Landscape Architecture + Urbanism: University of Greenwich School of Design, Show 2021 by University of Greenwich School of Design

2021

University of Greenwich School of Design 11 Stockwell Street Greenwich London SE10 9BD Design_School@greenwich.ac.uk +44 (0)20 8331 9135 Copyright © University of Greenwich 2021 No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photography, recording or any information storage and retrieval system without permission in writing from the publisher. We endeavour to ensure that all information is accurate at the time of publication. ISBN: 978-1-9996921-9-3 Design: Claire Mason + Mike Aling Production assistant: Lenka Rajmont

Landscape Architecture + Urbanism

University of Greenwich

Introduction Professor Stephen Kennedy

School of Design

Head of School

Dear Graduating Students, I look with great admiration at the work produced this year. Fearless experimentation abounds and the energy that emanates from these collective works is palpable. Incredible challenges have been surmounted with a degree of wit, ingenuity and imagination that has become the hallmark of Greenwich graduates. So, as you leave to take on new challenges, I want to thank you, not for your patience and fortitude, but for the joy and creativity that you have brought to the School and the University during your time with us. In a year when it might seem like crisis management has become the new normal, there would appear to be little obvious to celebrate. In many respects this is true, but from a different perspective it could be said that this has always been the case: chaos and uncertainty form the natural terrain of the creative individual - the space of possibility to which we are drawn. That said, it must be acknowledged that there is much you have missed out on. The opportunity to inhabit this creative space has been massively impacted. But somehow you have inhabited it, and in a way that has seen your talent and potential emerge undaunted. It would seem then that there is in fact a great deal to celebrate! Finally, I want to remind you that you are, and always will be, members of our community, and as such will always be able to draw on our support and comradeship. Whilst we wish you all the best for future endeavours, we also look forward to welcoming you back to share with us the exciting results of your success in having navigated these recent extraordinary circumstances.

LAND POLICY

BA (Hons) Landscape Architecture BA 7HONS9 LANDSCAPE ARCHITECTURE

BA (HONS) LANDSCAPE ARCHITECTURE

YEAR 1: Contested Spaces and Resisting Enclosures WILL SANDY + ELIN EYBORG LUND

its ownership and rights of way. Today, the battle continues. As the importance of access to green space grows, can we find new ways to safeguard them as freely open and accessible assets for all? This site provided the opportunity to celebrate and enhance these green links, raising awareness of their vulnerability and firmly integrating them into the lives of those who live, work and play nearby. Each site was analysed through the lens of policy, demographics, accessibility, infrastructures, ecological layers, heritage and the important role activism plays in safeguarding public spaces. The methodological focus of the year was for students to learn how to carry out an iterative process of research and design, from analysis and understanding to initial diagrammatic responses, model making and drawings. Through this investigatory approach, the students started to develop their own critical thinking about their environment and utilsing mixed media, they have experimented with their ideas and understanding. Through these experiments, we explored how to inform contemporary conceptual ideas with urban conditions, cultural relations, and practices of everyday life. The students used these findings to create innovative proposals that challenge the conventional ideas of the contemporary city.

Students: Nailah Ahmed, Ruby Allison, Xi Gong, Lydia Graham, Dmitrijs Jankovic, Cleo Lewington, Rabiah Mohammad, Joe Reynolds, Molly Walker, Morris Winby, Bil Younsi, Ivan Yordanov.

THIS Y E AR' S them of Land Policy v in e t d t h e s t u d e n o t x e p l o r h w o p o l i c y af e c t s p l a c e a n d w h t a t h a m e a n s f o r l a n d s c p e a r c h ei t u . Throught their profesinal lievs, studen wil encourt a avriety of public polices. We chose ot aply The Countr yside and Rights of Way Act +--c( , ) knwo informaly as the CRoW Act or "Right ot Ro. a”m We awentd ot xeplor hwo the policy im p a c e t d o u r o w r k a n d h w o t h e s t u d e n o w u l d r e s p o n ,d w h e t r t h y e s w a i t a s a n o b s t r u c i n o r a evhicl for ogd. Acros the eyars thre projects, ew s e t o u t o t x ep l o r , un d e r s t a a n d di s e m n t a t h e f r e d o m o t m evo t h r o ug t h e . ci t y C o ntested Sp a ce: P r oj e ct 2 & 0 focused on the Thames , yptawh just East of Toewr Bri.edg The brief loedk ta hwo the rouet along the Thames is di v e , a s ew l a s t h e p e r m i s v o r un p e r m i t d rights ew evha ot use it. Are ew fre ot awlk throug al space in the city? Which space are pr,eitav w h i c a r e p u b li c , w h e r a r e t h e y h b r i d s p a c e , bluring the lines betwn public and pr?eitav The s t u d e n d o c u m e n t t h e ir p y s h i c a l , j o u r n y e t h e ir x e p r i n c o f m v o in g t h r o u g t h e , c i t y t h e b a r i e s , t h e a c e s , ib l t y a l o n g w i t h t h e r e l t a i o n s h p betwn the public and pr.eitav The project owrk xeplord hwo the "Right ot Roa”m owrsk in reality a n d h w o i t af e c t d t h e i r x e p r i n c a l o n g t h e Thames ptah. R e sisting En cl o su r e: P r oj e ct 1 a w s l o c e t a d in East Londo, a hisotrc maretk rouet linkg Nor th East Londo with the Ci.ty Knwon locay as the u g ‘ l y , b r ’ i e d g e w q u e s t i o n d i t s im p o r t a n c e s e m in g l y in s g f c a t f o t b r i e d g o r a s t r e g a i c gren link? The are has long ben asoecitd with a c t i v s m a n d r e s i t a n c o t t h e e n c l o s ur o f o p e n l a n , d a s e w l a s a n u m b e r o f c o m p x l e c o n f li t s e v ro

— a

↗ Cleo Lewington Framing History → Joe Reynolds Parallel Rush

1 Rabiah Mohammad Containing Character, Ley Valley 2 Cleo Lewington The Nest 3 + 5 Dmitrijs Jankovic Lea Bridge Gateway 4 Molly Walker Reinforcing Identity

6 Ivan Yordanov Lea Bridge, Gateway to Metropolitan Open Land 7 Ruby Allison Butterfly Bridge 8 Lydia Graham Colour Garden 9 Xi Gong The Betta Bridge 10 Morris Winby A Moment Through Time

BA (HONS) LANDSCAPE ARCHITECTURE

YEAR 2: Landmarks — City Woodland MEAGHAN KOMBOL

Students: Aphra Das Gutp a, Naomi Maguire, Leigh Pearce, Sofia Peon, Lenka Rajmont, Oly Rodgers, Elise Rodney, Henry e W stphal- Reed, River Wittke, Ida Zaninovi2. With thanks to: Em a Cotl hurst, Alexis Liu, Jenn Mui, Ben Smith, Simon Withers.

HOW CAN a community grow out of a woodland? How can a woodland grow into a city? The Landmarks — City Woodland brief advocated for a slowing down, seeking light and creating awareness of the life trees and woodlands bring to our cities while exploring dynamic interactions and opportunities for urban life, environment and ecolog y to co-exist. Projects explored how to better integrate woodlands into our cities y b looking at how they can become both a future resource  and an asset treasured y b its city’s stewards.  Exploring the London Plans Policy ć. Trees and Woodlands ,  projects sought to explore how we can  expand  the woodland areas of the Great North o W od — an area of ancient woodland that  previously dominated   South London. This  brief challenged our understanding and the potential for the operations behind planting a woodland,  as well as the management of the woodland as a community asset. This included reviewing the existing woodland’s tree species, proposing new tree species and developing a maintenance strateg y — and, importantly, designing an inclusive woodland that fosters a sense of stewardship  from its local community.  The successful Landmarks — City Woodland projects form communities that are symbiotically connected to their woodland surroundings, intent on caring for its future.

→ Leigh Pearce Recapture the Wild

1 Lenka Rajmont Dirt is Dirt 2 Naomi Maguire A Quiet Place 3 River Wittke HyperNature 4 Henry Westphal-Reed Creation through Subtraction 5 Aphra Das Gupta School of the Dasoscene

BA (HONS) LANDSCAPE ARCHITECTURE

1 Ida Zaninović Connection Library 2 Elise Rodney Reconnect to Connect 3 Olly Rodgers The Bio-Char Factory 4 Sofia Peon Swifts and Bats as Bioindicators

BA (HONS) LANDSCAPE ARCHITECTURE

YEAR 2: Seeing The Wood For The Trees AKIL SCAFE-SMITH

Students: Aphra Das Gutp a, Naomi Maguire, Leigh Pearce, Sofia Peon, Lenka Rajmont, Oly Rodgers, Elise Rodney, Henry e W stphalReed, River Wittke, Ida Zaninovi2. Thanks to: Meaghan o K mbol, Rose Nordin.

WORKING IN collaboration with The Landmarks City Woodland studio, Seeing The Wood For The Trees focused on the use of digital and m ie x d media as tools for fostering stewardship and engaging local community in the students’ projects. Students used the creation of a locally produced zine to position the wood as a complex site of cultural production, a process that encouraged students to understand local collective behaviours, social mores, artforms, and even communities, as part of the topological and temporal ex tension of the Great North o W od. Through their zines, students reflected on how, today, might we evoke the spirit of the wood through creative practices, artistic representations, and ethical-aesthetic values in order to reconnect past and present for a more sustainable and equitable future. Additionally, students utilised representations of a living and relevant woodland to engae g the diverse and vital communities living in its urban protraction. However, the task of this module was not a purely aesthetic one. Zine-making, lie k many sensitive methods of material production in the Great North o W od, draws on much broader ecologies in order to closely connect writers and illustrators to their readers. The studio considered not only questions around the content of zines but also around the ownership and stewardship of the means of zine production. Students interpolated heuristic, woodland-based production techniques lie k coppicing, bodging, and charcoal-making, with DIY physical methods, experimentations in their homes, and digital methods of collae g , illustration, and animation.

→ Lenka Rajmont Eat The Wood + Play The Wood

1 Sofia Peon 2099: Reclaiming Our Landscape 2 + 3 Leigh Pearce Recapture The Wild: The Bodgers 4 Ida Zaninović Connection Library

8 5 Olly Rodgers The Bio-Char Factory 6 River Wittke A Field Guide to Getting Lost 7 Naomi Maguire My Big Tiny Book of Sounds 8 Elise Rodney Oh Crumbs! Where’s the Great North Wood Gone?

BA (HONS) LANDSCAPE ARCHITECTURE

YEAR 3: The Pandemic Proof City Town

KALLIOPI BOUZOUNIERAKI + ALEXIS LIU + HELENA RIVERA

Students: Mohamed Boumaiz, Ruth Davies-Mourby, Henry Day, Benjamin e K ene, Eve Leatham, Hope Morris, Mohammed Patel, Avery Steckbauer. Thanks to: Tiago Torres- Campos, Patricia Brown.

“Part of the history of urbanization is building and managing your way out of infectious diseases, such as cholera outbreaks in the middle of the 79th century.” — Bloomberg City Lab —+—+ THE 20 Covid- virus led to an international lockdown unprecedented in the history of modernity. The pandemic initially hit large cities the most. This is due to the density and proximity in which we live, and the limited access to private green space, single-family dwellings and the interconnectedness which large cities rely on. However, London has never been a truly centralised city S ( ennett —+ .) Instead, it is composed of multiple town centres that are collectively and loosely connected making the morphology of a large city. This unit capitalised on this morphology and imagined a future where town centres became assembly points of hyper locality; where local high streets became landscapes of destination; and where living and working was clustered around town-centres within a +-minute walk. The first term was dedicated to designing a bespoke +-minute scale. The students didn’t have a site, but they had a vessel: either a skateboard, a train, a bus ride, a pair of walking shoes, a bicycle, a socially-distance derive, or a wheelchair. At the end of this first term, every student had designed their own scale bar and written an urban manifesto which formed the premise of their +-minute town. In the second term, students tested their manifesto by deploying their scale bar into a spatial strategy for the +-minute city town. Everyone

worked on their local high street making site visits more practical since the academic year was spent in lockdown. This term was called ‘operation high street’ and was dedicated to the design of both an urban and neighbourhood plan where the process, methodology, and critical analysis made in term 1 informed the development of each proposal. Although all of the projects are London-based, the ideas and strategies have international transferability. We tested their transferability by deploying the projects to a different location, and in doing so we visited Chicago, Medellín, Delhi, Tokyo and Los Angeles. Moving the 10-min town strategies abroad gave us an opportunity to test the resilience and adaptability each project, and to modify the strategy ensuring it can assimilate to a different context. This year was unique. For this reason, the brief was written to allow students to engage and critique the very complex reality that was unfolding before them. We emphasised early on that the current context urgently required that an ideological discussion take place questioning how we live, work and commute. This cohort is ideally suited to lead this conversation because are the first generation of designers, landscape architects and urbanists to emerge from this pandemic. And congratulations to them all, Avery, Benjamin, Eve, Henry, Hope, Mohamed, Mohammed and Ruth who demonstrated resilience, enthusiasm, and a critical eye during this difficult year.

→ Ben Keene Disruptive Order

1 Ruth Davies Mourby Forestopia 2 Mohamed Boumaiz Luton for the Runners 3 Mohammed Patel A Home for Sid and Susan 4 Hope Inge Morris Skyway, wayfinding and Protected Views 5 + 6 Avery Steckbauer She Belongs to the Streets

1 Ruth Davies Mourby Forestopia 2 + 3 Henry Day On Your Bike

BA (HONS) LANDSCAPE ARCHITECTURE

↓ Ben Keene Disruptive Order

→ Mohammed Patel A Home for Sid and Susan

1 + 2 + 3 Eve Leatham Skater’s Market… Pedestrians Unwelcome

LANDSCAPE ARCHITECTURE + URBANISM

EXPERIMENTATION + COMMUNICATION: Landscapes of Delight at The House of Delight HARRY BIX

BA1: R uy b Alison, Xi Gong, yL dia Graham, Dmitrijs o K pendjuks, Cleopatra Lewington, Rabiah Mohammad, Joseph Reynolds, Moly l a W le k r, Morris Winby, v I an o Y rdanov, Nabil o Y unsi. MLA1: Gokuleshwaran Asokan, Elena Cep o, David Eek, a T ffeta Gray, Gemma Houtl , Charlotte Parsons, Ian Smith. Thanks to: Kaliopi Boo uz unieraki, James Fox, Ben e K ene, Lenka Rajmont, Oly Rodgers, Wil Sandy, River Wittke.

THIS Y E AR students made delightful landscape design interjections along a busy tourist route in Greenwich — the journey from the DLR D(ocklands Light Railway) Station to the Greenwich Observatory. Their aim was to catch the attention of tourists and redirect them towards ephemeral, historic, unseen, momentary, or forgotten curiosities of Greenwich. L andscapes that students focused on ranged from a crack in a building facade to the archaeolog y of a jousting tower. Each of the students developed their designs in accordance with a particular season and time of day. The Queen's House (The House of Delight) was employed as the main point of distraction and provocation for the student investigations. Their delights act as vessels that enable these complex landscape relationships.

→ Joe Reynolds Hidden Refuge

1 + 3 Elena Ceppo Temporary Revelations In The Spotlights 2 Molly Walker Understanding Autumn In Motion 4 Gemma Hoult Making Dreams Come True 5 Cleo Lewington Fall Through The Cracks 2

1 Ian Smith A Falling Ceremony 2 Ruby Allison A Deconstructed Mandala Made Up Of Contextual Forms 3 Xi Gong Fragments

BA (HONS) LANDSCAPE ARCHITECTURE

1 Ian Smith A Falling Ceremony 2 Taffeta Gray You’re Dead To Me 3 Rabiah Mohammad A Delight for the North Elevation of the Queen’s House on a Summer’s Afternoon 4 David Eek A Walk Through Colour 5 Xi Gong Fragments 6 Charlotte Parsons Experimentation and Communication Mid term Crit Poster

BA (HONS) LANDSCAPE ARCHITECTURE

Masters Landscape Architecture + Urbanism MASTER OF LANDSCAPE ARCHITECTURE 7MLA9

Masters Landscape Architecture + Urbanism cont... MA LANDSCAPE ARCHITECTURE

MS c ARCHITECTURE, LANDSCAPE AND URBANISM

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

UNIT A: Commonland EMMA COLTHURST + HONORÉ VAN RIJSWIJK

MLA1: Gem a Houtl MLA2: Daniel Atezi, Laura Bush, Amund Hugin, Cong Ma , Phil p e Malaus en, Evgenia Minave , Ashyle Thomps n, Lily van Epen. MA: Daniel J Wray Thanks to: Tom Bud , Dunca Goodwin, Benz Kotezn, Alxeis Liu, Magnus Mefenzrick Koitz, Jamie -Scto Ba x,etr Johan Just, Ed Wal .

CAN YOU liev under a motr ywa bri?deg Can oyu reactiv a land fil s?iet Can oyu dig for oyur won resouc on a oglf cours?e This ,eyar Unit A p r o s e d a r a d i c l, l i b e r t a d a n d c r e t a i v a p r o c h ot urbanised landsc pe. Any thing is posible on t h e c o m n l a d , t h r o u g c o l e t i v l a n d wo n e r s h i p a n d a s p ir t o n l d e c i s o n m a k in g . As a unit, we chalengd, reimagnd and p o s i t e v l y c o n t r i b u e d o t l a n d wo e r s h i p r e f o m i n England. Our lievs are al impacetd yb land wo n e r s h i p a n d , p o l i c y s u c h a s a c e s o t p u b l i c l a n d and the divson of land, ser vic and rights. We wer inspred yb the Land Reform S ( cotland) Act +-- . We xeplord ‘the comunity right ot ,buy’ t h a a l wo s a l o c a y f o r m e d C ‘ omunity Body’ ot a p l y f o r l a n d t h a i s n o t f o r s a l, e i f i t i s a b n d o e or neglctd. We also consider unregistd land. Through xeploring not for profit comunal landwoers,hip Unit A cretad unprecdt m u l t i - e y r a d l i v n g , wo r k i n g a n d r e c ta i o n l landsc pe, as comnlad. Empwoering loca c o m un i t e s ot t ae k b a c k c o n t r l o f l a n d u s : e i t s r e s o u c , i t s m a n e g t a n d s p ta i l o r g a n i s t for futre egnrtaios. The unit shaped the a c t i v e s , m e ta r i , l y s p ta i l f a b r i c a n d r u l e s o f t h e p r o s e d c o m n l a d, w h i l e c o n s i d e r g t h e f r e d o m a n d c h a n g i i ne t r s o f t h e c o m u n . i t y In Par t On,e the unit xeplord our first study siet in South Londo. The unit design complientar y s e t l m n p o s t , s t r e ag i c l y p o s i t n e d w i t h n a t r a n s f o m t i e v a n d e t m p o r a y l a n d s c p e.

The posts creatively explored the three unit themes: activation, living and resources. For example, the settlement post(s) investigated, Age of the Eel, Turning Tides and the Victorian Bath. A settlement post therefore defines a ‘fixed’ condition (the post), with dynamic and expanding activation that creates playful participation with a community and forms a critical beacon for the commonland transformation. In Part Two, the unit developed the themes and proposed a 1:1000 settlement strategically positioned between St Pauls Cathedral and the M25. The unit explored effective and inventive ways to functionally, socially and spatially organise its future commonland settlements. Defining a living vision for the community and continuing to investigate the three themes: living, activation and resources at multiple scales. The commonlands provide the opportunity to empower local communities to take back creative and organisational control of their landscapes and lifestyles.

→ Amund Hugin The Factory

1 Ashley Thompson The Obstacle Becomes the Way 2 Philippe Malaussene Deptford Damp 3 Laura Bush Viragos Settlement Camp 4 Lilly van Epen The 20YR Exchange 5 Evgenia Minaeva Water to Empower Community 6 Gemma Hoult Sleep Escape

1 Philippe Malaussene Deptford Damp 2 Daniele Atzei Silent Gardens 3 Gemma Hoult Sleep Escape

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

↑ Amund Hugin The Factory

↑ Daniel Wray Open up the Prison

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

UNIT B: Venustas is Complicated HARRY BIX + JAMES FOX

MLA1: Hugh Chapman, David Eek. MLA2: Teresa Carmelita, Maddy Ferns, Michael Halifax, Olivia Pemberton, Tsveti Petrova, Varna Suresh, Stephanie Walker. MA: Ava Dunning, Mattis Schneider. Thanks to: Altan Dervish, Eric Guibert, Jim Hobbs, Phil Hudson, Antony Nelson, Ross Schaffer, Tracy Stringfellow, Frankie Tomany, Seamus Ward, Royal Greenwich Heritage Trust.

" Went to visit my worthy neighbour Sir Henry Newton and consider the prospect: which is doubtless for city, river, ships meadows, hill, woods and all other amenities one of the most noble in the world;" — John Evelyn writing of his visit to Charlton House, —+ OUR STUDY site was Charlton House, a Jacobean Manor run by the Royal Greenwich Heritage Trust. We paid particular attention to a small building on the boundary of the gardens there. This building ‘The Banqueting House’ was of interest to us because it operates as a node in the landscape: From within, it invites us to it, then on arrival IT offers us something more - ‘the most noble view in the world’ being now Charlton, a church, and a line of shops. In these turbulent times we thought to locate ourselves at a fixed base of architectural thought, maybe an o ‘ riginal’ policy of design from Vitruvius: That a (landscape) architect should focus on three central themes when preparing a design for a (landscape): firmitas s( trength), utilitas f( unctionality), and venustas (beauty). Each of these policies became the subject of

interrogation as to its meaning in the contemporary context. They formed the basis of all of our work, and of the questions that we asked in the studio: Is it well made? What is its use? And is it beautiful? These enquiries soon became complex and difficult, particularly in the case of beauty which is very complicated. As is always the case in this studio we practiced a personal, student centred, methodology for designing through making, testing and modelling. We see this process and the moments therein as the output of the unit rather than whatever happens to be the end result. But as it happens the result is a VR Charlton House Banquet and: A gigantic effigy emerging from the football pitches, her knee protruding from a suburban street, her neck a bat roost; A broken avenue of mulberry trees leading to a silk kitchen, its worms and loom, wherein onions and beetroots spatter the cloth before being sent to the Banquet; A cabinet of curious landscapes, swamp, Eocene stone, fragments of lost stories, a V2 bomb; A socio-cultural rotation of crops and sport through Charlton’s “green deserts”; MUSIC as a garden, as unburdening; Refuges tucked into Charlton’s nooks and crannies, seeking beauty from illness; A feast of cheese and perry extending from here to Richmond, the cheeserie overlooking a midwifery ward, pears and medlars on Clapham Common; Some samples of moments in the landscape: Two chairs, a train passing, an armature, intercut with the capital ring and leading to the hook - The Banquet table; An extraordinary school: An experiment in itself, the product of experiment, by and for children; A route from the river Thames to Charlton House anticipating all of this; and... a Masque.

→ Olivia Pemberton Charlton Mix And Sample

1 + 2 Olivia Pemberton Charlton Mix And Sample 3 Unit B Venustas Is Complicated 4 Mattis Schneider On How a Growing Meadow Unburdens Society 5 + 6 Unit B Venustas Is Complicated

1 Varna Suresh Gaia Rising 2 Maddy Ferns Hidden Rest Pods 3 Michael Halifax Social Ecology: Crop Rotation of Charlton's Lost Landscapes 4 Ava Dunning The Silk Kitchen

5 Stephanie Walker Charlton House Cabinet of Curiosities 6 Mattis Schneider On How a Growing Meadow Unburdens Society 7 Maddy Ferns Hidden Rest Pods

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

1 Varna Suresh Gaia Rising 2 Tsvetelina Petrova Charlton Primary Experimental School of Science 3 Teresa Carmelita Edible Line 4 Ava Dunning The Silk Kitchen

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

UNIT C: This Water is Ours ROO ANGELL + ANUSHKA ATHIQUE

MLA1: Gokuleswhar n Asokan, Elena Cep ,o Taf tea Gr, ay Charltoe Parson , Ian Smith. MLA2: Fran Reevs MA: Milo Jones MSc: Silas Basyle Thanks to: Carie Godsif and Niki Apostlp uo Maniat form Arup for their etchni al sup ort and ins ght in the devlopm nt a n d a p l i c a t o n f o o p e n - s o u cr e m a p i n g sfotwaer for the Unit.

TOGETHER IN this studio we staekd smal loca a c t s woa t r d s e f c t i n g w i d e s p r a s y e t m i c c h a ,n e g y b m e a n s o f c o m n s i g t h e e n t i r c a n l network of England and Wales. Looking boeynd t h e s e wta r y s a s a f i n e t p y h s i c a l r e s o u c , we ie v n s t g a d t h e c o m p l x e s o c i a l a n d e v n i r o m t a l proces they supor t. Students devis i n e t r v o s a n d p r o c e s w h i c wo u l d f o s e t r d i e v r s t , n u r t e l o c a c a p i t e s a n d c u l t i e va a c t i , e v r a d i c l c h a n e. g Students worekd ta a raneg of scale ot un d e r s t a t h e c h a l e n g s o f r e s o l v in g l o c a p a r t i c ul y a n d d e c i s o n m a k in g , t r a n s i e c o m u n i t e s a n d a g r e i n e t r m s f o r t h e n e t wo r k as a whole. This narwo thread forms the core f r o m w h i c c o m un i t e s a b o u t t h e c o un t r y c a n dr w a s t r e n g h , s k il a n d s up o r t o t f r e t h e m s l v f r o m s t ea a n d m a re tk c o nt r l. Comonsig has anciet rots but is grwoin in p r a c t i e a n d e p i s t m o l g y i n a d i ev r s r a n e g o f f i e l d s , f r o m i n f o r m ta o t u r b a n p l a n i g o t q u e r comunites. We cal our shared ogds comns w h( e t r t a n g i b l e o r i n t a , g ) b l e u n d e r t h e p r i n c l e o f e q u a li t y o f a c e s a n d p a r t i c o n , a n d w i t h o u h i e r a c y w h( e t r s t , e a m a r e t k o r s o c i a l ) o f r a c , e ,egndr clas, lega stau. But in orde ot preotc a n d m a n e g o u r c o m n s we n e d o t u n d e r s t a c o m n s i g a s a n a c t i e v s o c i a l p r o c e s : wo r k i n g

together to nurture our shared abundance and resist threats from both state and market of gentrification, appropriation and exploitation. Using open-source mapping software to look at specific local conditions and how they interact (or don’t) over space and time, we experimented with how the principles and policies of direct participation in commonsing can be scaled across a network, the infrastructure necessary to support this and overcome the challenges, and how to expand its social, spatial, environmental impact beyond the narrow confines of the canal itself. Whilst the current management of the waterways focusses on leisure and wellbeing, most of the canals around the country today were dug out by hand under the Industrial Revolution and were a chief conduit for its far-reaching social, spatial and economic impacts — and deeply affected by its subsequent decline. Such disparate meanings and values enjoin us to consider their future in the broadest terms of social and environmental justice. Canals encompass many characters, from stretches of bucolic tranquility (even in the city) to feats of engineering and sites of intensification around locks and bridges, where intersections of routes create thickenings of meaning. At points these different priorities come into competition or conflict — canals and towpaths are narrow spaces — but also offer opportunities for exchange. These thin lines act simultaneously as trajectories, boundaries, borders, thresholds and liminal spaces.

→ Charlotte Parsons Watery Area of Refuge

1 Unit C Group Collage 2 + 3 + 6 Silas Basley No Fixed Abode 4 Charlotte Parsons Watery Area of Refuge 5 Taffeta Gray Don’t Fence Me In

1 Ian Smith Communal Mitigation: Confronting Economic and Environmental Threats 2 Gokuleshwaran Asokan Cheeping House 3 Taffeta Gray Don’t Fence Me In 4 Elena Ceppo Diversities in Commoning: Sharing Common esources Along the Canal, Strengthening Identities

5 + 8 Elena Ceppo Diversities in Commoning: Sharing Common esources Along the Canal, Strengthening Identities 6 Gokuleshwaran Asokan Cheeping House 7 Taffeta Gray Don’t Fence Me In

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

1 Charlotte Parsons Watery Area of Refuge 2 Silas Basley No Fixed Abode 3 Elena Ceppo Diversities in Commoning: Sharing Common Resources along the Canal, Strengthening Identities

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

LANDSCAPE ARCHITECTURE + URBANISM

LANDSCAPE TECHNOLOGY DUNCAN GOODWIN

Thanks to: Nick Coslet from Palmstead Nurseries, Jim Quaife from Quaife Woodlands, Helen Gillespie- B rown from Wildflower Turf, Drew Wetherell from Bourne Amenity, Mark Bentley from TEP, Steven Burton and Phil Crichton from Steintec Tuffbau, Jason Jensen, Sil Man and Hannah Smith from Campbell Reith, Cristina Refolo from RLA, Paul Traynor from Light Bureau, David Bracey from The Fountain Workshop, Gordon Hines from The Stone Federation, Alex Clark from Salix, Roger Cooper from Capita Lovejoy, Kim Dawson from Eastbourne Borough Council, Nick Williams from Safer Sphere, Cecilia Montauban, Freya Johnson, Lizzie Gardner, Tom Gray and Tim Morgan from ARUP, David Watson and Benz o K tzen from University of Greenwich, Brett Morse from Milestone Transport Planning, Giacomo Guzo z n from Gillespies and Ivan Clarke from Five Pump Court Chambers.

WHAT DO the UN Global Compact principles, the Ethical Trading Initiative and the Modern Slavery Act of —+ have to do with landscape technology? There is a growing requirement for companies to illustrate corporate responsibility, and that has to start with the development and adoption of a set of values and principles that guide our approach to the way we carry out our business. We, as an industry, have a fundamental responsibility to pursue agenda that protect human rights, promote environmental justice and help to combat climate change. To address these challenges, the Landscape Architecture and Urbanism Department within the University of Greenwich School of Design ensures students understand the consequences of material ex traction, production and manufacture, whether they be environmental, sociological or in terms of their carbon footprint. Students are then betterequipped to make Informed decisions on physical and material design project requirements and the impacts these have on the environment and people around the world. Innovation and creativity in material technologies

and processes have always been at the forefront of our technical modules in Landscape Architecture. We encourage our students to develop more creative approaches, beyond tackling the conventional core issues, that aim to minimise environmental and social impacts now and into the future whilst also responding to the aesthetic needs of the city dweller. This in part can be achieved by reducing embodied energy and carbon, targeting green infrastructure interventions and embracing the sustainable integration of water management to create effective, living and sustainable systems. We invite specialists from a variety of construction and creative disciplines to deliver key technical seminars that challenge conventional approaches and encourage exploration and discussion. Our students then reflect on and develop these approaches further in their projects and consider how they are relevant to their current and future ambitions as Landscape Architects. We provide a rigorous foundation in professional landscape architecture practice for both our undergraduate and postgraduate Landscape Institute accredited programmes. We encourage our students to explore established, historical and future approaches to material trends, emerging technologies, technical detail, professional regulation and project precedent.

→ Olivia Pemberton Building a Table

1 Naomi Maguire Quiet Place — Pond Detail 2 Lenka Rajmont Dirt is Dirt — Meadow Preparation 3 Olly Rodgers Hazel Coppice 4 Henry Day Endorphine 2.5 1

5 Ava Dunning Meadow Mowing 6 Gemma Hoult Rainwater Management 7 Cong Ma Age of Eel — Tree Detail 8 Amund Hugin Thames Path 5

LANDSCAPE ARCHITECTURE + URBANISM

↑ Ben Keene Post-Pandemic Town — Section

LANDSCAPE ARCHITECTURE + URBANISM

LANDSCAPE THEORY ANUSHKA ATHIQUE

Tutors: Roo Angell, Anushka Athique, Bob Bagley, Emma Colthurst, Benz o K tzen, Sarah Milliken. Thanks to: Mark Garcia, Christina Geros, Local Works Studio — Loretta and Ben Bosence, Joseph Schneider, Ed Wall.

“ I t m at e r s w h at m at e r s w e u s e to t h i n k ot h e r m a t e r s w i t h; i t m a t e r s w h a t s t o r i e s w e t e l t o t e l o t h e r s t o r i e s w i t h; i t m a t e r s w h a t k n o t s k n o t kn ot s , w h at th o u g ht s th i n k th o u g ht s , w h at d e s c r i pt o n s d e s c r i b e d e s c r i pt o n s , w h at ti e s ti e ti e s . It m at e r s w h at s to r i e s m a ke w o r l d s , w h at w o r l d s m a ke s to r i e s”.

— Donna J. Haraway

LANDSAPEC IS a messy business, it is experience and production, representation and archive. It necessarily crosses with other disciplines, forming connections across time and geographies, operating networks simultaneously at multiple scales. It is, as Georg Simmel describes, the infinite interconnectedness of objects, the uninterrupted creation and destruction of forms. Landscape History and Theory at Greenwich embraces this interconnectedness adopting an interdisciplinary approach across the entirety of all programmes. We work to reveal nuanced discussions between ourselves and other disciplines, other agents, and other collaborators - situating ourselves in the exchange between theory and applied practice. To be able to work wiht these relationships and to address the intimate d ( is)connections between the production and the enactment of Landscape we need to question how we htink about Landscape: how we categorise, how we conceive of its borders and boundaries; the language we use to talk about the multiple human and non-human agents that work simultaneously, but not always together, to alter and redefine our Landscapes. Landscape History and Theory at Greenwich explores the critical discourses surrounding landscape, architecture, and urbanism whilst identifying itself as part of  interdisciplinary an dialogue across design, performance, philosophy, sociology, geography, history, and anthropology. The exchange of ideas o ( ur own and other peoples) within our working group are key to understanding Landscape and Urbanism as live interdisciplinary practices.

In the first-year we look at the core ideas of landscape and architectural theory, contextualising our positions within London. In the second-year we expand this knowledge, exploring key texts through discussion and site-based workshops. In the third-year personal research is developed as a dissertation that connects sites, projects and landscape theory. Masters students combine and develop these research approaches with seminars and presentation to produce an illustrated thesis. As thinkers and designers at Greenwich, we use this discussion to explore the porosity between theory and applied practice. We actively encourage participation with research through workshops, seminars, site-specific investigation, and presentation. Our aim is to develop a critical methodology that can be applied to practical assignments as well as written work. In doing this, students develop an understanding of the multiscalar sites of research: the theoretical understanding of a site, the expansive view that comes with hindsight, and the immediacy of working with people and materials. It is an approach that appreciates knowledge — like landscape — as forever in flux, and that only by embracing the knowledge developed by different disciplines can we allow our own to grow continuously and exponentially.

→ Olivia Pemberton Cheese: An Expression of a Landscape

Madeleine Ferns How Can Landscape Architects and Other Public Realm Designers Use Design to Alter the Perception of Homeless People?

Michael Hallifax Biomimicry. The Increasing Application in Thought and Practice of Biomimicry in Landscape Architecture

Biomimicry derives from the Greek roots bios, meaning life, and mimikos, meaning imitation

The trend in recent decades of using hostile architecture in cities such as London has left those who are marginalised within communities feeling unwelcome in many places that are intended to be open to all. Frequently urban renewal introduces features into the landscape that are designed to discourage individuals from sleeping or lingering too long, such as spikes beneath shelters or slant ed benches. Inclusive design is a methodology that searches for multiple solutions to an issue, often through consultation between communities and professionals. If more widely applied to the process of designing public spaces, it could be one step towards creating a more welcoming, kinder urban public realm that is inclusive of groups that may previously have been sidelined or excluded. This essay looks at how landscape architects, and other designers in the public realm, can create public spaces that are welcoming for all people, specifically focusing on those that are currently experiencing homelessness, with a particular focus on rough sleeping.

Biomimicry comes amidst the manifest rise of biological, ecological, and naturally-inspired approaches to global issues in recent decades. The 21st century has been characterised by increasing concern about climate change, resilience, shifting demographics, resource depletion and continuing unsustainable practices. Biomimicry practitioners claim that it is this theory that is the imperative solution for this myriad of issues. Whilst only originating as a material science in the 1960s, Biomimicry has seen a significant rise in interest in recent decades. It was popularised in its modern guise in 1997 when Janine Benyus published ‘Biomimicry: Innovation inspired by Nature’ (1997). Since then, the number of papers published annually has risen from fewer than 100 in the 1990s to thousands now, and since 2016 a dedicated journal (Biomimetics) exists, and an increasing number of practices, projects and educational programs are adopting a Biomimicry methodology. (Lepora et al. 2012). This essay starts by examining the inherent presuppositions and permutations in section one, followed by a methodology analysis in section two. In the third section, the case studies section, now aware of Biomimicry’s inherent permutations, the essay will engage with existing projects on a multi-scalar analysis. Finally, the last section titled Biomimicry, will examine the considerations raised throughout this analysis, whilst asking - how does a biomimicry approach help us, as landscape architects?

3. 2.1 Billion Years Ago. Nucleated cells propagate.

Fig. 12: Cardboard City, Waterloo

“To those who lived outside and observed it, the name Cardboard City makes sense – seeing the shelter built from cardboard. For them, the people who lived inside were distant. People unlike themselves. Victims of government. Victims of their circumstances. Something easy to invoke and easy to forget. But the Bullring was a real place with real residents and their stories should be valued and recorded. In years to come, will we remember the commu-

The increasing application in both thought and practice of Biomimicry (syn. Biomimetics and Biomemisis) is revelatory. Questions arise, of its potential, its implicit issues and, perhaps most complex, why is this theory being applied over others — why now? The theories we adhere to are representative of contemporaneous society, and so, what introspection does Biomimicry inform us of? Under the umbrella of biologically informed disciplines, Biomimicry is a design methodology that advocates assert will lead to sustainability, innovation, and transformation. Its proponents ardently argue that this should, and will, be the zeitgeist methodology of the 21st century. Others would argue that it is a fad in the mould of another futuristic proposal and for some it provides merely another avenue of research. Then there are those who view Biomimicry as an inherently flawed approach philosophically, of inevitable failure, but even conceivably with the inadvertent potential to lead us to a dystopian future. 3

nities of survival that have since emerged in London, Milton Keynes, Northampton, Glasgow? Will we tell their stories?

”

(Jeraj, 2020)

Daniel Wray Can Temporary Urbanism be used as a successful tool in responding to the rapid changes in the built environment, looking specifically at social, economic and public?

Without doubt there is huge uncertainty across the world, with a global pandemic still in full swing and political upheaval in many countries. The UK will have to respond to the latest recession by slashing government budgets influencing urban developments, regeneration, and the public realm. This essay looks at how Temporary Urbanism can be used as a successful tool in responding to these challenging environments and how they are being developed within the urban fabric of London. Looking at the current discourse of Temporary Urbanism, I focus on the social, sconomic and public benefits using a range of case studies to help form my argument. I look at how Temporary Urbanism projects have been implemented across London, carefully selecting different typologies from Pop-ups to Meanwhile Spaces, whilst also looking at who has benefited from these projects and how we measure their success. How has Temporary Urbanism allowed for experimenting and prototyping? Can Temporary Urbanism be financially viable? I look at forward thinking Architectural practices like Assemble, Commercial pop-ups like Boxpark, and how local communities have influenced public policy through com munity groups and temporary initiatives. Overall, I want to understand if Temporary Urbanism can be a successful tool in responding to the rapid changes in the built environment, looking specifically at social, economic, and public benefits.

Olivia Pemberton Cheese: An Expression of a Landscape Literature Review

Terro

An u have whic ness Terro place and t whic rial c and a help belon theor these cultu in the peasa curio all as

Figure 17

This essay investigates the practice of farmhouse cheesemaking and the creation of a unique product Engaging theoriesof of origin terroir, taskscape and correspondence that expresses itswith place through taste, form which intersect with landscape practices and theories, it has aland texture — Terroir, taste of place. Such a practice lowed for an investigation into the larger factors and roles at play comprises awithin complex layering and interweaving the landscape of cheese. Through an understanding and of clarity of these theories, a dialogue can be created within this different skilled agents which show in the final study. The next chapter aims to give a base of the key theories product. Agents investigated are the cheesemaker, that will be looked at throughout this essay. the ruminant, the culture and the geography of the place of origin. It shows how exchange and inter 5 relationship between each agent produces a unique wheel of cheese illustrat ing Gatt and Ingold’s (2013) theory of correspondence in which daily, mutual interactions between skilled agents are researched. Using interviews and anthropological methods such as participant observation, the study reveals and examines these skilled agent’s dialogue of questions and answers. Furthermore, it investigates the idea of terroir: taste of place, and how taste, form or the texture of cheese reveals the landscape in which cheese is made. In gold (2000) refers to this in terms of taskscape which explores practical tasks undertaken by skilled agents through and in the landscape. The conclusion will argue that neither one of these skilled agents have greater influence over the other but that they work together as a harmonious system to create a product which is greater than its’ sum.

Figure 17: Cheddaring at Hafod: A process of stacking the curds on top of each other to get the extra whey out (Darby, 2021)

Image 05. Rye Lane Peckham (VICE, 2021)

Image 06. Copeland gallery Peckham (VICE, 2021)

LANDSCAPE ARCHITECTURE + URBANISM

Tran tivati micr the h the s Paxto chee a uni

BA (Hons) Urban Design THIS Y E AR

The Research Excellence Framework submission (REF 7971) was the major research event over the past year. Whilst the submission required significant efforts from individuals within the School to meet the March 7971 deadline, it has enabled the School to better calibrate and celebrate the range and quality of research being undertaken. This exercise has shown that the increase in research and allied enterprise activities across the various disciplines is remarkable and stands as testament to an environment which encourages and lauds research and enterprise. The number of staff submitting to the REF doubled over 2 years, enabling us to submit over (9 journal articles, books, book chapters, edited books and Multi Component Outputs (MCOs). The MCOs were a special feature of the submission, allowing practice based research to be highlighted and disseminated in the best possible way. Growth in research is evident in the numbers with 19) journal articles, 11 monographs, 14 edited books, 68 book chapters, 09 conference papers and proceedings and 09+ shows/exhibitions. This increase is partly the result of a staff recruitment strategy to employ internationally excellent research active staff who have PhDs and, where they do not have PhDs, to encourage them to undertake PhD studies. There are currently 7( staff who have PhDs in the School with ( working towards a PhD. The School was also awarded 19 Vice Chancellor Scholarships, with 12 PhD completions during this period. Over the past year, the School has increased the number and diversity of Research Groups, aiming in the future to number around 19. At present these include: — Advanced Urban Research Group provides a focus for interdisciplinary urban research that intersects, new materiality, media, and space. — CAPTIVATE Spatial Modelling Research Group uses remote sensing technologies to build high fidelity digital models of cultural heritage for conservation, museological, and pedagogical purposes. — DARE (Digital Arts Research and Enterprise Research Group) which brings together theorists and practitioners to conduct research that re-thinks the possibilities for creative practice in the digital age. — INTENT (Integrated Nature and Technology Research Group) brings together the work, experience, knowledge, and interests of landscape and built environment groups around the theme of combining nature-based solutions with existing and new technologies. — Sound/Image Research Group uses practice as a tool of critical enquiry to investigate the possibilities available to create new aesthetic experiences through a range of audio-visual media technologies. New Research Groups that are emerging are Diversity and Inclusivity by Design and Critical Theory. REF7971 obliged us to have an in depth look at ourselves and our environment from a research and enterprise perspective, enabling us to celebrate our research and researchers and going forward to motivate us to ensure that everyone has the opportunity to undertake research that is meaningful to themselves but that also has greater impact beyond academia.

LANDSCAPE ARCHITECTURE + URBANISM

COLLECTIVE LANDSCAPE FUTURES ED WALL

IN MARCH we organised a series of events to explore future landscape and urban practices. Coleivtc Landscape Fuutres included three roundtable conversations — with students, graduates, tutors, and guests — discussing prevailing challenges in the design of landscapes and cities and how our collective voices can inform future programmes and practices. We were delighted to be joined by Julia Watson (author of Lo-TEK. Design by Radical Indigenism), Ben Campkin (Co-Director of the Urban Laboratory, UCL), Ross Exo-Adams (Co-director of Bard Architecture), and Martí Franch Batllori (EMF). MORE-THAN-HUMAN HISTORIES MoT re- han-Human Hiorstie was a conversation about ecological thinking and practices that have the potential to address the climate crisis. Speakers included: Julia Watson, Lenka Rajmont, Loretta Bosence, Meredith Will, and Roo Angell. URBAN DEVELOPMENT DIETS Urban Deevlopmtn Dites discussed practices of urban change that can advance rather than undermine social and environmental justice. Speakers included: Ben Campkin, Helena Rivera, Henry Day, Toya Peal, and Will Sandy. GARDENING INJUSTICE Gardenig Injusitce examined the role of landscape in the uneven distribution, ownership, and access to land – and the potential of other practices. Speakers included: Anushka Athique, Gemma Hoult, Martí Franch Batllori, Ross Exo-Adams, and Rebecca McDonald-Balfour. The roundtables were attended by students across the university as well as colleagues and friends from acournd the world. The events were not recorded, in order to support free and open converesations. Edited transcripts of the three events will, however, be shared publicly and will be central to the development of the Landscape Architecture and Urbanism programmes as we plan for the future.

Landscape architecture education at the University of Greenwich has an international reputation developed over fifty years. Confident, knowledgeable and skilled landscape architects have graduated from Greenwich, the oldest programmes in the country, going on to become leading landscape designers, landscape planners, garden designers, urban designers and occasionally academics in the UK and abroad. As one of the elite design and construction chartered professions, amongst architects and engineers, our education is both explorative as well as being finely honed towards professional practice mainly in landscape and environmental consultancies, where students become the creative and professional consultants who ensure that our world becomes a better place to live in whilst fulfilling their client briefs. Our aim is and has always been to prepare our graduating students for work, and to accomplish this we not only provide the necessary education in theory, technology and design but we promote interactions with industry employers and consultants — many of whom also studied at Greenwich — in five ways. Firstly, our students regularly meet with professionals in their design reviews where external consultants are invited to critique the design work and to talk about their own offices and approaches. Secondly, we organise live design projects where students work with designers and clients to realise physical projects. Third, we take students to visit offices and sites, both in the UK and abroad (when we are on field trips), to get a real impression of real office environments and where the students are exposed at first hand to the workings of an office and a particular consultancy’s approach, ethos and methods. Fourthly, towards the end of the year we also invite consultants as well as recruitment agents to engage with students with their portfolios and CVs, explaining what employers are looking for and how to create and curate a portfolio and how to engage with a potential employer from the outset; from the initial letter and introduction, to presenting the portfolio and oneself. Finally, our engagement with the Landscape Institute through our review group and our external examiners provides students with an excellent knowledge and future network from which to develop their careers. Employers regularly approach Greenwich as they have opportunities for landscape graduates as well as developing long-term agreements with the University to employ our students. Our engagement with consultants strengthens our alignment with the profession but also provides our students with an amazing resource which could not happen without the generosity of time, and energy that is brought into the University by the profession. In this respect, we would particularly like to thank e J nnifer Mui (MRG Studio), Carl Thomas (LOCRI), Armel Mourgue (Gillespies), Helene Saulue and Leighton Pace (Exterior Architecture) and Donncha O Shea (Gustafson Porter and Bowman), Mais Kalthoum and Helen Stokes (Agence Ter), Melissa Woolford (Museum of Archietcture), Woody aY o (Zaha Hadid Design), and a J ne Pelly and Graham Dear (The Royal Parks) for their generous contributions.

LANDSCAPE ARCHITECTURE + URBANISM

FUTURE CITIES SUMMER SCHOOL ED WALL

Summer School: Ed Wall, project lead. Harry Bix, co- ordinator. Tutors: Tangina Ahmed, Anushka Athique, Ruth Davies-Mourby, Arlene Decker, Alex Ioannou, Mei-Ling Schmid. Thanks to: Phil Hudson, Steve e K nnedy, Sam Morrison, Robbie Munn, Mark O’ Thomas, Joe Sampson.

future careers in landscape architecture and urban design. The 2019 Summer School was led and informed by experienced landscape architects and urban designers. It was supported by The Royal Parks, AECOM, LDA Design and Sayes Court.

THE LANDSCAPE Architecture + Urbanism team organise a unique summer school for Year —+ students interested in the design of future landscapes across London with a focus on ecological justice and urban equity. — A unique, free -day summer school for Year —+ students. — Exploring the design of landscapes and cities. — Developing drawings, models and manifestos to define a future London. — Learning from design professionals from across London. To join the Summer School or for more information, email: Design_School@greenwich.ac.uk The Summer School, founded in + —, involves young Londoners who work with small teams of landscape architects and urban designers at the University of Greenwich. During the week students explore how many different people can be represented in the future design of London. Students develop skills in photography, drawing and model making. The activities culminate in the construction of a seven and a half metre long collective model. Students create maquettes of their collective designs and develop models in the contex t of existing buildings, streets, parks and infrastructures. The Summer School aims to give opportunities for young people in London to understand the processes and practices of designing landscapes and cities. The skills and experiences gained are valuable for students in developing portfolios for

Landscape Architecture + Urbanism: University of Greenwich School of Design, Show 2021

Articles inside

Future Cities Summer School

Graduate + Student Employment

Collective Landscape Futures Events

History + Theory

Research + Enterprise

Introduction to Landscape Architecture + Urbanism

BA (Hons) URBAN DESIGN

MASTERS LANDSCAPE ARCHITECTURE URBANISM

BA (Hons) LANDSCAPE ARCHITECTURE

Contents Introduction to the School of Design