Landscape Architecture + Urbanism 2
University of Greenwich 20
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University of Greenwich School of Design 11 Stockwell Street Greenwich London SE10 9BD Design_School@greenwich.ac.uk +44 (0)20 8331 9135 Copyright Š University of Greenwich 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: 978-1-9996921-5-5 Design: Claire Mason + Mike Aling Production assistant: Altan R. Dervish
Landscape Architecture + Urbanism 2
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Contents
Introduction to the School of Design 1 Stephen Kennedy Introduction to Landscape Architecture + Urbanism 3 Ed Wall BA (Hons) LANDSCAPE ARCHITECTURE 5 Year 1 6 Somaiyeh Falahat + Alexis (Xiaotong) Liu + Duarte Santo Year 2 10 Harry Bix Year 3 Unit 1 16 Helena Rivera + Kalliopi Bouzounieraki Year 3 Unit 2 24 Meaghan Kombol + Clay Baylor Experimentation + Communication 32 Harry Bix + Shaun Murray MASTERS LANDSCAPE ARCHITECTURE + URBANISM 41 Unit A 44 Emma Colthurst + Honoré van Rijswijk Unit B 52 Harry Bix + James Fox Unit C 60 Roo Angell + Bob Bagley Advanced Studio 68 Ed Wall + Honoré van Rijswijk + Roo Angell Technology 76 Duncan Goodwin History + Theory 82 Somaiyeh Falahat BA (Hons) URBAN DESIGN 87 Research + Enterprise 89 Benz Kotzen The Landscapists Seminars 90 Ed Wall Graduate + Student Employment 93 Ed Wall Future Cities Summer School 94 Ed Wall
Introduction Professor Stephen Kennedy
School of Design
Head of School
You will forever be the graduating year of 2020 — not the unfortunate year who missed out, but the year who rose to the challenge. The year who dealt with unprecedented pressure and stress to fulfil your potential and produce the work that you were always capable of. Myself and all my colleagues in the school are proud to have been able to support you, and even more proud to witness the fruits of your labour. The academic year has ended, programmes are complete, and degrees awarded. Yet for many I am guessing there is a feeling of ‘unfinished business’ and incompletion. The School of Design shares those feelings with you and is committed wherever possible to make it up to you. The amazing work that is compiled in this catalogue is testament to your enduring creative talents and capacity to overcome adversity, and as soon as is practicable we look forward to displaying it in our gallery spaces. Until then it will be distributed widely across our creative community via our planned on-line show. The range and the quality of the work on display here is outstanding. Across all the disciplines in the School, the ability to work to find and implement solutions for the world as it is and critically re-evaluate the possibilities for the world as it can be, is demonstrated to great effect. As is the increased significance of the relationship between the virtual and the real, the remote and the present. As we retreated into the ‘safety’ of our digital cocoons your creative and critical skills were tested to their limits, and your efforts have been well rewarded. Thanks to you, the School of Design continues to go from strength to strength, and the work presented here attests to its growing reputation and standing as a creative institution of national and international standing. Thank you for your fortitude and resilience. Good luck for the future, and we look forward to welcoming you back to celebrate with us in person very soon.
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Introduction Dr Ed Wall
Landscape Architecture + Urbanism
Academic Portfolio Lead Landscape
It is not often that the focus of our work at the university seems as prescient as during these past twelve months. With a year that began with Extinction Rebellion protests raising concerns for the climate crisis and ending with Black Lives Matter protests occupying cities around the world, the theme of Disruptive Ecologies that we had planned has explored many of these actions and concerns. Disruptive Ecologies was partly inspired by Rebecca McdonaldBalfour, a student on the BA (Hons) Landscape Architecture programme, who won one of the Landscape Institute Student Travel Awards to study the transformation of public space during the Extinction Rebellion protests. It also reflected concerns amongst the student body as they consider their careers and ambitions. The year was also marked by the disruption to all of our lives of the Covid-19 global pandemic. From campuses being closed to new online meeting places and from missing friends and family – some who tragically passed as a result of the coronavirus – to expanding landscape conversations, this has been one of the most difficult years to be a university student and a complicated time to be a tutor. Such disruption can be a creative force, but it can also be extremely unsettling. It is to the credit of the students and their tutors that they persevered with developing their work from remote locations around the world, adapting their design approaches and producing such impressive projects. In March The Landscapists Seminars were initiated to support the students during this time and to explore conversations with landscape practitioners – from our bedrooms to their studios. With some of the most famous landscape architects from London to Shanghai and from Mumbai to New York, what began as a small group of thirty students on the first day developed to a daily audience of over 250 students, designers, friends and colleagues. The title and theme of the seminars was developed from The Landscapists: Redefining Landscape Relations, an issue of Architectural Design (AD) that included work of students and staff and was published by Wiley this year. As we plan for the coming year we are excited to be launching a new BA (Hons) Urban Design programme. This is an important development to our programmes as we explore the relations between landscapes and cities and how we can creatively inform their future. All the Landscape Architecture and Urbanism programmes (BA, MA, MLA, MSc and PhD) at the University of Greenwich are focused on the speculative design of future landscapes and cities, informed by site-focused research, within specific local, regional and global contexts. This new Urban Design programme will continue our exploration of ecological justice and urban equity, from theoretical discourses to new forms of material construction.
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BA (Hons) Landscape Architecture BA (HONS) LANDSCAPE ARCHITECTURE is the first step in a professional career in Landscape Architecture. It is the only programme of its kind in London that is accredited by the Landscape Institute. The programme centres on the design studio, working in small class sizes with lecturers from leading landscape architecture practices in London. Students are introduced to inventive approaches in Landscape Architecture and are encouraged to experiment and to develop design speculations for future landscapes and cities. Design projects explore a range of landscapes, working with green roofs, living walls, courtyards, public spaces, parks, squares, waterfronts, urban masterplans and regional strategies. Students also investigate historical contexts and contemporary ideas in Landscape Architecture, with studies informed by fieldwork in the UK and abroad. Visits to art galleries, museums and important landscapes in London, as well as lectures by leading international designers and artists, are essential to the programme. Classes in ecology, conservation, horticulture, construction, visual representation, drawing skills and digital communication further support the development of design projects. Graduate employment from this programme is high.
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BA (HONS) LANDSCAPE ARCHITECTURE
YEAR 1: The Sayes Court Landscape SOMAIYEH FALAHAT + ALEXIS (XIAOTONG) LIU + DUARTE SANTO
Students: Aphra Das Gupta, Nicola Hollis, Leigh Pearce, Sofia Peon, Lenka Rajmontova, Oliver Rodgers, Elise Rodney, Henry Westphal-Reed, River Wittke, Ida Zaninovic, Xu Ziqi. With thanks to: Roo Angell, Clay Baylor, Helena Rivera.
THE STUDENTS became familiar with basic design skills with their tutor Duarte Santo. In the second term, based on two lines of focus, theoretical explorations and design experiments, Year 1 students investigated phenomenological, social and political complexities of a site as an urban fabric and proposed a conceptual design as an inclusive intervention into existing urban life. We explored different subjective and objective features of the site in a series of lectures, site visits, discussion sessions, experimental drawings and model making, photography, filming and voice recordings. We also investigated and discussed the histories and politics of the site. The aim was to explore how these different aspects should/can inform and inspire our ‘design’ for the potential futures of the site. The design propositions interrogated the following question: How design can be an intermediary tool for negotiating both an environment’s and people’s rights in the era of capitalism? The class was structured around studio work, a one-week London or Paris itinerary, lectures, conceptual-experimental model making sessions, site visits, discussion rounds, watching extracts from films, and group or one-to-one tutorials. The theories discussed in the lectures shaped the key theoretical framework of the year and our conceptual designs. The students explored their initial design ideas in/by creating conceptual sketches and models. Their ideas were discussed in connection to relevant discourses in other disciplines such as geography and anthropology. The idea of the studio was to begin from the site itself, creating site-based design proposals following process-based approaches. We, thus, first investigated the site and then informed our design
ideas by discussing theoretical discourses and projects that were relevant to that particular site and our design ideas. The sessions of discussion and presentation, as well as lectures helped in producing a background theoretical and empirical knowledge for the design process. The year had four major stages: INVESTIGATION In this stage we tried to understand our site in two ways: subjective and objective. The investigation comprised of analytical explorations based on factual realities of the site, and subjective perceptions and interpretation of the site that were also informed through the interviewing of residents. In this stage we also critically and analytically studied a number of historical and/or contemporary landscape projects. CONCEPTUALISATION In this stage the students materialised their ideas in the form of conceptual models and sketches. These models were the very first stages towards developing a design proposal. DESIGNING Over the course of a number of weeks the students developed design proposals based on their investigations and conceptual ideas. During these weeks we had studio work accompanied by discussions on relevant theories and realised historical or contemporary projects, watching extracts of films, and pin-ups. FINALISING The last two weeks were devoted to final amendments and developments on the students’ work, as well as getting ready for the final crit.
→ Lenka Rajmontova Beevision
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1 Xu Ziqi Sayes Court Park Redesign 2 River Wittke In/Visibility 3 + 4 Oliver Rodgers Calibrating Transient Vessels 5 Aphra Das Gupta Sayes Court Park Deptford 2020
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YEAR 2: Warden of the Land — A Device for Landscape Ecologies HARRY BIX
Students: Henry Day, Ben Keene, Eve Leatham, Hope Morris, Mohammed Patel. With thanks to: Rebecca Cotton, Sam Sheard, Mark Sutherland.
HOW DOES the practice of designing landscapes relate to the landscape design itself? Year 2 students were asked to imagine a new type of landscape architect — a ‘warden of the land’ that operates on the ground from within a landscape. They were asked to think about the way that a maintenance person operates, performing their tasks in relation to particular journeys through on-site locations and stations with devices that control much bigger infrastructures; a security guard patrols the university building from room to room marking them as safe with a touch sensitive device; a grass cutter attends to all the parks within a London borough using a van and then a lawn mower to determine places where people can sit in the summer. Using the university workshop as their studio, BA2 made devices for their wardens, performed, acted out their tasks, imagined what their schedules and actions would involve and determined the wider infrastructure that the warden effects and operates within. The site was a 30-minute walk starting from Surrey Canal Path — a linear park linking Burgess Park to Peckham Library, leading to the busy retail units, bars, music shops, nail bars and butchers of Rye Lane through Peckham Station and eventually the start of Peckham Rye park. The BA2 studio experimented in producing new types of landscape architects; a pigeon-master warden, a water-managing-lockkeeper warden, a sound-sampling-live-editing warden, a land-sculpting-seating warden and a flame-throwing-BBQ-lighting warden.
→ Henry Day A Frame Within Natural Detonation
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1 + 2 Eve Leatham Pigeon Master of the Land — A Defence Against Criminal Ecologies 3 + 6 Henry Day A Frame Within Natural Detonation 4 + 5 Hope Morris Sculptor of the Land — A Shovel for Seating Ecologies
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1 Henry Day A Frame Within Natural Detonation 2 + 4 Ben Keane The Prospect of Refuge 3 + 5 Mohammed Patel Fire of the Land — A Flamethrower for Social Ecologies
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YEAR 3 UNIT 1: Measuring Disruptive Ecologies — #gini_studio HELENA RIVERA + KALLIOPI BOUZOUNIERAKI
Students: William Beament, Ruth Davies-Mourby, Georgia Good, Rebecca McdonaldBalfour, Rainah Uhl, Xiong Zixiao (Sean Xiong). With thanks to: Dickon Hayward (Material Works Architecture), German de la Torre (Heatherwick Studio).
THE MOST common method used to measure inequality is known as the Gini coefficient. This is a mathematical measure that looks at income distribution over a whole society, not just between different pre-defined groups. By lining up the whole population from poorest to richest and calculating the percentage of income each person has, this measure can show how far a society is from a perfectly equal one. This year, the unit developed different methods to measure ecology that integrates levels of urban inequity and environmental crisis. We did this by re-imagining the Gini index so that a ‘perfect society’ is not only measured by its equality but includes gradients of ecology (or disruption). Firstly, the unit defined the notion of urban ecological balance and identified the factors that lead to disruption. This enquiry generated new indices specific to each student, used to measure their site, interpret its conditions, re-imagine its potential, and design for direct action. The premise of our unit was to stimulate critical enquiry and data-driven design. We visited Venice to attend this year’s Biennale called, ‘May you Live in Interesting times’ from November 5th to November 7th. This landscape architecture and urbanism studio had an urban focus, exploring how small-scale interventions can have city-wide and regional impacts.
→ Xiong Zixiao PURELAND
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1 – 6 William Beament Recycling/Plant
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1 – 3 Rebecca Mcdonald-Balfour Participation: Deconstructing Democracy and Reassembling Power through Participation
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1 – 3 Georgia Good Fem-Way: Place of Protest
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YEAR 3 UNIT 2: Common Ground Studio MEAGHAN KOMBOL + CLAY BAYLOR
Students: Patricia Brehmer, Marco Capelli, Karina Cyganek, Milo Jones, Rhodri Jones, Aisulu Nurbakimoua, Avery Steckbauer, Zanna Woodgate. Thank you to: Ceylan Belek, Martin Bhatia, Alicia Booth, Matt Brown, Ciara Hanson, Cannon Ivers, Jenn Mui, Wouter Ombregt, Akil ScafeSmith, Taylor Steel.
OUR STUDIO this year focused on the London Borough of Croydon. Responding to their brief, Disruptive Ecologies, students were asked to identify issues local to Croydon and to design a direct action project that would confront environmental crises and urban inequities. The name of our studio, Common Ground, reflected the land owned by others, designed by us, but used by many — a concept that helped to set their intentions for designing a direct action that could provoke change. As Croydon is an outer London borough with its own conflicts, we expected the students’ direct action proposals to be focused on localised issues. While global issues are often tackled with direct action, the engagement on a local scale is also required to understand the social, cultural, economic and political pressures that affect the world. The first step in understanding their brief and Croydon was to get to know the community of Croydon and to better relate to their own struggles — as experienced by them. So, from the start, questions were asked and associated strategies required in order to help the students synthesize their research and formulate their proposals:
The year started out on foot walking Croydon’s central ward and visiting its renowned ‘hills’ — six multi-storey car parks. Our first interactions were both physical — eating food from street vendors, talking to local Extinction Rebellion group members and marching in support. Many sketches, debates and photographs later we undertook a more intellectual approach to research in developing geographic information mapping (GIS) and measuring data to help us understand what and where the inequities were located. This measured research led students to identify environmental crises or urban inequity issues that they would tackle. From here sites were identified. Initially some of these sites were large scale — 1:2500 sites, reflecting the larger scale impact of their chosen issue – such as the fluvial flooding, while others had a much narrower focus, such as obesity in relation to high streets. Their task of reimagining spaces, places and infrastructures in the creation of a direct action design project was never going to be an easy challenge, but it is one that the students took on with gusto. The topics for direct action proposals were thought-provoking, complex and diverse. Their projects ranged from Caring Lots — a project that looked at land banking in association with homelessness and food production, to the Positive Industrial Park — which looks at a new model of climate positive/carbon negative industrial parks. In doing so the students help to illustrate the role and agency designers have in reversing the impact of environmental crises and urban inequities.
WHAT issues will you confront, and what strategies will be put in place? HOW, and at what scale, can direct action become a design project? WHERE will your site be best located to maximize the impact of your direct action project? → Patricia Brehmer The Anthropocene 2.0: Man-made Environmental Phenomena
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1 + 2 Rhodri Jones The Green Route 3 + 5 Karina Cyganek Community Fridge Street 4 Avery Steckbauer Celebrate Transmit Preserve
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6 Karina Cyganek Community Fridge Street 7 – 9 Milo Jones ReWild the Wandle
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1 – 3 Zanna Woodgate The Positive Industrial Park 4 – 6 Patricia Brehmer The Anthropocene 2.0: Man-made Environmental Phenomena
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1 Aisulu Nurbakimova Croydon’s Urban Forest 2 + 3 Marco Capelli Caring Lots
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EXPERIMENTATION + COMMUNICATION: A Rig for the Modern Day Tourist HARRY BIX + SHAUN MURRAY
MLA1: Daniele Atzei, Megs Bellamy, Laura Bush, Teresa Carmelita, Hugh Chapman, Roberto Dotti, Madeleine Ferns, Michael Hallifax, Amund Hugin, William Lay, Philippe Malaussene, Evgenia Minaeva, Olivia Pemberton, Tsvetelina Petrova, Varna Suresh, Ashley Thompson, Stephanie Walker.
provocations for their investigations. These investigations have been conducted through a series of additive tasks within the first 6 weeks of their projects. The design of their rigs encouraged strangers to visit these sites multiple times — the rigs were vessels to enable these complex relationships.
BA1: Nicola Hollis, Chris Liasi, Amy McBean, Leigh Pearce, Sofia Peon, Lenka Rajmontova, Oliver Rodgers, Elise Rodney, Henry Westphal-Reed, River Wittke, Ida Zaninovic. With thanks to: Samuel Sheard, Mark Sutherland.
HOW MIGHT you design for an unknown landscape with potential? The space between Docklands DLR and the Royal Greenwich Observatory is the site for speculative Rig structures for the modern day tourists of Greenwich. Maritime Greenwich is a world heritage site within the Royal Park, comprising a number of historically significant buildings including the Queen’s House, the Royal Observatory and the Royal Hospital for Seamen (today the Old Royal Naval College). It has been known that the majority of tourists that visit Greenwich only go directly up to the observatory at the top of Greenwich park from the Thames Clipper or Docklands DLR. The students' rig structures are designed to catch their attention and reroute them to visit the other great sites that Maritime Greenwich has to offer. A rig is a structure used to support machinery and equipment for a particular purpose. The students initially worked in groups (MLA1/ BA1) to select one of the important Maritime Greenwich sites which have become the → Daniele Atzei Abstract Perception at Dreadnought Seamen’s
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1 + 5 River Wittke Submerged: Visions of the Future 2 + 3 Oliver Rodgers The Ghost of the Tulip Stairs — Attempting to Capture the Tourist and the Paranormal 4 Evgenia Minaeva Deconstructed Ship Walk 6 Lenka Rajmontova Celestial Sail — To Get Closer to the Stars
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1 Lenka Rajmontova Celestial Sail — To Get Closer to the Stars 2 Stephanie Walker Unearthing St Alfege 3 Madeleine Ferns A Weathervane — Inside/Outside 4 + 5 Ashley Thompson Dark + Light
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1 Tsvetelina Petrova Bringing out Royal Naval’s Skittle Alley 2 Daniele Atzei Abstract Perception at Dreadnought Seamen’s 3 Leigh Pearce St Alfege — Extracting Themes from Wilkinson
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Masters Landscape Architecture + Urbanism MASTER OF LANDSCAPE ARCHITECTURE (MLA) The MLA is designed for graduates who wish to become professional landscape architects. The programme is accredited by the Landscape Institute, offering a 2-year graduate entry conversion route for candidates from diverse backgrounds such as art, architecture, horticulture, geography and social sciences. Graduates are eligible to become licentiate members of the Landscape Institute and begin the Pathway to Chartership. Students explore a diverse range of approaches to the design of landscapes, such as green roofs, living walls, courtyards, public spaces, parks, squares, waterfronts, urban masterplans and regional strategies. Students develop skills and knowledge in design, history, theory, professional practice, technology, ecology, sustainability, horticulture, drawing and digital representation. The programme has a close relationship with industry, and an extensive alumni network, resulting in exclusive work experience opportunities with The Royal Parks, and strong graduate employment with renowned practices such as Gustafson Porter + Bowman, Martha Schwartz Partners and Gross Max. The programme attracts applicants who are changing career or furthering their work in Landscape Architecture.
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Masters Landscape Architecture + Urbanism cont... MA LANDSCAPE ARCHITECTURE The MA programme is designed for individuals interested in becoming professional Landscape Architects. Graduates have joined some of London’s leading landscape practices, have founded award-winning international design studios and have led strategic urban design projects such as the Queen Elizabeth Olympic Park. The programme has a high international profile, with published and award-winning student projects recognised in the Landscape Institute Awards and the International Biennial of Landscape Architecture. The core component of the programme is the design studio, with student investigations addressing concerns about climate change, ecological conditions, spatial justice, urban development and future technologies. Students are supported in the development of innovative and distinct approaches to landscape architecture in the final design project and written thesis. Design teaching is informed by professional and technical seminars, theory lectures, and guest lectures from international artists, designers and academics.
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MSc ARCHITECTURE, LANDSCAPE AND URBANISM The MSc encourages students to develop inventive and speculative approaches to the design of cities, landscape and territories. The programme promotes strong design methods and the integration of innovative technologies to address the challenges facing cities, such as urban growth, climate change, globalisation and social inequality. The programme interrogates the growing influence of landscape on urban, social and ecological processes, providing a platform from to address the conditions of contemporary urbanism, such as extreme environmental events, shifting economic agendas, new forms of public space and the transformations to urban infrastructures. The programme centres on the design studio, with advanced design techniques and innovative methodologies are employed to develop speculative designs, strategies and interventions. The programme is designed for those aiming to develop advanced design skills for use in architecture, landscape and urban design practice, and for those looking to enhance their academic skills and/or go on to doctoral study.
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MASTERS LANDSCAPE ARCHITECTURE + URBANISM
UNIT A: Out of Air — Re-imagining the Spaces In-Between EMMA COLTHURST + HONORÉ VAN RIJSWIJK
MA: Polly Stevens MLA2: Tajana Adamovic, Kris Cullum-Fernandez, Meredyth Gottschall, Nicola Ida, Gabriella Mogyorosi, Lilly van Epen. MLA1: Megan Bellamy, Hugh Chapman, Amund Hugin, Ashley Thompson, Stephanie Walker. MSc: Anastasiia Babenko Thanks to: Jan Ackenhausen, David Janner-Klausner, Johanna Just, Ness Lafoy, Ed Wall, Tim Waterman.
LONDON HAS breached EU safety limits on toxic air pollutants for almost a decade. Nearly 9,500 people die early each year in London due to long-term exposure to air pollution, more than twice as many as previously thought. As a unit we declare a motor vehicle-dominated London ‘Out of Air’ and demand radical transformation from 2020 — how can we reimagine ‘the spaces in-between’? In 2019 the Extinction Rebellion road protests showed us a glimpse of a car-free London, forming voids and pedestrian connections, repurposing road-surfaces and disrupting wider urban infrastructure through human barricades: returning primary access to the pedestrian and cyclist. Within urban centres, the principal driver for air pollution are motor vehicles; this includes vans, lorries, coaches, buses, cars and motorbikes. The spaces in-between will always serve the movement of goods and people, yet the form of transport will determine how these spaces can facilitate urban life. ‘Out of Air’ investigated how hundreds of
hectares of road-surfaces within the Central London Ultra Low Emission Zone (ULEZ) could be re-purposed and transformed into a network of performative and collective public spaces. The ULEZ study area is defined by the London Inner Ring Road which includes both the City of London and the West End. There are 136,000 residents living within this area, although it is primarily a commercial area. Our 'Out of Air’ act of protest enabled the following direct actions: 1) Re-purpose at least 50% of all road-surfaces, 2) Establish walking and cycling as the primary form of transport, 3) Consider new strategies for the movement of people and goods, 4) re-work ecological, social and spatial relationships at multiple scales, 5) encourage active improvisation and appropriation of road space, and 6) initiate coexistence of activities generated by unprecedented events. Through realising design propositions at both macro and micro scales, ‘Out of Air’ has demonstrated an understanding of both the human-based intervention and wider spatial and time-based strategies formed by direct action for ‘the spaces in-between’.
→ Kris Cullum-Fernandez Children’s Dragon
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1 Stephanie Walker Make Room for Humans 2 Meredyth Gottschall Corridors for Quills 3 Nicola Ida Free Air Free Common 4 Polly Stevens Let the River Run 5 Anastasiia Babenko Transitions 6 Ashley Thompson Centre Ground
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1 Amund Hugin Camp 2 Kris Cullum-Fernandez Children’s Dragon 3 Gabriella Mogyorosi Velo Hoop
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↓ Anastasiia Babenko Transitions → Amund Hugin Camp
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UNIT B: Glaze Unit Fire Squad Magic HARRY BIX [EAST ANGLIA RECORDS] + JAMES FOX [FFLO]
MA: Alex Boufardeas, Ross Redman-Schaffer, Frankie Tomany. MLA2: Alina Ciobotaru, Altan R. Dervish, Hongli Xu. MLA1: Laura Bush, Roberto Dotti, Madeleine Ferns, Michael Halifax, Olivia Pemberton, Tsvetelina Petrova. MSc: Daksh Agrawal Many people helped us this year, but special thanks to: British Land, Global Generation, Local Works Studio, The Secret Camp Site, Stave Hill Ecological Park, Gary Alden, Joseph Bass, Teresa Bailey, Tim Bullen, Josephine Callaghan, Rebeka Clark, Vladimir Guculak, Roger Madelin, Miles Price, Jane Riddiford, Martin Shaw, Siw Thomas, Emma Trueman.
and the community at large. We were about doing. We documented what we did, so that the immediate experiences that we were having together in some sense became the analytic base of the project and also its design. This document of the various moments of the project was the portfolio. For reasons beyond our control we were unable to build our project, but the micro scale one-to-one proposals that we had made spun off into explorations of decay, exchange, and strange relationships of scale. Can we imagine a new way of doing things wherein our proposals are completely in and of the people and places they bring together, an alchemic mix of the social and material resources that lie to hand? These would be places of Joy. They would be parties. Now is the moment for pure Glaze Unit Fire Squad Magic.
WE WORKED with the educational charity Global Generation on the co-production of an outdoor classroom and kiln. Our study site was the Paper Garden, home of Global Generation at Canada Water, South East London. The young people who global generation work with are called ‘The Generators’. We worked with the generators as our clients, and to become generators ourselves. We wanted to forge a close connection between designing and making landscapes — indeed we tried to see these actions as one and the same. We made things out of the clay of the site, we collected stuff, we burned things, ground them, mixed them, and polished them. We saw this process of engagement with the land as the basis for developing the social sphere of the project, firstly the students themselves, then the generators, British Land, Stave Hill Ecological Park, → Work of the Unit Magic
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1 Ross Redman-Schaffer Escape 2 Altan R. Dervish + James Fox Silent Walk 3 Altan R. Dervish The Generators 4 Work of the Unit An Analytic Map 2
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5 Work of the Unit Pit Kiln 6 Tsvetelina Petrova + Josephine Callaghan + Hongli Xu + Harry Bix Smoke Screen Device 7 Laura Bush + Madeleine Ferns + Michael Halifax + Alina Ciobotaru + Daksh Agrawal Beating with Dead Sunflowers
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1 Daksh Agrawal Deornamentalising Landscape 2 Hongli Xu Barefoot Walk 3 Frankie Tomany Urban Hackers
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1 Altan R. Dervish Dede’s Kiln 2 Ross Redman-Schaffer Hermit, Couture Streetwear and Other Moments 3 Alina Ciobotaru A Line Between People and Nature 4 Alex Boufardeas Hoarding Socialising
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UNIT C: Alternative Worlds — Lifting the Curtain ROO ANGELL + BOB BAGLEY
MSc: Apurba Paul MLA2: Jessica Barefoot, Oscar Berkley, Emily Charlton-Gouch, Chun Yin Li, Frances Reeves, Nathalie Seymour, Meredith Will. MLA1: Daniele Atzei, Teresa Carmelita, Will Lay, Philippe Malausenne, Evgenia Monaeva, Varna Suresh.
"There is no end, no grand scheme for these agents of change, just a cumulative directionality toward further becoming." — James Corner WHAT ARE the prerequisites for, and barriers to, direct action? Why do it? How and what are we trying to achieve? Above all, can landscape architects, often working for those who own land and represent existing power structures, use their skills to design for collective action to confront environmental crises and urban inequities? Unit C took its inspiration from James Corner's essay "Ecology and Landscape as Agents of Creativity" (in G. Thompson and F. Steiner eds., Ecological Design and Planning, New York, John Wiley and Sons, 1997), through which students explored the Thames and focused on a specific site and community. Students designed interventions that would create a moment of wonder, bewilderment and indeterminacy to "construct — or, more precisely, enable — alternative forms of relationship and hybridization between people, place, material, and Earth." The students designed interventions that were temporary, periodic or permanent. They created new perspectives and ways of seeing/feeling/ experiencing. The projects aimed to inspire those who experienced them to question and reimagine their relations to Nature and one another — and to become agents in a creative r/evolution of our collective cultural identity. The unit investigated site at a range of scales. As a meta-site, the unit looked together at the Thames and explored its
cultural, historical, social, mythological, political, ecological, spatial and economic power relations. On the theme of creative r/evolution, students took inspiration from their findings with regard to the Thames as a conceptual entity, to crack open those relations and create interventions at specified sites to inspire new relations, processes, actions. Students together built a narrative of the Thames and the land that it touches through researching its cultural and social history, current ownership, use and laws, and its role within wider ecological processes. In the spirit of collaborative working, students worked together as a unit and in smaller teams or practices. To map the meta-site in more detail, students were each given a slice to investigate. They combined and analysed the information they discovered through mapping, drawing, collage and diagram to create a drawing that they would then recombine with those of the whole unit, arriving at the base drawing. Students went on to develop designs for their individual interventions at the site they had been investigating with their team. They explored their sites further, to discover a point of potential where they might "lift the veil" of calcified perceptions, to enable new relations — between people, place and nature — to occur. They took inspiration from poetry, art, music and other disciplines to help them reimagine the creative potential for a landscape architectural moment of "wonderment, doubt and humility".
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ADVANCED STUDIO: The Wilderness ED WALL + HONORÉ VAN RIJSWIJK + ROO ANGELL
MA: Alexander Boufardeas, Ross RedmanSchaffer, Polly Stevens, Francesca Tomany. MLA2: Tajana Adamovic, Jessica Barefoot, Oscar Berkeley, Kristofer Cullum-Fernandez, Emily Charlton-Gooch, Alina Ciobotaru, Altan R. Dervish, Meredyth Gottschall, Nicola Ida, Chun Yin Li, Gabriella Mogyorosi, Frances Reeves, Nathalie Seymour, Elizabeth Van Epen, Meredith Will, Hongli Xu.
Landscape Architecture and Urbanism programmes at the University of Greenwich and The Royal Parks, which includes student employment, teaching and research. A structure based on the design by Nicola Ida is due to be constructed in Royal Park Greenwich in 2022.
MSc: Daksh Agrawal, Anastasiia Babenko, Apurba Paul. Thanks to: Graham Dear (The Royal Parks), Maha Kutay (Zaha Hadid Design), Florence Maschietto (Museum of Architecture), Jane Pelly (The Royal Parks), Melissa Woolford (Museum of Architecture), Woody Yao (Zaha Hadid Design).
THE WILDERNESS is the term used to describe the Deer Park in the Royal Park Greenwich. Collaborating with the Museum of Architecture, Zaha Hadid Design and the Royal Parks, students developed designs for a landscape structure that would mediate between situated conditions of the park and wider urban and planetary concerns. Students explored design as a direct action — a means for the them to work with communities to recognise their collective power (such as economic, knowledge, design) to make change and contest issues that traditional institutions (of governments, agencies, corporations) are failing to address. Through designing a landscape structure, the students reimagined objects, spaces and infrastructures that could address concerns for material waste, post-human landscapes, ecological injustice and urban inequity. This live project developed from a 5-year collaboration between the → Altan R. Dervish Nature Will Adapt
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1 + 3 Altan R. Dervish Nature Will Adapt 2 Nicola Ida Walk Out 4 Oscar Berkeley Raising voices
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5 + 6 Anastasiia Babenko For All the Good That We Did, It Doesn’t Matter 7 + 8 Kris Cullum-Fernandez The Rubbish Delusion
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↓ Oscar Berkeley Raising Voices
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↓ Meredith Will The Wilderness Assembly
LANDSCAPE ARCHITECTURE + URBANISM
TECHNOLOGY DUNCAN GOODWIN
Thanks to: Lea Callow, Maeve Cullen, Chris Giffiths, Toby Staveley and all at Marshalls for hosting our technical practice day at the Design Space in Clerkenwell. Thanks to James Hillier and all at Hillier Nurseries for hosting our trip to the Andlers Ash tree nursery. Thanks also to our external speakers: Mark Bentley from TEP, David Burton from Steintec Tuffbau, Steve Chatwin-Grindey from Deep Root, Roger Cooper from Capita Lovejoy, Nick Coslet from Palmstead Nurseries, Kim Dawson from Eastbourne Borough Council, Julie Futcher from Urban Generation, Helen Gillespie-Brown from Wildflower Turf, Sarah Jefferson from Ibstock Bricks, Sil Man and Hannah Smith from Campbell Reith, Tim Morgan from ARUP, Jim Quaife from Quaife Woodlands, David Richardson from The Stone Federation.
THE 125 NATIONS that signed the Paris agreement of 2015 [United Nations Framework Convention on Climate Change (UNFCCC)] pledged to voluntarily put in place measures to mitigate climate change to ensure that global mean temperature (GMT) rise would be kept “well below” 2°C above pre-industrial levels this century. There is overwhelming scientific evidence to suggest that even if all voluntary mitigation measures are met, they clearly will not achieve the required objective of the Paris Accord. Indeed, substantial near-term emissions reductions are required with a fully de-carbonised world economy if a GMT rise below 2°C is to be a reasonable probability. This was the springboard for all landscape design studios this year, with students creatively responding to the climate crisis in a variety of different ways. The continued pace of urban development does create challenges by placing an increasing reliance upon technological infrastructures to provide all the services and goods required to enable society to function effectively within the cities we create. The urban heat island effect, the expansion of impermeable surfaces, the inevitable increase in the total energy consumption and the concomitant additional air pollution this creates lead to an ever-increasing decoupling and independence from ecological systems. As Landscape Architects we
are in the unique and enviable position of having access to a design tool kit that contains the fundamental elements; earth and water. These are the building blocks from which we can create the systems that provide the solar shading, surface water attenuation, air quality improvements and increased physical and mental well-being (ecosystem services), and which play such an important role in making our cities more pleasant places to be. Innovation in material technologies and processes has always been at the forefront of our technical modules at the University of Greenwich. We encourage our students to develop more creative approaches, beyond tackling the conventional core issues, that aim to minimize environmental impacts now and into the future whilst also responding to the aesthetic needs of city dwellers. 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, sustainable systems. We invite specialists from a variety of construction disciplines to deliver key technical seminars that sometimes challenge conventional approaches and encourage exploration and discussion. Our students are then expected to reflect on, and develop further, these approaches in their projects and consider how they may be relevant to their individual and future ambitions. 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.
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HISTORY + THEORY SOMAIYEH FALAHAT
BA (Hons) Landscape Architecture History + Theory Teaching of history and theory on the programme is conceived as a complete journey over three years through the ideas, politics, art, ethics and landscapes of human civilisation. The first term of Year 1 introduces students to London, Greenwich and the broad range of research undertaken at the University of Greenwich. Group work, discussions and workshops balance the content between research, lectures and first-hand experiences of landscape, architecture and cities. A broad overview of landscape, architecture and art history follows in the second term of Year 1 and the first term of Year 2. Students develop their skills in writing essays and undertaking academic research, gradually framing a set of interests that inform their future studies. Greater focus occurs in the second term of Year 2 when contemporary themes in theory and built work are explored. In the Year 3 dissertation, each student develops research interests both as individuals and in small, themed and tightly guided groups with a dedicated supervisor. A high level of research quality and critical evaluation is expected, and the students are encouraged to pursue themes they are passionate about and forge connections with their design work. Many students undertake daring studies that are arresting in terms of their written and visual quality, as well as the connections made between sites, projects, and the cutting edge of landscape theory.
and ensure opportunities for research. There are readings assigned every week that support the teaching and discussion, that help students to structure their own research and discover and/or reinforce their interests. There is much emphasis on discussion for critical evaluation. Readings range across the disciplines that impact landscape architecture, such as J.B. Jackson writing in landscape studies, Michel de Certeau and Henri Lefebvre on the study of everyday life, JĂźrgen Habermas and Walter Benjamin in political and cultural theory, Don Mitchell and Sharon Zukin on the politics and cultures of the contemporary city, and Denis Cosgrove and William Cronon on wilderness, nature, the sublime and industrial capitalism. Students choose the focus of the essay, researching a position and perspective developed on the project, practice and theory. The following pages present excerpts from four carefully researched and adventurous projects, selected to show the diversity of subjects explored.
Masters Landscape Architecture + Urbanism Theory Masters students explore the critical and theoretical discourses from landscape, architecture and urbanism that engage with the design, planning and production of cities, as well as the processes of urbanisation. There is an emphasis on landscape architecture, planning and urbanism theory, while aiming to open up interdisciplinary dialogues across design, philosophy, sociology, geography, history and anthropology, among others. In the final year, Landscape Architecture and Urbanism Theory combines lectures, workshops and seminars to present core theoretical concepts → Landscape Architecture + Urbanism Field Trip Parisian Shop Window
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Emily Charlton-Gooch, MLA2 A Different Kind of Space: Understanding Protest Heterotopias as a tool for Challenging Power through Design The main goal of this essay is to reflect on the lessons that landscape architects can take away from protest spaces. To do so, Foucault’s conceptualization of heterotopia is explored with focus on the typology of Beckett, Bagguley and Campbell. This creates a framework through which to look at spaces of protest and their value in challenging bodies of power. The theory of contained, mobile, cloud, encounter and rhizomic heterotopias is outlined, in order to analyse the ‘alternative’ types of space created by the actions of Extinction Rebellion in 2019. Through this framework it is possible to illustrate how a protest movement can create heterotopic spaces in Central London. In the second part of the essay, the work of the experimental architectural collective Raumlabor is analysed, with a focus on the degree to which they achieve heterotopic space that challenges the neoliberal city. Four projects are discussed: ‘Open Raumlabor University’, ‘Silver Pearl’, ‘Haus der Statistik’ and ‘The Built, The Unbuilt, The Unbuildable’. The essay examines how Raumlabor share some characteristics of the protest heterotopias of Extinction Rebellion in their use of spatial (and non-spatial) strategies. The usefulness of the theory of protest heterotopias is discussed in terms of its practical application in landscape architecture, after which strategies are suggested that may be useful in creating cities that challenge dominant power structures.
Photo: Charlton-Gooch, 2019
Michael Hallifax, MLA1 Why Rewilding? The Changing Perception of Nature in the Age of the Anthropocene This essay questions the development of Rewilding as a public perception of nature, as distinct from that explored in academia. Whereas academia has a clear, albeit burgeoning, definition of Rewilding and the various methods envisaged to achieve the proposed outcomes, the public construct is an undetermined and idealistic vision. The fascination and evolution of this construct is informative of contemporary society, just as previous iterations of humanity's perception on nature are revelatory of their contemporary eras. Why have we become fixated with this perception of nature, in our age of the Anthropocene?
John Gast, American Progress, 1872
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Ben Keene , BALA2 Depicting the Urban: How is Landscape used in Film to Question Reality? We currently live in a time of uncertainty and confusion. Brexit, climate change, COVID-19; events that seem inexplicable and out of our control. Advancing technologies are drastically changing how we receive and interpret information, and as a result, how we interact with our environment. What was once limited to fantasy is now becoming reality. Technologies such as the internet and artificial intelligence are exhilarating and terrifying. They provoke intriguing ethical questions and blur the boundary between what we know as reality and fantasy. Many contemporary narratives raise concerns of reality, virtuality, memory and subjectivity (Mennel, 2008). Film has the ability to challenge normative modes of thinking, representing our surroundings in ways that question and provoke new meaning. How are the distilled, carefully considered landscape representations used in film to ‘pierce through the wall of our fake world’ and question the truths that we take for granted? (HyperNormalisation, 2016)
Stephanie Walker, MLA1 Exploring Multiple Meanings of Landscapes, Power and the Space Between Meanings
Lucas Cranach the Elder, The Garden of Eden, 1530
LANDSCAPE ARCHITECTURE + URBANISM
What different types of meanings are created by our experience of landscapes, and can these meanings tell us things about our relationships to nature and the world around us? How is our shared sense of meaning created, and what is its relevance for the landscapes that we continue to influence? If we can understand the building blocks of our relationship to nature and landscapes, can we then use that understanding to create a more integrated view of nature that might help us adapt to impending climate-changed futures? This essay examines different critiques of our relationships with nature, for example, metaphors of gardens and landscapes, and how landscapes embody power relationships. It speculates on other meanings that might be created or contained within these metaphors and power relationships, before looking at what potential for change or transformation might be contained within these expressions of meanings. By understanding other conceptions that are possible, it also becomes possible to shape a more ethical, ecological and ultimately better way of living in the world.
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BA (Hons) Urban Design IN 2021 we begin a new programme, BA (Hons) Urban Design. Students on the programme will explore the speculative design of future cities and urbanisation, informed by site-focused research, within specific local, regional and global contexts. This new Urban Design programme will continue our exploration of ecological justice and urban equity begun on the Landscape Architecture programmes, from theoretical discourses to new forms of material constructions. The programme will bring together three distinct areas: Firstly, inventive design projects will be the focus of the programme, from future cities to historic urban precedent. Secondly, ecological justice and urban equity will be the priority for all projects, through collective, shared public spaces. Thirdly, the programme will address urban change across vast scales of space (planetary to material) and time (daily lives to generational struggles). The urban design programme will importantly consider cities and urbanization through the lens of landscape, considering challenges of temporality, change, growth and scale, and interacting with colleagues in landscape architecture to allow concerns for biodiversity loss, climate change and landscape citizenship to be addressed through the design of new urban environments. A unique aspect of the programme supports students to work on live projects through placements in London design practices and/or studio projects, working with clients and consultants. This opportunity will test the experimental projects developed in the university and build confident professional networks for the students. This new programme is developed from the success of the Future Cities Summer School and taught by an experienced team of staff experienced in the design of landscapes and cities.
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School of Design Dr Benz Kotzen
Research + Enterprise
Research and Enterprise Lead
The creation of the School of Design in August 2018 has created opportunities for intradisciplinary as well inter and multi-disciplinary research and other collaborations across the School, the University and the wider world. Building on the multitude of disciplines that the enthusiastic and talented staff bring to research, we are providing opportunities to grow research and enterprise, creating our mark, fashioning centres of excellence in a variety of fields encompassing the theoretical, technological, scientific and the creative. We are developing our research culture in the School, with groups including: DARE (Digital Arts Research and Enterprise), Captivate: Spatial Modelling Research Group, INTENT RG (Integrated Nature and Technology Research Group), the Advanced Urban research group, and Diversity and Inclusivity by Design. Whilst preparing for the School of Design’s submission to the Research Excellent Framework 2021 (REF 2021) it is abundantly clear that our research has the significance, originality and rigour desired and the social, environmental and economic impacts that will make the world and the lives of people better, healthier, more sustainable and even more enjoyable and happier. Our REF submission brings together an abundance of high quality 3* and 4*outputs that illustrates the rich, broad vein of research activities within the School ranging from practice-based research, to experimental scientific and theoretical studies. Our research carries us across European and continental boundaries, where we are involved in, for example, the INTERREG ‘EYES — Empowering Youth through Entrepreneurial Skills’ project. With institutions in Switzerland, Slovenia and Spain we are preparing the first undergraduate course in aquaponics (Aqua@teach). In response to the Grenfell tragedy, we are working with the University’s Fire Safety Engineering Group on living walls and how these can remain an asset to the built environment whilst most importantly to minimise the risk of fire. This year the School of Design launched an annual PhD Colloquium to encourage the dissemination of research by postgraduate students. The Advanced Urban research seminars and PhD reading group have further supported students focused on interdisciplinary urban research that intersects new materiality, media and space. We are delighted with the success of our PhD students over the last year (Dr. Chris Nunn, Dr. Mohammad Sakikhalis, Dr. Melissa Sterry, Dr. Julie Watkins and Dr. Russel Duke and the growth in our postgraduate MPhil and PhD research.
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THE LANDSCAPISTS SEMINARS ED WALL
In March, as the School moved to teaching online, we launched a unique series of daily seminars for all of our students and the wider landscape architecture community. Each day Ed Wall introduced a different designer from around the world to share with us some of their practice projects. The Landscapists Seminars asked what approaches are taken as contemporary landscapes are designed? The informal seminars provided insight into the unique project approaches, techniques and methods employed by leading designers and researchers around the world. They were not part of any specific course but rather open conversations to widen our worlds while working from our houses, residences, apartments and flats during the Spring of 2020. The first seminar began with about 30 students, and as we continued through the three months of the lock-down students shared the Zoom link with graduates, friends and colleagues until we were welcoming up to 250 people to join us each day. The title and theme of the seminars were developed from The Landscapists: Redefining Landscape Relations, an issue of Architectural Design (AD) edited by Ed Wall and published by Wiley in early 2020. Thank you to all the designers and researchers for generously sharing their time with us, many at short notice, including: Ken Smith (Ken Smith Workshop, New York City), Martí Franch (Estudi Martí Franch, Girona), Martin Rein-Cano (Topotek1, Berlin), Sara Zewde (Studio Zewde, New York City), Eelco Hooftman (Gross.Max, Edinburgh), Bas Smets, (Bureau Bas Smets, Brussels), Luis Callejas (LCLA, Oslo), Chris Reed (Stoss, Boston) and Lara Zureikat (CSBE, Amman), James Fox (FFLO, Kent), Jenn Mui (MRG Studio, London), Donncha O Shea (Gustafson Porter + Bowman, London), Ceylan Belek (Martha Schwartz and Partners, London), Giacomo Guzzon (Gillespies, London), Cesare Cardia (Uncommon Land, London), Loretta and Ben Bosence (Local Works Studio, Kent), JJ Watters (Kinnear Landscape Architects, London), Laura Santin & William Roberts (Nomad Studio, New York City and Madrid), Cannon Ivers (LDA Design,
London), Jose Alfredo Ramirez & Clara Ortiz (Groundlab, London), Alexandra Steed (Alexandra Steed Urban, London), Sara Zewde (Studio Zewde, New York City), Yael Bar-Maor (Yael Bar-Maor Landscape Architecture, Haifa), Aniket Bhagwat (M/s. Prabhakar B Bhagwat, Ahmedabad), Richard Broome (Outerspace, London), Harry Bix (East Anglia Records, London), Neil Swanson (Landscape Projects, Manchester), Ashley Conn (Studio Oslo – Landscape Architects, Oslo), Jo Gibbons (J&L Gibbons, London), Will Sandy (Will Sandy Design, London), Fenella Griffin (Untitled Practice, London), Claire Martin (OCULUS, Melbourne), Tom Smith (Spacehub, London), Suzanne O’Connell (The Decorators, Dublin), Stephen Buckle (Aspect Studios, Shanghai), Nans Voron (SCAPE, New York City), Helena Rivera (A Small Studio, London), Ruth Catlow and Tim Waterman (Furtherfield and UCL, London), and Dima Zogheib (Arup, London).
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School of Design Dr Ed Wall
Graduate + Student Employment
Academic Portfolio Lead Landscape
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 Jennifer 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 Yao (Zaha Hadid Design), and Jane Pelly and Graham Dear (The Royal Parks) for their generous contributions.
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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 Kennedy, 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 12 students interested in the design of future landscapes across London with a focus on ecological justice and urban equity. — A unique, free 5-day summer school for Year 12 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 2018, 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 context 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
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"My tutors were absolutely fantastic, they stimulated and supported me steadfastly through it all and have provided me with an excellent education and grounding for practice in landscape architecture." — FRANCESCA IMMIRZI, MA LANDSCAPE ARCHITECTURE 2019
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