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Foreword 2 BA (Hons) Architecture
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Third Year Introduction
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James Appleby
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Rujena Begum
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Chris Gilby
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Halima Haruna
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Daniel Holbeche Smith
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Blair Luther-Veitch
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Ollie McArthur Tring
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James Potter
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Rafael Ramos
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Thomas Roberts
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Kit Wong
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Priyanka Shah
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Second Year Introduction
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First Year Introduction
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Events 50 Design & Technology
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Cultural Context
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Evening Lectures
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FANN 60 Thanks 64 Sponsors 66
Foreword
I am delighted to introduce this publication for our second graduating cohort of Architecture students. Last summer we were fortunate enough to welcome Sir Michael Hopkins to the University to receive an Honorary Doctorate. 2016 has continued to be a very successful year which has seen our Architecture students move into the newly refurbished, RIBA East award-winning, Boardman House building. We are also proud to have been granted the Architects Registration Board Part 1 Prescription status for the course. For all our graduates we hope that learning is a lifelong activity, but for our Architecture graduates in particular, I am keenly aware that the formal training towards becoming an Architect is far from over; there will be a significant amount of education both in a practice setting and in the classroom before that happens. With that in mind, I would particularly like to thank Feilden+Mawson Architects for generously offering a scholarship to support a student in their final year of study at NUA. This is a moment for celebration, and the catalogue and exhibition is a testament to the hard work of the students and staff, who I am very pleased to have as part of our NUA community. Well done, everyone!
Professor John Last Vice-Chancellor 4
Architecture is still a young discipline at Norwich University of the Arts and this catalogue celebrates our second graduating cohort. Over the course of the year we have welcomed inspiring architects such as Will Alsop, OBE, to talk about their practice and philosophy together with a range of industry professionals who share their expertise with our students. It is heartening that the regional community of Architects and the associated industry professionals have been so generous and supportive of the course, and I would like to thank them all for the part they have played in helping the course to be successful.
I have personally really enjoyed watching the course and the students develop and grow with us. The discipline of Architecture is a fascinating one which affects all of our lives. Reenie Elliott, our Course Leader, and her team inspire and enthuse the students in their creative design, whilst simultaneously ensuring that they understand the technical and professional requirements of the discipline – that is no mean feat, but this catalogue is a testament to their commitment and skill. Once again, I admit to being very proud of our forthcoming graduates and I hope you will find that our show and this publication explains why.
Professor Hilary Carlisle Dean of Design and Architecture
Introduction to the BA (Hons) Architecture Degree
Myths and Manifestos This catalogue presents a series of architectural design projects by students on the BA (Hons) Architecture Degree Course at Norwich University of the Arts. We have recently been accredited by the Architects Registration Board.
We have assembled an array of provocative programs and architecture tutors to inspire and inform our students. Our tutors have diverse and idiosyncratic careers in architecture, building and exhibiting widely, writing manifestos, generating mythical architectures, and winning awards and accolades along the way. The students have generated their work alongside artists and film-makers; illustrators, animators and photographers; as well as graphics, games, fashion and textiles designers. Digital and manual techniques overlap in media used: 2D architectural drawing techniques merge with photomontage, collage, film, laser cutting, digital and material craft practices.
By studying architecture in an art school, students encounter a variety of approaches to on the contemporary visual, political and spatial environments. Architecture students are encouraged to become independent thinkers, raconteurs of the distant past or the near future; salvagers for sustainability; manipulators of materials; appropriators of
spaces and sites; cultivators of collective architectures and disseminators of critical debate. They embark on whimsical journeys, make sublime discoveries, and concoct exquisite spectacles, while exploring urban spaces and rural landscapes.
Design, technology, cultural context, representation and practice are specialist subjects in architecture. As students progress through the course, the design projects become more and more integrated with technology, cultural context, representation and professional studies. Drawing and making are key skills used to measure, record, specify, conceptualise, experiment and communicate. Students are expected to critically evaluate their written and design projects, and refine them as they go along. We are expanding our research into divided cities by setting design projects and field trips in Belfast and Berlin. Most importantly, as students engage with unfolding spatial scenarios, they will always challenge assumptions about what architecture can be.
Reenie (Karin) Elliott ARB RIBA Course Leader
Introduction to the BA (Hons) Architecture Degree
Course Leader: Reenie Elliott Tutors: Reenie Elliott, Jerome Tsui, Simon England, Michael Lewis, François Girardin
Community Exchange This year, the third year design studios continued to explore relationships between power and visibility in the contested city of Belfast.
interactions, while others proposing migrant detournements and the complete dissolution of borders.
We asked students to design a Community Exchange. Each student identified a community group, researched its activities in the divided city, and engaged in dialogue with its members regarding its future needs and ambitions.
Some involve re-programming divisive structures, control measures and inspection strategies such as former peace walls, observation posts, and defensive planning measures. Some involve dissolving slippery political boundaries, whilst others acknowledge the former locations of invisible policing networks, transient agencies, or provocative murals. Unseen losses and traumatic memories continue to infiltrate the collective consciousness.
Our questions were a provocation: Can Architecture play a role in conflict resolution? If you agree that a wall or an observation tower can restrict, limit, suppress or condition visibility and behaviour, we ask: what kind of Architecture can liberate visibility and behaviour and encourage dialogue?
Students considered how their community group might enjoy the new relaxations of forms of censorship, such as those put in place following the lifting of the Broadcasting Ban, or those accompanying the Good Friday Agreement. Most envisioned more peaceful times in Belfast’s future.
Students considered the implications of these reversals of power, and their associated reversals in visibility. In their divided cities research, some identified forms of spatial censorship, often attempting to counteract these in their proposal. These were the subtler effects of censorship in divided cities, where spaces, as well as media, have been heavily controlled or censored. This research resulted in a range of design responses, ranging from the contextual to the post-colonial, the feminist to the postmodern. Proposals varied in their intentions: some offering elusive headquarters for media 6
Design projects accommodate visible and invisible spaces and characters, embellished crossing points, hidden events, social condensers and other spaces.
Some design proposals engaged the landscape in a play of mythical topographies, others invented ambulatory devices for exploring the interstitial spaces, overt and covert agencies. Most proposed a shared space or space’s, while investigating the consequences of subversive or sanctioned initiatives on the sphere of architectural and urban space. All students articulated their own Belfast Transcripts Manifesto for their proposed Community Exchange.
The associated technical and contextual studies, which have explored linen weaving, ship building, newspaper printing, and sectarian histories; emerged in the designs of weaving loom walls, crafted steel and timber constructions, and elusive means of escape.
YEAR 3 DEGREE STUDENTS
BA (Hons) Architecture Year 3
James Appleby THE BIG LUNCH VERTICAL PARK
In this project, I have proposed that Belfasts Blackstaff Square will become a community park and farm with regular shared events. My community group ‘The Big Lunch’ will be at the heart of the new design. The buildings will provide both outdoor and indoor environments in order for the community to come together through the sharing of food and the shared responsibility of taking care of the urban farm and crop growing. The Belfast Friendship Club, “The Big Lunch”, “Urban Farm” and “Global Kitchen” are all initiatives seeking to reinstate shared spaces in central Belfast through active participatory community programmes around food and farming. They seek to reconstruct rural arcadian environments in urban spaces. Their brief was to provide a beach, a field, a river and allotments.
After visiting Belfast to carry out my research, I was frustrated with the lack of green space as well as the vast amount of vehicles and traffic that is channeled through the city centre. My proposal aims to remove the road system around the immediate site and replace it with a linear park that is open to the public, who are free to roam and explore. The park extends vertically into a series of towers. Slow and leisurely circulation around the ensemble through staircases and connection bridges, brings occupants and visitors on a journey through fragant kitchen gardens. Each tower focuses on different aspects and needs of the community group. The largest of the four towers is split up into dining spaces for the community to both cook and eat together. A sushi bar and roof terrace is situated at the top of this tower, 8
with the cladding used as storage for ingredients and resources for the recipes. A stacked dining system is located in a second tower arranged to provide space for the community to bring their own food from outside the site in order to have an inclusive group lunch, through the interaction of giving and sharing food between communities and different backgrounds.
A third tower provides storage and work rooms for the maintenance of the urban farm that lies within this landscape which is intended to be run by the community. This link between farming and production and the food produced means that the production of food, cooking and consumption all takes place within the site. The fourth and final tower houses greenhouses and harvesting spaces required to produce the food that cannot be grown outdoors. A harvest festival, or “Celebration Hall” is also created as a place to process the foods and crops that have been grown together by the community.
BA (Hons) Architecture Year 3
Rujena Begum LINENOPOLIS MUSEUM
In 1784, Ireland was widely regarded as the linen capital of the world. My initial project investigations revolved around “the woman linen weaver“ and “the soldier” as my two fictional historical characters, playing with the idea that women would assume the role of the invisible body inside the mill, producing the attire for the visible character of the soldier. This lead to further investigation into the character of Ivan Ewart, a naval officer and the last of the Ewarts to inherit the family empire. Ewarts and Sons Factory was the largest weaving factory running in Belfast until 1995. Only the derelict shell of Ewarts Warehouse stands today, as testament to a once booming empire. The visible has become invisible. However; all the traces such as the large mill structure, which accommodated hundreds of women, have now vanished. My design concept re-incorporates this large scale structure into the city fabric whilst representing the face of the industry from the workers perspective rather than through its powerful male figurehead. The Linen Museum will commemorate the women linen weavers who had worked hard in the past to construct Belfast’s industrial heritage. As a city, Belfast fails to adequately celebrate its industrial heritage within the linen quarter, formerly known as “Linenopolis”. A small fragment of “lineopolis is” is woven back into the chronology of the city
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My building will create a series of spaces which emulate the processes of producing linen, thus, an interactive process is used to inform visitors of this process. The exterior circulation expands to surrounding flax fields, cornfields, flaying, threshing positions and collection points. Consequently the linen process happens around the site to promote an understanding of linen production.
Aesthetically, my aim is an architecture that reflect both the typology of the large Belfast mill and the history of linen textiles engineering. In considering the long hours spent weaving, spinning, threading looms and spooling the linen, I imagine a window merging with a loom. I attempt to describe the architectural machinery of the weaving process, with meandering circulation routes and interlocking threaded itineraries, generating a textured fabric of architectural façades and clattering rooflight mechanisms.
BA (Hons) Architecture Year 3
Chris Gilby COMMUNITY BOATYARD
The knowledge and skills associated with traditional craftsmanship in Belfast has greatly suffered through the period of the conflict.
The Currach is a traditional Irish boat which was once used for activities as diverse as fishing and war. It is a key part of the heritage of Ireland, however, it is rapidly disappearing as people prefer engine powered boats to manually powered boats. The project aims to bring back the process of boat-making especially focusing on the Irish Currach through workshops and use of boats as a method of transportation around the city.
Belfasts conflicts between two sectarian communities has left the city divided, with people only ever coming together in the city centre when they feel it’s safe to do so. This leads to major traffic problems. There is still some tension between the two sides of the conflicts still visible in neighborough segregation. The project aims to bring the people of Belfast together as a community. The project also forsees roads and other routes becoming a canal network linking the different parts and religions of the city as well as providing an exiting and more environmentally method of travel. With the site being located opposite the national Rail Station for Northern Ireland and in the center of the city, a transport hub within the city is created.
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The project would become a ‘community boatyard’, a space where people from different backgrounds come together to learn new skills, preventing fundamental skills of Irish history being forgotten.
Like Venice, I envisage a network of canals developing that one day could attract tourism. The canal infrastructure would be sewed by a series of boat stores at interchanges such as this one. A floating high street would allow shopping to engage with a variety of sites, mobilizing shopping. A floating Currach workshop would bring it’s teaching of craftsmanship to other northern Irish towns.
BA (Hons) Architecture Year 3
Halima Haruna MANIFESTO FOR ENDLESS MEDIA LANDSCAPE
Media has served to shape the landscape of its audience in Belfast. Through reciprocal viewing of events, retaliations, the troubled atrocities constructed for and by television, peace seeking initiatives, hidden narratives, the dimensions of loss. My project is subverting today’s cynicism towards media and its influence in our live, flooding the site and Belfast and eventually, the world (as media and new technology does anyway). Consumption reaches a finite end where all belongs to all and nothing belongs to anybody, thus shattering the “having” and the “appearance of having” to a place of having nothing and excess is the level zero we exist on. The self-destruction of a capitalist system and the explosion of the “spectacle” is a viable reality, in which it then disappears. Television is a simulated reality that is mediated, and this layer lends itself to the words of Jean Baudrillard. Social media adds a second layer after the physical screen discerned by these media commentators. A merging of the physical screen and the barrier of distance result in a convergence of many to one consciousness. The endless media landscape revels in this dissemination of barriers that were initially separating people, taking the simulation to its logical conclusion until it becomes the only profound reality. My proposal envisages the dissemination of the five editorial filters with an utopian tool: the destruction of barriers using social media and the finite end of consumption; the creation of a non-reality.
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In celebrating our new consumerism, we reach a new plateau on the facades where we affix adverts (symbols of our age) to our environment (the site).
We create an unending media landscape that has both new and old media, and establish a connection to the Europa Hotel, the figure of Europe. Theatres, computer rooms and walkways all intersect each other as both interior and exterior spaces, a culmination of the media landscape of the past and future of Belfast. By creating a new complex of buildings and parks for the exaltation of media, Belfast embraces this part of its heritage and the importance of the frequently bombed Europa Hotel. This project aims to embrace social media culture and its fast approach on society and to construct a new future for the city of Belfast created by its people. In a media library and media theatre, media is produced and consumed simultaneously. The theatre constructs a spectacle by mobilising stage sets & exposing it’s mechanistic artifice through a transparent fly tower. Soak up the rays within our selfie stick arrays! Float about in our ipad dock! Like us on Facebook, we are the Belfast Friendship Club! Belfast has become a media mechanism, a constant flow of impulses, an immersive experience, a media bath: literally. Just like everything else.
BA (Hons) Architecture Year 3
Daniel Holbeche Smith BELFAST EXPOSED ARCHIVE & EXHIBITION
Belfast was once a city rich with political tension, vibrant cultures and scandal surrounding events such as Easter Rising and Bloody Sunday. These events have stimulated a culture of recorded information, often biased; this culture of documentation has led to organisations such as libraries and archives operating within the city. Of these groups, Belfast Exposed inspires a continuing culture of photography and exploration from within the city walls, offering a true, rather than speculative representation of key events. Using this client, my project aims to inspire future, past and existing generations to add to a substantial body of raw photographic information housed at Belfast Exposed. To enrich and encourage the use of such a facility, dark room processes will be implemented in an innovative, conceptual experience allowing the user to immerse themselves in a habitable series of therapeutic chemical pools which dual as a catalyst in the photographic development process. The user will become part of the image fabric. This process will take place in a communal environment exploring the idea of physical traces. With every shred of information added to the archives, the facility will offer a broader investigative resource to the public that seek closure for particular historic cases and missing persons. This idea stems from my chosen characters; Alistair Little and Joe Griffin, both depicted in a sensitive, but warped fiction film “Five minutes of Heaven�.
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The physicality of the project aims to encourage dwellings in and amongst Blackstaff Square, a series of viewing devices will allow the pedestrian to witness the internal archival processes from a disengaged state, a transparent archive core. For example, the structure plays with the concepts of visibility and invisibility through strong material contrasts and forms.
BA (Hons) Architecture Year 3
Blair Luther Veith VAGABONDS HOSTELRY
The narrative of my project started with the design of a Mutoscope; a device that would make an invisible process visible. I selected one ‘invisible’ and one ‘visible’ character; a migrant, and an immigration officer, respectively. Through interrogation of the idealized figure of the nomad in architectural culture, and contrasting it with the migrant in contemporary society, the roots of globalization are found in a contemporary “Caravanserai” My proposal also looks at the difficult possibility of finding an architectural solution to resolve a divided city, and its invisible conflict between social groups. I looked in particular at designing accommodation for nomads and locals through a series of shared spaces where moments of exchange can happen over food. This ‘utopia’ project offers opportunities for new, old, and future occupants to exchange their knowledge of food history, culture, and tradition therefore integrating and forming one community in an undivided and shared space.
The population of Belfast dropped by over one third during the time of the Troubles. It’s perpetual riots and bombs resulted into a state of curfew – no one could enter the city centre (or ring of steel) after 5.30 pm. Now there are restaurants and bars in the city centre, with tourists and locals interacting enthusiastically.
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A new re-development plan made way for a motorway and businesses that would increase the cities revenue. The influx of shops and markets took root in the sites of demolished buildings, pushing the people of Belfast to the suburbs, or more drastically, out of the city altogether. This separated and dislocated the dynamics of Belfast’s centre as part of the strategy to make it a globalised and neoliberal city.
In this project, I introduce an alternative way of living in the centre of Belfast. To help tackle its new housing demand. Accommodation, with open shared kitchens, courtyards, and food market spaces, aims to encourage moments of connection creating one united community, via the exchange of food. This exchange is positioned on historic market routes. Embed situations and moments of food exchange into the urban fabric of Belfast aim to overcome social boundaries to form one community collectively undertaken derives, disorientation, detournements and direct actions, extending global culture into the continuously contested spaces of the city. .
BA (Hons) Architecture Year 3
Oliver McArthur Tring THE SLOW GLASS BOOK CLUB & LIBRARY
Belfast has faced decades of conflict during a period now referred to as ‘The Troubles’. Belfast is now in a period of supposed peace, but most districts of Belfast are still highly segregated between religious and political lines, marked by murals, and peace walls. Research into ‘The Troubles’ published by the conflict in cities and the contested state group, opened a series of question into the underlying segregation. The tendency towards spatial censorship are revealed through one of these studies into divided cities ‘Reflections on a Belfast Bus Tour’. The text exposes a distinction between Belfast as portrayed to the tourists and that experienced by locals. Along with direct community action in the centre of Belfast, the paper provides evidence that the divide between the two groups was in the first instance overexposed by the media, and then repressed by the pervasive narrative aimed at promoting the redevelopment of the city. My first design strategy is to re-route existing mobile libraries to invisible spaces, hidden from council surveillance, replacing voids of the city with viewpoints into the past. My main architectural proposal provides a metaphor for slow glass with visibility to the events of the past on an interactive scale, creating an archival hub of visual, audial and supernatural experiences, inspiring fantasy and imagination.
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The slow glass book Club & library is a collaboration between James Turrell, and American light artist, and the Northern Irish Author Bob Shaw. Shaw was the author of ‘The Other Ways Of Seeing’. Featuring a fictional material named slow glass. Shaw suggest this material is capable of delaying light as it passes through by decades, revealing imagery of the past. This led me to use books, film, and technology as a metaphor for slow glass.
1:200
2m
10cm
BA (Hons) Architecture Year 3
James Potter CATALOGUE OF INVENTIONS
Belfast used to be known for its industries and manufacturing, ranging from linen factories, to ship building as well as multiple inventions. Its community flourished through decades of inventive design activity and patents that changed everyday perceptions, yet currently there are few visible examples of the innovation and craftsmanship that were once created within the city. Noticeably there is a sense of detachment between the rich heritage which made Belfast one of the most productive industrial cities of the British Empire, and the global perceptions of Belfast today.
My design proposal ‘Institute Of Inventions‘ attempts to rediscover the innovative culture which once thrived in Belfast, providing a catalogue of inventions which playfully explores and projects spaces of community exchange. The project celebrates the heritage of six previous inventions, exhibited within: the ejector seat, the pneumatic tyre, the air conditioning unit, the portable defibrillator, the monoplane and milk of magnesia. The project accomodates a Museum and the production and development of new inventions, exhibiting the design process from the initial concept and projected drawings to the finished product.
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The commercial process of manufacturing is reconfigured to allow collaboration between the inventor and user, public and private. This is achieved through an interactive production line, which circulates through the structure along with informal communal spaces, social courtyards and collaboration encounters. Communication is encouraged to allow suggestions and feedback to be exchanged in a series of inventors lobbies, labs and workshops development. The deconstructivist form and dynamic interweaving of programme (accommodating creative workshops, communal assembly zones alongside a catalogue of inventions) technology (digital fabrication, LCD screens, pneumatic facades) and network infrastructure (gallery path, rooftop gardens and and highline) encourages public interaction with the life cycle of design. More importantly, the architecture is no longer a mere enclosure for the inventions but its an integral part of and acknowledges the revival of creating, enabling and exhibiting the act of ‘making’ to be celebrated and shared.
BA (Hons) Architecture Year 3
Rafael Ramos WAITING FOR GODOT THEATRE FESTIVAL 2020
1. Reprogramming the wall.
To commemorate the time of peace in Belfast and, to reflect on past losses and look into the future, two groups of voluntary performers, half catholic, half protestant are brought together to the site. By reinacting the gestures of deconstruction and reconstruction with the ruins of the original wall that once circumscribed the city, the self-perpetuating, never-ending cycle of human history is made evident. This moving wall will act as a “projection screen” upon which humanity can view its joy and sorrows. This wall will also act as a vehicle that burrows through time and space, connecting the past, present, and future. Finally, it will also serve as an eternal canvas for stage set designers and performer-artists, in between walls and permanent structure. Within this inhabited wall, the “back of house” facilities of the theatre can be glimpsed by passers by. Programmes such as a library and a café will co-exist to accommodate the needs of the community. 2. Burning walls and ambulatorio performances
The physical building, is used by the community all year around. Parade routes and bonfires materials are brought through the site. Both protestants and catholic have the opportunity to build stage sets instead of bonfires, throughout the site, fireproof viewing towers accommodate visitors and both groups can watch pyrotechnics displays safely. A temporary theatre gets assembled and dismounted each year. The spectacle is a safe place where both communities work together to construct this theatre festival rather than the bonfires of times past. 24
The process of collecting palletes starts in January each year. Throughout June, in former times, the construction of the bonfire building started, as does nowadays the theatre construction. An ambulatory, carefully designed by peeling away surfaces, will bring the audience safely to each and every performance space. The ambulatorio crosses physical and cultural boundaries between both groups. The festival culminates in an event where stage sets are burnt to ashes.
The ignition of each stage set used in the performances takes place in a purpose made water channel leading to the peace wall park. During the course of their combustion, the stage sets are mobilised to their final resting places: ashes to composting the parks amongst the ruins of the peace walls. The community group “Draw down the walls” have stated campaining for the removal of Belfast’s 140 so-called “Peace Walls”. Artist Munoz has made a walking route through them, literally cutting doors and ramps out of the the material of the wall itself. My project is concerned with investigating “socio-spatial rehersals”
BA (Hons) Architecture Year 3
Thomas Roberts THE LAST DINNER COMMUNITY EXCHANGE
My design started off with two characters, who are opposites of each other, one visible and one invisible. One of these was the designer of the Titanic (Thomas Andrews), who was a first class passenger on the ship. He was compared with a third class passenger on the ship, Ellen Shine. The comparison being their difference in social class, and it could be seen that this power balance reversed when Thomas Andrews died on the ship whereas Ellen Shine survived. The Titanic itself represented the social class divide through the dining arrangements implemented on the ship, as the third class ate on the lower floors whereas the first class were situated on the top deck. In the present day, Belfast has adopted an enthusiasm for the Titanic. This can be shown through the ever-growing and flourishing Titanic Quarter. The social divide that was present during the Titanic era can be seen as having migrated from social politics to that of religious politics as shown through the ever-present Catholic and Protestant divide within Ireland.
“Shared space” is an initiative which offers funding for community projects, the only provision being that both sides of the conflict must agree on the programme of use. It has become a new hope for Belfast as it creates spaces of culture free from class separation and terror. Ironically, the Titanic Quarter is one such “shared space”, bounding both sides of the community in its shared industrial history.
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The Titanic meal is produced and grown in the proposal. The barrier of social class dissolves due to the idea of shared space being integrated into the design. The idea of the design is for the local community of Belfast to grow and use produce that make up the meal on the site, which gives the opportunity for the social boundaries to evaporate while “passengers” of all classes dine together. The Titanic remains represent the building and elements of the space. The last meal eaten on the Titanic will be the menu. I have used ‘The Fun Palace’ by Cedric Price as my architectural precedent, because of its democratic spatial reconfiguration of levels occurring through the lattice structure.
BA (Hons) Architecture Year 3
Kit Wong ARCHEOLOGY OF MYTHS, GIANTS AND MURALS
In the contested city of Belfast, my proposal seeks to imagine a shared city, by permeating boundaries that once existed between sectarian identities. As part of the continuing peace process, community negotiators have managed to convince the more hardline political message-makers to tone down the inflammatory content of their mural paintings. Described as ‘reimaging’, this process fascinated me. Through desensitising murals that are seen to communicate or promote sectarian messages through the eyes of the community, I intend to tackle Belfast’s deprived spaces for a social exchange that aims to open up and enrich the local area, while concealing history by gradually fragmenting it until it is incomprehensible. The archaeology museum seeks to reveal itself as an embodiment representing many invisibles. It appraises the spatial and symbolic interactions that one would not normally justify as being visible. This ideology constitutes a reversal in terms of both power and visibility. The purpose of the museum it to experience fragmented artefacts of the past, both physically and metaphorically, which subtly address the continuing religious segregation that divides huge swaths of Belfast. It is as much about the social agenda and ideas of exchanges of the past, as a way of communicating with the community, acting as a community exchange. Working in correspondence,
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much of the typology references the mythology and allegory that previously existed in Belfast. The museum playfully explores ideas of scale, interplaying with small scale, large scale, small spaces, and large spaces, making reference to the Irish Giant, Fionn MacCumhaill. To achieve an emotive response, the display of exhibits strives to establish a personal connection between the stories of the subject and the visitors. The museum consists of a unique physical display of interior section cuts of gable walls, with remains of the interior still being exposed, controversially visible to the public for the first time. The other side of the wall would house the remains of the sectarian mural being removed. The exhibition techniques question traditional museum paradigms, presenting visitors with a tactile, exploratory and interactive alternative. The architectural language adopts the form from Michael Graves postmodern Snyderman House. Through integrating the modernist 5x5 grid, and wrapping the building with a double skin frame, it subsequently acts as a platform from where exhibits of the walls and murals can be mounted, providing a seamless integration of an interior and exterior exhibition.
BA (Hons) Architecture Year 3
Priyanka Shah CENSORED SPACES A TAXI HUB
The taxi industry has played an important role throughout Belfast’s modern history. During the troubles of Belfast in the late 20th century, black cabs were sometimes the only mode of transport. The drivers displayed a showcase of responsibility and evoked a duty of care that couldn’t help but become politicised. Many spent time in prison, all were fearful of driving in certain parts of town. As a result, the itineraries they followed were rarely fram A to B, causing the drivers to effectively engage in spatial self-censorship. Now the drivers offer tours of the Falls & Shankrill roads, recounting tales of troubled times now past.
My project was to give back residential housing and a social space specifically for these drivers. A place to still share their stories of the past and present in dedicated courtyards where people intermingle for public interactions. My project explores form, space and materiality, such as using recycled windscreens for the facade. The idea was to create a space that reflected the intertwining of solitude and public life: a taxi drivers retreat. A taxi driver is all alone until a passenger is on board, changing the entire dynamic just by opening a door. Although I have created single occupancy flats, I have connected them all via a series of outdoor courtyards to change private to public, solitude to company, invisible to visible.
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BA (Hons) Architecture Year 3
Research Report
The Research Report is an essay that requires students to develop a critical agenda established earlier in the year. The six themes are: Postcolonialism, Postmodernism, Contextualism, Constructivist, Feminism and Surrealism. Students have the opportunity to refine and expand their critical research and their arguments and synthesize a critical position in relation to an aspect of architectural and urban history and theory, with consideration for its cultural context.
The project incorporates theoretical frameworks from the architecture, fine arts, textiles, film and critical theory, approched through lectures and weekly seminars. Students learnt how to refine their arguments, often through visual reference and analysis. In the seminars, students presents their collaborative and individual research for discussion and feedback.
Students chose one of six thematic study groups. Students are then in a position to focus on their individual subject interest, reviewing an example of contemporary or historical architecture or urbanism through the lens of the theory that they have researched earlier. This may be an architectural project, a building, an urban space, an event, a city, an adaptation of or installation within a building, a specific architect, or a coherent collection of any of the above. They explore how the architecture exemplifies and/or resists such theoretical classification.
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BA (Hons) Architecture Year 2 Students: Remy Bennett-Abbiss, Nicholas Cassidy, Jake Cruse, Conner Day, Anton Elson, Jordan French, James Grace, Bertie Hipkin, Callum Hyde, Matthew Lowen, Isaac Read, Sam Roe, Kiera Schneider, Josh Smith, Matt Tyreman, Daniel Walford.
Introduction to 2nd year: Hybrid Programmes.
Year 2 provides an introduction to the process of abstraction and spatial discipline; through a series of exercises that introduce spatial concepts such as Surface, Frame, Open plan, Enclosure and Tension. Student produce and reflect on a series of multi-layered compositions from which they develop ideas, concepts and spatial proposals. The beginning of the first term begun with a folding apparatus; a small piece of furniture that allow different spatial configuration. Using digital technology, the models were exhibited in the Castle for the FANN, (Festival of Architecture in Norvich & Norfolk); later that term, the apparatus developed into a Wikihouse: an open-source timber prefabrication technique that allows self build. This introduces the students to digital representation and manufacturing. The second and third term concentrates on the design of an architectural project at the scale of the community. By projecting a mixed use building the students are considering the impact of programming and planning within the architectural process.
Through a workshop they analysed how contemporary housing might be conceived, developed, researched and integrated with a secondary programme that they need to invent and investigate. Emphasis is on the spatial, social, sustainable and structural opportunity provided by hybrid programmes.
An important part of the output in second year is the emphasis on the vertical dimension. Most projects have a narrow footprint and consequently have to rise vertically. This gives the students the opportunity to reflect on the notion of project and programme; hybridising and crossprogramming of functions that include the private, minimal, residential highdensity and more public and communal activities and lifestyles. These constraints produce tensions between the social, economic, cultural and political qualities and narratives of the projects and between the sensual and the practical needs and desires of the body and of the community.
The spatial expression of both individuality and the civic, of solitude and co-existence is resolved into designs through these contrasts and contradictions. This friction between the domestic and spectacular generates and materialises itself through its planned contexts, its mixed programme and between the ground, water and sky.
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Models using Wikihouse concept: an open-source timber digital prefabrication technique that allows self build.
BA (Hons) Architecture Year 2
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both pages: Bertie Hipkin
BA (Hons) Architecture Year 2
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left page: Calum Hyde; right page: Nicholas Cassidy.
BA (Hons) Architecture Year 2
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left page: Sam Malone; right page: Issac Read
BA (Hons) Architecture Year 1 Students: Declan Allison, Albert Boborodov, Tobias Grimwood-Snook, Daniel Moth, Jonathan Stevens, David Wiley, Margaret Belle, Helton Dias Antonio, Emily Haynes, Susanna Pacini, Lucas Steward, Grant Wright, Drucilla Boakye, Aisha Flynn, Samuel Malone, Amaree Rodriques, Anya Wandowski.
Introduction to 1st year: Trades and Myths.
This year began with an investigation of framing devices within architecture. We closely examined and questioned how windows and doors form the connective tissue between defined spaces and how these devices frame landscape’s, inhabitation, and materiality. This process culminated in a design-build installation for the Festival of Architecture and was exhibited in both NUA’s Duke Street Foyer and the Timothy Gurney Gallery at the Castle.
This process of investigation and interest in material craft was carried into the design projects for term one, which respectively explored notions of the home and then asked students to commit a considered forgery of a selected architect – borrowing both their adopted architect’s graphic style and working methodology to design the house of a collector.
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The year continued with a design brief focused around the trades and myths of Norwich. Students selected from five sites located within the city centre and began their design exploration with a thorough process of mapping and site analysis. While term two was focused primarily around developing a strategic approach to design. Term three asked the students to develop those strategies into a design proposal for their trade. There was a heavy emphasis on experimentation and play both spatially and graphically throughout the project, always centred around a strong and clearly defined narrative. Overall, the emphasis for first year was about craftsmanship (of models, physical prototypes, drawings, etc) and exploration (graphically, literally, metaphorically, etc). Students executed a wide range of architectural approaches, which always led to provocative conversations about design and culture. These investigations resulted in a set of well executed and extensively documented designs and resolutions.
Bricks: Workshop on casting techniques and composition.
BA (Hons) Architecture Year 1
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left page: Grant Wrigh; right page: Susanna Pacini.
BA (Hons) Architecture Year 1
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left page: Jonathan Stevens; right page: Declan Allison.
BA (Hons) Architecture Year 1
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left page: Drucilla Boakye; right page: Albert Boborodov.
BA (Hons) Architecture Year 1
Events
Bricks
First year students spent three weeks on a technical workshop in which they designed and fabricated a series of brick prototypes. Students were encouraged to rethink one of the most basic elements of architecture in order to critically evaluate and challenge the notion of standardisation. The exercise questions how a modular, replicated element can be used to create variety by changing the orientation of a standardised object. The workshop introduced a variety of casting techniques, emphasising the importance of material craftsmanship and the culture of making. Pigment was added to each set of iterations in order to communicate the evolution of casting techniques and composition.
FANN Post-Physical
As a part of the Festival of Architecture for Norwich and Norfolk, first students spent three weeks on a design-build project investigating frames and thresholds. By focusing on windows and doors as a means of connecting and framing space, students began to interrogate the relationality between spaces and ideas of visibility and exposure. Thresholds allow us to focus on the role of the body in navigating space. They can also become spaces of communication and exchange, framing connections between interior and exterior conditions. However these portals can also be violated, allowing unwanted access or visibility. Windows and doors can welcome friends, but they can also give access to unwanted intruders. This duality is what makes the exploration of thresholds so fascinating.
We began the workshop with a series of graphic studies of windows and doors as framing devices for landscape, inhabitation, and materiality. Students were then split into teams and tasked with developing and building a supporting device for either a door or window.
These elements were combined to create an installation that invites occupation and navigation. As we navigate the loosely defined space, the framing devices draw attention to specific moments or textures both within the installation and also to the wider room. The installation devices suggest the definition of space without being overly restrictive. The workshop culminated in an installation in the Timothy Gurney Gallery of the Norwich Castle as part of the Festival of Architecture for Norwich and Norfolk.
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Festival of Architecture in Norwich and Norfolk: Exhibition in the Timothy Gurney Gallery at the Norwich Castle.
Lectures
Events
In November, third years went on a field trip to Belfast, while years one and two headed to Berlin. The Belfast group explored community events, visited a printing press and an architectural practice, and studied divided city research. Both groups visited examples of Contemporary and Historical Art and Architecture, equipped with maps and texts on contemporary cultural and architectural conjecture. We were invited by the RIBA to a lecture on walls in divided cities, given by Professor Wendy Pullan in the University of Cambridge Dept. of Mathematics. We also arranged a seminar on divided communities in Belfast, given by Mark Hackett of the ‘Forum for an Alternative Belfast’ at the Metropolitan Arts Centre, Belfast. With impeccable timing, we were invited to a ‘standing conference for heads of schools of architecture’ in Belfast, which will be followed up by a conference in Bristol on ‘the Political Turn’ in Architecture.
The historic city of Norwich has been a remarkable setting from which to embark on an architectural education for our year one and two students, and we participated enthusiastically in constructing a series of events for the Festival of Architecture in Norwich and Norfolk in 2015. Will Alsop was our keynote speaker, and we exhibited student work at the Castle. We ran a series of walks and Reenie Elliott curated a screening of film clips called ‘Celluloid Cities’, accompanied by a series of film screenings and discussions at Cinema City. Michael Lewis exhibited his work at Outpost in Norwich, and presented sound pieces at the Sainsbury Centre and further afield. 52
Students attend art exhibitions, interdisciplinary practice presentations and research lectures in order to offer them insights into the art and design disciplines in their broadest context. Jerome Tsui took students to visit a Peter Salter house on site, Charles and Ray Eames exhibition, the John Soane Museum, the Tate, and the Barbican. Ben Beauchamp was invited to do a residency at the Andy Warhol exhibition at First Site in Colchester.
Simon England participated in a review of the new building design by Grafton Architects for the architecture school at the University of Kingston.
Interchange was a two day interdisciplinary event for all year 2 students. It was an opportunity to get a taste of operating within another art practice. Students could take a course in long exposure digital pin hole photography, writing collective manifestos, adjects and objuncts (ubiquitous consumer objects), narrative games, handling textiles, life drawing, fashioning garments, acoustic landscapes, shininess in design and architecture, deconstructing flatness, games design pipeline, Risograph Printing, Japanese binding, screen printing, illustrated books, animation, Zbrush, and ‘something from nothing’. The course enhances employability by expanding architecture student’s familiarity with industry equipment and technical resources, along with the softer skills used in preparing design project presentations to a variety of audiences.
Š Christian Richters
Lectures
Design & Technology
Spatial exploration and spatial experience are at the heart of architectural design and the emphasis on architectural design reflects this. Design projects are constructed to enable students to learn through architectural, social, technological and cultural precedents, and to use their learning to challenge preconceptions. These preconceptions about communities, users, spatial rituals, architectural style, and programme of use are constantly reviewed and reinvented through analytical processes and spatial investigations. The course begins by encouraging observation and analysis through drawing and exploration of the built environment of Norwich. This leads students towards speculation, intervention, proposition and the ability to decipher and codify their own personal manifesto for architecture. We examine the importance of atmosphere and setting that architecture mediates in private and public spaces. This entails engaging with the contributions made by weather, manual craftsmanship, settlement and digital culture to the design and construction of contemporary architectures.
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The Technical Studies teaching is coordinated by Reenie Elliott and Franรงois Girardin. Technical Tutors included: Simon England, Reenie Elliott, Michael Lewis and Jerome Tsui. It has been designed as a linear progression from first year through to final year BA. Technology explores structure, construction, environment and detailing. We also investigate the broader purposes of technologies which shape and determine the urban or rural experience, while considering the needs of the community. We investigate the challenges and opportunities of nature, science and technology in designing the urban and rural environments of tomorrow. Students offer insights into global issues of migration, conservation, tourism, transport, housing, light industry, climate, sustainability and environment, all of which are instrumental in preparing them to be the next generation of architects at the frontiers of design.
Lectures
Technology & Practice
Integrated Design Technology and Practice In this project, which runs in parallel with the 3rd year design project ‘Exploration and Proposition’, students are encouraged to develop strategic methodologies and detailed design processes, particularly in terms of environmental, structural, construction design and professional practice. This furthers their understanding of their future role as an architect within the contemporary context of emerging technologies. They are expected to cultivate their understanding of practice, environment, structure and construction, and develop sensitivity towards the appropriate use of materials and construction techniques in a specific cultural, social, historical, and professional context. Their technical and architectural skills are now brought together, by integrating technical and environmental aspects in the design work and by establishing material properties and detailing as a primary tool through which conceptual factors are transferred into built form.
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Students engage with professional practice activities associated with architecture to provide them with a contextual overview of the profession of architecture as well as helping to define their personal development and aspirations within it. This ranges from brief writing, budget costing, consideration of an appropriate team of consultants for the design and execution of an architectural project in a specific context. They are also introduced to basic statutory requirements, in the planning and development process. A series of lectures, presentations, site visits and studio workshops is supplemented by a series of evening lectures from architectural and related professional practitioners.
Lectures
Cultural Context
Our cultural context programme has expanded to include Fine Art and Architectural Theory, Social Practices, Film and Cultural History, and Urban Contextual Theories. Third years undertook a series of Seminars in architectural theory, using the theory as a lens through which to consider a building, city or project. Seminars in Architecture and Constructivism, Surrealism, Contextualism, Feminism, Postmodernism and Post Colonialism, were supported by lectures from Professor Hilary Carlisle, Dr. Krystof Fjalkowski, Professor Jane Rendell, Dr. Tania Sengupta of UCL, Laura Allen of Smout Allen, and an evening lecture with Professor Wendy Pullan from the University of Cambridge. We asked students in year two to consider how cities are represented in films, and how these representations might compare with architectural design projects from the same period, demonstrating how methodologies from each discipline might inform the other. Movement, rhythm, sequencing, structure, space and time as depicted in films are transformed to construct inventive architectural spatial sequences. Programmatic influences have also emerged, as students develop filmic social, political, aesthetic and ecological agendas; both formally and spatially. Filmic dream sequences, landscapes of luxury, commodification and gentrification are critically examined and embellished architecturally.
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Following film, some design experiments have attempted to construct architectural spaces that are fragmented, distorted and reflected in time and location. In other investigations, cinematic processes have dictated modes of viewing: subjective and universal trajectories have generated urban and architectural experiences contextually, using establishing shots, or dramatic tilt, pan and zoom techniques.
Films have also been used as a form of historical research or social documentary, by providing access to celluloid archives of the past, and re-configuring the ghosts of long forgotten cinematic urban landscapes. These constructions of architecture and media have allowed our students to develop their abilities in architectural design with ambition and criticality in equal measure.
In year one, students are encouraged to establish a coherent design, technical and making ethos, and simultaneously study architectural history in a chronological survey format, so as to interpret contemporary architecture and urbanism through a historical lens, while establishing a foundation in architectural representation. The social context of architecture is examined both through design projects and texts, which engage with key principles borrowed from other disciplines, such as sociology, cultural geography, and art theory. Social and cultural texts are examined, and positioned in relation to historical and contemporary movements in architecture. Students are encouraged to develop the necessary critical skills to evaluate, debate and challenge contemporary socio-cultural and architectural theories.
Lectures
Evening Lectures
Our series of evening lectures was designed to provide an overview of the architectural process and profession, from the important practicalities of structural systems and costing, to the theoretical arguments of leading architects and educators. We aim to offer a diverse range of lectures in order to demonstrate the wide scope of architecture as a profession and field of study. We began the year with a lecture from Stirling Prize winning architect Will Alsop as part of the Festival of Architecture for Norwich and Norfollk, who spoke about his award winning practice. Next, we welcomed Creative Coding Fellow Scott Grandison to give a lecture on the power of coding as a creative tool and to conduct a live demonstration with a Kinect and Processing of how code can be manipulated to communicate spatial relationships. Engineer Dave Richards of Conisbee gave a lecture on the structural behaviour of concrete and Dave Richards of REAL Consulting lectured on the role of a Quantity Surveyor within the design team. We also had a lecture from academic Jane Rendell on the roles of community and feminism within the field of architecture and educator and architect Laura Allen of Smout Allen gave a lecture on her practice.
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In addition, we had a series of lectures from from the architectural team, including lectures from Reenie Elliot on Material Misuse and steel structures, from François Girardin on Digital to Physical, and Michael Lewis on Spatial Practice. Beyond these lectures, students had a regular programme of lectures on building technology and structure from the core teaching team and other design professionals. Students were also inducted and familiarised with the 3D workshops learning woodworking, metalworking, and casting. Regular presentations on design, precedent studies, and graphic communication further developed students’ vocabulary of architectural representation, from manual technical drawing to book binding and various digital and manual modelling techniques and programs. Overall, the aim of our lecture series was to provide a comprehensive overview of the diverse and challenging roles and responsibilities of an architect.
2015/2016 NUA Evening Lectures
2015/2016 NUA Evening Lectures
Festival of Architecture Norwich & Norfolk 2015
2015/2016 NUA Evening Lectures
JANE RENDELL
MARK BAXTER
Gender, Space and Architecture
Quantity Surveying : Managing Costs
Thursday October 8th 2015 18:00 Duke Street Lecture Theater DS01
Tuesday October 20th 2015 17:30 Monastery Presentation Room
Tuesday December 8th 2015 17:30 Monastery Presentation Room
2015/2016 NUA Evening Lectures
2015/2016 NUA Evening Lectures
2015/2016 NUA Evening Lectures
Creative Coding
Material Misuse
Laura Allen : Practice Lecture
Tuesday November 3rd 2016 17:30 Monastery Presentation Room
Tuesday January 26th 2016 17:30 Monastery Presentation Room
Tuesday March 8th 2016 17:30 Monastery Presentation Room
2015/2016 NUA Evening Lectures
2015/2016 NUA Evening Lectures
2015/2016 NUA Evening Lectures
Digital to Physical
Spatial Practices
Structural Behaviour of Concrete
WILL ALSOP
SCOTT GRANDISON
FRANÇOIS GIRARDIN
Tuesday October 13th 2016 17:30 Monastery Presentation Room
REENIE ELLIOTT
MICHAEL LEWIS
Tuesday October 13th 2016 17:30 Monastery Presentation Room
SMOUT ALLEN
DAVID RICHARDS
Tuesday January 12th 2016 17:30 Monastery Presentation Room
Festival of Architecture Norwich & Norfolk 2015 The Student and tutors from the School of Architecture at NUA were greatly involved in the Festival of Architecture Norwich and Norfolk 2015 by presenting a series of Exhibitions, Lectures, Walks and Live Symposium..
Medieval Walk: Those interested in architecture, medieval spaces and structures, came and walked for an hour amongst the laneways, archways, and gateways of Norwich over to the Cathedral Close. We took in the architectural and urban spaces while recounting the occasional myths and histories along the way. Led by architect Reenie Elliott and the curator of Stanger Hall.
Celluloid Cities Will Alsop keynote Lecture Will Alsop’s Peckham Library, Ontario College of Art and Design in Toronto, and ‘Le Grand Bleu’ in Marseilles have established him as a visionary in the field of architecture. In response to our question: ‘What is contemporary architecture?’, Will Alsop presented a range of projects that are both innovative and cheerful. ‘Often governments mistakenly try to use the idea of templates, or best practice, as a model for trying to create a better future, which results in the future being predicated on the past. This quashes innovation.’ 62
A series of film clips were used as a vehicle to discuss how cities are represented in films. We discussed how the cities are fictionalised, becoming protagonists in the script and visual narrative. We also compared them to architectural examples of the same period and place, generating a dialogue between representations of urban space in both the film and the architecture. The films ranged from art house movies to documentaries and popular culture hits. An associated series of films were screened at Cinema City including Bladerunner & Playtime. Reenie Elliot, James Quinn and Charles Emberson and 2nd year students discussed the architectral and cultural context of each film with a live symposium with audience participation at Cinema city.
Physical
A collection of working and final design models from first and second year architecture students from Norwich University of the Arts. The models showcase a range of manual and digital fabrication techniques at a variety of scales, all based on proposals in Norwich, with an emphasis on process and craftsmanship. ARCH2A Design1 Architecture Year2 Folding Apparatus Miralles Arch. Grenoble Table 1998
First year students recycled doors & windows to create this installation in Duke street Foyer.
UEA Campus Walking Talk.
Spooky City (Post-Physical)
A collaborative installation between first and second year architecture students from Norwich University of the Arts that explored themes of the ethereal and supernatural through a close observation of materiality, form, and movement. The installation was exhibited in Norwich Castle.
Half a century on, Denys Lasdun’s campus for the University of East Anglia remains a pioneering attempt to connect landscape and modernist architecture. Revisiting the context of the project, and in conjunction with the recent grading of Brutalist building in Britain, NUA architecture Lecturer François Girardin lead a walking talk of the different buildings forming the UEA campus beginning with the “Ziggurats” followed by the Sainsbury Centre by Norman Foster, and the new accommodation blocks by Rick Mather, John Miller and LSI Architects.
Facilities
This year, we are delighted to report that we moved into Boardman House, a former church hall, reinterpreted by architect Anthony Hudson. Shortly after moving in, Anthony won an RIBA East Award for the building. We have expanded our facilities to offer students of Architecture open dedicated drawing studios complete with drawing boards, access to 3D workshops and digital fabrication facilities, and further extended our library collection. We continue to run a series of design, collage, model-making and construction technology drawing workshops, and have intensified our architectural design programmes for years one, two and three.
Hudson Architects Norwich RIBA Regional Awards 2016 “Hudson Architects has transformed a grade II* listed Sunday School building built in 1879 into an impressive new facility. The extensive level of renovation and refurbishment internally is only hinted at outside. A double height entrance atrium acts as a focus for orientation, but is not revealed until you enter the space, as the focus is the new stair. This acts as a sculptural object with oak treads and a delicate water-cut steel balustrade which echoes the balcony detail of the existing building. Various activities throughout the building have been thoughtfully placed by the architect according to environmental need: the lower ground floor contains a black box studio space while the upper, well-lit floors are design studios. The building’s controlled palette of materials provides the setting for the students to occupy and colonise their spaces.” Architecture.com Riba East Awards 2016
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Credit: Joakim Boren
Staff in Architecture
Thanks to:
Course Leader:
Thanks to our Architectural, education, library, and other advisors including:
Reenie Elliott RIBA ARB Yr3 Coordinator, Senior Lecturer.
Course Team: Michael Lewis Yr1 Coordinator, Lecturer. François Girardin DPLG Yr2 Coordinator, Senior Lecturer. Simon England RIBA ARB Jerome Tsui AAdip. James Quinn Graduate Academic Assistant Evening lecture series: Professor John Tuomey & Sheila O’Donnell Professor Will Alsop OBE RA Professor Jane Rendell Professor Wendy Pullan Laura Allen
Professor Teresa Stoppani Professor George Henderson Alan Atlee Chris and Elspeth Cross Louisa Milsome Angela Tubb Charles Emberson Professor Neil Powel Colette Colman Andrew Friend Louise Chiu Sebastian Owen Jan McLachlan Gordon Burnett Jane Askew Carl Rowe
Thanks to:
Paul Fieldsend-Danks
Emma Ryder
Martin Schooley
Ben Beauchamp
Fran Wall
Georgie French
Sonja Ruddick
Nicola Deans
Carl Bayliss
Will Teather
Gerry Riches
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We had inspiring design critiques with invited architects and distinguished guests including: Professor Hilary Carlisle Professor Anthony Hudson Iain Carson Dr. Krzysztof Fijalkowski Jane McAllister Ben Stringer
Thanks for the Opportunity of the Site Visits to: Peter Salters, Notting Hill Houses Rupert Kitchen, Karl Brooks and Matthew Reeves from LSI Architects Alex Mackay senior contracts manager at R G Carter. Invaluable Buildings tours, lectures and discussion have been offered by:
Daniel Swift Gibbs
Jim Fitzpatrick and the editorial offices and chief editorial staff of the Irish News and the printing press staff.
Jonathan Mawer
Museum of Contemporary Art, Belfast
Cassie Godfrey
Mark Hackett forum for an Alternative Belfast
Robert Mainwaring
Todd Architects Belfast
Jim Curtis
Linen Hall Librarians Belfast
Joe Stancer
Belfast exposed Photographic Archives
Jon Greenfield
Birte Timmermann from the Staatsbibliothek zu Berlin.
Stephen Larcombe
Sarah Griffiths Tony Clelford (ARB mentor)
Wendy de Graaff from the Dutch Embassy in Berlin
Graeme Jennings (ARB Mentor)
Raoul Kunz from T.U.Braunschweig
Structural Design Seminars and Costings Workshops: Alan Conisbee Engineers Mark Baxter Visiting Artists: Harriet Posner Dr Nic Maffei
Petra Waeldle from Staab Architeken Berlin
Catalogue design: Franรงois Girardin Cover design: Bertie Hipkins Printed in Norfolk by Swallowtail printed on fsc certified paper
Catalogue kindly sponsored by:
Hamson Barron and Smith Architects
LSI Architects
Owen Bond Architects
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