State of Solitude by Level 6 Portfolio

State of Solitude Level6Portfolio First Issue Jan â&#x20AC;&#x2122;21

CONTENTS Introduction

Page 6

In conversation with Louisa Schmolke

Page 8

Selected works (Semester 1)

Page 17

ADAS

Page 72

Upcoming lectures

Page 75

Acknowledgements

Page 77

Alberto Visentin Ground + Earth

Norwegian National Opera and Ballet - perforated cladding designed by the artist Olafur Eliasson 4

Helen Stout Y3 5

LEVEL 6 PORTFOLIO 2020 For those of you familiar with the usual format of Level Six, it will come as a surprise to see a publication being released so soon. The intention is that, with a gap left by limited contact time and empty review spaces, the creation of a publication for each semester will allow student work to be appreciated early on. To commence this issue without acknowledging the difficulties faced by students this year would give an inaccurate reflection of the semester. Much of our time has been spent looking at pixelated mosaics of our tutors on video calls and adapting to makeshift studios in the cramped confines of our flats. We have become accustomed to distance and to muffled conversations in passing with masked workmates. Values once considered virtues, of attending studio every day and working in close collaboration with our peers, became vices; we were told to avoid meeting in groups, to keep two meters apart, to stay at home. This publication, however, is not a lament to our former freedoms; it is a celebration of what we have managed to achieve. Students have continued to produce work despite the tribulations of online learning and the adaptation to homebased education. There has been astounding perseverance and a willingness to embrace a new and challenging way of working head on. Nowhere is this perseverance more prevalent than in the quality of work still being produced.

This edition sets out to recognise this resilience and the ways current students have responded to these unaccustomed conditions. It will include not only the presentational work familiar to readers of previous Level Six publications, but to highlight the work too often overlooked: concept models we spend days scratching our heads over; theories articulated in words and diagrams; early sketches, quick and scratchy but substantial in their ideas. Also included within this issue is an interview with recent graduate, Louisa Schmolke, as well as further reading, and relevant activities going on within the university. We want readers to reflect on the successes of the semester, and to feel inspired and look forward to the semester ahead with an enduring optimism. With limited access to studio and online crits, it is important now more than ever to have an outlet where student work can be shared and celebrated, and we hope this issue will serve as a platform to provide just that. Lucy Taylor Marcus Myles Ellena Leslie Ross Robson Rachael Smith Andrew Dennison

Lucy Taylor

Marcus Myles

Ellena Leslie

Ross Robson

Rachael Smith

Andrew Dennison

IN CONVERSATION WITH LOUISA SCHMOLKE Dundee Graduate and Artist at Foster+Partners 7th January 2020

MM: After architecture you went along the art path a wee bit? I started down the usual route and got a part two position. I joined HTA in Edinburgh the same year I graduated, and I worked there for a year and three months, it was such an amazing oﬃce. At that point, I had not considered art as a career path, and that was 2020. Then, I got a job in New York as an architectural designer or ‘junior architect’ which is the equivalent of a Part 2 there. Unfortunately, then the pandemic happened and I was not able to move across, as I couldn’t get my Visa interview before the embassy shut in the ﬁrst Lockdown. Which is actually the reason that art is now my career, and my full-time job, (and my side job) which is just so weird and wonderful. It just happened in March 2020. It wasn’t the plan - I didn’t come out of university knowing I was going to create art. I’m kind of glad that lockdown gave me a chance to re-evaluate. MM: With that perspective, what would be your definition of architecture? Where does the boundary start and stop, or is

‘All the Golds’ by Louisa Schmolke

it blurred between art and architecture? I think, especially when you were starting in ﬁrst year, you meet

MM: What made you choose to study at Dundee?

all your people in halls and they say, “I’m a doctor”, or “dentist”, “I’m a lawyer”, and you’re ‘the architect’. In those four vocational

When I attended the interview at Dundee, it was Brian Adams

degrees, everyone obviously assumes that is what you are

that I met with. It was just, as most Dundee students will know,

going to be. I think, within architecture, it is starting to leave that

an exciting experience. I just thought it was fun and it was that

state. If someone had come in and given a lecture when I was at

interview and the campus that convinced me to study at Dundee.

Dundee, and had said, “I’m not doing architecture, but I’m in the

The fact you go directly through to a Master’s degree - it was a

industry”, or “I’m an artist”, or “I’m a graphic designer”, then I would

continuation, that was another reason. In general, I would say it

have understood that I’m just doing this degree to have a good

was that interview with Brian.

time, create some beautiful work, and design. I’m not necessarily sure I was ever the best at designing, I think it’s how you present

your work and how you present yourself, when you stand up

just do what you are good at’. I did not have a magical idea when

and speak more than where you put your toilets. Just know that

I was doing my master’s project, I just focused on what I could

- do not spend seven years stressing over your toilets. It’s almost

always do which was draw, paint, and sketch. If a student is good

more about practising to speak to the client, I’ve realised. I would

at model making, they should focus on that and develop it into

say that’s my little bit of advice just for when you’re freaking out a

their own style. If you progress the skills you are confident at and

couple of weeks before you have to print.

keep it as individual as you can then you can really set yourself

RR: So, you have this insight into the architectural world but with quite a diﬀerent perspective on it, within the artistic

apart. I also found this important for choosing or expanding your options in the future.

realm. Do you think there is a lot that architecture school and students should take into consideration in terms of more artistic side of things? Yeah, that is a good question. I think in my specific situation, when I started in first year, I started drawing immediately - I got the sketchbook out the second I arrived. Obviously, tutors encourage using a sketchbook and, as you guys will know, there’s a range within the year of students that can draw and students that can’t. When I started looking for a part one job, I believe practices took on about 50% of people that were like me, more on the creative side, and then 50% of people that were more technical – it creates a balance. But sketching from day one meant tutors encouraged me to hand draw my presentations rather than spend time presenting it in CAD (meanwhile others in my year had their line weights down to a T!). I think that was daunting to a lot of students, but I preferred presenting it this way. It does not

‘Pink and Green Abstract’ by Louisa Schmolke

have to be so precise – you can make your own style this way. In terms of having your own style - if a tutor recognises a strong point in your work, you should definitely do more of that. Once I was confident in my own style, then I was able to focus better on the project. Before that, I spent too much time thinking about what else I could do. It was my master’s degree tutors, Neil Verow and Graeme Hutton, who pointed that out to me – ‘you should 9

Section taken from Louisa’s Masters Project

RR: It’s almost applying the discipline of architecture to what

grades. Then I returned for fourth year and got Jamie Brown as

you’re actually interested in personally, as opposed to the

a tutor. He recognised that ‘strong point’ in my work and pushed

other way around.

me towards developing it into a unique aesthetic. I did well that year, which I had never before.

Exactly. I love the way you put that. You guys have probably all got one thing you’re thinking in your head that I’m talking about

When I moved on to ﬁfth year, I didn’t need to do any of the

right now, for me it’s drawing or painting or art, you guys have

technical drawings that I had before as I had covered that ARB

probably all got something too. See that thing, that’s the thing

criteria already. When I did the technical details for my project,

that you should focus on in your design or thesis or dissertation.

I referred to the series of monoprints I produced (which were all

In that respect, why should you not ace it?

numbered) and would use them as references for my technical detail. They represented aspects of the project such as lighting or

EL: Turning to your fifth-year project - you can see more of

structure. I appreciated the freedom I had in ﬁfth year.

the art side of things coming out through your work. Did that mean your fourth-year work was a little bit more technical to

MM: So, are you going to go for your part three, do you think?

meet your ARB criteria, or to marry the two? I don’t think I’ll go for the part three right now, in the current

Yeah, it was. My fourth-year project was normal – in that it was

situation I’m in. I felt relieved knowing that as long as I was working

of a similar vibe to what everyone else had produced. The only

in America, I would not have to worry about sitting the part three

thing I did that was diﬀerent was to hand draw my visualisations

exam during my time there, as you can’t do it there. Due to this,

and axonometric. In ﬁrst, second and third year I got very average

I had already accepted that I was not going to do it immediately.

The good thing about the part three is your qualiﬁcation will never

MM: Can you call yourself a designer without your part 3?

expire. I guess unless you commit a crime - they can’t take your

‘Architect’ is the only thing protected, isn’t it?

degree away from you (laughing). But I think if I got to like 35 and decided, ‘why not?’, you could do it as long as you worked under an architect.

Totally. So, I was very in my head about that at uni, as was everyone. I totally understand why you guys asked that now. I was worried about having the title ‘architectural assistant’ forever

MM: Doesn’t it go against you though, if you don’t complete

if I did not sit my part three. However, in practice there is a lot less

your part 3?

emphasis on these titles. If you do well in a position, and practice, that is suited to you it’s possible to excel without obtaining your

No, not at all. I found out just yesterday actually, at Fosters there are multiple partners and senior partners who have never sat their part three. When I was at HTA, I was running projects and more

part three. It tends to become a lot more ﬂuid once you leave uni. I have worked with part ones who were doing the work of a part two, it’s more about your ability than your title.

experienced members of staﬀ would respect that as they helped me through the design. I think it comes down to conﬁdence with

MM: You mentioned your position at Fosters? What is your

these things. The part three is not all that’s required to progress

position, what kind of work do you do?

in your career, it’s about personal attributes. You just don’t need a part three to run a project or become project manager and build your way up the career ladder. What you will need your part three for is if you want to design a building and stamp your name on it and say, “I designed that”.

It’s one of the most unique jobs in the architecture industry. It’s not unheard of, but there is not a team like ours (at Foster’s) in any other UK practice. For competitions, an architect will ask our team to begin the process. When there’s no brief, we create the brief, we draw what we want it to be. It’s about storyboarding

Section taken from Louisa’s Masters Project

and drawing the idea of something. It’s a bit like at uni, where

RR: You touched on serial vision, I think in third year I‘ve

you sketch a series of drawings to show what it would be like to

come to realise more of the illustrative qualities that you

experience a city or a building. What was it called again? What

can apply to your work in architecture school and how that

do they call that?

can change the perception of a project. Looking at Fosters drawings, it looks almost cartoon-esque but it truly tells the

RR: A serial vision?

story. What would you say is a bit of advice for first or second

Yes. Oh my gosh, I haven’t heard that in years! We love a serial

year student to convey the broader idea or story of their

vision. So, imagine how much you love a serial vision – that

project if they perhaps don’t have 3D rendering skills?

is literally our life. We tend to work on iPads meaning your workspace is pretty ﬂexible. I did not realise how appreciated our work would be with the architects. We are able to produce sketches that explain all the ideas/concepts which they would not be able to do without a 3D model or a render. The team is expanding right now because the practice wants more storyboarding to be created for our projects. This is the exact job I would have dreamt existed in architecture, and luckily I found it. MM: So you’ve worked for bigger practices ?

I would suggest using a 3D model, just to get the massing, and then using that as a base to draw over. A small part of my team at Fosters, including me, are concept artists and the rest are renderers. They renderers use procreate on an iPad to quickly paint over sketches – showing the shadows and creating context. Creating something like this, but hand drawn would be a good way to start. Trace over a massing model then draw in some details and some trees, that would deﬁnitely give a quick representation of how something looks.

Yeah, a lot of my friends have worked in smaller firms but I never have. The ones that did maybe have a lot more handson experience than me. I have always worked on the bigger picture parts – creating the ‘story’, making beautiful renders or presentations. I would say even at the 35-person team at HTA which was small-ish, half the room were the technical ones who like the planning, the ones who like doing the structural stuff, the BIM people. Then on the other side, it was essentially the creative and ‘artsy’ people; both sides worked so well together. I feel at some smaller practices, maybe that boundary isn’t so clearly defined. At the bigger firms, they definitely use you for what you’re best at; they’re not going to waste their time forcing you to learn Revit if you’re really good at CAD. That was a bad example. But I think, when you apply for a job, if they say ‘strong Revit’, they really mean it - you’ll be sat on Revit, so just bear that in mind. 12

Serials taken from Louisa’s Masters Project

RR: Yeah, it’s quite interesting, there’s a bit of a trend right

I still stand by everything I wrote in that master’s thesis; I still stand

now at architecture school, of hyper-realistic rendering.

by the fact I could design that way and I could actually apply my methodology to a real project. I think it should inform my art in

That’s actually what I did at HTA – I did a lot of rendering using Lumion. If they are produced well, they can be beautiful. If your design is underdeveloped sometimes the renders won’t be as good. If you can’t get any further with them try sketching or painting over them, either by hand or on an iPad. LT: Do you miss hand drawing? At fosters is your work purely digital art or iPad based? I still do hand drawing at Fosters - just pen and paper or trace. On my ﬁrst day, I was assigned the task to produce a big section to begin a new project and was pleased that they allowed me to do it by hand. I like using procreate, but just feel like it does not have the same quality as a hand drawing. I would stick with doing hand drawings and models as long as you can. Sometimes using an iPad is necessary to meet deadlines as they can be much quicker to work on. Whereas, doing drawings or paintings by hand might be easier to achieve the exact result you want.

the future; I should tap into that kind of architecture/art thing. I think I will. For a competition I did at the start of the pandemic, I used the same process that I did for my masters. I created little pieces for every day of lockdown. I think you could apply it to anything. Hopefully, I can tap into that master’s approach in the future, soon. MM: You went on to win best master’s student and went to the RSA… Yes, I did – I won the medal for Architecture at the Royal Scottish Academy, it was a complete surprise! I was told afterwards that what set me apart from the other four Scottish University students was the written work. Everyone can produce beautiful images, but the actual story behind the process was what I think swayed it. My image work wasn’t necessarily better than anyone else’s in the room, I think you must make your written work compliment your images. Reading it now, I can completely understand

RR: If you look at your masters project now, what do you think

everything I was saying still to this day; it was all methodology, in

about that in terms of how you approached it? Especially

a speciﬁc order with no jumbling of words. I was very purposeful

looking back now knowing that you can develop this path of

when writing it and made sure all my quotes and references

whatever you want.

were signiﬁcant to the project. It’s easy to put in quotes more for reason of liking them than for contribution to your thesis – just

Looking back on that project, I am still happy with the way I

keep these quotes in your notes!

approached it. I don’t think I could say that for my fourth, third, second year - I don’t remember them, I don’t think about them. But that master’s degree is the one thing I’ve done in my life where I’ve felt, this is my child. Even when I submitted the fourthyear stuﬀ, I was proud of it then, but in retrospect it was just ﬁne.

MM: have you got any advice for current students at Dundee, of your experience of architecture or after uni? The younger years – first to third years – need to relax more and enjoy the course. They need to understand, it doesn’t necessarily matter where you get to at the end of third year. You could excel in your fourth or fifth year - you could even be at a different university. So, don’t get too in your head about that aspect. Don’t think that your part one will completely change you as a person because it’s just a year working, it’s not necessarily going to be life changing. I worried that I was going to come back with no experience in my fourth year, I was going to be behind, and that everyone else would have had a magical experience. It’s not the case - everyone will learn a little bit of each programme but don’t worry about coming back an expert in everything. Enjoy it more, is what I’m trying to say. Enjoy your increased free time - you don’t have any deadlines. To the fourth and fifth years: just do what you are best at - what your peers and tutors recognise as a skill you have. Even if it’s a bit unconventional, just do it. When it comes to the part two, throw your damn CV out there and hope for the best.

Louisa Schmolke, 2018

Emilia Chegini Y4 16

SELECTED WORKS 2020 17

Ellena Leslie Architecture + Society

Y5 18

Costin Dragu Y2 19

Andrew Dennison Y3

Andrew Dennison Y3 21

Joanna Laing Y3 22

Joanna Laing Y3 23

Shane Docherty Y2

Hannah Baillie Y3 26

“A material and sketch analysis looking at an existing tenement building in Roseangle. The model is a mimic of one of the windows which I found interesting, giving a small insight into the occupier’s life” - Hannah Baillie

Morgan MacIntosh Y1

Emma Sjoholm Y3 29

Emilia Chegini Studio A Group Work

Y4 30

Alberto Visentin Ground + Earth

Y5 31

â&#x20AC;&#x153;Located on a very delicate site in the University of Dundee Botanic Gardens, this project required the design of a single open plan chapel. This socially inclusive building would include strategically arranged interrelated spaces defined by an innovative assembly of structure and skin.â&#x20AC;? - Drew Rumgay

Drew Rumgay Y2 33

All 4 Images

Chelseigh Buchanan Y4 37

Emilia Chegini Studio A Group Work

Y4 38

Mirka Borek Y3 39

Intergenerational living revolves around the idea of a diverse community of people who can care for each other’s needs in various levels of their life and events, may that be elderly providing childcare for young families. Each living type requires a different amount of space and primary user type. With each housing type having access to their own private outdoor space and semi-private community space – The Garden courtyard. A)1 bed disabled accessible ground floor unit with private south facing terrace. Designed for an elderly resident to live among other residents, providing company, support and community. To combat loneliness and add more joy into the 3rd stage of living. B) 2 bed maisonette unit. Designed as an upside-down house, allowing the living areas and roof terrace have a view out towards the Tay. Designed for young professionals to live close to the Dundee city centre. C) 4 bed maisonette unit. Designed as an upside-down house, so that the living areas and roof terrace have a view out towards the Tay. Designed for families to live close to the Dundee educational resources of primary and secondary schools, and city centre for working. D) 1 bed live work unit – Designed for creatives to live in and be part of a creative community from the creative lane, with a more private entrance from the Garden courtyard into the living areas, with a private terrace overlooking the creative lane from the bedroom. E) 1 bed student accommodation unit – designed around the desks window and Juliet balcony providing ample room and creating a calming working environment for students.

Helen Stout Y3 41

Chelseigh Buchanan Y4

Anna Melihova Y2

Craig McCracken Y4

Ross Robson Y3 46

Ross Robson Y3 47 7

Andrew Dennison Y3 48

Glenn McKerracher Y3 49

Scott Birtles Y3 51

Rachael Smith Architecture + Society

Helen Stout Y3 54

Westfield Place

Roseangle

Westfield Lane

Perth Road

Lucy Taylor Y3 55

Marcus Myles Y4 56

Marcus Myles Y4 57

Emma Sjoholm Y3 58

Mirka Borek Y3 59

( i ) concept: radial plan

( i i ) centralised courtyard: split the box

( i i i ) explode the box: create separate blocks

( i v ) establish a connection: identify streets to base axis upon

( v ) axis: create 2 primary access routes

( v i ) axis: 2 secondary paths

Lucy Taylor Y3 61

Emma Sjoholm Y3 62 6 2

Rachael Smith Architecture + Society

Craig McCracken Y4 64

Archie Read Y2 65

Alberto Visentin Ground + Earth

Ross Robson Y3

Veera Kivela + MaHi Jain + Wei Lin Zhi + Liga Ramata Rooms + Cities

extra small

small

medium

Alberto Visentin Ground + Earth

ADAS COMMENTS ELLENA LESLIE

GLENN MCKERRACHER

Student President of the School of Architecture & Urban Planning.

Student Vice-President of the School of Architecture & Urban Planning.

Hi there! ADAS would like to take this opportunity to share what we

Thank You to all the students that put-on workshops with us over

have done over the last semester. Despite the unusual times that

the last semester, we managed to cover a wide range of skills

we are living in, we have tried to keep up with business as usual,

and are looking forward to getting started up again.

continuing to work hard behind the scenes to create a smooth student experience for everyone; from planning and organising our successful lecture series, to providing online ‘social’ events. With the lack of face to face interaction, we have had to move all our events online. This has come with some challenges, but also some amazing and unexpected benefits.

including Photoshop, Indesign and Sketchup, but we know you are all excited to learn more! We hope to release last semesters workshops over our youtube channel in the coming weeks for anyone who missed them. Keep an eye on the ADAS social media accounts for our workshops next semester and be sure to

Our digital lecture series has been attended by not just our

let us know if you have any skills you want to teach or if you have

students, but students from all over the UK, as well as practising

anything that you would like to learn about.

architects and professionals. The student-led workshops have become an invaluable resource for sharing knowledge and teaching each other tips and tricks needed to make life easier in, and survive architecture school. We, in conjunction with Level 6, ran a Christmas Card competition. This was in aid of the Gordon Lamb Charity. A charity that we have worked with for several years, that provides support to students who need it most. We ordinarily hold a charity ceilidh, however sadly had to opt for something less social. We were still able to raise over £100 through card sales, which we are super thrilled about! On a personal note, I would like to thank the committee for their hard work over the last semester, and to the students themselves for the continuous support during this wild year. Thank you! Keep up the fabulous work this semester! 72

So far, we have had students show us their skills on software

Look forward to seeing everyone again over zoom!

HELEN STOUT Student Treasurer of the School of Architecture & Urban Planning. Firstly, Iâ&#x20AC;&#x2122;d like to start by expressing my deepest gratitude to all the Industry speakers who in these challenging times still contributed to ADAS Education lecture series â&#x20AC;&#x201C; enabling the fantastic learning opportunities that arise from these lectures and discussions to continue. Lectures delivered safely on zoom reached a greater audience than the Matthew Building, attended by various Architecture students and professionals throughout the UK accumulating in over 200 unique views. Looking forwards towards second semester we hope to continue this success and engagement with educational lectures from the UK and afar. Thankful always for the support of the rest of the committee, students and professionals who make the lecture series possible.

Helen Stout Y3 73 73

SEMESTER TWO LECTURE SERIES

74 4

January 29TH

Peter Wilson / Timber Design Initiatives /Future of Timber

February 5TH

ADAS / Year Out Talks

12TH

Louisa Schmolke / Foster + Partners / Architecture to art

19TH

Mary Arnold Foster / MAFA / Rural Conditions

26TH

Frederick Biehle / VivaArchitects / History of NYC Housing

March 25TH

Alison Brooks / Neighbourhood

SEMESTER ONE SPEAKERS ACKNOWLEDGEMENTS +suggested resources from the speakers

Sandy Morrison – HTA Design ‘Modular Housing Handbook’, Simon Bayliss & Rory Bergin ‘Radical Housing: Designing multi-generational and co-living housing for all’, Caroline Dove

Kathy Li – Missing in Architecture ‘Sustainable Construction’, Sandy Halliday ‘Invisible Women’, Caroline Criado Perez

Emma Rose Berry – LDN Architects ‘The Making of Classical Edinburgh’, AJ Youngson ‘Dictionary of Scottish Building’, Glen Pride

Andrew Waugh – Waugh Thistleton Architects ‘100 UK CLT PROJECTS’, thinkwood.com

Eilidh Henderson – PAGE / PARK ‘Register’, podcast from the Kingston School of Architecture ‘Scaﬀold’, podcast with Mathew Blunderﬁeld

YEAR ONE

YEAR TWO

YEAR THREE

beloved adeyemi nohman ahal hada najiba ahmad oluwatimilehin akinmade naia ammane marcus arbon eilidh bauchop jose benito sabrena benkhalfa joseph brown callu caldwell joshua campbell lok cheung pei-gun chou charlotte convery hollis crowe lewis duncan daniel ellington emma fostier stephanie gallacher miruna georgescu luca hall david hannan oliver helgesen colm horgan abigail humphries taylor hunt ben hunter louisa hutcheson jagoda ignac botagoz issatayeva zuzanna kaminska callum kane anastasios karas morgan kearey rachel keenan moritz kraus timur kushalioglu long lai alex leslie emily lightfoot agata ludwiczak morgan macintosh abdul mahdi finlay mccallum hollie mchugh logan mclean conor mcmahon finn millar angus nelson morgan oxer lucy park nejc petric thomas robertson miara sajid regina saraiva dias silva de franca salla siitonen hugo skarin kyle smith ryan smith julia smolinska selina sode vanina stefanova charlotte stewart iona stewart josie strachan anna szczerba iona townend sarah youd gamuchirai zozi

edgar badarau maya barnes dylan barrowman catriona buchanan joan bugler-lamb emily campbell katy carswell yijun chu joel codd patrick corsame naomi davidson shane docherty atlanta dolman garbhan donnelly costin dragu megan forbes benjamin fraser giorgio gilardoni mairead hammond tara hart marion howitt callum hunter james hutt sam jowett niki kefala liv kleivene natalia kojlo yixuan li morgan lisk franciszek maj tavonga mamwa ceri mcewan dale mckenna victoria mcmahon harvey mcmillan anna melihova chloe migaud inger mikkelsen aasmundhavn caitlin millar jennifer mitchell david orbang alberto ortiz abad joe parker eden penman kaitlyn phillips charlotte prince chun que archie read alistair rice jack richiardi alexander ritchie emma robertson drew rumgay hamish scrivener-anderson yining shang mia slater arran stowe zoe till karl tjus lok wan christopher wood tianchen zha adrian zielinski

himat athwal hannah baillie chloe barker james batty mateusz bierut scott birtles mirka borek ewan bunkell emma burns andrea casono cheuk chan preethika chandran aidan cummins francisco de inza andrew dennison jamie deuchars lewis devaney josh dickson chloe docherty kyle donaghey mohammad dp dr hj mohd isham jakub duda clementina eleady-cole robert fowler gilian fronda finley fyfe daniel georgiev caitlin gray oiartza guerrero luke hibbert erin hickman benjamin hoskins khadeeja imthiaz maria kabaaga brendan kerrisk magda kilijanek jasmiina knaapi joanna laing immanuel lavery jia lin hope livingstone ka mak sharleen mardani frederike marx reece mccallum liam mcdougall conan mcghee jordan mckee glenn mckerracher alexandra meckler renan millares emma morrison osman nasir wing ng ngoc nguyenova niall penman kenny phillips nathan retallick ross robson melisa ruzgar beatrice ryan trisha santos eleanor scott jack scott andrew shields connor simmons emma sjoholm cameron smith helen stout lucy taylor

calum thomson davide uccello adam wadler monika walawender christopher watson dawid wedzonka sunxiaoxing xu

YEAR FOUR

YEAR FIVE

julia baeck chelseigh buchanan yuk chan emilia chegini sam chen yuren chen king chung joshua coniah kerr cuinier cameron devine hemant ginda oliviya gospodinova laura greenshields xinwei guo jing he qianyang he rozalina hristova ye han hu lynsey isles jessica jackson joseph jacob joshua jewitt yue jiang simba kanchefu zicong kong sofia-lyn kouni lucie lange siyu lei ching sum leung jiahui li zhuolun li wei zheng lim yun liu jay mcallister evan mccoll craig mccracken callum mclean yu mei anna moldenaes laura moldovan sam morman marcus myles thao nguyenova sean noon carlton oke katie phillips mayya potvar nicholas puxley gong quanzhou kamen rusev lorna scanlan tejas shankar robert smith innes stewart nurul safuhah suhaidi hio lam tam matthew thomson yijing wang natasha whitehall kirsty wilson huiting xie xin yang leong yu yu zhang zengyan zhang annan zhao zhishan zhong shiyao zhu

architecture + urban planning joshua adjodha euan angus jamie dickinson katherine doherty thomas dougan cameron duncan-cox melissa green katrina mcqueen mishell parodi waheeda rasool elliot reilly nina wyganowska architecture + society steven anderson lewis chalmers katarzyna dudzinska laura leithead ellena leslie deni mcelroy rachael smith richard stalker ramsay taylor erika varha jianhua zhu (andrew) ground + earth jenna craig mahnoor habib yiwen huang (kane) christopher macinnes laura ellie porter calum ramsay alberto visentin macro micro jack buchan jiamin deng yin jiahao wu junfeng hafsa malik nico stalker lucy troughton rooms + cities aqsa hasware maizatul mohd hussain mahi jain veera kivela paul kyriou liga ramata weilin zhi (william)