit may develop. The above example starts out as a 3 x 3 standard unit.

Project:

Task03 - Urban Realm

FIG.Designer 46

Status:

Studio:

Spatial Figures

Sheet title: Cast in Place

Scale:

As indicated @A1

U5.62

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U5.57, The Brewery Tower,

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Potential core/ lift tower Location / design tbc.

Bars / cafes to the upper floors, where foot traffic is lighter

Secondary courtyard

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to be planted, acts as amenity space

Rev: A

Date: Railing amended to be vertically balustraded; more detail shown to TMP

10/03/20

Shops to lower levels

Cut through

where foot traffic is highest

with elevated walk way above

Check: Drawn: -

JBW

U5.58, The standard kit of parts would also offer a solution for permanence. Using many of the same elements as the tempo-rary kit of parts, the section shows how a unit may become permanent. By replacing the metal scaffold with an adaptable treated timber frame, the unit can be set in place in a sustainable way. The large THE vertical columns can be extended using metal plates, part 17, allowing for continueD expansion vertical-ly. The initial columns would span up to U/S of second floor

MAR

Se

Using the temporary structure, above is a r develop. Centred on a public square, small up - making use of the f

U5.64

Potential core/ lift tower Location / design tbc.

Full height glazed panels enable shop frontage, creates stronger interaction with existing street

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Top hung fan light

Central square left paved and open to accomodate tansient market place

joists, with flitch beams interlocking at first floor U/S of joist. The joists and floor panels would be laid back on top of this. The rain screen would work in much the

RKET PLACE same way as the temporary structure, keeping the same aesthetic, but the corner panels would be locked in place.

ection A-A

representation of how The Market Place may being to stalls, shops, bars and cafés would begin to pop foot fall from Mansfield Street.

Project:

Task03 - Urban Rea

Status:

Preliminary

Studio:

Spatial Figures

Sheet title: The market place p section Scale:

@A1

Date:

03/04/20

Drawn:

JBW

Checked:

-

Ref:

100-000_TA_03

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U5.59-U5.60, An example how the scaffolding struc-ture could be used as a trial system, however it can also be used for performance architecture. Being erected in an afternoon and remaining up for only a few days or a week. Leicester is home to many events such as Dave’s Comedy Fes-tival - the ability to erect venues at short notice could be valuable.

The example demonstrated here shows that the simple kit of parts would allow the required pieces to be pre-ordered to save time on site.

Due to the light-weight structure, no heavy machinery would be required - causing minimal disrup-tion to the existing scheme shown in the distance.

U5.65

U5.64 FIG. 66

FIG. 67

FIG. 67

46

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U5.61, The above image captures the moment after the Grocer’s stall and the above cafe have become a permanent fixture. The scheme has started to become a destination, with seating and planting offering a pleas-ant break-out space for local office/shop workers to take their lunch breaks.

U5.66

Comprehensive Dissertation Module Leader: Dr Jamileh Manoochehri

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The Comprehensive Dissertation offers the opportunity for students to undertake a detailed investigation of a chosen architectural topic. The dissertation is expected to reflect historical, social, environmental, technical or other current issues relating to the discipline of architecture and the built environment.

The topics may vary from examining the way buildings perform over time, the ways in which people use buildings, the urban, political and socio-economic context of buildings, or the significance of the work of a particular architect or architectural style.

The module helps students define an appropriate research subject which relates to architectural issues of culture, theory and design, and to develop a critical understanding of how knowledge is advanced through research to produce clear, logically argued, written work. Students are placed based on their preferences for themes offered in seminar groups that are inspired by the research area and expertise of the supervisors. They are asked to develop a well-argued proposition, and to reflect an understanding of relevant writings and theoretical perspectives.

The diverse themes and the scope to extend them into related subjects has meant that the students have had the opportunity to propose research questions that emanate from current issues that impact architecture and society, and to examine them in the context of the current theory and practice. Students may find the opportunity to connect the themes that they research in this Module to their design proposal too.

In 2019-20, the Module’s teaching and explorations related to the following subject themes: Media Constructions, Architecture, Criticism and Representation; Housing and Dwelling; States of Verticality; Architecture of the Digitized Body; Architectures of Informality. The students produced a diverse body of work researching the impact of consumerism on the concept of home, re-mapping of London through post-colonial fiction, study of high-rise social housing in Asia, public space and political power, green public space and people’s health, architecture as a mechanism of surveillance, Mega-events and urban identity, VR technology and architectural education, among others. The abstracts of samples from each theme are offered below.

Media Constructions: Architecture, Criticism and Representation Jonathan Astbury Housing and Dwelling.

Jamileh Manoochehri States of Verticality.

Yuri Hadi Architecture of the Digitized Body.

George Themistokleous Architectures of Informality.

Adrianna Laura Massidda

YEAR

four

Tutors Dr Jamileh Manoochehri Dr Yuri Hadi Jonathan Astbury Dr George Themistokleous Dr Adrianna Laura Massidda

Abstract

Using Postcolonial Fiction to De-scribe & Re-map London

‘Only that which narrates can make us understand’ (Sontag, 1977, p.18).

The ‘image of the city’ referred to in this essay is drawn from the representation of London through ordnance survey maps, popular commentary and guidebooks. I believe that years of analysing the built environment through its physical forms has dangerously over-simpli-

fied our understanding of London. It seems irresponsible to reduce such a complex, ever-changing organism to simple points on a map defined by physical structures and boundary lines. However, maps like this are often strictly adhered to by city planners and used to support the politics of gentrification.

These maps fail to assert all residents’ ‘right to community’ or define for everyone a notion of home or their ‘right to the city.’ (Lefebvre, 1968) In Henri Lefebvre’s The Production of Space he emphasises that those who inhabit a city should have the right to participate in the production of that city. In Katznelson’s Marxism and the City he digests Lefebvre’s theory and concludes that ‘Space is not just a built-environment but a force of production and an object of consumption. It is also an object of political struggle, because space is an instrument of control by the state’ (Katznelson, 1994, p.98). He recognises that the city is experienced differently by different people and it becomes dangerous when those who inhabit a certain space are not the ones who control its use. This notion seems obvious – yet there are still year-long planning controversies around gentrification and mega-scale redevelopments that ultimately result in residents being displaced (Beckett, 2016).

It is important to note that gentrification and displacement in London disproportionately affects the BAME community (Perera, 2019).

Too often under the guise of ‘regeneration’ is the ‘wholesale physical dispossession of BAME and working-class residents from council and other forms of public housing’ (Perera,

2019, p.5). This highlights the inextricable links between space, race and class. A contemporary example of a controversial London planning scheme is the Aylesbury Estate in the London borough of Southwark. The government announced redevelopment plans in 2014 following negative generalisations about the estate as it became ‘a symbol of the failure of British social housing’ (Beckett, 2016).

The plan is to demolish the estate block by block and replace it with up to 3,575 new homes by 2032. Amongst those to have an opinion was Prince William who had visited the estate on a geography field trip from Eton in 1999 and so could of course identify with all 7,500 inhabitants. The government’s plans were not well received by the residents and 73% voted against the regeneration (Beckett, 2016).

It seems as though in the planning process authoritative powers impose mechanisms from above to involve inhabitants in decision-making but the form of participation they offer is only a charade. Community consultations can feel tokenistic and leave residents, like those of the Aylesbury Estate, having to actively campaign to save their homes. Inhabitants have a ‘right to be present in all circuits of decision making leading to control and development of the organisation of social space’ (Butler, 2014, p.19) and I think that the responsibility lands with the government to support the democratic involvement of the population in urban planning.

It is obvious that there is a disparity of opinion regarding the use value of certain areas of Lon-

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Introduction On finishing a novel by black British author Zadie Smith my cultural conceptions of London are remapped, and my inherent geography starts to rearrange. Smith’s narratives add to the plural voices and multiple centres of London that allow the appreciation of the city as a transnational metropolis. In Postcolonial London: Rewriting the Metropolis McLeod discourages a premature celebration of London as a tolerant, democratic or hybrid location (McLeod, 2004). However, the way that Smith articulates the protagonist’s experience so vividly through real-life spaces offers a welcome disruption to my white Western reading of the city’s geography. Smith, in her novel NW, and Sam Selvon in The Lonely Londoners, alongside other contemporary writers of postcolonial fiction, highlight literature as a tool to hear the voices that are often ‘othered’ when formulating an image of the city. They provide new avenues to remap and recreate tired, old, racist geographies of the former imperial centre of London via ‘a notion of post-colonial which is connected to successful modes of resistance and transformation’ (McLeod, 2004, p.13).

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In this study I intend to question traditional maps, highlight their often-racist narratives, and show how they are used to support the politics of gentrification in the City of London. The restrictive nature of singular maps provides an ‘image of the city’ that is oversimplified and lacking in the complexity and multiplicity of everyday life. I plan to produce cartograms that de-scribe London by offering a counter-narrative that identifies, valorises, and empowers those who have been labelled by colonialist discourses as ‘Other.’ This coun- ‘Focusing on the Cartography in Sam ter-narrative will be formed from an interrogation of post-colonial fiction to Selvon’s The Lonely Londoners & give an insight into how the city of London is experienced and used. I will Zadie Smith’s NW’ focus my study on Sam Selvon’s The Lonely Londoners and Zadie Smith’s NW – both novels that are laden with urban imagery and follow first- and second-generation immigrants as they negotiate space and examine their ‘right to the city.’ Using the novels, I will map themes that express intangible qualities that are important to the city fabric but overlooked on an ordnance survey map. These themes include home, hybridity, multiculturalism, community, and identity. The cartograms produced aim to enrich our understanding of London and support ‘Othered’ inhabitants in voicing and achieving their ‘right to the city.’ By moving past the simplistic built forms that a traditional Lilie Bamford map depicts I hope to offer a view that celebrates London’s complexity and by: Tutor: Jonathan Astbury provides an inclusive foundation to propagate future city plans.

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don. Could this inconsistency simply be down to the fact that it is easier to map the physical built forms of the city than it is to map the intangible qualities that express how its spaces are used? The view of the Aylesbury Estate, as seen on the Eton school curriculum, as a failing mass of concrete overlooks the views of those who consider it ‘home.’ To reduce the city to an ordnance survey map and its council estates to their physical form ignores the complexity of city life. In Teaching to transgress bell hooks, author, feminist and social activist says: ‘One of the ways that you can work for freedom is to change your mind and to move away from the space of binaries, of simplistic either/ors, and to be able to look at the picture that offers us complexity’ (hooks, 1994).

Although here, hooks is discussing moving away from constructed views of people that are one dimensional and binary, I believe that this same principle can be applied to space.

Lefebvre explored a similar concept in The Production of Space where he deconstructed the binary of perceived and conceived space to form his ‘spatial trialectic.’ His triad of space also includes ‘lived space’ which can be summarised as the empirically mapped space that also considers human experience and culture.

This triad demonstrates that space does not just exist as it does on a map but instead our imagination seeks to change and appropriate space from our lived experience and memory.

The above principle is defined by Edward Soja as the ‘Thirdspace;’ ‘a mode of thinking about space that draws upon the material and mental spaces of the traditional dualism but extends well beyond them in scope, substance and meaning’ (Ikas and Wagner, 2009, p.56).

Thirdspace reveals intangible qualities that would be difficult, yet I do not think impossible, to articulate on a map. These qualities such as power, identity, hybridity, home and community are all factors that would help to communicate a fuller, more complex image of London. When mapped, they give spatial representation to otherwise marginalised voices and communities. Arguably it is not that it is easier to map only the physical built forms but that these maps instead make it easier for authorities to disregard the ‘lived space’ of the city. The oversimplification and disregard for a city’s complexity is possibly deliberate. As mentioned previously, discussions about space have become inextricably linked to race and class. It would be dangerous to map a physical space without somehow representing its social and cultural values, especially when discussing the redevelopment of London. See fig. 1, this is a map submitted as part of the Design and Access Statement alongside the Planning Application for the regeneration of the Aylesbury Estate. It allows planners to reduce the city to

its physical elements and ignore the picture that would offer them too much complexity.

Space, as a social construct, becomes intimately bound up with power, authority and by extension race (Knox and Pinch, 1982). This stimulates a ‘consciousness and awareness of how space can be used to oppress and exploit and dominate, to create forms of social control and discipline’ (Soja, 2018, p.3).

be used to reinforce meaning, and not negate it’ (Lynch, 1960, p.9). Nevertheless, after interviewing a (very) small sample of middle and upper-class residents of the three cities, Jersey City, Boston and Los Angeles, he reduces each city to just five types of physical elements: paths, edges, districts, nodes and landmarks (Lynch, 1960). These five elements appear in varying compositions as he presents analyses of the three cities. In Chapter 4 of Lynch’s Traditional maps are allowing authorities to Good City Form he reviews the city as ‘visibly overlook the complexities of city life and conse- organised and sharply identified, then the citquently reinforce the xenophobic narratives at izen can inform it with his own meanings and work in society. This can be seen in gentrified connections. Then it will become a true place, areas of London as ‘our cities become spaces remarkable and unmistakable’ (Lynch, 1981, for investment, rather than living’ (Minton, p.92). He concludes that the physical forms 2017). Inhabitants are left to question their revealed by his maps will dictate the ‘lived right to the city and groups of activists are space’ produced by the inhabitants. However, if forced to adopt Lefebvre’s phrase ‘Right to Lynch acknowledged the existing ‘lived space’ the City’ to stand ‘for democratic citizenship of the city and recognised it as an existing place against the steamroller of private property’ and instead mapped five elements specific to (Minton, 2017). An example of this is the group the city’s Thirdspace, this could create a fuller, which successfully fought the demolition of more complex and possibly more useful ‘Image Brixton’s indoor market (Minton, 2017). A of the City.’

Verso ebook The Right to the City contains a collection of essays responding to Lefebvre’s Novels as Cartography iconic text 50 years later and highlights the relevance of his work still today, with inhabitants ‘What the map cuts up, the story cuts across’ ongoing struggle to assert their ‘right to the (de Certeau, 1984, p.129). city.’ As Jane Jacobs realises in her book The Death and Life of Great American Cities, spaces The ‘image of the city’ should be constructed are capable of ‘providing something for every- not only from an analysis of its physical form, body, only because, and only when, they are as presented by Lynch, but also from its social created by everybody’ ( Jacobs, 1961, p.238). dimensions. A good starting point for a city’s When creating an ‘image of the city’ it should urban analysis would be a reading of the appreciate that ‘the point of cities is multiplic- city’s Sojan Thirdspace – a culmination of its ity of choice’ ( Jacobs, 1961, p.340) and good Firstspace, its empirically mapped physical design is to deal with life at its most complex form and its Secondspace, an imagined and intense ( Jacobs, 1961). ‘There is no logic narrative (Soja, 1996). The narrative layered that can be superimposed on the city; people on top of the physical form can give us a fresh make it, and it is to them, not buildings that we perspective on the built environment it depicts. must fit our plans’ ( Jacobs, 1958, p.160).

The space explored in a novel provides an ideal example of a Thirdspace. The author can Can the people who populate them, who live ground the narrative in a recognisable physical in them, who shape them according to their environment whilst using the social relations of needs, also create them, or will that remain the protagonist to further structure the space. the prerogative of the small group which plans, By reading multiple novels set in London it builds and organises them? Up until now the would undoubtedly give a richer and fuller answer has been no, and this failure is the perception of the way the city is experienced. crucial problem’ (Lefebvre, 1974, p.279).

In James Donald’s Imagining the Modern City (1999) he explores the future implications In The Image of the City, Kevin Lynch provides of ‘urban imagery’ created by writers, artists, an example of maps being generated through architects and filmmakers. He argues that the a sole appreciation of a city’s physical, built imagined city probably acts as the best lens form. Although Lynch recognises that there to propagate a future democratic community. are ‘other influences on imageability, such as This is because ‘urban imagery’ can come from the social meaning of an area, its function, its multiple sources and represent a multitude history, or even its name. These will be glossed of voices and experiences. This fuller and over since the objective here is to uncover the more complex image and way of seeing and role of form itself ’ (Lynch, 1960, p46). Lynch understanding the city, as Donald describes, uses the maps to compare the physical forms ‘inevitably informs ways of acting on the space of different cities, not as a basis for design, as of the city, with consequences which then in he understands ‘in actual design form should turn produce a modified city which is again

Postcolonial narratives can do more than just tell a story, they represent writers who have arrived from, or who have ancestral links with, countries with a history of colonialism.

To understand London through readings of canonical texts such as Jane Eyre or Charles Dickens is to accept a view of the city through a colonial lens. When reading 19th Century British literature it is important to acknowledge that imperialism was a crucial part of representing England to the English and that ‘colonialism is an operation of discourse, and as an operation of discourse it interpolates colonial subjects by incorporating them in a

The cartographic nature of Smith and Selvon’s novels allow them to be spatially interrogated.

On this basis, I am going to explore the social spaces produced by Zadie Smith’s NW and Sam Selvon’s The Lonely Londoners and how they address themes such as hybridity, identity, authenticity, home, and place. Both novels follow first- and second-generation immigrants as they spatially inhabit London to negotiate their When exploring the representation of the city identities and question their ‘right to the city.’ I of London through postcolonial narratives it is would like to map the space envisioned by the important to remain aware of the ‘continuing novel’s main protagonists as an example of the relations of power – social, cultural, economic varying perspectives offered by postcolonial – with which the postcolonial is inevitably narratives in formulating a more accurate, conbound up’ whilst also acknowledging that textualised image of London. As Jane Jacob’s authors have been criticised for their ‘thought- Edge of Empire – Postcolonialism and the less romanticising of migration and settlement’ City explains ‘expressions and negotiations of (McLeod, 2004, p.15). When novelist Monica imperialism do not just occur in space. This is a Ali wrote Brick Lane in 2003, she was criticised politics of identity and power that articulates itof being inauthentic as the narrative was self through space and is, fundamentally, about outside of her lived experience. However, she space’ ( Jacobs, 1996, p.1). Traditional maps are defended her novel by saying that the critics restrictive and fail to show this negotiation of ‘misunderstand entirely the nature of creative space. An ordnance survey map overlooks the writing’ (Ali, 2007) and if writers were only previously discussed intangible factors that are allowed to write about their own personal fundamental to how we experience a city. This experience all books would be memoirs or is why I would like to create cartograms, based autobiographies. She defended her writing on Smith and Selvon’s narrative, to show that by stating; ‘And is this not literature’s gift? Its there is more to space than just N, S, E and W. contribution? To see through another’s eyes, to take another perspective, and to take the Using Lynch’s pragmatic process of analysis as reader along on that journey, goes to the very a starting point I will select five themes that purpose, the moral heart of the work’ (Ali, recur through each book to formulate their 2007). spatial compositions. I will then explain how each theme, as I understand it, enriches the Both Zadie Smith and Sam Selvon successfully overall imageability and legibility of London. produce refreshing counter-narratives to the In forming these two cartograms I hope to colonial depictions of London. The way that express a counter-narrative to the standard they compose their narratives runs parallel ordnance survey map. Reading the cartograms to the way that Gayatri Spivak re-reads and in parallel will demonstrate the multiplicity and unpicks canonical literary texts like Jane complexity of spaces within the city. Unlike Eyre. Both texts, like Spivak deconstruct and a traditional map, a cartogram distorts the restructure the narratives to ‘identify, valorize, geometry of space to convey more complex and empower who colonialist discourses label information, making it an ideal medium to exas the “Other”’ (Lawson and Tiffin, 1994, press intangible qualities that are connected to, p.230). They ‘resist the enclosed, static and but not solely determined by, space. Although hierarchised perspective of the colonial agency I am generating a visual representation of the and instead look towards the transformationprotagonist’s London, based on the urban imal possibilities of hybridity’ (Teverson and agery in the novels, it is still my interpretation Upstone, 2011, p.28). Reading Spivak’s 1985 of the imagined spaces. The cartogram will be essay Three Women’s Texts and a Critique of distorted by my personal experiences. Selvon Imperialism, where she analyses the actions and Smith are the authors of the literary space, of Britain toward the nations it colonises in but I have woven the spaces together in a three different texts, inspired me to de-scribe subjective way to scribe the cartograms, and as London and produce re-configured maps that De Certeau explains in The Practice of Everyday express London’s counter-narratives. Smith Life a tour, a series of spatial operations, means and Selvon’s novels are each ‘formed out of nothing without knowing the identity of the the cohabitation of variously empowered peo- tour describer. ple and the meaning they ascribed to localities and places’ ( Jacobs, 1996, p.5). They enable ‘In short, space is a practiced place. Thus the ‘new ways of thinking about regional, national, street geometrically defined by urban planning diasporic, and transcultural identities’ (McLeis transformed into a space by walkers. In od, 2004, p.4). the same way, an act of reading is the space produced by the practice of a particular place:

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Donald explains how representations lead to perceptions of the city and how these in turn can actually influence urban change.

The interplay between an urban narrative and the actual space of the city it occupies blurs the line between real and imagined space. As Lynch’s Good City Form explains ‘Dickens helped to create the London we experience as surely as its actual builders did’ (Lynch 1981, p.147). This implies that Dickens’ novels, laden with urban imagery of London, sit so vividly in the reader’s imagination that they influence the way we experience the city. The novels also transcend Dickens’ social situation as a middle-class writer writing for a middle-class public, rendering literature a powerful tool to adapt the readers’ perception of space. In this way, literature can act as a tool for architectural investigation and deepen our understanding of a city’s social space and how it is experienced by different people. The reader of a novel immerses themselves into the world of the protagonist and gains access to a different way of seeing. This seems like an invaluable resource for understanding the social implications of the built environment. In a society where it sometimes feels like an increasing percentage of the population have an inability to empathise– narratives offer a strategic way of instilling empathy and advising that often ‘urban imagery’ is someone else’s reality. As Spivak states in An Aesthetic Education in the Era of Globalization, to immerse yourself in a narrative ‘buys your assent in an almost clandestine way, and therefore it is an excellent instrument for a slow transformation of the mind, for good or for ill’ (Spivak, 2013, p.38).

system of representation’ (Lawson and Tiffin, 1994, p.3). I used the literary examples of Eyre and Dickens as they were fundamental in shaping the global image of London, but their readers were ‘not just being entertained with a pleasing fantasy narrative, but being instructed in the “innate” hierarchies of race and nation’ (Lawson and Tiffin, 1994, p.4).

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seen, understood and acted on. It is not just that boundaries between reality and imagination are fuzzy and porous. In the development of cities can be discerned a traffic between the two, an economy of symbolic constructs which have material consequences that are manifested in an enduring reality’ (Donald, 1999, p.27). The novel, as a representation of space, sits in our imaginations and dictates our future experiences within a city.

home in Trinidad. It represents a direct link to the West Indies and is also the place where Moses himself first arrived in London. This is a time before Zoom calls and video chats ‘Sam Selvon’s The Lonely Londerners’ so Waterloo is the closest Moses can get to Introduction Trinidad and all of his family and friends who remain there. The station becomes a place in The first novel I am going to use to de-scribe and re-map London is Sam Selvon’s The Lonely London that embodies memories and as Selvon Londoners. The narrative follows Moses Aloet- describes - a place miles from Moses’ home but ta as he traverses London on foot, on the tube still a place that evokes a ‘homesickness.’ and on the 46 bus. The novel, preoccupied ‘When he get to Waterloo he hop off and went with movement, allows the urban imagery to in the station, and right away in that big be built around the protagonists’ direct lived station he had a feeling of homesickness that experiences. The reader becomes immersed in Selvon’s London and the fiction really starts he never felt in the nine-ten years he in this country. For the old Waterloo is a place of to feel factual. Moses is an ‘old veteran’ who arrival and departure’ (Selvon, 1956, p.18). arrived from Trinidad into Waterloo Station ‘nine-ten years’ ago. The image of London is built through his encounters with other lonely As a place so connected to the notion of ‘home’ the narrative describes other West Indian new Londoners and how he observes and migrants waiting at the station to see who is supports them as they attempt to survive and arriving next on the ‘boat-train’ in the hope of adjust to their new environment. seeing someone they know. The novel starts The wandering narrative weaves through frag- with Moses travelling to Waterloo Station in mented experiences, allowing the metropolitan ‘nasty weather to go and meet a fellar that he didn’t even know’ at the request of a mutual space to be understood from the perspective acquaintance in Trinidad. Although he seems of a migrant navigating their way through a new city. The London that Selvon is portraying reluctant, he still goes, and each time he helps is 1950s London experienced by a West Indian another immigrant to settle in London, it affirms his new sense of ‘home’ and establishes migrant, part of the Windrush generation, in search of a better life. The novel explores con- him as a local. tentious issues surrounding race, identity and a migrant’s sense of belonging and their ‘right To map Moses’ experience at the station, I am going to represent the Sojan ‘Thirdspace’ of to the city’ (Lefebvre, 1968). If 1950s London were to be viewed on an ordnance survey map, Waterloo Station as an open door. The open the political and spatial struggle of West Indian door will represent a place for ‘arrivals’ and ‘departures’; it is a gateway for migration into migrants would not be visible. However, the the city but also carries an over-arching anxiety, large influx of people from the West Indies particularly through reports that Moses sees during this period significantly altered the in the media, that this door could be closed at urban fabric of London. Selvon’s narrative any time. aptly shows that ‘the production of space in cities whose morphological development was ‘It was here Moses did land when he come to marked by colonialism is part of a permanent process of divergence and negotiation between London, and he have no doubt that when the time come, if it ever come, it would be where those who are in control and those who live he would say goodbye to the big city’ (Selvon, in and use the city daily’ (Hernandez, 2010, 1956, p.18). p.120). As this process of negotiation is not physically shown on a traditional map, it makes it easier for authorities to overlook and The toll of life on a lonely immigrant in London results in Moses questioning his ‘right to the discount. It is the redefining of boundaries city.’ According to Lefebvre, in The Right to and readjustment of social ‘lived’ space that I the City, ‘the urban is not simply a product of would like to articulate in my cartogram. The processes of industrial production and capital map produced will represent the themes of accumulation but is ‘more or less the oeuvre home; multiculturalism; identity; complexity of its citizens’ – a work of art constantly being and re-imagining Britishness. remade.’ He believes that the prevention ‘of certain groups and individuals from fully particTheme 1 -Moses and Home The first theme I consider important to include ipating in this collective, creative act constitutes a denial of the right to the city.’ He predicts in a cartogram of Selvon’s London would be that by denying a citizen their ‘right to the the concept of ‘home’. Although London has been Moses Aloetta’s home for ‘nine-ten years’, city’ it will lead to segregation through ‘social the novel expresses Waterloo Station as a sym- divisions and spatial polarisations within cities, and the enforced re-location of marginalised bol of arrival and departure from his original

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a written text, i.e., a place constituted by a system of signs’ (De Certeau, 1984, p.117).

groups into ghettos by deliberate state policies pursuing agendas for urban regeneration.’ This rings true in Selvon’s London. He describes the inevitable crisis of a city based on segregation that has ‘rejected towards peripheral spaces all those who do not participate in political privileges’ (Butler, 2014, p.144). He describes how West Indian immigrants populate areas such as Brixton through lack of choice and opportunity. This is explored further in the next theme, ‘multiculturalism.’

Theme 2 London and Multiculturalism Moses is aware of the segregation in London and this often results in feelings of loneliness.

As the novel’s title suggests – ‘The Lonely Londoners,’ are united by the city but individually they are inherently lonely.

‘It have people living in London who don’t know what happening in the room next to them, far more the street, or how other people living. London is a place like that. It divide up in little worlds, and you stay in the world you belong to and you don’t know anything about what happening in the other ones except what

‘Home’

you read in the papers’ (Selvon, 1956, p.61).

Selvon is alluding to a failing multiculturalism, a society in which there simply exists several cultures. Often the existence of these cultures in one city is seen as a success, particularly ‘to those who see diversity as an end in itself, rather than a means of securing greater equality and less discrimination’ ( Younge, 2018). Having multiple cultures existing in segregation is what Angela Davies, political activist, would describe as the difference that brings no different and the change that brings no change (Davies, 1983). Unfortunately, but not surprisingly, the politics of 1950s London saw multicultural policy create ‘the segmented society and fixed identities to which it was supposed to be a response’ (Malik, 2009).

As seen in the novel, Moses Aloetta becomes

‘So, cool as a lord, the old Galahad walking out to the road, with plastic raincoat hanging on the arm, and the eyes not missing one sharp craft that pass, bowing his head in a polite ‘Good evening’ and not giving a blast if they answer or not. This is London, this is life oh lord, to walk like a king with money

‘Multiculturalism’

in your pocket, not a worry in the world’ (Selvon, 1956, p.72).

The characters in the novel fluctuate between isolation and loneliness and assimilation - walking as ‘cool as a lord’ (Selvon, 1956, p.72). When talking to his friends, he refers to places as if they are familiar and comfortable

‘Jesus Christ, when he say “Charing Cross”, when he realise that it is he, Sir Galahad, who going there, near that place that everybody in the world know about … he feel like a new man … Galahad feel like a king living in London’ (Selvon, 1956, p.69).

However, for Moses, this allure seems to wear thin and forces him to question that ‘even when time get really tough, they persevere in London but why?’ (Selvon, 1956, p.66) He starts to query his lack of forward movement during his years in London and longs for the ease of life in his homeland. ‘Nobody in London does really accept you. They tolerate you’ (Selvon, 1956, p.110). In his new home he feels like an outsider, lacking the sense of belonging he recalls from when living in Trinidad. Sam Selvon draws on his own experiences as an immigrant in London to show that the England that Moses encounters, ‘the actualities,’ has its own kind of ‘unrealness’ that does not match up to ‘the idealized expectations which had been incubated in the Caribbean’ (Shwarz, 2013, p.120). London landmarks, famous too back in the Caribbean, prompt Moses to reflect on his position as an immigrant in London. It is whilst standing at the edge of the River Thames he ponders that ‘Under the ... laughter ... he could see a great aimlessness’ (Selvon, 1956, p.120). It is clear from the narrative that iconic architectural landmarks embody the immigrant’s hopes and expectations they had for their new life in London.

‘No one knows, but to have said: “I walked on Waterloo Bridge”’ (Selvon, 1956, p.116).

To articulate on the cartogram both Galahad’s allure to the city and Moses’ reflective feelings of isolation and lack of ‘belonging’ – I will draw the London landmarks mentioned throughout the narrative; The River Thames; Waterloo Bridge; Marble Arch; Kensington Palace and Trafalgar Square. Usually on a map these places would help you to establish your location or destination, however on a map of Selvon’s London they are more likely to make you question both.

Theme 4 Cities and Complexity Selvon’s characters appreciate the parts of the city that offer complexity and diversity. Just

like Jane Jacobs, urban theorist, who in The Death and Life of Great American Cities criticised the Modernist planning principles that keep city functions carefully separated and realised that ‘in real life only diverse surroundings have the practical power of inducing a natural, continuing flow of life and use. Superficial architectural variety may look like diversity, but only a genuine content of economic and social diversity, resulting in people with different schedules, has meaning … and the power to confer the boon of life upon it’ ( Jacobs, 1961, p.101). The aforementioned segregation that Selvon’s London has fallen victim to denies this genuine diversity. When Galahad experiences successfully mixed-use spaces it reminds him why he moved to London.

‘Piccadilly Circus - that circus have a magnet for him, that circus represent life, that circus is the beginning and the ending of the world. … people going into tall hotels, people going to the theatre, people sitting and standing and walking and talking and laughing and buses and cars and Galahad Esquire, in all this, standing there in the big city, in London. Oh Lord’ (Selvon, 1956, p.13).

It is a city’s responsibility to handle this organised complexity. Spatial planning in an urban setting is ‘difficult to imagine in advance, let alone predict. What goes on in urban areas is

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to him. ‘He using the names of the places like they mean big romance’ (Selvon, 1956, p.69).

Being able to casually drop the names of such places causes him to feel ‘big and important’ and like a local. These are places he has heard about in stories from back home and now he is experiencing them for himself, proving that Galahad is still driven by the allure of the city and a desire to fit in.

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increasingly conscious of too many immigrants living in one area. When trying to find a place for new immigrants to live he says he ‘don’t want no concentrated area in the Water – as it is, things bad enough already’ (Selvon, 1956). His reasons are not because he has a hegemonic agenda, instead, through experience, he has noticed that the local population does not favour an abundance of West Indian immigrants in any one location.

However, during this time, ‘access to council housing was tightly controlled by residence requirements, so the migrants were thrown back on the private market’ (Phillips and Phillips, 2009, p.129). Being new to a city with no help from the government left many immigrants with no choice but to look to ‘old-veterans’ like Moses for help. Some of his friends from the Caribbean owned houses in Brixton and visited Waterloo Station to recruit new tenants.

Lack of options and opportunities resulted in the majority of immigrants living in temporary and overcrowded housing gathered in certain areas; this is what Moses describes as ‘little worlds.’ To show this on the map I will divide the London Boroughs into smaller segments that represent the segregation and isolation many new immigrants experience.

Theme 3 Galahad and Identity Selvon’s characters represent real-life personalities constantly negotiating their identities both internally and externally. Galahad is one character who tries desperately to alter his identity to assimilate to life in London.

‘Identity’ just too dynamic, intricate and mazy’ (Geddes,

1968, p.4). To plan successful mixed-use spaces you must adhere to Jane Jacobs’ strict directions – ‘look out of your windows; look at the people; look at life before you plan and design’ (Sim, 2019). Galahad enjoyed Piccadilly Circus because not only did it ‘represent life’ (Selvon, 1956, p.13) but he actually felt included within the space. This diversity and inclusivity are a result of the successful people-oriented design of a public space. It is the kind of space that would score highly on urban design consultant Jan Gehl’s indicator framework that evaluates urban justice in the public realm through measuring values such as connectivity; diversity; inclusion and belonging; participation and access (Gehl, 2013). It also demonstrates the kind of multiplicity of space that I will hopefully portray in the finished cartograms. In David Sim’s Soft City he appreciates that ‘local complexity provided by spatial layering and

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juxtaposition can allow a town or city to adapt and accommodate the ever-evolving changes of life’ (Sim, 2019, p.145). Therefore, a documentation of this complexity would offer a solid foundation for future city planning.

I would like to represent the life of Piccadilly Circus as pieces of fabric being threaded through various parts of London to form areas of woven, mixed city fabric. An ideal city would be equally covered in a tightly woven fabric.

However, as Selvon’s London describes there are areas, such as Piccadilly Circus, where this diversity is achieved but also unfortunately, many large areas where it is not.

Theme 5 Selvon and Re-Imagining Britishness During the period of empire people who grew up in the Caribbean, like Moses, were raised to carry a British identity. They were all taught to speak English, read British history and absorbed British media via the BBC. However, when the Windrush arrived in Britain they found that actually ‘there was an inextricable link between nationality, citizenship and race.

To be British was to be a white Anglo Saxon and, whatever that meant, it was not us’ (Phillips and Phillips, 2009, p.3).

According to David Ellis, in Writing Home: Black Writing in Britain Since the War, Selvon’s

only re-map London but to reimagine its spaces, giving previously unrepresented inhabitants a new space to occupy.

Selvon successfully represents his early migrant experience, using the everyday language of his home country and making it accessible to a wide readership. As previously discussed, the narrative often hows the characters as segregated and displaced from the rest of society – their only option to live in cramped rooms alongside other migrants. This roombased existence becomes a powerful metaphor for their in-between existence both inside and outside of English culture. ‘The act of walking is to the urban system what speech act is to language’ (De Certeau, 1984, p.97-98) and so Moses’ presence within the city begins to grind down the hegemonic narrative. As Homi Bhabha in he Location of Culture explains, when discussing his concept of the Third Space, ‘we do negotiate even when we don’t know we’re negotiating: we are always negotiating in any situation of political pposition or antagonism.

Subversion is negotiation; transgression is negotiation’ (Bhabha, 1994, p.43).

The experiences throughout the novel situate Moses in what Homi Bhabha calls an ‘interstitial’ space of negotiation between the immigrants Moses is trying to help and the existing British population, resulting in Moses feeling ‘like a welfare officer’ or ‘some liaison officer’ (Selvon, 1956, p.18). Unfortunately for Moses, ‘the struggle for survival was so great that it stultified his personal growth’ ( Vickers, 2009, p.4). Moses is often made to feel aimless and like he is not moving orward but ‘Nevertheless, these pioneering migrants gradually formed the foundations of a new Britishness on which future generations built’ ( Vickers, 2009, p.4).

I would like to represent the tireless efforts of Moses and the other immigrants in the narrative, in negotiating their own space within the city and establishing their own identity as a series of footprints. These footprints symbolise the long, ‘aimless’ path taken by Moses, Galahad and co. but also by Sam Selvon ‘Complexity’ narrative attempts to ‘humanize and individual- in giving West Indian immigrants a space in literary London. ise the immigrants in response to the mass perceptions of racist ideologies’ (Ellis, 2007, Zadie Smith’s NW p.13) and shows how the characters explore their British identities relegated to the margins Introduction The second novel I have chosen in my attempt of British society. Selvon describes a hidden to de-scribe and re-map London is Zadie world of derelict spaces that other ‘people Smith’s novel NW. The narrative is based in a …don’t really know’ (Selvon, 1956, p.8); he setting appropriate to its geographical title and inhabits cramped rooms situated somewhere follows four protagonists, Leah, Keisha (who between Notting Hill and the Harrow Road. later changes her name to Natalie), Felix and This negotiation of the character’s British Nathan. Smith’s writing covers themes such identities is highlighted by the novel being written in broken Caribbean Creole. The use of as class, race, and gender-dimensions to piece this dialect helps to close the gap between the together fragments of London and, like Selvon, teller, Selvon, and the tale itself. It helps to not the way that Smith explores these themes is

intrinsically linked to the built environment.

Her narrative is like ‘a psychological ordnance survey map’ (Schofield, 2012) in that the role of the city is crucial in shaping the identities of her individual characters.

‘Reimagining Britishness’

Although the novel is made up of four different narratives following four varied characters, they all share two places: the Caldwell council estate, and Brayton, a secondary school. Each narrative interrogates how far the individual characters have travelled from these two initial points on the map as a measure of their ambitions, personalities and relationships.

Smith locates the roots of her protagonists’ struggles in the context of postcolonialism.

They are all first- or second-generation immigrants from working-class backgrounds, born into the fictional Caldwell Estate in Willesden.

The novel explores the idea of escape as the sole exit strategy of being born working class.

All of the protagonists are in their thirties but in different stages of the formation of their identity. The overall narrative is ‘part celebration, part cautionary tale, [and] an apt summation of the triumphs and the limits of British multiculturalism at the end of the century’ (Head, 2002, p.111).

The themes I am going to include in my NW cartogram will be home; hybridity; centre and othering relating to the characters Leah, Natalie, Felix and Nathan respectively. The fifth and final theme will be the characters mutual mothership, the Caldwell Estate, and how Smith’s refreshing counter-narrative celebrates social housing.

Theme 1 -Leah and Home The first protagonist introduced in the novel is Leah Hanwell, a Willesdener of Irish decent in her mid-thirties. Her descriptive view of the neighbourhood from the window of a bus tells us a lot about her character: ‘The window logs Kilburn’s skyline. Ungentrified, ungentrifiable. Boom and bust never come here. Here bust is permanent. Empty State Empire, empty Odeon, graffiti-streaked sidings rising and falling like a rickety roller coaster. Higgledy-piggledy rooftops and chim-

Her cohabitation on the estate and interaction with many different people from diverse backgrounds show multiculturalism as the

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social norm for Leah. When she describes the towers on the estate, she recognises that many different lives co-exist beyond the architecture’s monotony, in which ‘here is the door, here is the window’ (Smith, 2012, p.265). It is a similar revelation to Moses in The Lonely Londoners when he describes London as being split up into ‘little worlds’ (Selvon, 1956, p.61). However, the ‘little worlds’ Leah describes represent homes and individual places of safety, observing many cultures coexisting within the estate and recognising the global in the local. Rather than the unknown neighbouring ‘little worlds’ instilling a sense of anxiety instead they offer Leah a sense of comfort knowing that they all share the estate as a mutual home.

Geographies of Home in which they explore the notion that home is both material and imaginative and can occur at multiple scales. ‘It also draws on a theory in literature on home called home unmaking, which argues that home is not just made but made and unmade in everyday life’ (Baxter and Brickell, 2014, p.133). For Leah ‘born and bred, never goes anywhere,’ (Smith, 2012, p.44) the estate is full of memories and familiar faces who ‘went Brayton’ (Smith, 2012, p.8). As Longhofer explains as he unpicks French philosopher Gaston Bachelard’s book The Poetics of Space: ‘The inside of a house … acquires a sense of intimacy, secrecy, security, real or imagined, because of the experiences that come to seem appropriate for it’ (Longhofer, 2012, p.379).

Smith’s narrative looks past the objective space Smith’s Caldwell Estate represents a typical of a high-rise and highlights the importance of London high-rise council estate. Due to the what the space is poetically endowed with. considerable documentation of the decline I will represent Leah on the map as she is of social housing during the Thatcher years seen at the start and at the end of the novel, when publications mainly focused on resident retreating to a place of safety – a hammock in isolation (Amick and Kvis, 1975) and anti-social her communal garden ‘fenced in on all sides’ behaviour and crime (Rainwater, 1971; Power, (Smith, 2012).

1977) we immediately picture a run-down tower block on the outskirts of London. Smith’s novel presents a refreshing counter-narrative, Theme 2 Natalie/Keisha and Hybridity rather than focusing on high-rise as housing, The second narrative I am going to add to it actually explores the high-rise as home. The the cartogram is that of Keisha, a lawyer and novel connects to Blunt and Dowling’s Critical first-generation immigrant from the Caribbean,

385

A Cartogan of Sam Selvon’s The Lonely Londoners.

neys, some high, some low, packed tightly, shaken fags in a box. Behind the opposite window, retreating Willesden. Number 37.

In the 1880s or thereabouts the whole thing went up at once – houses, churches, schools, cemeteries – an optimistic vision of Metroland.

Little terraces, faux-Tudor piles. All the mod cons! Indoor toilet, hot water. Well-appointed country living for those tired of the city.

Fast-forward. Disappointed city living for those tired of their countries’ (Smith, 2012, p.42). She is aware of the shortcomings of her London neighbourhood and acknowledges that it feels ‘bust’ and ‘disappointed’ and yet she is described as being more ‘faithful in her allegiance to this two-mile square of city than some people are faithful to their families’ (Smith, 2012, p.5). She trustily embraces where she is from and celebrates her neighbourhood’s multiculturalism and hybridity and choses to live there in relevant comfort. Leah’s porosity channels both the novel and its ideals as a ‘paragon of multicultural idealism’ (Custer, 2014, p.70). Apart from her time spent studying at the University of Edinburgh, Leah has never resided anywhere other than Willesden and so has little to compare it to.

who later on in the novel becomes Natalie.

She grew up in the Caldwell Estate alongside her best friend Leah. Her section of the novel follows her through a process of self-discovery that is triggered by both her professional and social aspirations.

Smith uses Natalie’s narrative to explore what Elizabeth Spelmen coined ‘ampersand thinking,’ which is a way of thinking that ‘handles race, class, sexual orientation and gender conceptually, as if these facts are separate atomic particles, metaphorically speaking, which bump into one another accidentally from time to time and occasionally stick together’

‘Leah & Home’

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(Lloyd, 2005, p.45). It allows Smith to develop characters such as Natalie who have a difficult time placing their own identity within their surroundings.

Postmodernist theorists have more recently focussed on hybrid and multiple identities, celebrating characters whose identities are always in flux. The Natalie/ Keisha character provides an ideal example of this where ‘the hybrid ‘is neither one nor the other’, instead, it is always in-between, where it continually transforms itself according to the dynamics of cultural interaction’ (Lloyd, 2005, p.50).

The above can be seen through Natalie’s opinion of motherhood. Natalie reveals that her motivation to become a mother was because she ‘had no intention of being made ridiculous by failing to do whatever was expected of her’ (Smith, 2012, p.236). This is just one example from the narrative where Natalie attempts towards assimilation into hegemonic discourses.

Natalie transforms according to her surrounding environment- this shows her as a subject implicated in regimes of power. Smith shows that, for Natalie, the regimes of power are intrinsically linked to her location in London.

Her character describes her fluctuating identity as ‘daughter drag. Sister drag. Mother drag.

Wife drag. Court drag. Rich drag. Poor drag.

British drag. Jamaican drag. Each required a different wardrobe. But when considering these various attitudes she struggled to think what would be the most authentic, or perhaps the least inauthentic’ (Smith, 2012, p.245).

The metaphor of ‘drag’ is used here not only for gender, but also for Natalie’s disguises in terms of class, nationality and the private/

public divide, exposing them as constructions.

As Judith Butler explains in her book Bodies that Matter ‘drag is a site of a certain ambivalence, one which reflects the more general situation of being implicated in the regimes of power by which one is constituted and, hence, of being implicated in the very regimes of power that one opposes’ (Butler, 1995, p.125).

Smith allows the postcolonial or diasporic protagonist whose identity is always in flux to be celebrated, as it provides an insightful perspective on reality.

I would like to represent Natalie/ Keisha’s narrative in a cartogram as a set of steps between the Caldwell Estate and the centre of London. Each step represents a different guise, and this spatial representation shows her need for assimilation into the governing powers and imposed centre of the city.

Theme 3 Felix and Periphery/Centre The second section of NW is titled ‘Guest’ and documents the last day of 32-year old Felix’s life. Whilst Felix is mentioned early in the novel, his narrative does not have a major crossover with the other protagonists. There was a buzz around the Caldwell Estate when a man named Felix was killed on the street during a mugging. To map the narrative of Felix’s day I am going to focus on his recalibrating and restructuring of the centre of London, cleverly achieved through his observations and remarks on the London Tube Map. ‘He considered the tube map. It did not express his reality. The centre was not ‘Oxford Circus’ but the bright lights of Kilburn High Road. Wimbledon was the countryside, Pimlico a piece of science fiction. He put his right index finger over the blue dot of Pimlico.

‘Leah & Home’

It was nowhere. Who lived there? Who even passed through it?’ (Smith, 2012, p.143).

As a resident of NW, Felix resides in what power structures would consider the periphery of London, meaning that his geography may not be seen as central or necessary to the functioning of the city – ‘certainly not like the

geography of a white male banker living in Marylebone, for instance’ (Slavin 2015, p.99).

Smith is highlighting that just because the protagonists experience the city from a ‘marginal’ location it should not make their geographies any less relevant to our understanding of the city. The title of the book is NW and refers to the north-west area of London where the Caldwell Estate is situated and where Smith herself grew up. However, there are also moments in the book that allude to the acronym standing for ‘No Where.’ Here Smith is showing the dislocation and exclusion London residents face when they live on the periphery rather than in the centre of the city. She is exploring the notion that ‘centres, clearly, are as much imaginative and political as they are geographical constructs’ (Schwarz, 2001).

Homi Bhabha in his book The Location of Culture approaches a similar concept when he interrogates the centre/ periphery binary. He realises that antagonistic accounts of postcoloniality based on contemporary geo-politics present the problem that they seem to perpetuate the conceptual binaries of self/ other, centre/ periphery and West/ rest. Smith’s narratives help to understand colonialism as a cultural movement not only ‘from the ‘centre’ to the ‘periphery’ but also from the ‘periphery’ to the ‘centre’’ (Chrisman and Williams, 1994). By deconstructing the centre/ periphery binary, Felix’s character exists in an in-between space, which offers him ‘the terrain for elaborating strategies of selfhood singular or communal that initiate new signs of identity’ (Bhabha, 1994, p.2). His character acknowledges that the tube map does ‘not express his reality’ (Smith, 2012, p.143) and so he defines his own center and negotiates his identity using the spaces in the city.

As a representation of Felix, the cartogram will show Kilburn High Road as the centre of London.

Theme 4 Nathan and Othering Nathan is a childhood friend of Leah and Keisha. Once Leah’s school crush, but now a crack-smoking addict who hangs around the bus station. With Natalie, Leah and Felix, we cross middle-class, lower-middle and working class; with Nathan we explore London’s underclass. The narrative does not invest much time in Nathan and this reflects the societal perceptions of the underclass- small glimpses, brief encounters and quick judgements, but no real full understanding of his life. His character is immediately recognisable, prefigured and stereotyped by the racist culture of postcolonialism in Britain. Nathan represents the young minority Londoners whose hopes have become disillusions due to the lack of support and opportunities available to them.

Smith portrays Nathan as a character ‘othered’ by society. As in Edwards Said’s Orientalism ‘since the orient was a sub race, he had to be subjected it was that simple’ (Said, 1978, p.207). Nathan’s character is subjected by society because of both his race and class. The concept of ‘othering,’ a term coined by Spivak, ‘means any action by which an individual or group becomes mentally classified in somebody’s mind as ‘not one of us’ (Newton, 1997, p.72). The process of othering ‘culturally justifies the domination and subordination of the native people, by placing them ‘as the other’ at the social periphery of the geopolitical enterprise that is colonial imperialism’ (Newton, 1997, p.72). Nathan fails to realise that his identity is not the barrier, the barriers are the power systems oppressing and

‘othering’ him. In Nathan’s narrative the social periphery is physically represented as the Caldwell Estate, where he feels trapped without the option or opportunity to escape. I will represent Nathan’s narrative on the cartogram as, like Leah, confined to the estate.

Theme 5 Caldwell Estate and Home Making As briefly discussed in an earlier chapter, rather than focusing on high-rise as housing, Smith demonstrates the high-rise as a home.

Although the Caldwell Estate is fictitious it can be cemented in the reader’s reality and likened to highly publicised social housing estates in London such as the aforementioned Aylesbury Estate. I have found that the main focus of academic literature concerning highrise living is either their modernist Corbusian influence (Marmot, 1981) or a documentation of their demise in the Thatcher years (Gulliver, 2013) or more recently, an investigation into their cladding following the tragedy of Grenfell (Costin et al, 2019). As an architecture student that grew up on a council estate, Saffron Lane Estate to be precise, it has always irked me that social housing is too often measured by its technological advances or its societal impact rather than its success as a ‘home’ as recognised by its residents.

Smith’s NW offers a refreshing counter-narrative to the usual architectural commentary and shows the Caldwell Estate as a home to

a broad community of people. Smith’s recalibration of London puts the Caldwell Estate at the centre of the protagonist’s city. When Natalie buys a flat in another part of London, she describes it as ‘twice the size of a Caldwell double’ (Smith, 2012, p.216). ‘Caldwell’ becomes a mutual point of reference and this is reflected in the novel’s structure as it is the point where all the narratives intersect.

As previously discussed in this essay, the future of the Aylesbury Estate was dictated by higher powers and little room was left in the decision-making process for the residents.

Unfortunately, what economists call the ‘exchange value’ of housing in London, has become entirely disassociated with its ‘use value.’

The exchange value is the monetary value of a commodity to investors and developers while its use value is its usefulness to people and to the wider city. When it comes to housing in London, prices are failing to respond to the needs of most people. Successive governments have allowed for an influx of global capital

Nathan and ‘Othering’

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Previously we discussed the Caldwell Estate as a place of safety for Leah, however for Nathan, it feels more like a trap. His character is ‘made angry and miserable by the everyday effects of white supremacy … its petty humiliations’ and its ‘routine frustrations’ (Gilroy, 2005). Like Moses in The Lonely Londoner, Nathan feels ‘aimless’ and that his underclass identity is the reason for his failures, leaving his only chance of success to run from himself.

‘But I’m looking at myself: Nathan, why you still here? Why you still here? And I don’t even know why. I ain’t even joking. I should run from myself ’ (Smith, 2012, p.271).

387

Felix and ‘Periphery/ Centre’

that has distorted the housing market and created a crisis of affordability affecting all layers of society (Minton, 2017). On hearing about another regeneration scheme in London I have an underlying sense of anxiety that it will be at the expense of someone’s home.

Zadie Smith’s narrative brings the ‘use value’ of social housing to the forefront of discussion. In the cartogram I am going to place the Caldwell Estate in the centre and convey its use as a home for multiple people.

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Conclusion On reviewing the cartograms that I have created of Sam Selvon and Zadie Smith’s literary cities it has become apparent that the way that London is experienced varies far from the simplistic spaces depicted on an ordnance survey map. As Lefebvre questions in The Production of Space - ‘How many maps, in the descriptive or geographical sense, might be needed to deal exhaustively with a given space, to code and decode all its meanings and contents? It is doubtful whether a finite number can be given in answer to this sort of question’ (Lefebvre, 1974, p.85).

Although I have only managed to capture two narratives of London, this exercise has shown the potential of novels in revealing the multiplicity and complexity of how space is experienced. I have found it is easy to translate the novels into cartograms because the narratives themselves partake in a form of cartography ‘since even the most realistic map does not truly depict the space, but, like literature, figures it forth in a complex skein of imaginary relations’ (Tally, 2019, p.134).

The cartograms, just as novels, only show a representation of a place. As Turchi explains in Maps of the Imagination: The Writer as Cartographer; ‘the need for selection means that every story contains, and is surrounded by, blank spaces, some more significant than others’ (Turchi, 2011, p.42). The spaces shown on a map can be skewed and distorted to convey a certain perspective, just as spaces can be left out of a novel to build a specific urban image and idealised view of a city. The ability of a map to edit reality is what makes it useful but also what makes it restrictive.

The intangible themes discussed in this essay are not articulated on traditional maps. The protagonists in both Smith and Selvon’s novels helped to form cartographies of London that mediate between history, myth and personal lived experience. This has emphasised the key role of spaces in the city, real and imagined, in informing a resident’s sense of self. Space becomes intertwined with race, class and identity and trying to separate them on a map seems irresponsible.

Themes such as home and identity are fundamental in defining an inhabitant’s experience of a city and I think they should be articulated on maps, especially maps used to negotiate redevelopments and future city plans. By creating these cartograms, I do not intend to solve spatial issues regarding race and class but instead make the reader question traditional maps and the information that they might be missing.

The cartograms, like the narratives, then also become a form of resistance and a way of redefining the traditional views of London. It feels important to not just represent the physical, measured spaces on a map but to also include intangible qualities of power, hybridity, home and community so that they cannot be overlooked by planning authorities. This essay has highlighted that it is city dwellers who experience spatial negotiations regarding factors such as ‘othering,’ their ‘right to the city’ and the ‘centre/ periphery binary’ that are more likely to be the victims of gentrification and displacement. I feel that the maps currently available to regulate space are outdated and do not have the ability to respond to the diversity of the city which leaves the citys’ inhabitants in constant negotiation with systems of power that attempt to regulate and police their lives. Moses Aloetta in Selvon’s London and Nathan in Smith’s London, through their narratives, show that traditional maps do not express their London. If gentrification and displacement are disproportionately affecting the BAME and working-class communities, then maps are needed that articulate spatial negotiations involving race and class. A subjective cartogram may not be the solution, but it could be a starting point that leads to a more objective and regulated way of mapping qualities such as home, community, othering and multiculturalism to stop the separation of experience from space.

Creating the cartograms has demonstrated that one map of a space is not enough to enrich our understanding of the city. Multiple maps are needed and as seen from fig. 14, the two cartograms work better in conjunction if it remains clear which narrative the cartography is representing. Just as De Certeau emphasises in The Practice of Everyday Life when he requests the inclusion of a map’s ‘tour describer’ in order to place it within the cultural and historical context of the city.

The combined cartograms generate a view of the city that celebrates its complexity.

Regeneration schemes such as the Aylesbury Estate could benefit from maps presenting a multitude of voices to be read alongside their standard ordnance survey maps. Planning

committees could be enlightened by 7,500 maps each showing the Aylesbury Estate as ‘home’ and highlighting the government’s responsibility to democratically handle and organise city space. Overall, I think that creating cartograms that restructure a traditional map and the narrative of London to ‘identify, valorize, and empower who colonialist discourses label as the ‘Other’’ (Lawson and Tiffin, 1994) can only enrich our understanding of the city, support all inhabitants in achieving their ‘right to the city,’ and form an inclusive foundation to propagate future city plans.

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Japanese Metabolism: Past Utopian Vision or Sustainable Urban Future?

nical, socioecological and cultural ideas, with the aim of highlighting Metabolisms continued relevance to contemporary architecture and urban design, and the possibility of finding solutions to the challenges faced by our cities and architecture in the face of rapid globalization, urbanization ‘Is The Movement Relevant To Themes and climate change.

Of Resilience And Sustainability In 21st Century Architecture?’

by: Daniel Hambly Tutor: Dr Yuri Hadi

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Abstract

The architectural definition of resilience can be understood as the ability of a system to display “dynamic adaptation to the changes in its context,” characterized through “programmatic indeterminacy, the morphological flexibility and the open systemic approaches” of the design (Tesoriere, 2019, p.58). Today we inhabit a world in which more than half of the population of planet earth inhabit urban areas, with the number projected to increase up to 70% by the year 2050, at which point the world’s population will have exceeded 9 billion people (Lemes de Oliveiar, 2011). It is clear from these statistics alone that the urban landscape will change dramatically in the following years, making the role of architecture and urban design paramount in the continued success of our urban areas. In this respect, our cities and architecture must show resilience in order to continue to adapt to the ever-increasing environmental pressures caused by the rapid urbanization of the planet, but how can this be done? In the book Project Japan: Metabolism Talks, Koolhaus describes the Metabolist movement as “the last movement that changed architecture” (Koolhaus, 2011).

Therefore, this essay will explore Metabolism’s theories in relation to resilience and sustainability through its production of radical new tech-

How the Screen is ‘Screened-Off’ in Architecture

‘The Negligence Of The Digital Screen In Architecture’

by: James Evans

Tutor: Dr George Themistokleous

Abstract The topic of this essay is to reconsider the participant’s spatial experience within interactive media installations.

Particularly, the focus will be placed on the impact of the technological screen on subjective experience. The dissertation will consider different types of screens that are used in architecture/art installations. Media theorist Marshall McLuhan refers to the concept of media as being “any extension of ourselves” or “any new technology” (1964, 1), and, also proclaims that the “medium is the message” (1964, 1). The content of this message within media is clarified

by McLuhan as “it is the medium that shapes and controls the scale and form of human association and action” (1964, 2). Media influence the actions and experiences of the subject, and to a greater extent, affect the subject-environment interaction.

The subjective experience through this reading of media is one that is often disregarded by architectural designers. However, there is always some level of participatory control in architectural design that impacts subjective experience in unpredictable ways. This control is connected

to the role of architect. The increase in interactive media are changing subjective experience, consequently architecture needs to further import the understanding of new media into its own practice.

Makkah: The New Identity ‘The impact of Mega-events on Urban Identity’

by: Can Ozerdem

Tutor: Dr Adrianna Laura Massidda

Abstract

The city Makkah, Islam’s holiest city and Northern Star, is globally considered the most sacred site for Muslims around the world, accommodating over 10 million pilgrims each year, 3 million of whom arrive in the city at once for the annual Hajj. The city’s unique pilgrimage events resulted in numerous development schemes, from residential to commercial, in an attempt to improve both the city’s urban and physical capacity. The aim of this dissertation is to identify and investigate how the mass urban development schemes have influenced changes on Makkah’s urban identity. It will also use theories of mega-events (such as the Olympics) to appraise the influence of urban regeneration and developments on the host cities and their local inhabitants.

The research is performed in light of the recent urban development that is taking place in the holy capital, with a comprehensive analysis of the Jabal Omar Development Project. A comparative analysis is conducted between the current debates on Makkah’s urban development trajectory through state initiatives with discussions of religious tourism, Islamic ideologies and urban policies.

The Impact of Deregulations and Office-to- Residential Conversion on Wellbeing

under permitted development such as adaptive re-use and quicker delivery, it is vulnerable to exploitation and has, in the examined case study, resulted in poorer quality dwellings which are harmful to their inhabitants’ health and well-being.

‘A critical analysis of Class O permitted development conversions in Leicester City Centre’

‘The School of Architecture retains sample dissertations which may be viewed on request.’

by: David Gladstone Tutor: Dr Jamileh Manoochehri

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This study aims to analyse permitted development granted under Class O (Office to Residential conversions) and compare it to full planning applications which preceded this change in legislation as well as assessing the impact of this change on quality, health, and well-being. The study seeks to establish an informed perspective on whether deregulation in the form of Class O permitted development has led to a reduction in the health and well-being of their residents. To investigate the subject, a multifaceted approach was used to comprehensively answer the research question by firstly exploring the relevant planning law and local authority guidance, then reviewing the criteria or characteristics that are associated with a good home and assessing the health and well-being implications of poor quality homes. These criteria are then used to measure the wider impacts of Office-to-Residential conversions with supporting case study evidence. This study uncovered examples of permitted development conversions not providing adequate space for dwelling as defined in the Nationally Described Space Standards (NDSS), good levels of natural daylighting, or reasonable amenity space of any form. The dissertation concluded that whilst there are benefits to office-to-residential conversions

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Abstract

Architectural Technology BSc (Hons) 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.

DR LUIS ZAPATA PROGRAMME LEADER

BSc (Architecture Technology)

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BSc

B1.02, New Walk Street view render, Dhyana Nagar

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.

three Abid Baksh Armani Basi Deschanell Da Costa Dhyana Nagar Eloho Omarino Hamza Tarmahomed Hiba Said Jack Riches Kamil Abel Gadir Katarzyna Kasia Koper Keshni Patel-Reyani Lewis Clowes Malvir Singh Johal Mark Chapman Marwan Satti Muhammad Imran Bhimani Mohammed Binladin Omar Elkoumar Muhammed Hussain Pooja Raghvani Precious Onomunu Raihan Miah Akter Robert Lilicrop Rohit Bhangu Salaman Ghaswala Sam Willis Santiago Barreto Moreno Toby Swann Zahin Mirza

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Dr Luis Zapata, Prof Ahmad Taki

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Intergrated Design Project

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B1.02, New Walk elevation general arrangement, Dhyana Nagar

B1.03, 3D cut-away view, Dhyana Nagar

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B1.04,Thermal comfort dynamics section, Deschanell Da Costa

B1.05, Aerial view of New Walk, Dhyana Nagar

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B1.05, Building in urban context, New Walk, Leicester, Jack Riches

B1.06, Colour rendered front elevation, Jack Riches

B1.07, General arrangment front elevation drawing, Jack Riches

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B1.08, King street rendered view,Jack Riches

B1.09, Floor construction layers axonometric, Jack Riches

B1.10, New Walk Steet entrance rendered view,Jack Riches

B1.11, Structural design by floor diagramme, Jack Riches

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B1.13 King Street elevation in context, Robert Lilicrop

B1.12, Exploded diagram, Robert Lilicrop

B1.14 Aerial view of New Walk eleavtion, Robert Lilicrop

B1.15 Section A air flow diagram, Robert Lilicrop

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B1.16, North elevation, Precious Onomunu.

B1.17, 3D ventilation cross-section Precious Onomunu

B1.18, King Street view Precious Onomunu

B1.19, Coffee shop entrance Precious Onomunu

LSA - 2020 402 B1.20 General arrangment ground floor plan, Malvir Singh Johal

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B1.21 Sectional Perspective, Malvir Singh Johal

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B1.22 Contextual section, Precious Onomunu

B1.23 Cross-section, Precious Onomunu

B1.24 Bedroom interior, Precious Onomunu

B1.25 Conference facilities, Precious Onomunu

LSA - 2020 405 B1.26 Technical analysis of construction systems, Precious Onomunu

B1,27 Level 3 floor plan, Precious Onomunu

B1.28 Eaves construction detail, Precious Onomunu

LSA - 2020 406 B1.29 King Street general arrangment elevation, Sam Willis.

B1.30 New Walk rendered elevation, Sam Willis.

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6 7 8 9 10 Silver-grey slate tile roof covering | 2. Intergrated rainwater gutter Innerleaf light steel frame SFS system | 4. Outerleaf facing brick Primary steel universial beam member | 6. Composite concrete deck Rigid insulation board | 8. Vapour membrane & timber battons Dark burnt timber decking | 10. Pilkington K low-e glazing unit

B1.31 Balcony construction visulisation, Sam Willis

B1.33 King Street contextual aerial view

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B1.32 Window detail, Sam Willis

B1.34 New Walk contextual aerial view, Sam Willis.

BSc

Works by Precious Onomunu, Deschanell Da Costa

The construction industry has been facing a paradigm shift to increase productivity, efficiency, infrastructure value, quality and sustainability, reduce lifecycle costs, lead times and duplications, via effective collaboration and communication of stakeholders in construction projects (Nour, 2007). Building Information Modelling (BIM) seeks to integrate processes throughout the entire lifecycle. BIM can be described as both tool and process that is unique as it is based on digital, shared, integrated and interoperable Building Information Models. From this perspective, BIM can also be considered as the process and facility that enables information management throughout the lifecycle of a building, while a Building Information Model can be defined as: “the semantically rich shared 3D digital building models that form the backbone of the Building Information Modelling process” This collaborative way of working is underpinned by the digital technologies which unlock more efficient methods of designing, creating, and maintaining our assets. BIM embeds key product and asset data and a 3-dimensional computer model that can be used for effective management of information throughout a project lifecycle – from earliest concept through to operation. It has been described as a game-changing ICT and cultural process for the construction sector. A number of countries globally are starting to realize the opportunities it brings and are now investing in developing their own capability. BIM processes are ‘mainstream’ to both new buildings/infrastructure and have further potential in ‘retrofit’ and ‘refurbishment’ projects when complementary workflows such as laser scanning and rapid energy analysis are employed. BIM technology should be seen as a ‘collaboration’ between the construction sector and the software industries, creating an environment in which there are opportunities and synergies for both.

4D Construction Sequencing Animation & Scheduling Four-dimensional building information modelling (4D BIM) refers to the intelligent linking of 3D model components with time related information. TimeLiner tools offer the depiction of a build in a real-time visual format. There are a number of component tools utilised in the creation of a simulation, allowing the quantification of components, cost, and allocated build time. Software allows both manual and automatic task creation, finally linking with external project scheduling software through to 4D simulation and exportable video animations.

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three Students Abid Baksh Armani Basi Deschanell Da Costa Dhyana Nagar Eloho Omarino Hamza Tarmahomed Hiba Said Jack Riches Kamil Abel Gadir Katarzyna Koper Keshni Patel-Reyani Lewis Clowes Malvir Singh Johal Mark Chapman Marwan Satti Mohammed Binladin Muhammad Imran Bhimani Omar Elkoumar Muhammed Hussain Pooja Raghvani Precious Onomunu Raihan Miah Akter Robert Lilicrop Rohit Bhangu Salaman Ghaswala Sam Willis Santiago Barreto Moreno Toby Swann Zahin Mirza

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Dr Luis Zapata, Prof Ahmad Taki, Sid Oujla

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Building Information Modelling

The Architecture Research Institute Prof Ahmad Taki The Architecture Research Institute has excellent self-contained 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 interaction 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.

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).

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.

PhD 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 Beniamino Polimeni Dr George Themistokleous Dr Yasser Megahed Dr Amal Abuzeinab Dr Alona Martinez Perez

development and the built environment from a holistic perspective.

It considers social, economic and ecological factors, aspiring for operThere is no formal syllabus and ational sustainability. Our research completing the PEDR sheets carries collects data through case studies, no academic credits. These are an questionnaires, interviews, observaessential component for taking the tions and archival research. Data is Part 3 exam, and on passing, gaining examined using statistical analyArchitecture MArch (Part 2) The Architecture MArch programme admittance to the register of architects sis, content analysis, thermal and develops the emerging architectural held by Architects Registration Board dynamic simulations. This showed (ARB). that bioclimatic design solutions have professional and challenges the the capacity to enhance human living individual to discover or develop a conditions and save our natural personal stake in the architectural Architectural Design (MA) world. Central to the course is a The course will enable you to establish environment with minimum use of resources, land, energy and reduced series of advanced design studios that a comprehensive understanding of are integrated with studies in Human- architecture rooted in the theories of CO2 production. This research has developed housing models for Libya, ities, Technology and Environment, its making. This is an internationally Digital Computation and Fabricated popular course that attracts students Nigeria, Jordan and Saudi Arabia that and Professional Studies. globally and currently offers entry to would enhance sustainable housing the rigorous design teaching we offer provisions and meet socio-cultural Architectural Practice at the Leicester School of Architecture needs.

Diploma (Part 3) (LSA). The LSA has an extensive naThe Postgraduate Diploma in Artional and international lecture series, For information regarding postgraduate research contact Professor Ahmad chitectural Practice (PG Dip) is a qual- attracting leading academics and ification leading to exemption from professionals from around the world. Taki, ahtaki@dmu.ac.uk the ARB/RIBA Part III examination.

Our Architectural Practice PG Dip Architecture enjoys close relationships with estab- and Sustainability “The overall aim of my PhD research lished practitioners, academics and Architecture and Sustainability MSc work was to produce a framework for consultants, who provide guidance explores a wide range of approaches designing energy efficient dwellings on to topical issues in contracts, law, related to sustainable architectural satisfying social-cultural needs in a hot economics and management. design, with a particular emphasis on climate with reference to Libya. My subuilding physics and design strategies pervisor, Professor Ahmad Taki, has been Architecture Professional Experience that promote and encourage sustain- one of the supporting pillars throughout my PhD journey through his support and Development Record (PEDR) The ability. The course appreciates the PEDR will provide you with the interface between the environmental, encouraging approach to research. In addition, DMU has outstanding values opportunity to enrol on a Part 3 economical and socio-cultural diprogramme in order to take the RIBA/ mensions of sustainability in terms of of hard work and academic rigour. It has instilled in me a fearless approach ARB Part 3 exam in architecture and building design and carbon neutrality. to learning and I would recommend to register as an architect in the UK. DMU to anyone.”

Architecture Research Degree Dr Nagah Ali (graduated 2019) The PEDR is an electronic record of MPhil/PhD a graduate’s professional experience, Research in the Institute of Archidevelopment and competency in tecture ranges from technical and the practice of architecture. Moniempirical to practice-based outputs. toring and endorsing of Professional The strength of the institute lies in its Experience Development Record multidisciplinary staff and their collab(PEDR) sheets is conducted through orative research. The institute explores the graduate monitoring service at fields of thought around sustainable the Leicester School of Architecture

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(LSA). This is a self-directed, workbased exercise which centres on the RIBA PEDR sheets.

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Institute of Architecture Postgraduate and Research Study Options.

Energy Saving Potential in Hot and Dry Climate by Adjusting Building Fabrications and Application of Dew Point Cooler by: Mahmud Mustafa Supervisor: Prof Ahmad Taki

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Abstract In order to tackle the electricity crises in Kurdistan, as a primary objective, and minimize emissions and global warming effects, this research investigates the potential for the reduction of energy consumption through the use of advanced cooling systems in residential buildings in Kurdistan (Northern Iraq). The objectives are achieved by applying a set of building interventions to existing building fabrications to act as a guide for new residential buildings, and by replacing conventional split air conditioners with new, indirect evaporative dew point air-conditioning systems.The research has proceeded on the basis of an intensive literature review that covered all elements involved in detail, and includes a review of residential buildings and their energy-related parameters, and the conventional cooling systems commonly used in hot and dry climates, in particular the split air-conditioner.

Required cooling loads are the core of the research as the ultimate aim is to minimize cooling load by detailing the optimum building fabrication, then choosing an efficient air conditioning system. Cooling load has been investigated and calculated by employing two pieces of software (DesignBuilder and EnergyPlus). The procedure included modelling the buildings chosen for the case studies with the DesignBuilder software based on building data from the contractors, followed by the use of the weather data for Erbil for dynamic simulation purposes, then calculating the hourly cooling load for the case studies. The parameters that had the most significant effect on the baseline models determine for the case studies were identified, which were subsequently optimized to lessen the cooling load, consequently reducing or minimizing the associated energy consumption and CO2 emissions.

The study shows that the energy consumption due to the cooling systems represents 78-79% of all energy consumed in residential buildings. It was concluded that hollow clay blocks and a suspended ceiling each allow for a considerable reduction in cooling load, and that 3 cm of insulation represents the optimum thickness in terms of the balance between the cost of the insulation with increasing thickness and energy savings. The percentage energy saving that could be achieved by adjusting the building fabrication could reach as high as 26.8%, and by replacing the conventional split cooler with a dew point system could be as high as 87.5% for the house model and 90.8% in the flat building. These high energy savings are a reflection of the effectiveness of the new dew point cooler.

An economic analysis was undertaken to verify and calculate the energy savings that could be achieved by To gain further energy savings, the adjusting the buildings and replacing conventional widespread split air the conventional split air-conditioner conditioner was replaced with the with the dew point cooling system. new dew point air-conditioning By replacing the conventional split system. The latter was investigated in air conditioner with the dew point detail because it is a new air-condicooler, the base models were found tioning system, and has not been pre- to have a Pay Back Time (PBT) that viously used in Kurdistan. However, could be as low as 4.57, 3.02, 0.72, the dew point cooling system is very 4.82, 4.53 and 2.4 years for the house, efficient in dry and hot climates such Flats A, B ,C and D, and the entire as that found in Erbil, and whose floor of flats, respectively. In addition, coefficient of performance (COP) replacing the split air conditioner is very high in comparison with with the dew point cooler and applyconventional systems. This cooler is ing the set of optimum intervention still not very commonly used and is to the building fabrication together On the basis of the above, two different residential buildings, a house still in the laboratory stage for further reduced the PBTs, excluding the cost improvement; nevertheless, it is a of the interventions, further to 2.68, and a low-rise multi-flat building, hot topic amongst researchers in this 1.56, 0.68, 1.11, 1.32 and 0.97 years, have been chosen as case studies in field. Therefore, a MATLAB simularespectively. Finally, the environErbil, the capital city of Kurdistan. A tion model was used to predict the mental effects of the changes were critical review of the case studies is feasibility of the use of such systems analysed in term of reductions in CO2 presented covering the state of the emissions. It was found that the anarea, climate conditions, energy and in Erbil’s climate. The simulated model was optimized to determine a nual CO2 emissions were reduced by water demands, change in building typologies over time, and the cooling suitable size and the water consump- 1.2, 0.5, 0.3, 0.4, 0.3, and 1.5 tonnes tion of the system. per year, this is purely by adjusting systems seeing most wide spread.

A Phenomenological Reading of the Thoroughfare Market Street’s Socio-Urban Development in Arabia from the Pre-Islamic Era to Present.

by: Jasmine M. Shahin Supervisor: Dr Jamileh Manoochehri

A model of the dew point cooler was developed based on the building’s cooling load for the sizing purposes, and the effect of building fabrics on sizing of the dew point heat exchanger per conditioned floor area. It I also predicts the energy and water consumption per floor area of any building in Kurdistan for both conventional air conditioners and dew point cooler with the effects of the building fabrics. An estimation of energy savings and CO2 production was given. The figure could be used by the decision makers of the local government to update the current building code, the future buildings and retrofit the existing buildings.

In addition, it could be used as a reference for other climate applications as a function of building cooling load.

Abstract The research intends to offer a philosophical hermeneutic reading of the Arabian Suq, considered a principal urban constituent of almost all Arab cities. The relevance of such a study is hinged on two observations relating to the bulk of reviewed literature.

The first is concerned with some current presuppositions that confine the Arabian Suq’s development to that of an Islamic city, minimizing its role in shaping the Pre-Islamic Arabian world. The second is related to the employed methods, most of which marginalize the value of Arab poetics as a tool for understanding the Arabian Suq’s sociourban experiences.

Accordingly, the research examines the different patterns and structures of an Arabian Suq’s lived experience at three historical instances—Pre-Islamic, Islamic and Post-Islamic, to identify whether and why its socially-constructed and/or poetic meaning has changed over time.

Deploying Hans Georg Gadamer’s interpretive tools of the Hermeneutic Circle and Fusion of Horizons, this historical investigation intends then to compare ‘what is seen’ against ‘what is said,’ using a range of multidisciplinary evidences that are extracted from the region’s poetic heritage (poetry, literature, travel journals and philosophy), cultural products (architecture, sculpture, illuminated manuscripts and puppet shows) and everyday dialogues (interviews, social

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 methodological application of this ‘new’ approach for investigating Arabian socio-urban relations substantiates 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.

A Framework for Designing Energy Efficient Dwellings Satisfying Socio-cultural Needs in Hot Climates by: Ali, Nagah Supervisor: Prof Ahmad Taki

Abstract

Buildings are responsible for the largest share of energy consumption in the world. The effects of buildings on environment and people have generated interest especially in the developed world on how to reduce the significant energy consumption by the building subsector. Moreover, it shows the significance of the

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the fabrication of the house, Flats A, B, C, and D, and the entire floor of flats, respectively. Moreover, these reductions were further reduced to 4.3, 2.8, 2.0, 1.4, 1.0, and 7.2 tonnes per year by both improving the building fabrication and replacing the conventional air conditioner with the newly developed dew point evaporative cooler.

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building sector in global efforts to reduce the effect of climate change and global energy consumption. The major challenge with buildings in countries in hot climates for example Libya is thermal discomfort especially in residential dwellings causing overdependence on mechanical cooling systems.

Thermal discomfort and high-energy consumption in buildings are connected to socio-cultural factors and the approach to the design of residential buildings. Benghazi city, which is the second city and the capital of the eastern region of Libya has witnessed significant growth in population due to its economic prosperity and job opportunity.

This has significantly increased the rate of construction of new dwellings and challenges with housing development. This research aims to produce a framework for designing energy efficient dwellings satisfying socio-cultural needs in a hot climate.

The research adopted a mixed method approach to generate data that would guide the development of the proposed framework.

thermal comfort and energy consumption in existing buildings. All the data collected were analyzed using an appropriate method of analysis, which include Excel, content analysis and energy assessment tool, DesignBuilder.

The findings showed that 51% of all the householders’ surveyed were not satisfied at all with the level of privacy in their outdoor open spaces.

In addition, design professionals’ in the study area supported the need for a future sustainable housing development that placed emphasis on socio-cultural factors and the local climate. Further findings revealed that although the level of clothing for women was higher than men, women were comfortable at a higher temperature than men. Other findings showed that there are thermal discomfort and high-energy consumption in buildings due to the contemporary approach to the design of buildings that have little consideration for socio-cultural factors.

Householders and design professionals agreed that energy efficiency could be achieved in buildings in the study Measurements and observation context through the adoption of social survey of 72 existing villas were and climatic design principles. The conducted to determine climatic improvement measures conducted in elements in and around buildings the case study building showed 84% and to gather robust data on building savings in terms of energy demand. elements. A questionnaire survey The proposed courtyard design using of 72 householders was conducted the proposed framework led to a to generate data on the design of savings of 65% in terms of energy houses, open spaces, the perception demand. Despite the high savings of comfort and energy consumption recorded and achieving the thermal in buildings. Moreover, 12 design comfort for the improved case study, professionals were interviewed to it did not meet the privacy and other seek their opinions on the design of socio-cultural requirements for the houses in terms of the social aspect study context. The prototype courtand climate of Benghazi, the study yard design did not satisfy comfort context. Furthermore, a simulation requirements using natural ventilation study of a typical contemporary but met privacy demand by building residential villa was conducted for a occupants and can improve family detailed investigation of the level of cohesion among other benefits.

Socio-cultural dimension is an important principle in sustainable buildings concept. Hence, it might be difficult for building users to be satisfied with a building that achieved energy target but failed to satisfy the occupant’s requirements.

Therefore, the prototype courtyard design was preferred for the study context despite its lower energy saving capacity. The prototype courtyard house confirmed the relevance and applicability of the proposed framework for promoting energy efficiency in buildings in hot climates, particularly in Benghazi. Moreover, important recommendations were made regarding selected areas for further research towards advancing this study.

‘The School of Architecture retains sample of dissertations from graduated students which may be viewed on request.’

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Abbakyari, Maryam Abedi, Mahtab Alghamdi, Shafiaa Almaawi, Haya Alsheglawi, Bilal Ayodele, Tunmise Doan, Ha Xuan Viet Egoh, Enifome Gration, Jonathan Ko, Ya-Hsuan Meggi, Anisha Mohammed, Zainab Odesola, Enoch Onitiju, Olande Onyenokporo,Nwakaego Panteli, Phittayakorn, Thanasak Shahin, Jasmine Shoaib, Mah Noor Small-Warner, Kaie Wang, Daben

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List of Current Post Graduate Students Research (PhD) Students

DMU GLOBAL INTERNATIONAL EXPERIENCES THAT PUSH BOUNDARIES DMU Global is an international experience programme for De Montfort University students, which aims to enrich studies, broaden cultural horizons and develop key skills valued by employers. Through DMU Global, the university offers a wide range of opportunities for you to study, work and volunteer overseas as part of your degree. We also offer a range of international experiences right here on campus and in the UK. Studying, working or volunteering overseas is an unforgettable experience that can offer students a wide range of benefits. Whether they are looking to study abroad for a year and gain some independence, work in a global business to gain a competitive edge in the job market, or to simply experience a new culture, participating on a DMU Global opportunity can lead to many new opportunities.

Alongside our overseas opportunities, we have a range of exciting internationally-themed experiences that take place on campus at DMU. Our aim is for these to be accessible and open to all students, without the need to travel. These opportunities will help you develop an appreciation for new cultures, gain a better understanding of global issues and languages, as well as enhance soft skills, such as communication, self-confidence and teamworking.

BIRMINGHAM LEICESTER

LONDON

DMU GLOBAL

2019/2020

YEAR 1 : ROME BA1 Architecture & Building Studies Led by George Themistokleous 38 Students, 23rd-28th of February 2020.

YEAR 1 : AMSTERDAM BA1 Architecture & Building Studies Led by Luis Zapata, 15 Students, 23rd28th of February 2020.

YEAR 2 : BASEL BA2 Architecture & Building Studies Led by Yuri Hadi 19 Students, 23rd to 28th of February 2020.

YEAR 2 : PARIS BA2 Architecture & Building Studies Led by Steffan Davies, 23 Students, 23rd to 27th of February 2020.

YEAR 3 : BERLIN Led by Chris Jones, Paco Mejias & the Year 3 Arch3035 Design Tutors Team.

79 Students, 2nd to 6th of November 2019: Part of the AEDES group of Schools which includes MIT and the AA working with the Berlin Planners on housing and other key urban projects.

YEAR 3 : NEW YORK Architectural Technology BSc (Hons) Led by Ahmad Taki, Year 3 Students 12 Students, 5th to 11th of January 2020.

YEAR 1+2 : MOROCCO Architectural Technology BSc (Hons) Led by Luis Zapata, 11th to 18th of March 2020.

YEAR 2 : AHMEDABAD, INDIA Loving Community Project Led by Anand Sonecha, of SEALAB. 12 Students, A project, working alongside the local charity Manav Sadhna, has now expanded to strengthen the education programme across five community centres in the city.

YEAR 4+5 : SINGAPORE & PENINSULAR MALAYSIA Led by Yuri Hadi 19 Students, 18th to 27th of January 2020.

YEAR 4+5 : UPPER RHINE, Germany, France & Switzerland Led by Ben Cowd 15 Students, 18th to 25th of January 2020.

2019/2020 students Travel MapLeicester School of Architecture by Yuri Hadi.

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Year 2 students visiting the gothic spire of the Basel Cathderal.

Year 1 students at Saint Peter’s Square, Rome.

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The Loving Community Project, Ahmedabad India.

Year 1 students on site in Rome, Italy.

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MArch students visiting the Urban Renewal Authority, Singapore.

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MArch students visiting Basel.

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Year 3 BSc students visiting New York, January 2020.

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Year 2 Architecture students visiting the Vitra Campus in Weil Am Rhein, Germany 23rd of January 2020.

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BERLIN, GERMANY

Chris Jones, Paco Mejias & the Year 3 Arch3035 Design Tutors Team.

79 Students, 2nd to 6th of November 2019.

AEDES OFFICE FOR METROPOLITAN ARCHITECTURE. The Berlin Programme was and invitation to participate in the ANCB Design Studio Programme with 16 universities in residence at ANCB. A majority of these worked on the subject of housing for which we received support from the IKEA Foundation. City of Berlin also part of this programme by identifying suitable test sites and providing input.

ANCB’s work will focus on the following topics, which we will address in various formats and which we would like to propose to you for framing your Design Studio. These topics offer scope

for research exercises as well as for design briefs.,Third year BA Architecture students (in the 2019-20 academic year) enrolled on the modules Arch 3035 participated in this opportunity. A number of places 130 places was on offer for students with minimum 50. DMU students were eligible to receive an academic-led trip bursary per year.

time to explore the diverse history and culture of the city. Recommend sites to visit include taking a tour of the Reichstag (German Parliament), walking around the Holocaust Memorial & Museum, and visiting the East Side Gallery, international memorial for freedom, which is a 1316 m long section of the Berlin Wall. Travel and accommodation were booked by the faculty for this opportunity, and The 2019-20 Third Year Studio Project students will be expected to pay the will be based in Berlin for one week, The sites in Berlin were visited in week remaining amount following confirmafollowed by a year long series of pro5 and 6 ,the 31st oct to the 6th of tion of their place. jects, run in collaboration with AEDES, November. In week 4 studio tutors The Aedes Metropolitan Laboratory, presented their studio manifestos ,by Berlin. During the visit, the group week five students were assigned to will be based at their studios and be start deveoping thier theory and site carrying out a number of projects ideas after the week 5 primer project based on themes including Borders assessment. Tutors offerred a brief and Territories: Identity in Place, just which students can develop or it may Living: Housing Models for the Future be possible for them to develope a and the Museum of the 21st Century. complementary brief depending on the The study visit is augmented by visits studio pathway. There are several fixed to key architecture and urban design points in berlin-friday the 1/11/2018 sites in the city; set within a city of art, site visits, 2 and 3/11/2018 superstudio artists and museums (there are more in aedes berlin with local tutors. Whilst than 170 museums),and importantly in Berlin students will also have free

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THE contemporary EUROPEAN CITY Humanity and Creativity the theme for the studio 2018-19. The theme requires that students demonstrate an understanding of architectural and urban design, within the context of the European city. Students we ask to reflect on the current issues of Brexit and European identity, specifically within the idea of the European Contemporary City.

Year 3 BA Architecture Students in front of the Berlin Cathedral.

for architecture students the city gives the opportunity to study the relationship between historic buildings and modern architecture. This may include visits to exemplary modern and historic buildings, including the Neues Museum, refurbished to great acclaim by David Chipperfield Architects, and the Jewish Museum by Daniel Libeskind, with studies of Berlin’s distinct districts.

Branderburg Gate, Berlin.

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‘The Kiss’, a depiction of a photograph taken on the 30th anniversary celebration of the foundation of the German Democratic Republic (Eastern Germany) in 1979.

The two men depicted in it are Leonid Brezhnev, the General Secretary of the Soviet Union at the time, and Erich Honecker, the General Secretary of the Socialist Unity Party of the GDR.

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SINGAPORE MALAYSIA

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MArch Part II 2019/2020

An architectural and urban study trip to with formal activities that includes visits to key architectural buildings, urban planning and art installations. The trip visits architects, planners and urban designers the challenges and complexities involved in shaping contemporary Kuala Lumpur and Singapore.

The trip includes formal activities with the Architecture School from Universiti Teknologi Malaysia to learn about

Tropical Architecture, Vernacular Traditions and High-Rise Urbanity shaping Kuala Lumpur and Singapore The trip explores two diverse South East Asian cities, that are both with a plural urban form with fascinating places of worship. Both are a melting pot of vibrant Asian cultures and traditions, and is well-regarded for its wide array of tantalising local delicacies.

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Chinatown, UNESCO World Heritage Site, Malacca, Malaysia

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The Petronas Twin Towers, Kuala Lumpur, Malaysia

UNESCO World Heritage Site, Malacca, Malaysia

Gardens by the Bay, Marina Bay, Singapore

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UPPER RHINE

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MArch Part II 2019/2020

This year MArch students and staff hired cars and set off to experience architecture by some of the most important architects of the 20th and 21st century. The route that included 6 cities/towns and 3 countries was designed specifically to capture architectural sights, off the beaten track and difficult to reach by public transport. Architectural highlights included: The Kolumba Museum and Bruder Klaus Field Chapel by Peter Zumthor: St Gertrude chapel, Cologne Central Mosque and the Pilgrimage Church at

Neviges by Gottfried Bohm: Ronchamp Chapel and Weissenhof Estate by Le Corbusier: UN Studios Mercedes-Benz Museum and Centre for Virtual engineering, Stuttgart and Zaha Hadid’s Vitra Firestation and LF(one) at Weil Am Rhein.

During the final leg of this opportunity, travelling to Basil, the group will visit Ronchamp Chapel, Le Corbusier. Finally, when in Basil, participants will tour the city visiting Weil am Rhein: Vitra Headquarters & Museum and the Herzog De Meuron.

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Notre-Dame du Haut, Ronchamp by Le Corbusier

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Kolumba Museum, Cologne by Peter Zumthor With Architect Dietmar Koering (Arphenotype)

Bruder Klaus Field Chapel by Peter Zumthor

Centre for Virtual engineering, Stuttgart by UN Studio

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The DMU Square Mile, India

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Transforming the lives of hundreds in Ahmedabad, India.

The project, working alongside the local charity Manav Sadhna, has now expanded to strengthen the education programme across five community centres in the city, which provides learning support to 2,000 children. Students and centre leaders have developed a rich curriculum which includes arts, dance, crafts and a supportive environment where they can flourish.

Work has also taken place to design new homes for the Loving Community in Ahmedabad, a home for former leprosy sufferers. Every year, heavy rain floods the homes of hundreds of people, who are forced to camp out in the community centre for months on end.

DMU architecture students have worked in collaboration with a local architect, Anand Sonecha of SEALab to develop designs that will modify the homes and raise them, to prevent flooding in the rainy season. The cost of the works has been met by fundraising carried out by DMU students, staff and friends of the university, with activities being held on campus. DMU Square Mile India also supports the Loving Community Centre, which was founded in 2009. It is based in the heart of a community bought together by the disease they all shared – leprosy. By supporting this centre, more than 150 people will have access to:

to reduce the damage caused by flooding, there are safeguarding workshops for children, health information events, business enterprise workshops and computer coding courses among the raft of projects.

SEALAB, Anand Sonecha Team, Aneesh Devi, Aakash Dave 1986 Born in Mumbai, India.

2004-2009 Studied architecture at IPSA, Rajkot - Undergraduate thesis guide Prof.

B.V.Doshi.

2009-2014 Architect at VSC-Sangath Prof. B.V.Doshi and Rajeev Kathpalia, Ahmedabad, India.

2011 Architect at Alvaro Siza and Carlos Castanheira, Oporto, Portugal.

1: Free dinner programme for some of 2015 Established SEALAB with Mariana the neediest in the community. 2:Work- Paisana I Conducts Forum in India and shops and educational programmes.

United States of America.

3: Hosts community wide meetings. 4: 2017 Works at Perkins School for the Lighted area for children to play and Blind, United States of America. study. 5: And an indoor shelter for 2020 Visiting faculty - Faculty of Archiresidents whose homes are flood during tecture, CEPT University, Ahmedabad, monsoon season.

India I Studio Tutor - Leicester School of Architecture, DMU, UK These are just the latest of a plethora of projects that have taken place in the past three years. More pupils, especially girls, have been enabled to stay on in education after students built new washrooms at their schools, trees are being planted

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There can be few projects making more of a difference to people’s lives than the DMU Square Mile India project. Since the official launch of the programme in early 2016, more than 300 De Montfort University students have visited Ahmedabad, in the Gujarat province, to help make a difference. Flood-risk homes are being rebuilt, children are getting an education that would otherwise be denied them, people are getting tests that are improving their health and youngsters are getting dance and drama lessons.

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2019/20 Volunteer students on the architecture course working on plans for a new library in Ahmedabad with local Architect Anand Sonecha as part of the Square Mile India project

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Our Programmes: Leicester School of Architecture 2020/2021 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-professional 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 opportunities 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 Commonwealth Association of Architects, a membership organisation representing architects in Commonwealth countries, which provides access to an international network of schools for further study and better employment prospects.

3: DMU’s Leicester School of Architecture - 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 experience 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 disadvantaged 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 studios, 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 facilities to foster creative thinking and explore your design potential.

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*.

Architecture MArch Our Architecture MArch programme is designed to respond to contemporary 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 foundations 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.

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 potential employment in Malaysia.

Architectural Practice Postgraduate Diploma (Part 3) The Postgraduate Diploma in Architectural 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 to practice and management and the evolution of the professional architect 3: Develop your professional acumen in business organisation, management and commerce, marketing, advocacy, ethics and marketing, contracts and interpersonal skills 4: Benefit from a wide exposure to

current issues in contracts, law, economic 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 develop 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, Management and Practice This component covers the skills, awareness and knowledge needed to understand the set-up, professional and economic management, marketing 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 regulations related to architecture and the building industry. 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.

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Key features: 1: This programme offers a professional level architectural education with Architects Registration Board (ARB)/RIBA Part II exemption. Graduates 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 workstations, 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 international 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 accreditation 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 Commonwealth 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.

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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.

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 Architecture 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.

Previous trips have taken students overseas to work on live projects in Our course will help you evolve the Berlin in collaboration with Aedas, a leading international architecture knowledge and skills required in understanding, application, analysis, and design practice.

6: The award-winning Vijay Patel synthesis and evaluation relative to design, technology, management and Building provides both the space and the facilities to foster creative practice. It will also help advance thinking. You will also benefit from your architectural management a range of industry-standard tools proficiency by bringing together all and simulation software, including aspects of the design process, from Thermal Dynamic Simulation and concept through to completion.

Building Information Modelling.

In addition, this degree examines 7: We provide core workshop design strategies to promote and materials at no cost, and give cash encourage sustainability. You will awards £150, £200 and £300 in years explore methods of sustainability one, two and three respectively – to to inform architectural design, and support personal materials/printing develop an awareness of ecological footprints, materials and embodied costs*. energy along with processes of achieving sustainable design.

Quantity Surveying and Construction BSc (Hons) Key features: Quantity Surveying and Construction 1: Benefit from our 125-year history, focuses on controlling and managing which makes Leicester School of the costs of construction projects; Architecture one of the most estabyou could be involved with any stage lished schools of its kind in the UK. of a project, from feasibility, design 2: Accredited by the Chartered Insti- and construction, through to extentute of Architectural Technologists sion, refurbishment, maintenance (CIAT), meaning that you can apply and even demolition.Our course will for associate membership of CIAT, help you gain an understanding of with the opportunity to progress the technical aspects of construction towards chartered membership over the whole life of a building (MCIAT). or facility. You will learn to under3: Accreditation from the Chartered stand contracts, budgets, quantities, Association of Building Engineers measurements and sustainability (CABE) enables you to apply for

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Architectural Technology BSc (Hons) This programme focuses on detailed decisions about the design and construction of buildings and their immediate surroundings. Architectural Technology is concerned with new and existing buildings and examines how detail relates to the design concept. 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.

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 experience for Royal Institution of Chartered Surveyors professional status.

Building Surveying BSc (Hons) 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 Surveyors 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

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 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-

Key features 1:Join a community that is co-designing new ways of thinking and meaningfully challenging conventions to redefine the future of architectural practice.

2: Learn both collaboratively in groups and through personalised teaching experiences with our advanced 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 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 industry, 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 international 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 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 knowledge and skills required to produce thermally comfortable, healthy, and habitable building designs while minimising energy consumptions.

The curriculum embraces the interface between the environmental, economical and socio-cultural dimensions of sustainability in terms of building design and carbon neutrality.

You will join a community that is co-designing new ways of thinking and challenging architectural conventions 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

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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 extensive 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.

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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 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*.

6: Both courses is currently pending accreditation from the Royal Institution of Chartered Surveyors, which will mean your learning is kept relevant to industry and recognised by employers as a benchmark of quality.

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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 materials 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.

International Urban Design MSc The course focuses upon developing a spatial understanding of the underlying principles and current theories needed to understand and respond to (design) the challenges that 21st century urbanisation presents across the globe. It supports you in developing a spatial design skill-set able to respond to the complex array of social, economic and environmental factors affecting cities, as well as to cultural issues, such as spatial traditions and histories of city form Key features 1: The long-standing Leicester School and design. of Architecture is one of the oldest schools in the UK and our approach Opportunities to attend study trips overseas underpin the learning and meaningfully draws upon years of experience to challenge conventions form an integral part of key modules. and redefine the future of architectur- In recent years the School has run many successful overseas study trips al practice. to a wide variety of cities in Europe, 2: We will empower you with the tools to become a responsible global South and North America Asia and architect, with the skills and mindset the Global South; the School also to tackle the complex environmental benefits from research/ collaboration links to Schools of Architecture challenges ahead. overseas.

3: You can choose to undertake a year-long work placement, gaining valuable experience to enhance and The programme concludes with a embed your practical and profession- ‘thesis’ module. Two pathways are available. Whilst both focus upon al skills. ‘design’, one offers opportunity 4: Your dedicated tutors come from to conclude your studies in an industry, practice and research, which ensures your work is respond- extensive written thesis, whilst the other offers opportunity to conclude ing to contemporary, real-world your studies in a thesis comprising issues that are grounded in both of drawn/ modelled/ illustrated theory and practice. outputs in combination with a 5: Benefit from our advanced shorter written text. All students also enquiry-based education which have the option of a year of industry embraces collaborative learning in studio groups alongside personalised placement prior to commencing their thesis studies. teaching experiences.

6: Our award-winning Vijay Patel At the end of the programme stubuilding has been designed to provide the space and facilities where dents will have developed key skills in articulating, communicating and all of our art and design students illustrating complex city analysis and can develop their ideas and flourish proposal, underpinned by knowlin a way that will shape your future edge of theories relevant to current design choices. practice and global urban issues. It

is anticipated that employment opportunities will arise in city planning offices and consultancy, urban and commercial development consultancy and architectural design offices.

Graduates will also be able to join the Urban Design Group as a member and as a recognised practitioner.

Reasons to study International Urban Design MSc at DMU: 1: Leicester School of Architecture (LSA) was established in 1897 making it one of the oldest schools of architecture in the UK; it is part of our vibrant Faculty of Arts Design and Humanities and offers a range of architecture and design undergraduate and postgraduate courses; 2: DMU – the Global Hub for UN Sustainable Development Goal 16 the School is integral to the University’s commitment to the UN’s Sustainable Development Goals (SDGs) and supports its role as the Global Hub for SDG16 3: International/ global curriculum and study trip opportunities the programme focuses upon understanding global challenges and theories for responding to them; it provides opportunity to attend overseas study trips to underpin and extend learning 4: Develop city scale proposals and strategies to address current and future issues and challenges 5: The programme focuses upon understanding 21st century urban challenges and applying this understanding to the development of design proposals and strategies 6: Skills and research themes will develop your academic acuity and cultivate your independent position with regard to urban design thinking and strategies 7: Equip, train and inspire you to become responsible global citizens in the face of the new global urban and environmental challenges ahead and

prepare you for potential career in the urban design professional field 8: Industry placement opportunity you can choose to undertake a year-long work placement, gaining valuable experience to enhance your practical and professional skills further.

Vice-Chancellor’s Sports Scholarship Apply for the Vice-Chancellor’s Sports Scholarship, worth up to £6,000.

Contact us: For more information complete our online enquiry form at (https://www.dmu.ac.uk/study/ study-related-enquiry-webform.aspx) or call us on +44 (0)116 2 50 60 70.

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Vice-Chancellor’s 2020 Scholarship Up to 50 per cent of tuition fees offered to Home/EU DMU alumni for students who wish to continue their studies at DMU by enrolling on a Postgraduate taught course. For more information visit our ViceChancellor’s 2020 Scholarship page.

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Scholarships Opportunities At DMU, we are committed to helping our graduates enhance their careers and personal development through further study.

BASE Event 2019 The Big Architecture & Sustainability Event The next generation of architects from De Montfort University Leicester (DMU) may have different ideas of what a building should look like, but they are all agreed on one thing - sustainability is key when it comes to good design.

More than 700 undergraduate and post-graduate students from the DMU School of Architecture gathered at The Venue@DMU yesterday to take part in BASE, short for the Big Architecture and Sustainability Event, where they discussed what their future selves might be designing to benefit communities.

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They were treated to lectures by top-drawer guest speakers - Matthew Barnett Howland and Oliver Wilton, whose Cork House is short listed for the 2019 RIBA Stirling Prize, and Alison Brooks, who is recognised as one of the finest architects of her generation and the only architect in the UK to have won all three RIBA prizes.

Matthew Barnett Howland and Oliver Wilton opened the lectures with ‘Form Follows Lifecycle’, presenting their ideas and concepts for their Cork house, which would go on to be awarded the Stephen Lawrence Prize 2019 a day after. they discussed how the idea came to be while also showing the process of building the structure.

Louise Palomba, an DMU alumna then presented ‘Sustainability scaled up’ in which she discussed architectural jobs from Rogers Stirk Harbour and Partners.

The finale speech was then presented by Alison Brooks, a leading architect of her generation. ‘Experimental Archetypes’ presented her practices ideas on the Maggie’s Centre in Somerset and her new proposal for Cadence housing near Kings Cross Station.

A series of workshops involved students getting together in groups to think and work creatively, such as dreaming up a perfect building for a celebrity and designing the structure in miniature out of paper straws, or coming up with ideas of how society can work in a more sustainable way.

Not only did the BASE event inspire students to come up with solutions to creating better buildings, but it also allowed the new cohort of first years to mix with fellow undergrads and post-grads, giving them the perfect introduction to a course that is undeniably demanding but ultimately rewarding.

Guest Speakers Alison Brooks Architects Alison Brooks Matthew Barnett Howland + Dido Milne + Oliver Wilton Matthew Barneet Howland Oliver Wilton Rogers, Stirk, Harbour + Partners Louise Palomba

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RIBA Sterling Prize-nominated Matthew Barnett Howland and Oliver Wilton presenting the Cork House.

Louise Palomba, DMU Alumni presenting from Rogers, Stirk, Harbour + Partners.

Alison Brooks is one of the leading architects of her generation. She is the only person to have won all three of the UK’s most prestigious awards for architecture, the RIBA Stirling Prize, Manser Medalt, the Stephen Lawrence Prize and her work has attracted international acclaim.

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Chris Jones, Head of School of Arts, Design and Architecture (ADA) opening the event.

LRSA Presidents Prize 2019 (Year 2 & 3)

A week into their first year as architectural students, the first years were tasked to create an architectural design for influential people. With students working in groups of 10 they were required to engage, listen and debate while also working in a team of students with very strong artistic design ideas. The influential people included fictional characters such as Edna Mode (The Incredibles, 2004) and Moana (Moana, 2016), while also including real life influencers such as Bear Grylls and Stormzy. Led by the postgraduate students, the task threw students in at the deep end, asking them to model their ideas with straws, paper and card. They had to all work together to create one coherant design with aspects relating back to the influential person they chose.

Second and third year students were then given a brief presented

by Adam Smith the Co-President of the Leicestershire and Rutland Society of Architects. This competition was a 36 hour multischool competition, in which a winner would be selecetd during the LRSA’s Love Architecture Festival. The brief was to design a insect house inspired by art and nature. Students went to work designing for butterfly’s, bees and bats. Some 3D Printing their ideas, some working with only a pencil. Students were encouraged to think about both the aesthetics of their design as well as the technical implications. while looking for inspiration in insects flight patterns, or natural cacoons.

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Influential Homes Exercise (Year 1)

A series of workshops involved students getting together in groups to think and work creatively, such as dreaming up a perfect building for a celebrity and designing the structure in miniature out of paper straws, or coming up with ideas of how society can work in a more sustainable way.

The BASE event inspire students to come up with solutions to creating better buildings, but it also allowed the new cohort of first years to mix with fellow undergrads and post-grads, giving them the perfect introduction to a course that is undeniably demanding but ultimately rewarding.

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ACADEMIC STAFF 2019/2020

Simon Bradbury Kate Cheyne Chris Jones 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 Paco Mejias Ashley Clayton Sudhir Rao Rob Sheen 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 Jon Courtney-Thompson Andrew Waite Sylvester Cheung Jee Liu Jamie Wallace Dan Farshi Era Savvides Alexander Mills Tim Martin Rory Keenan Thomas Hopkins 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 Professor Sarah Lupton Manos Stellakis David Watkins Paul Bussey Stephen Mealings

Indu Samawramy Peter Wislocki Judith Farren Bradly Melanie Perkins Rima Yousef

THE LEICESTER SCHOOL OF ARCHITECTURE

#workfromhome

THE LEICESTER SCHOOL OF ARCHITECTURE 2020

#covid-19 #workfromhome #beresilient #wearearchitecture

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. The School, among others has had to face the challenges of the COVID-19 situation and this has seen staff and students rising to the challenge and achieving remarkable results. It has been a challenging year for our community of 750, but one full of ideas and enthusiasm, which would not have been as successful without the hard work and dedication of our staffs and students.

ISSUE 3, 2020, Leicester School of Architecture Showcace Book All rights reserved. No part in this publication may be reproduced, stored in a retrival 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 SEPTEMBER 2020 De Montfort University The Gateway Leicester LE1 9BH Leicestershire, United Kingdom.