Cass Session 5 by London Metropolitan University

Cass Session

The Cass Session 2018–19 Edited by Andrew Stone and Michael Upton. Produced by Dawn Fernandez and Kate Stanbury. Design by Turnbull Grey. Typeset in Helvetica Neue. Photograph on cover by Angela Blazanovic. Photographs on inside cover and pages 2 – 22, 27, 36 – 40, 54 – 62, 64 – 65, 84 – 85, 87, 120 – 129, 154 –164, 166 –167, 170 –171, 176 –179, 189 – 191 and 200 – 201 by Stephen Blunt. Printed and bound in the UK. First published in 2019 by: The Cass Press The Sir John Cass School of Art, Architecture and Design London Metropolitan University A catalogue record of this book is available from the British Library. Published by The Cass Press ISBN 978-1-9164083-2-6 This publication is also available online: londonmet.ac.uk/casssession1819 © The Sir John Cass School of Art, Architecture and Design 2019 © The authors 2019 All rights reserved. Except for the purposes of review or criticism, no part of this publication may be reproduced or used in any form by electronic or mechanical means, including photocopying, recording and information storage or retrieval, without prior permission from the publisher. With thanks to our many students, staff, partners and collaborators – without whom this publication would not be possible.

Cass Session

Land of Fibs, The Cass Theatre Arts Festival 2019

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Art 017 Fine Art 019 Creative Writing and English Literature 037 Theatre Arts 055 Architecture Undergraduate Postgraduate Moscow School of Architecture (MARCH)

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Design 115 3D 117 Interiors 139 Visual Communication 155 Postgraduate Design 172 Foundation 177 Culture/Life 185 Critical and Contextual Studies 187 Research 188 Projects 190 News and events 192 Public lectures 196 Cross school 198 Short courses 200 Staff and students 202 Contact us

contents

Introduction

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Introduction

Foundation studentsâ&#x20AC;&#x2122; shading structures in Calcutta House roof garden

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It is my pleasure to introduce Cass Session #5. Our Yearbook captures and celebrates the extraordinary quality and breadth of work produced by our Art, Architecture and Design students over the past 12 months. The year has been one of consolidation and change. We were delighted that the University has confirmed the retention of the Aldgate campus and the consequent boost to The Cass’s ambitions to further integrate our practice with partners, communities and collaborators at the heart of London. This is bolstered by the University’s articulation of its ambition for the work that engages London under the banner ‘London Met city’. This is resonant with so much of the work that happens in The Cass and that is described in this Yearbook. The emergent themes are, like the city, multi-faceted and complex; they anticipate research, practice and pedagogy that learn from, and act upon, different perspectives. Our approach to teaching and learning is similarly multi-faceted. Courses provide a matrix of knowledge and skills that enable our students and graduates to advance their specialist practice alongside cross-disciplinary intrigue and engagement, an understanding of their social responsibility and a professional and intellectual integrity. The value and effectiveness of that focus was recognised in Art being ranked fourth in the UK in The Guardian’s University Guide 2019, a fantastic achievement by staff and students. The evidence of this intent can be found throughout the Yearbook but our context is challenging. Creative voices are squeezed, their impact on society and the economy ignored. The impact on Art and Design secondary education of EBacc, and now the prospect of the Augar review of education, further threatens to constrict the reflection, critique and reinvention that Arts courses provide. At the July 2018 graduation ceremony Kate Tempest’s acceptance of an honorary doctorate captured the vitality of creative agency to articulate imagination, anger, desire and expectation of what a civil, civic society should provide. Her performance of ‘Brand New Ancients’ will be remembered by everyone present. As a sector and as a School we have to put our practice out there, expose its value and contribution and the importance of working and thinking holistically and imaginatively at a time of a polarised, monocular and disaggregated political, social and economic context. continued…

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Welcome to The Cass Yearbook 2018 –19

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It is all of our responsibility to offer this; through the success and presence of students, staff and alumni; the opening of our building for events; students’ working on live projects or collaborating with different communities. Over the last year there have been many instances in which this ambition is evident. Cass Projects continues to be key to reaching out to organisations and partners. Their ongoing liaison with both the London Borough of Tower Hamlets and the Corporation of London has ensured students’ involvement with consultations and live projects contributing directly to local communities throughout our local area and beyond. This year these have included the development of play structures in Aldgate Square, a building for the Fulham Scout Group and a series of projects in and around Brick Lane. At the start of the year we set out to ensure there were public events supporting students’ studies, open to practitioners and the public in all subject areas all year. Our schedule meant there were activities every day of the week, whether bringing young practitioner-based talks such as Visual Communication’s Hothouse talks or Architecture’s Form-Givers lectures and the third student-organised ‘Who Cares?’ series, pop-up events in Fine Art or Interiors’ Cinema Club.

Exhibition selection, Fine Art

In Fine Art, and now in its third year, Open Field’s Artists in Residence continued in impressive form with Olga Koroleva, Iain Gouldstone and Isha Bøhling working alongside students and then exhibiting their work around the Calcutta House complex.

Cass Projects continues to be key to reaching out to organisations and partners.

Photography’s partnership with the Association of Photographers brought in industry speakers and built upon two wonderful exhibitions as part of Photomonth at the beginning of the year; ‘Photograd’, curated by Paola Leonardi, and ‘The Photo-Diaries of Mick Williamson’ celebrating the work of our former Head of Photography and transforming the Atrium exhibition space. The Atrium also hosted our Head of 3D, Marianne Forrest’s exhibition ‘Acts of Resistance’ and an exhibition of paintings by staff from Fine Art and Foundation curated by John Coleman. We are also delighted to host events for the London Festival of Architecture, the London Design Festival and the Whitechapel Gallery’s ‘Nocturnal Creatures’. Furniture and Product Design students exhibited at Clerkenwell Design Week, Theatre students’ festival ‘Land of Fibs’ transformed the Canada Water Theatre and Library in May and earlier in the year ‘In Limbo’ allowed visitors to be guided by angels through Tate Modern. Anthology II was published last summer and this ongoing and highly successful collaboration between Creative Writing and Visual Communication students completed their trilogy in June. One of the most effective and energised contributions to the life of The Cass this year has been the extraordinary team that is MASS – the Metropolitan Architecture Student Society. Their building of both a social and subject focussed energy for the School has been superb

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and was capped by the amazing ‘Megacrit’ with students from Kingston, UEL and Westminster joining students from The Cass to present to a fantastic line-up of critics and speakers. Thank you to everyone involved. The Cass staff have again produced extraordinary work within the School and in practice, and the value of the currency, innovation and presence of their work has a remarkable value for our students. The start of the year, however, was especially challenging as we were faced with the sudden loss of two members of staff who had had an exceptional impact on the culture, thinking and teaching in the School and especially in Architecture. Professor Florian Beigel and Signy Svalastoga both died in August 2018. Florian taught at the University for over 40 years and established the Architecture Research Unit (ARU). Florian’s and ARU’s legacy is both in buildings – including their reinvention of Central House for The Cass – writing and significantly through the impact of his teaching. He developed an international reputation for the engagement of Research as Practice and his teaching in PG Architecture Unit 1 inspired hundreds of students. His legacy is evident in a generation of architects and teachers at The Cass and far beyond. Signy was Head of Architecture and Unit 10 tutor. Her leadership of Architecture for the last 10 years saw a rich and diverse culture of learning and practice emerge in the School. The lasting quality of her teaching was demonstrated in the ‘Architecture of Relationships’ exhibition of her Unit’s work in May. Her curation of students’ ideas and expectations alongside those of academic colleagues and the management of priorities for a course or school require a capacity to guide, reflect, prompt and direct Acts of Resistance, Atrium Gallery

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introduction continued… with the most measured of touch. She had that ability and is greatly missed. The work of the senior staff in Architecture, led by Sandra Denicke-Polcher, to maintain the momentum and collective endeavour that Signy established, has been exceptional and has engaged staff so effectively. We now look forward to welcoming and working with our new Head of Architecture, Professor Christian Frost. Whilst much of the work in the Yearbook learns from and contributes to London, there has again been a wider geographical intent. Three more of our students were successful in becoming Venice Fellows at the Venice Art Biennale. The work in Architecture, in both Athens and in southern Italy, working with refugees or communities undergoing significant social transformation has continued to build new and strong relationships. The diversity of research and practice across The Cass continues to be captured by Jane Clossick and Matthew Barac as they curated Cass Research Seminars and associated research workshops. The exposing of research culture and the opportunity for staff and students to discuss this has been incredibly valuable. In November we organised and hosted the ‘Inside the City’ conference with Interior Educators. The conference explored the way in which the city informs the production, practice, thinking and education of interior designers. Keynote speakers included Marcus Engman, Head of Design at IKEA, Professor Lois Weinthal from Ryerson University, Toronto, and Sevil Peach, architect and designer, supported by wonderfully diverse presentations from Canada, USA, Iran, Australia and across Europe and the UK. It was the first conference we have hosted in a number of years and raised a flag for the School to a wide audience. We will do more of these. Our annual cross-school events, Making a Living Week and Celebration Week again provided professionally focused talks and workshops, student presentations to practitioners and great cross-disciplinary evening events. These included a cross-disciplinary panel talking about ‘Creating Childhood’; presentations by Archivio Leonardi; and ‘Making Art in the 21st Century’ with Louise Jeffreys, Artistic Director of the Barbican. There was an evening of extraordinary thinking from Daniel Charney, Dominic Wilcox Fine Art studios at Calcutta House

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and Cecilia Weckstrom in ‘Creativity and Education’, the vivacity of Fashion’s Project RED and the calm reflection, and celebration, at Professor Peter St John’s inaugural professorial lecture. In the centenary year of the Bauhaus our, now seven-year old, ‘Aldgate Bauhaus’ continues to grow. The profile of our students is exceptionally broad in their social, economic and educational background and this brings great opportunities. Foundation courses are rooted in Bauhausian ideas and provide the basis of thinking for many artists, architects or designers; establishing an awareness, a scope and a practice that engages multiple strands of thinking and a context of working. Part of our role is the exposure of all students to diverse practice and professional excellence and for Foundation students this has been seen directly through working with Jos Boys, visiting Professor of Diversity and Creative Practice, and the public success of David John Tovey, a Foundation alumnus. As if to demonstrate that our cross-disciplinary world is real, we saw Foundation and Architecture tutors Luke Jones and Anna Mill publish Square Eyes, a beautiful graphic novel, which was runner-up in The Observer’s Graphic Novel prize and winner of the World Illustration Awards 2019 in the ‘Books’ category, and Yinka Ilori, alumnus from Furniture and Product Design, commissioned to design the Dulwich Gallery pavilion this summer. There have been a series of other highprofile alumni successes this year. Matthew Gregorowski (MArch 2018) was named as the only UK winner in the global Young Talent Architecture Award; Tedi Lena (Fine Art 2018) has been selected for the BP Portrait Award exhibition; Megan Chandler (Interior Architecture and Design 2017) was profiled as one of Mix Interiors ‘30 under 30’ to watch. Gatti Routh Rhodes, a multiple alumni (and now staff) practice, won Building Design’s prestigious Young Architect of the Year Award. Richard, Tom and Stef all studied at The Cass with Richard starting in the Access (Foundation) course and going right through to Part 3. Simone ten Hompel, Reader for Metal, Jewellery and Silversmithing, won the highly prestigious Glenmorangie commission for the National

Introduction

Museum of Scotland and in Architecture, studio tutor David Leech won the Architects’ Journal’s 2019 Small Project award. Within The Cass there are key teams of colleagues who are too often unsung in the work they do and the benefits they bring to the School are not always seen or appreciated. I would especially like to thank all our extraordinary technical team at CassWorks, led by Marcus Bowerman, without whose patience and support for students so much of the work you see could not have been produced. Our highly effective administrative team, from which colleagues have moved on and new faces arrived, Adam, Mursheda, Stuart, Francesca, Anna and Kamile, and allied to that Maeva, Julie and Emma who drive forward the richness of our Short Course programme; the wonderfully dedicated Academic Tutor team, Elaine, Jon, Emma and John, led by Cecile Tschirhart, who support so many students through their studies and manage the student success coaches; Cass Projects Office, managed by Anne Markey supporting student employability, collaborations and partnerships and our longstanding live projects provision that engages so many students and for which Jen Ng, Vanja Bazdulj and Shamoon Patwari play such key parts.

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Thank you too to those Visual Communication students and alumni who have created publicity and information for Making a Living Week, Celebration Week and the Summer Shows. They have produced fantastic posters, invitations, brochures and designed a bespoke typeface, ‘Cass19’, to support and publicise Cass events all year.

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And finally, to the work of Michael Upton. Our public face of student recruitment who also maintains such support to the School via social media and in the production of the Yearbook. For which, the marketing team of Dawn, Kate and Demetria, took on the mantle of attempting to gently manoeuvre the 100+ authors and contributors to the Yearbook so that Turnbull Grey, our Yearbook designers, had a chance of getting this published on time.

Andy Stone Head of School The Sir John Cass School of Art, Architecture and Design July 2019

003 001 View from the Bridge. 002 ‘Inside the City’ conference, Marcus Engman, Head of Design at IKEA. 003 The ‘Cass19’ typeface. 004 Celebration Week, ‘Creativity and Education’, Cecilia Weckstrom, LEGO Foundation. 005 Furniture and Product Design students exhibiting at BDP as part of Clerkenwell Design Week.

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The Summer Show â&#x20AC;&#x201C; foreground Pablo Rodriguez Diaz, background Shantel Sibanda.

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art Fine Art

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One: Negotiating Form Two: Archive Fever Three: Unstable Assembly Four: The Encountered Sign Five: Post-Truth. Narrating the (Un)Real

Courses

fine art

Studios First Year Fine Art and Photography Second and Third Year Studios

Fashion Photography Fine Art Painting Photography MA by Project Master of Fine Arts

This page: Lea Barre Artificial Cells 2019

Fine Art

fine art overview Rosemarie McGoldrick Head of Fine Art

The cluster of courses that include Fine Art, Painting and Photography was rated seventh in the UK out of 66 art schools by The Guardian’s 2020 university subject league table for Art. That’s two years now we’ve been in the top 10, and the third year running in the top quartile. That’s consistent high performance. Yet only five years ago we propped up the rest of the table in 66th position.

001 Pablo Rodriguez Diaz, The Winter Show. 002 The Winter Show in Calcutta House Annexe.

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The first-year students were prolific, passing through a ‘carousel’ of six art media project workshops. We had five strong senior studios. In art, these emphasised painting and 3D work, the art archive and environmental art. Photography had an exciting year, with a new course leader James Russell Cant, as well as a new Fashion Photography course led by Paola Leonardi. One of our graduating art students, Layan Harman, was chosen to be a British Council Research Fellow at the 2019 Venice Biennale. Two Photography students, Jenny Nash and Eva Sarupciute, were interviewed on BBC Radio 5 Live about selfies. The Open Field programme of artist residencies with its talks and workshops provided powerful work-related learning opportunities for all, with strong work by the artists Charlotte Mann, Olga Koroleva, Isha Bøhling and Ian Gouldstone. This May, our Associate Professor Patrick Brill OBE RA (aka Bob and Roberta Smith) selected and hung the famous Royal Academy Summer Show with the artist Jock McFadyen.

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Fine Art

first year fine art

001 Gabriel Wilson, The Winter Show 2018. 002 Charlie Guy, The Winter Show 2018. 003 Truman Brewery pop-up show.

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Fine Art tutors: Alison Ballard, Patrick Brill, Karen David, Pete Fillingham, Fred Gatley, Heather McDonough, Rosemarie McGoldrick, David Price and Patrick Ward Photography tutors: James Russell Cant, Ania Dabrowska, David George, Lee Hooper, Yiannis Katsaris and Paola Leonardi Year 1 in 2018-19 saw the largest cohort in Fine Art and Painting for several years, taking part in two large art shows in London Met’s Calcutta House Annexe at Christmas and Easter, backed up by a series of pop-up group shows outside the University, attracting good press and wide social media coverage. There was a large field trip to the ‘Spellbound’ exhibition at the Ashmolean in Oxford in November.

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studio one negotiating form

001 Richmond Katsande. 002 Shamikha Asif. 003 Hollie Teague. 004 Latiya Nanton. 005 Oriana Jemide.

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Studio leaders: Peter Fillingham and Andrea Medjesi-Jones The Studio ethos was about locating and negotiating making methods best suitable to intended personal artistic production. The word â&#x20AC;&#x2DC;formâ&#x20AC;&#x2122; refers to both conceptual, hands-on technical making principles plus critical reflection and the sharing of ideas. Painting was our general subject from which to explore ideas and practices. We included technical experiences from several workshops. All students were encouraged and enabled to bring back these negotiated skills via discussion and engaging developments in their work. 002

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studio two archive fever 001 Lloyd Coles. 002 Ronan Cahill. 003 Samantha Ball. 004 Kamila Szymkiewicz. 005 Lydia Abbott. 006 Ryan Rasco. 007 Shantel Sibanda. 001

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Studio leaders: Galia Kollectiv and Patrick Ward Archive Fever was organised around an exploration of the ways historical knowledge is accumulated, stored and recovered. Students were invited to intervene in an archive, inserting fictional artists into historical movements. We read essays that considered the shift from the archive as a spatial to a temporal construct, where access is not predicated on location but on the ability to process information. Through study visits, students explored artists working with archives and interrogated the ideological biases of museum displays. Students responded to these ideas in multiple ways, ranging from manipulating data using sound and video editing to representing information sculpturally.

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studio three unstable assembly

001 Hellwa Kader. 002 Hannah Williams. 003 Hugo Campos. 004 Layan Harman. 005 Preeti Tak. 006 Jessica Gaunt.

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Studio leaders: Rosemarie McGoldrick and Jonathan Whitehall The life of a thing is always switched-on for light, colour, time, particles, forces and energy â&#x20AC;&#x201C; a physical life of stuff. The reworked things artists then make of this obtain their own curious human charge â&#x20AC;&#x201C; an unstable mix of intention, the hand-made, interpretation, history, serendipity and desire. The vibrancy of things in this common materiality reveals a much wider distribution of actors in that network we call our world. Thus we reformulate the political subject in a much expanded ecology. Animals get rights. Stones have force. Landscapes get to think. This 2018-19 Fine Art studio taught to these principles.

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studio four the encountered sign

001 Josh Brown. 002 Christiano Takatsch Castellano. 003 Alessandro LaRocca. 004 Angela Blazanovic. 005 Ali Raza.

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Studio leaders: James Russell Cant and Ania Dabrowska This Studio has used Deleuze’s concept of the ‘encountered sign’ to consider affective imagery that is felt, rather than perceived through cognition. Sensation, however, is not an end in itself but leads to deeper critical inquiry. From beautiful still lifes of found objects made on the banks of the Thames, to uncanny and surreal images of mannequins and night-time views of London experienced by a minicab driver, to the celebration of a new Londoner’s adopted home and works made about a need for solitude and reflection, students have explored themes through both traditional and experimental approaches to image-making.

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studio five post-truth.

narrating the (un)real 001 Georgia Glover. 002 Elle Godfree. 003 Lene Terland. 004 Olivia Hansson. 005 Lene Terland. 006 Giulia Simonotti.

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Studio leaders: Paola Leonardi and Heather McDonough This Studio has encouraged students to investigate the construction of photographic narratives within relevant contexts of documentary, editorial and fashion photography, exploring how photography responds to the changes and challenges of our society. Studio activities have focussed on the production, distribution and consumption of images through the mediums of independent magazines, photo books and online platforms. Students have carried out research at Paris Photo and OffPrint Paris, as well as engaging in the curation of a successful exhibition in collaboration with Photograd. Guest lecturers have included Ed Sykes, Alex Hoedt and Steve MacLeod.

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MA by Project 001 and 002 Hugh Hamshaw-Thomas. 003 Jenny Nash. 004 Denise Lewis. 005 Rebecca Ilett. 007 Aleksandra Baranova.

The unique format of the MA by Project enables students to consistently work on the development of a project throughout different modules. Despite the variety of media and objectives, ranging from fine art as self writing to architecture for the common good, allied threads of enquiry are legible in this yearâ&#x20AC;&#x2122;s cohort. Students continued to explore the potential of practice to conduct and communicate research, and of making as a learning exercise. Their work records this process. It coherently advances and articulates a reflection on the role of the practitionerâ&#x20AC;&#x2122;s body as mediator between raw materials and research ambitions.

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006 Alison Anderson, Reflection Distortion Inversion.

The MFA Fine Arts allows the artist to research, pursue and develop a strong art project at postgraduate level, while learning at the same time how to establish a professional art practice in pursuit of an art career in the wider art worlds. Working in different art media (painting, photography, sculpture and video) in their own studio space, the MFA student examines cases in art networking and sustainable art practice. 002

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Creative Writing and English Literature Creative, Digital and Professional Writing

Anthology III, a collaboration between Creative Writing and English Literature students and Visual Communication students.

Creative Writing and English Literature

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English and Creative Writing

Creative Writing and English Literature Writing, criticism and publishing in the UK. Novels, short stories, poetry, script, creative non-fiction and spoken word in English and in translation. Creative practice and critical thinking.

Left: Sarah Wasley, production director at Granta, and Jon Gray, book designer and illustrator, with students from â&#x20AC;&#x2DC;Publishing and the Bookâ&#x20AC;&#x2122;. Below: Dance studio observation by Creative Writing students

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Overview Trevor Norris Course leader for Creative Writing and English Literature BA (Hons)

Our Creative Writing and English Literature programme covers contemporary and historical literature. Our students learn about national and international culture and politics, the relationship between literature, publishing and technology, philosophy and religion, and environment and place. From Renaissance England to our postcolonial and transnational stage, from Shakespeare’s King Lear to Preti Taneja’s We That Are Young, we want our students to be immersed in the complex relationship between literature and its world. 2018/19 has been a good year for undergraduate Creative Writing and English Literature. The course has been redesigned and our publishing strand continues to grow. With the help of colleagues in other disciplines we held a number of studio observations where our Creative Writing students observed students working in ceramics, textiles, print, fine art and digital design, and focussed on the act and intention of creativity as much as objects and finished designs. Thinking creatively across different processes and translating the relationship between maker, material and craft into written form brings a richer, more collaborative sense of art. We want our students to be able to create and respond critically to fictional worlds but also understand how others respond creatively to what we share. Seeing yourself as another person, and understanding your creativity in terms of theirs, is a central ethical commitment for Creative Writing and English Literature at The Cass. The Unravelling is Jasmine Damaris’s response to the printing process of textile design students Beatrice Maione and Fatima Ijaz. As well as the art and design studios in Aldgate, our writing students observed theatre, dance and performance students in The Cass at Holloway Road. Students watched dance rehearsals in studio and in various performance spaces, and followed the cue to cue, technical and dress rehearsals by students on the Theatre and Performance Practice degree. We asked our students to think about the way dancers and performers use their bodies and physically expressive powers to tell stories and convey emotion. Because our students are learning how to write scripts for performance, they need to understand how performers devise and adapt work for bodies and space. Khan Suleyman’s Apples is a response to the dance students as they devise a performance piece around sin, temptation, heaven and hell.

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Left: Creative Writing and Theatre and Performance Practice students in discussion

In modules Writer’s World, Fiction: Critical Practice and Genre Fiction, students focussed on life writing and autobiography, and considered the ethical and psychological risks involved in using deeply personal material as the basis for art. Sarah Harmony’s Things we happen on along the way, Aryan Ali-Murad’s Those Who Stand In Front Of Death and Richard Samuels’s Utopia are all extremely powerful works. Working with Dr Sunny Singh, students translate their ideas via the experiences of people and identities both close and distant to their own as a means of reflecting on the ethical, cultural and geopolitical complexities of our world. Two ethical themes emerge even more strongly in our degree area this year – sustainability and relatedness, and we make these a special focus of our final year module Why Literature Matters. Students start with Dr Andrew Cutting’s discussion of the relationship between reading and the childhood imagination, about engendering sympathy and the testing out of ethics in imaginary worlds. With Sunny Singh, students then move onto a section on literature and ethics in the broader world, about censorship, offence, controversy and banned books, about writing as activism, in exile or under repressive regimes. Charlie Gansbauer’s piece engages with many of these ideas. From the idea of writing in the jail cell, we think about writing in the monastic cell and turn inwards to consider the way physical constraints encompass spiritual worlds. Students discuss the way literature helps us understand embodiment, religious ritual, writing and prayer, and the origins of literary interpretation in relation to scriptural and religious traditions, where the

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printed book or sung verse appears in these, and also poetic traditions from cosmologies which are religious, theistic and transcendent but which don’t necessarily have scriptural law and a holy book. The last part of the module is about the place of literature in its world and the way literature can evoke our environmental sense of who and where we are. Here we think about transnationalism and ecology, and how literature can tell us about others, relatedness and ambient effects, and about what we need to make our environments liveable and sustainable across different scales. Finally we look at how literature opens up liveable worlds for children and the module comes full circle as it ends. Whilst our students learn about the ethical and worldly stakes that writing involves, our publishing module and bookselling projects explore how the commercial sector puts these to the test. The extract below from Cove Connolly’s report on bookselling is a good example of our students’ practical immersion in the economics of the trade. Dr Louise Tucker explains why this aspect of our degree course is unique. ‘‘London Met offers a rare chance to learn about the creative and commercial worlds of publishing and bookselling from people active in the industry. The course takes you from How to be a Writer to How to Start Your Own Publishing Company, covering all aspects of the business and process of making a book. Our guests – writers, literary agents, designers, festival directors – are at the heart of London’s publishing industry.” This year, guest speakers came from HarperCollins, Darley Anderson, Granta, Bonnier, influx press and the Stoke Newington Literary Festival where we placed three interns and dozens of students volunteered. Students visited the London Book Fair, and Waterstones and Foyles hosted students for visits that explained bookselling on the ground. Because one in three books sold in the UK is a children’s book we also ran two special, public-facing events, Creating Childhood and Stories We Need To Tell with academic and children’s literature specialist Darren Chetty, novelist Yvvette Edwards and publisher and bookseller Aimée Felone, cofounder of Knights Of and Round Table books.

Push, pull, scrape, Steal no other advances. Ink, rinse, print your soul projection In these little 3D trees Where you live inside the fabric folds Waiting to be complete. It’s a repeat, a subtle flick of the wrist, a steady eye, steady hand, steady mind. Am I relevant to you? I’m here to observe your patient glances. I will repeat these words In hopes of expressing how you work. White on black Thread laid bare on your stockinged calf Is it relevant to you? As you labour over the trees As you move through the forest As you swing from bare limbs You wear your art on your sleeve. Water suddenly hits the metal sink And I start – But the noise is necessary And so are your headphones That blast the beat while you craft I, too, bare my soul on another page. Your lines repeat so gracefully But when will the thread be uncovered? When will your forest burn down? I want to know How you store beauty in your mind. And where the beauty goes After we die.

Jasmine Damaris, The Unravelling Level 4, Writer’s World

Creative Writing and English Literature

Bite the apple! You know you want to Draw you in Commit your sins

Khan Suleyman, Apples Level 4, Writer’s World

Bite the apple! You think it’s forbidden? Everything God gave you On this rhythm Have me driven To the next line with a rhyme I’ve got magical riddles Let the juice dribble Bite the apple! Lead Hansel and Gretel In a New Age fable All colours like Skittles It wants to get physical! It wants to get lyrical! Bite the apple! More roots in this tree Where apples fall Gravitating to their own alchemy

Ever since I happened upon someone with tongue brazen, imposed on my person, tall, towering, dangling like an oppressive reminder … hurling gall, unmitigated enough to call me… Bitch! Nigga! Prude! or anything else mouths seem to spill and brains fail to sift ‘Been tryna leave that rachet at the doh ‘Been tryna pull the bitch from out my hurt ‘Been tryna shift, scuttle, hide ‘n bleach the black right offa’ me ‘Been fight that slave stank up off my lineage… Get offa me ‘Been tryna make my skirt a lil longer, hair a lil shorter, tape, shape, fade down these titties from asking for it ‘Been tryna stop asking for it. ‘BEEN tryna stop asking for it. ‘Been tryna stop asking for IT.

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Sarah Harmony Things we happen on along the way Level 4, Writer’s World

In 1900, a revolutionary agreement came into place between publishing houses in the United Kingdom, which saw the creation of a new form of literary trade determining that all books would be distributed with a fixed price. This decision meant that every author, whether renowned or debuting, would have their work sold at the same price, a strategy which generated profits and allowed publishers to fund a wider range of literary content. The deal promoted trade stability and penalised any booksellers who sought to offer reductions by the loss of their supply. The NBA continued unchallenged until 1962, when the Restricted Practices Court was ordered to review the deal, leading to a declaration that the agreement was still in the public’s best interest, the judge asserting the abolition of the NBA would lead to higher pricing, and a lack of literary variety and a reduction in available stock. However, in the early 1990s some retailers began to question the agreement and advocate for the discounting of books with Terry Maher, chairman of Dillons, being one of the most prominent. By 1994, publishing house Hodder Headline had decided to withdraw from the NBA, in a move which The Independent reported ‘is widely expected to herald the NBA’s collapse.’ This statement proved true, with Random House and HarperCollins also exiting the deal in late 1995, preceding the Restrictive Practices Court’s 1997 announcement that the Net Book Agreement could no longer stand. In the wake of the NBA’s demise, commercial bookselling has been significantly impacted, with competitive price wars soon emerging between retailers, followed by an insurgence of supermarkets joining the commercial bookselling trade and the beginning of internet bookselling. Sam Jordison stated in 2010 that the effects of the NBA’s termination was that ‘500 independent bookshops have closed. Dillons is a distant memory. The shelf life of most novels is far shorter, as are the careers of most writers’, highlighting the redefining impact of the NBA’s end. However, while the NBA offered some trade protection its termination can also be seen as offering greater access to literature, particularly to those on a lower income, through commercial structures of discounting and reduced price. Cove Connolly, Net Book Agreement (NBA) report Level 4, Fiction: Critical Practice and Literary Culture

Creative Writing and English Literature

We walked in the midst of chaos to reach a land that was promised as safe, where our father awaited us. My mother and seven siblings and I trekked through mountains and paths to reach a small town called Shno just past the Iranian border. The eldest of my four brothers, Safeen who was 16 and Sirwan who was 14, walked ahead of us with the two Peshmerga soldiers who were told by my father to protect and escort us to the camp in Shno. Their names were Rizgar and Howar and they were good men. The youngest of my siblings, a newborn girl called Evin was delivered in the bathroom of my uncle’s home in Erbil three days before we set out on our journey to Iran. I remember on our second day of walking in the glaring and inescapable heat of Iraq in June we crossed through the Hamreen mountains on the outskirts of Erbil having to move quietly in order to not gain the attention of the army patrols sent by Saddam and Bekar to hunt down what they considered to be rebel soldiers. As we crossed through the mountains we came upon a stream roaring towards one of the many Kurdish waterfalls. I began to walk through the water carefully. The water rose to just under my knee and the current flowed powerfully on its path. In front of me Howar and Rizgar had reached the other side and were waiting for us. As I got closer to them, with my mother and siblings behind me, I heard what sounded like someone dropping a melon into the stream - bloop, splash - and a deafening, piercing scream. I turned around. Evin was no longer in my mother’s arms. Howar jumped into the water after my baby sister who was quickly transported away. Rizgar ran along the bank, making his way much quicker than Howar, ran into the water and scooped Evin out of the stream. Back in my mother’s arms Evin was unfazed. My mother shook uncontrollably. On the third day we hiked up the Qandil mountains. The heat had made us all very somber, unable to muster the strength to talk to one another. I remember seeing blood trickle down my mother’s leg. She said nothing, wiped

it off with her dress and continued to walk with Evin in her arms and my two younger sisters Chwestan and Dlovan by her side. We came to a stop so we could rest, and my younger brother Hendo who was four and I went on a little walk just minutes away. I took my eyes off of him for less than a second. The sound my brother’s head made when it hit the rock was like a cinder block being thrown onto concrete. He had fallen head first onto rocky ground and split his head open, its red juice flowing out and staining the rock. He screamed in agony then passed out, then woke up, screamed, and passed out again. Rizgar and Howar were covered in his blood. They tried to stop the bleeding, and tried to stop his screaming but neither would work. Rizgar looked at my mother and said ‘Gula, they will hear us, they will hear his screaming. We have to… we have to stop him screaming. They will come and they will kill us all.’ Commentary When I originally planned to write this story I was intending to approach it from the perspective of my grandfather, Baba Bilal, as he fought in the Peshmerga against the government of Iraq. I was raised on stories of his bravery and the journeys he went on. After getting all the information I needed of those events from my mother I uncovered another story. It was the story of how my grandmother Gula made the journey with my mother and aunts and uncles, and risked her life to protect theirs, carrying her children to safety just days after giving birth. The word ‘Pesh’ in Kurdish means ‘In front of’ and ‘Merga’ means death so ‘Peshmerga’ can be translated as ‘those who stand in front of death’. Iraq was a British colony and Kurdistan itself was divided into four parts after World War One by the British. Kurdistan now falls into Turkey, Syria, Iraq and Iran, making the Kurdish people the largest population without a recognised state.

Aryan Ali-Murad, Those Who Stand In Front Of Death Level 4, Fiction: Critical Practice and Literary Culture

The Cass Session

The air is thick and moist. No trace of human sound, nocturnal voices hold council. Bullfrogs quarrel, crickets chatter, a rat rustles through the field, stripping the skin from stalks of cane. A cat lies in wait, claws ready, orbs of light illuminate the dark. Apparitions, fireflies, perform an aerial waltz. A lizard hisses, flicks its tongue and slithers into the shadows. The moon observes this midsummer dream with a pale lidless eye. My carriage hits a bump in the dirt road. The journey has been an uncomfortable experience. The weather feels oppressive for the time of night. I feel a sudden yearning for the streets of London. Nature, unchecked, grudgingly accepts the interloper. The vegetation is intrusive and lush, perspiration an unwelcome companion and too many insects for my liking. The wildlife exotic, hummingbirds, millipedes and multi-coloured reptiles. Palms nod, acknowledging my arrival, strange fleshy fruit hang from the trees. The island’s elite live like kings, in control of the most valuable commodity - white gold. Europe’s sweet tooth lines the pockets of these men. They saunter around like peacocks and live in palatial homes. Far from exceptional, they are of little note, some have bought shame on their families. Plunderers in genteel guise. Their newly acquired fortunes afford them status. Sins washed away by commercial gain. These surroundings are beneath me but I am here, seeking my fortune, hiding my secrets. In England, a physician could expect to make a comfortable living. Far from civilisation, the opportunities for advancement are limitless. I reach my destination, no servant to greet me, I make my way. I am beginning to have doubts regarding my decision to come. Stafford is an accommodating host. On my arrival he offers me the company of a negro girl. What unnerves me is the casual nature of the affair. There are women of easy virtue in London. This is something different. I am gifted an object, a trinket. She stands silent her head bowed. Stafford lifts her chin and she smiles. Her eyes betray her face. They reflect the harsh reality of her being. Fear. Anguish. Loathing. Simmering beneath a veil of subordination. Stafford seems oblivious, or unconcerned. I politely decline. It has been a long journey. The following day, he insists upon giving me a tour of the place. This is one of his three plantations. An ocean of bodies slick with perspiration toil in unison. They show deference to the overseer. They attack the unyielding, cherry-stained soil. Cultivating this land is back-breaking work. Stalks of cane topple, their executioners sing songs of lamentation as they feel the sting of the lash. Men outnumber women, the latter are shown no quarter and exhibit equal industry. Punishment is doled out equitably as the scars on their backs can attest. They are at the mercy of any white man with a proclivity for carnal behaviour. This pales in significance when compared to the horrors of the boiling house. I gasp, overwhelmed by lung-searing heat. Caramelised sugar is sulphur’s worthy substitute. Children perch, stirring the sweet sticky lava. A remarkable level of endurance must be required to survive this purgatory. An agonising scream. He writhes in hideous contortions, molten liquid eating away his flesh. I amputate. What remains of the limb resembles melted wax. I advise the overseer to allow him a week’s rest. Later, Stafford appears with another offering. This time I indulge. I am having trouble sleeping. Rum helps. Though under no whip or yoke, I am Stafford’s man. He has absolved my gambling debts. Richard Samuels, Utopia Level 5: Genre Fiction

Creative Writing and English Literature

Andrea Holness, Porter’s Grief Level 6: Moderns to Contemporaries

The Cass Session

Max Porter’s Grief is the Thing with Feathers was published in 2015 and adapted by Enda Walsh for the London stage in 2019. At the heart of the narrative are the skewed perceptions and coping mechanisms of a father and his sons in the midst of grief. The experimental narrative offers a surreal view of a domestic scene in the immediate aftermath of a wife and mother’s death. The grief belongs to Dad and the Boys but another central character quickly appears. Crow, is “the thing with feathers” who enters the narrative as a grotesque, supernatural being: part trickster, part grief counsellor, part unruly and disruptive guest, and ultimately an embodiment of human attempts to cope with pain and loss. Yet in Porter’s work Crow is more than this, as he becomes a meta-literary device that depends on the work and grief of another writer, Ted Hughes, an always-present figure in the text because of the husband is a Hughes scholar, failing to write a book about the poet’s works. This, in a very concentrated form, is the outline of Porter’s text. It is, however, a much more complex piece. Porter’s Crow is a bird whose imagery is very evocative of death and of the connection between the present and departed, between life and death. One need only think about what, probably, remains the most famous depiction of a corvid in literature, Edgar Allan Poe’s The Raven: the central word of its narrative, the famous repetition of “nevermore” is reminiscent in many ways of the idea of loss, of something once present that nevermore will be, a sense of pained sorrow filled with longing for someone or something that can no longer return. In fact, the connection between Porter’s work and Poe’s own poem can also be seen in the description of their main characters. Poe states in The Philosophy of Composition that his protagonist is a scholar, just as the father figure in Grief is the Thing with Feathers. It is an interesting parallel because a scholar represents the imperative to seek knowledge beyond appearances, to understand truth as a fusion of corporeal and invisible aspects of human life. Ted Hughes’ Crow: From the Life and Songs of the Crow (1970) inspired Max Porter not only because of the richness of its imagery but for the personal value of the text itself. Porter’s father died when he was young and he became a great enthusiast of Hughes growing up. Crow is seen by many as the defining moment in Hughes’ artistic career (Roberts, 2016) but while Hughes refrains from openly discussing grief in the work, Crow is also defined by terrible moments of loss and pain. Before its composition lies the 1969 suicide of Hughes’s partner Assia Wevill, who also killed their daughter Shura, and the 1963 suicide of Hughes’s wife Sylvia Plath. Whilst Hughes’s Crow may not be about grief, it is certainly the result of it. Crucial to this point of view are poems like Examination at the WombDoor, a piece where the answer to all questions posed by Crow is ‘death.’ It is an unsettling poem where the reader senses almost physically what lies behind Crow’s apparently nonchalant attitude towards the ultimate power of death. These are the words of someone who has experienced profound loss and who, like the Boys in Grief is the Thing with Feathers, tries to exorcise pain in an almost disinterested way. Hughes uses the poem to show how the power and sovereignty of death over human life is ultimate and unequivocal: everything belongs to it and it seems to be stronger than love and hope. Yet Crow realises that just by living, by representing as he does an image of living force, he is, in fact, an answer to death itself. And so, death can be conquered by acknowledging it as Crow does in the first part of the poem and, then, by gaining awareness of how a living creature can become through its will to live an answer to death itself.

Structural censorship works in the publishing industry to reflect broader sociological problems that exclude minorities from representation at higher levels. The publishing industry has come under intense criticism for its lack of diversity. The workforce is primarily and white and primarily women. 79 percent of the publishing industry are Caucasian and 78 percent of the industry are female ‘Lack of Diversity in Book Publishing, 2017’. These numbers are concerning in and of themselves but perhaps more concerning is that this lack of diversity is reflected in the authors published. Writers of colour will never have their voices heard and their books published if the publishing companies continue sticking to the status quo. Only one percent of children’s books published in the United Kingdom in 2017 had a black or minority ethnic (BAME) protagonist and four percent featured BAME characters ‘Reflecting Realities, 2017’. Children deserve to see their realities represented in art and literature, as art and literature is a way for children to explore their reality. If a diverse range of characters is not being represented in literature, it sends the message that minorities are not an integral part of society, or that there are parts of society in which people of colour are not welcome. ‘There seems to be little chance of developing the humility so urgently needed for world cooperation […] as long as children are brought up on gentle doses of racism through their books.’ (Bold, 2018) At a time when nativism is cultivated by world leaders and enacted by walls, books offer a bridge of understanding into other cultures and points of view. A failure to represent minority writers erases the minority experience from the literary sphere and through this, denies both minority and white children the opportunity to see the real world in the books they read.

A workforce that looks the same is likely to think the same. A white workforce will not have faced the challenges that minorities struggle with. A workforce without equal representation will continue to serve the interests of the majority, despite well meaning (though half-hearted) attempts to do otherwise. In an attempt to publish more authors of colour and ostensibly to explore the stories of those authors of colour, white editors push a minority narrative that highlights the ‘otherness’ of the minority experience. Authors of colour have spoken about feeling pressured to write ‘identity fiction’ – books that center around ethnic or cultural heritage, cater to ethnic stereotypes, or stick to topics such as ‘racism, colonialism or postcolonialism, as if these were the primary concerns of all BAME people’ (Cain, 2016). The story told still then revolves around the white universe – how the white experience shaped minority experience, pushed so that white people may feel a more complete understanding of their history. It seems as if minority authors are only given a platform to explore the struggles and suffering of being a minority. These topics are not problematic in and of themselves. The problem comes when they are the only narrative available to relate the minority experience. If the only representation of a group is in the context of subjugation, the group could be seen as being defined by their struggles. The publishing industry needs to promote ‘a wider diet of books so readers can appreciate that people from minority backgrounds have as much variety of life as everyone else – yes, there is struggle, but there is also going to the dentist, going to the supermarket. It’s striking a balance.’ (Flood, 2018) As the publishing industry gains a more diverse workforce, minority authors will no longer have to self-censor their stories that are not ‘racial’ enough to be published.

Charlie Gansbauer, Diversity and De Facto Censorship in Publishing Level 6, Why Literature Matters

Creative Writing and English Literature

Creative, Digital and Professional Writing

Overview Anne Karpf Professor of Life Writing and Culture

The Creative, Digital and Professional Writing MA has grown significantly over the past year into a vibrant community of full-time and part-time students from Britain and around the world, including the USA, South Africa, Mexico, Ireland, India and Italy.

was ‘outstanding’. Many of the large number of international applicants point to the distinctive nature of the MA: while encouraging students to develop their own original narrative voice in fiction and nonfiction, it enhances their digital confidence and teaches them the rigorous skills of editing and feature journalism that will help them make a living. Our students taking the work experience module are currently making themselves invaluable on a magazine and with a literary festival.

They relish the wide range of skills that the course is helping them to develop and have produced some powerful work in creative writing, creative nonfiction and digital storytelling. In the latter, students worked on content marketing, blogs, multimodal and ambient literature for smartphones, collaborative open-world narratives and interactive fiction. In creative nonfiction, we were moved by accounts of the migrant experience, sexual abuse and encounters between the global North and South, while a confessional piece written by a lipstick made us laugh.

They also benefit from the blossoming relationships we’re developing with the rest of The Cass and its rich creative culture. This year we’ve run a joint class with the Design for Cultural Commons MA, are discussing possible collaborations with the new Architectural History, Research and Writing MA and introduced an exciting new module called Curatorial Writing. Our students also regularly attend the art and cultural events that run in the Aldgate campus. We’re planning to produce a magazine of writing by Creative, Digital and Professional Writing MA students, beginning next year, to be illustrated by Visual Communication students.

The course was revalidated last year; the external examiner judged it ‘innovative and versatile’, praising the ‘exciting module content’ and concluding that that the focus on up-to-date professional skills

Our students will also be invited to play an active role in the Centre for Life Writing and Oral History (CLiOH), the new research group being launched in the autumn by The Cass and two other London Met schools.

The Cass Session

Above: No Shelter, an interactive hypertext story on homelessness by Brendan Brosnan

Creative Writing and English Literature

Lipstick by Rachel Gibbens

Below: Photo of Rachel Gibbens wearing lipstick

The Cass Session

I always prayed that I would never be reduced to the ones they call ‘Tester’. Horror stories of being dipped in searing surgical spirit or scraped with a knife - and that was only if you were lucky enough to be ‘sanitised’ before another random woman pushed you up against her lips. Sometimes they’d pick the testers straight from the stand, pressing and bruising whilst the make-up girls stood in disgust but didn’t have the heart to say “Let me clean that for you.” I was one of the lucky ones. The obscure colour that nobody ever really wanted or asked for, stood in my box in an organised drawer. Every now and then I’d get picked up and I’d silently scream, before realising someone was just trying to put us back into alphabetical order. I felt sorry for the nudes of the world, destined to live in the bottom of someone’s handbag, dug out multiple times a day and reapplied. The reds weren’t much better off. Not used quite as much: generally, only for special occasions or date nights. At least the nudes could get used to the ache of being slathered on for the tenth time that day. The reds would throb for weeks straight after that initial application, knowing their fate was probably to be left behind as traces on wine glasses or – worse – kissed off by some horny stranger who would smudge them to the point of no return until they were smeared all over two faces. I was a deep purple, almost black. Called Nancy after Sid Vicious’s girlfriend – I’m told. I was limited edition. I was exclusive, rare. I was the kind of lipstick only worn by people working in make-up or teenage girls looking to experiment. This didn’t bother me at first: it made me feel special. I’d been created especially for a punk-themed Christmas collection. Life started with burning heat and being churned in industrial-sized metal vats. Then the cooling process began and, just when I thought it couldn’t get any worse, we were being pressed until all the air was squeezed out of us. “There can’t be any air bubbles,” I heard them say. Once winded, we were reheated and poured into tubes, our excess scraped away. Some of us didn’t make it, of course. But I did. Fully set, a lid was clicked onto me and I was placed in a cardboard box and shipped off. I didn’t see sunlight for four weeks, until finally it was release day, and the other limited editions and I were placed in the drawer in that all important alphabetical order. Sheena was the first to go. “Sold out,” the girls repeated many times a day and I wondered when they would start asking for me. I didn’t want them to, but as the other lipsticks in my limited-edition drawer started dwindling, I knew the girls would start trying to get rid of me soon. “Nancy, it’s called. I saw it in Stylist magazine.” So the press began, and a few ladies came in and bought us. Eventually, there were only three of us left. “We’re all going to wear Nancy today,” the manager said. “I want her gone by the end of the day!” “Do we have to?” they moaned, but the manager insisted, and I heard tester Nancy yelping as they scraped some of her away. And that was how I came to be bought by an unsuspecting twenty-yearold. “It will look amazing on you!” the sales assistant had insisted, and she’d fallen for it and parted with her £26. Years later, I’m kept in a storage box, along with other lipsticks. Every so often, the now twenty-three-year-old gets me out and traces me over her lips before hastily wiping me off again. “Not today,” she tells herself in the mirror, not brave enough to wear my almost blackness. Eventually, she’ll throw me away and I’ll end up in some landfill surrounded by all the other unwanted items – special no longer.

Getting Here by Caroline Barrow

He can split his life into two parts: the part when he was here and the part when he was there. He does not remember what age he was in most of his memories; he only knows if he was here or there. He was excited about getting here and about the new opportunities it would bring for him. He cycled his bike on the left-hand side of the road to the sweetshop but when he came to pay, he did not want to part with the coin clutched in his chubby little hand, for it was a beautiful gold with a silver centre, nothing like the coins back home. At school some children teased him for the colour of his hair, but he just smiled because their language sounded so funny and he thought perhaps they were being kind. When the children at his old school had teased him in a tongue he understood, he had replied, â&#x20AC;&#x153;my hair is beautifulâ&#x20AC;?, which is what his parents had always told him. Maths was something he recognised, but the teacher could not understand his accent and told him his answer was wrong, leaving him confused and wondering whether perhaps even numbers worked differently in this new place. After school he played football with the boys in the park until dinner time because football was a language everyone spoke.

His mother was at home by day trying, like him, to make sense of the all the strange words they now needed, while his father went to his new job at the university, using words so complicated that even most of his students did not understand him. Sometimes he was rude without meaning to be and scared of what his parents would say if he did not succeed at his new school. He found his own way there after only a few days because that was what children did where he was from and he was unaware that, here, passers-by may look at him in concern, wondering why a child so young should be cycling next to a busy road by himself. His sisters were a long way away now. It was so simple to board a plane, but it was a different matter settling into a new life, a life where he was an only child and his dog had been given away. Nevertheless, he liked it here. It was a odd, interesting place, where the bread was all pale and squidgy and wildlife meant squirrels, not bears. Twelve years he has been here now, and it feels as much like home as there ever did. His accent is hardly discernible: people understand him now and he understands them. They assume he was always here.

Creative Writing and English Literature

Getting Here by Jade Angeles Fitton There were three builders smoking a very pungent spliff at the bus stop I waited at this morning. In another life I could have been any one of them, but I’ve never turned my hand to building. I have turned it to smoking, but it turned out that wasn’t me either. Nor was the tall black man in a big puffer jacket who got on one of the more regular buses. I wasn’t the young man in a blue suit running for the single decker, who paid no attention to anything – the green light, the people, the morning sky – other than the vehicle that could take him to his destination, the vehicle that was indicating it might pull away without him. I wasn’t the woman with bangly jangly jewelry that only she seemed to not find annoying (because she had large headphones over her ears). Nor was I the smart woman strutting onto the bus in front of me whose navy winter coat I envied, in spite of all the cat hair. I was not any of these people. Though I have been many other people, and could have been many more if life hadn’t pulled me towards and away from friends and lovers like a wave. When I said hadn’t turned my hand to building, that wasn’t entirely true. At school in Design and Technology I built a bedside cabinet; but unable to make the sliding mechanism of a drawer, created more of a cat flap. I worked all night before the deadline of our GCSEs to make it the best cat flap cabinet I could. I don’t like to admit I’m hopeless at anything, but I was hopeless at that. I may have worked hard but I was naughty at school, possibly because I didn’t know how good I had it. Or, possibly because I knew exactly how good I had it, because I could feel my many lives-in-waiting hanging over me like broken branches just waiting for a gust of wind, and wanted to have all the fun I could, while I could, before they fell on me in a heap. I just wanted to laugh all the time back then. Once I left school I came to find it all much less amusing and wished many times for my life to be different. Then when it changed, I wished it to be different again. And when it became different again, I wished for it to be more different still. To be easier, luckier, happier, less lonely, less scared, less poor, more fulfilled. But throughout all that wishing, I never wished to be somebody else – sensing, if not yet understanding, that I could have any life I chose. The three builders were not waiting for a bus. When they finished smoking, they crossed the road and approached a large church at the top of the hill. They reached its back door and entered one by one: knowing it didn’t matter how they arrived, which door they used, or in what order they passed through it, all that mattered is that they did. I have stopped wishing for my situation to be other than it is, understanding that it will change into something different whether I want it to or not. Because all the lives around me – the trees, the birds, the people – are always shifting. Like swash we are pushed forever forwards, into new lives, onto unfamiliar shores, before reaching our final destination. And now I’ve come to understand this I’m quite happy here, wherever that may be, unfamiliar as it always is. I will try to be happy anywhere, as anything; even a hopeless carpenter.

The Cass Session

Getting Here. Image by Esi GruĚ&#x2C6;nhagen from Pixabay

Creative Writing and English Literature

The Cass Session

Theatre and Film Theatre and Performance Practice

theatre arts

Courses

Theatre Arts

Overview

Land of Fibs Installs

theatre arts 58

The Cass Session

Theatre Arts at The Cass comprises the Theatre and Performance Practice BA (Hons) and Theatre and Film BA (Hons) paths. Our focus is interdisciplinary, placing an emphasis on our students seeing themselves as versatile artists. As our industry keeps blurring the boundaries between disciplines, it is no longer simply a case of becoming good at one thing: itâ&#x20AC;&#x2122;s essential to know how to transform, evolve and combine different skills. So, throughout their degree, our students explore a combination of performing, directing, devising, script-writing, film-making and producing, alongside specialist skills like installation and multimedia, choreography and dramaturgy. Each week our students met an industry guest who shared their own experience with a talk, a performance, or a masterclass. Highlights this year included guest talks with TV and film actor and alumna Maimie McCoy, theatre director Dan Coleman, New York voice coach

Left Louise Jeffreys with Jacek Ludwig Scarso Below In Limbo

Nora Leonhardt, Japanese Butoh practitioner Yumino Seki, performance artist Alison Matthews, actor Jake Boston and casting director Liz Bichard. We were honoured to have the Artistic Director of the Barbican, Louise Jeffreys, give an inspiring talk to our students during Making a Living Week, and Dr Cara Courage, Director of Tate Exchange, as guest critic for Celebration Week. Our programme continues to thrive on highprofile collaborations. This year, they have included Kandinsky’s critically acclaimed theatre piece Dinomania and Richard Whitby’s Jerwood/FVU award-winning film The Lost Ones, as well as Istituto Teatrale Europeo (Rome) and its Festival di Teatro X-Actor, Encompass Theatre Collective, National Theatre, Royal Court, the Posh Club and the National Portrait Gallery. This year marked the start of our prestigious Associateship with Tate Exchange, initiated by Dr Jacek Ludwig Scarso, Reader in Art and

Performance, with his live/VR installation at Tate Modern, ‘In Limbo’. Featuring 25 of our students, this was attended by over 1,200 people in the space of one week and will lead to further projects at Tate Modern in 2019 and 2020. Jacek was then invited by the British Council in Hong Kong, to talk about this work and present his projects ‘Voicescapes’ and ‘Nature in the City’. Funded by his recent University Teaching Fellowship grant, he was able to take third-year Theatre and Film student Sol Angelucci to video-document this international project, as part of Spark Festival 2019. Dr Jacek Ludwig Scarso Course leader for Theatre and Film BA (Hons) Rishi Trikha Course leader for Theatre and Performance Practice BA (Hons)

Theatre Arts

Images from Hello Dust! by Theatre and Performance Practice second-year students, directed by senior lecturer Rishi Trikha.

The Cass Session

Productions

In their second year, Theatre Arts students enjoy the opportunity to develop a performance over an extended, intensive rehearsal period and share their work with a public audience. Students of Theatre and Performance Practice collaborated with senior lecturer and director Rishi Trikha to devise an original piece called Hello Dust!. Through a combination of humour, poetic imagery and choreography, this postdramatic work critiqued our relationship with the arts and invited the audience to consider what fundamental social and biological needs performance might fulfil. Second-year students of Theatre and Film created an adaptation of Pirandelloâ&#x20AC;&#x2122;s Mountain Giants (c.1936), called The Hanged Man, under the direction of the programmeâ&#x20AC;&#x2122;s Production Manager and Technical Demonstrator, Jelmer Tuinstra. This immersive work was staged across multiple mediums, combining live and recorded performances, with material on Instagram that the audience was asked to access during the show. The original, Mountain Giants, was a work of metafiction but The Hanged Man explores the particularly contemporary state of hyperreality that exists in our social media dominated world.

Theatre Arts

Below Top and bottom: Images from In Limbo Centre: Dr Cara Courage Opposite Images from Land of Fibs

Installation and Site

This year’s Installation and Site studio saw the beginning of our new Associateship with Tate Exchange, the acclaimed strand of Tate Modern championing innovative ways of engaging with the public. In Installation and Site, a studio led by Dr Jacek Ludwig Scarso, our students explored artistic forms at the borderline between performance, video and visual arts. Following a range of study trips and specialist sessions at Tate Modern, the V&A, Whitechapel Gallery, Somerset House and 180 The Strand, they created their own pieces in response to a given theme. The theme of waiting explored by the studio linked the students’ exhibition at the Atrium Gallery at London Met’s Calcutta House with a week-long installation at Tate Modern created by Dr Jacek Ludwig Scarso in collaboration with A-VR and Anise Gallery. Both events related to the idea of waiting as an existential condition pervading both the private and public spheres. At the Atrium Gallery, students interpreted the idea of the ‘Waiting Room’ through a combination of durational performances and multimedia installations. At Tate Modern, the piece ‘In Limbo’ invited the public, greeted by Angels in suits roaming around the Tate Modern, to document their experience of waiting, through a questionnaire and a drawing. More than 1,200 responses were completed in a week and the piece is planned for an international tour in collaboration with the British Council. In a specially commissioned virtual reality experience created by Felix Dodd and A-VR, the public continued their experience of ‘In Limbo’ by entering a virtual waiting room. A range of special guests were part of daily talks, in which the idea of waiting was debated through different perspectives and across different artforms.

The Cass Session

Festival

The Cass Theatre Arts Festival is the culmination of our students’ artistic journey across Theatre and Performance Practice and Theatre and Film. Here, they were given complete freedom as to what to present and their work took a wide range of forms, including theatre, cabaret, film, live art and installations. For this edition, we chose Canada Water Theatre to explore the whole building site-responsively, including its beautiful library and the lake just outside. Mentored by Dr Jacek Ludwig Scarso and Jelmer Tuinstra, the development of the pieces saw also the input of our Celebration Week guests specialists: Dr Cara Courage, director of Tate Exchange; Andrew Stone, Head of The Cass; Dr John Keefe, scholar and academic tutor; and Mariagiovanna Rosati Hansen, international theatre director. This year’s theme was ‘Land of Fibs’ – we couldn’t help but somehow draw on an age where our notion of what’s real and what’s fake is increasingly murky. So we imagined a fictional land, where the public encounters a range of absurd situations: each one a revisitation of a true event, or a complete lie… An exhibition space (‘the Land of Fibs Archives’) showed durational exhibits throughout the afternoon, free for all, alongside workshops and film screenings. Then in the evening, the building was reimagined for our live performances, taking place both in the theatre auditorium and across the site. Our largest scale production to date proved a resounding success, with sold out performances and as a result, new professional opportunities for our graduates.

Theatre Arts

The Cass Session

There were many activities and events throughout the year that expanded and enhanced the experience of our students. Professor Peter St John held an inspiring inaugural lecture during our 2019 Celebration Week and the weekly Research Seminars which have been a fantastic platform for testing and reproducing knowledge for staff and students across the School’s different disciplines, and beyond The Cass, have offered real value and benefit. Our student society MASS (Metropolitan Architecture Student Society) made a real impact organising the first ‘MegaCrit’ at The Cass, which involved students from different universities and professionals providing a platform for professional networking and industry engagement, as well as developing new research practices. We are also continuing to see pioneering activities in Technology, such as the hands-on ATA Charette, Mudchute Making Week on the Isle of Dogs in London, and this year in Calabria too, and are actively extending our partnerships in the UK and abroad, including projects in Athens, Calabria, Moscow, Portugal and Sierra Leone.

Architecture continues to employ outstanding established and newly emerging practitioners, something we are committed to grow further, and many individual awards were won by staff and students.

We can look ahead to another promising year this summer. It’s officially confirmed that The Cass will remain at the Aldgate site. This location inspires us, where we can observe significant change every day, and are actively involved in developing collaborations with local practices and businesses, communities and authorities. To have all of The Cass, the workshops and library, being located under one roof promotes an active and stimulating exchange of ideas between art, architecture and design, energising a multi-disciplinary practice, which we will encourage even further next year. I would like to emphasise that what makes architecture happen is teamwork, and our overall success is thanks to all those who contributed to this last year. Our community has shown an exemplary team spirit, ensuring a smooth academic year despite the sudden deaths of our Head of Architecture Signy Svalastoga and Professor Florian Beigel. This sad news made us come closer together and today I am excited to welcome our new Head of Architecture, Professor Christian Frost, who will start in July. Sandra Denicke-Polcher Acting Head of Architecture

architecture

I would like to thank all staff and students for their energy and generosity to make last year such a success, continuing to refine and actively debate the relationship between teaching, practice and research – the powerful ethos at the heart of The Cass.

Opposite: Summer Show 2019

Architecture Postgraduate

The Cass Session

One: Generosity Two: After City II – Tolerance and Compromise Three: Crossing Cultures Industrious Edgelands Four: Frame and Horizon Six: The Experimental House Seven: Looking Outwards Nine: The Foundation – Private Realms, Public Rooms Ten: Both Directions at Once – Architecture After Brexit

Course Architecture

architecture

First Year Architecture Second and Third Year Studios

undergraduate

Studios

Architecture Undergraduate

first year

architecture 001 Dan Green, Inhabitation. 002 Year One, Housing the Brooking. 003 Yunus Muneebah, Window Study. 004 Kate Pitsi, Ventilation Study. 005 Year One, Housing the Brooking.

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Coordinator: Colin O’Sullivan Tutors: Pascal Bronner, Alpa Depani, Nina Gerada, Rosie Hervey, Tom Hillier, Anna Mill and Punya Sehmi First Year continued its mission to carefully observe the world around us and to propose sensitive and appropriate change to it. This year the students were fortunate to be able to collaborate with The Brooking Collection. Pieces from this wonderful assortment of windows, doors, cills, ironmongery and more were loaned to the School and these elements became drivers for 1:1 built projects that culminated in an exhibition in December 2018. This project introduced students to making at The Cass and the amazing workshop staff who support us all. The major project of the year was located in Soho and Chinatown in central London. This environment – a rich mix of people, buildings, street life and nightlife – was the backdrop for proposals for a place to perform and live. From jazz musicians to troupes of dancers to mimes, the students’ propositions took shape in this vibrant setting. 002

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Architecture Undergraduate

studio one generosity 001 William Green, Model of gable ends and public spaces. 002 Sam Newton, Urban Threshold yard space. 003 Daniel Bunbury, proposal for a terracotta facade. 004 Sam Newton, Excerpt from a wormâ&#x20AC;&#x2122;s-eye view of Leadenhall Market. 005 Daniel Bunbury, A new public space for Borough.

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Studio leaders: Alex Bank and Sam Casswell

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This year, Studio 1 explored the theme of generosity. Initial conversation and debate focussed on generous acts from outside of architecture looking to the visual arts, music, literature, folklore and food to help students develop a more general position. Students sketched Wrenâ&#x20AC;&#x2122;s churches and Viennese buildings searching for the fundamental aspects of architecture that enrich our daily lives. Large drawings and models of architectural precedents from the City of London revealed how architecture brings a sense of delight and pleasure to a given situation through its contribution to the public realm. Final design projects were based in Borough. 003

The Cass Session

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Architecture Undergraduate

studio two after city II –

tolerance and compromise

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001 Luca Puzzoni. 002 Maria Lori Lee Fong. 003 Lousia Ling. 004 Rana Al-Kolaibi. 005 Luca Puzzoni. 006 Joe Douglas. 007 Maria Lori Lee Fong. 008 Maria Lori Lee Fong. 009 Joe Douglas.

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Studio leaders: Charlotte Harris and Colin O’Sullivan

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Over half the world’s population lives in urban areas occupying just three percent of the Earth’s surface. Rapid global urbanisation leaves rural regions facing an uncertain future. In our increasingly interconnected world, can reimagined rural settlements offer a viable alternative to the inequalities of the neo-liberal city? Through an incremental approach to design, students grappled with these questions through projects based in Moura, a rural settlement south-east of Lisbon, Portugal. Alentejo is a mosaic of landscapes, partly the result of climatic conditions but also as a result of human activities, particularly agriculture and industry. Regeneration, whether in rural or urban locations, is a provocative debate. In rural locations, time frames, economics, land pressures, social and spatial organisation are different, but it’s these factors that offer a frame of reference to consider new forms of settlement, one that finds a balance between an existing context and twenty-first century infrastructure.

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Architecture Undergraduate

studio three crossing

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cultures industrious edgelands: a productive threshold between town and country 001 Shivani Tipari, Paola’s Puppet Theatre. 002 Eric Chandrasegaran, Adjusting the House for a farming community. 003 Katrina Austen, Interior view of self build workshop. 004 Katrina Austen, Work and Play, self build theatre. 005 Andres Ricci, Oil and Water – work to leisure. 006 Andres Ricci, Oil and Water – strategic mapping.

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Studio leaders: Sandra Denicke-Polcher and Jane McAllister Since 2016, the Studio has offered students the chance to be part of a larger research group, shaping the local dialogue in the depopulated mountain village, Belmonte Calabro, southern Italy, initiated through events and architectural proposals. These actively engage local inhabitants and stakeholders, as well as migrants from across the Mediterranean. This year, Studio 3 proposed an ‘Industrious Edgeland’ as a provocateur to reanimate the village, which performs as an inhabited livework threshold and engages the surrounding landscape with the existing civic centre. Benefitting the culturally diverse population, these reimagined projects became dialogical reflections on the flow of people and the effect they had on the inhabitation of Belmonte as a prototype for other southern Italian villages.

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Architecture Undergraduate

studio four frame and horizon

001 Rose Frawley, City Wall. 002 Jonathan Whittaker, Figure Ground Print. 003 Tai Pham, Salters Folly. 004 Jonathan Whittaker, Furniture Makers Frame. 005 Jonathan Whittaker, Furniture Makers Frame. 006 Tai Pham, Printers Guild. 007 Rose Frawley, Cybersmiths Guild. 008 Jonathan Whittaker, Homeless Hall. 001

Studio leaders: Anna Ludwig and Rufus Willis

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Studio 4 has been considering London’s city wall and how, through the good governance of urban institutions, sanctuaries in the City can be created. Whilst the Worshipful Companies of the City of London are perceived as closed and archaic, the Guilds continue to shape public life as trustees and supporters of schools and vocational learning. We began by proposing a small-scale structure or ‘Frame’ to mediate between existing Guilds and the public realm. City and Guild went on to propose a contemporary Guild to improve education and training opportunities in Aldgate on the edge of the City. 003

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Architecture Undergraduate

studio six the

experimental house 001 Ines Liborio, Country House. 002 Ines Liborio, Town House. 003 Jakub Kolodziejak, Interior, Town House. 004 Teng-yang Yu, Town House. 005 Teng-yang Yu, Town House. 006 Jakub Kolodziejak, site model, Town House. 007 Jakub Kolodziejak, Axonometric, Town House. 008 Jakub Kolodziejak, Plan and Section, Town House.

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Studio leaders: David Leech and James Payne The house as a distillation of architectural thought is often overlooked, but as a test bed for new practices, it is an ideal typology to trace artistic journeys. Considered within a wider architectural context, it can explore the radical, investigate the specific and distil the essence of practice. This year, two briefs were set: a town house, and a country house; two singular projects on sites in the UK. For the city house, living space is tight and projects responded to shared civic values: decorum, context and situation. Outside the city within a broader landscape, the house defines and generates its own context and architectural language.

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Architecture Undergraduate

studio seven looking outwards

001 Federica Ranalli, Olive-warehouse photocollage. 002 Roua Aljammal, Imagined cloister garden. 003 Nicholas Kousoulou, Portal frame model. 004 Angela Mastracco, A new green route through Eleonas. 005 Federica Ranalli, Roofscape drawing. 006 Nicholas Kousoulou, Refugee camp Eleonas context model. 007 Anita Zarzycka, Sketch of existing warehouse. 008 Federica Ranalli, Civic space and public facade. 009 Daniela Bello, Interior view of gallery staircase.

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Studio leaders: Robert Barnes and Dr Bo Tang Eleonas occupies an area of almost 900 hectares near the centre of Athens. Eleonas (â&#x20AC;&#x2DC;olive groveâ&#x20AC;&#x2122; in Greek) used to be the holy olive tree plantation of ancient Athens, where the felling of trees was prohibited by Peisistratus in the sixth century BC. Until the twentieth century, around 50,000 olive trees existed and Eleonas functioned as a productive agricultural area up to the Second World War. Today, only a small olive tree plot inside the campus of the Technical Institute of Piraeus remains as a relic of the past. It bears the characteristics of a post-industrial brownfield or wasteland site. Eleonas was our location for the main project of the year.

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The Cass Session

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Architecture Undergraduate

studio nine the foundation – private realms, public rooms

001 Karla Cerovac, Gallery Model. 002 Aleksandra Kutcha, Foundation Model. 003 Aleksandra Kutcha, Gallery. 004 Aleksandra Kutcha, Foundation Model. 005 Karla Cerovac, Foundation Model. 006 Nadeem Jan, Foundation View. 007 Natasha Coenraad, Foundation Model. 008 Aleksandra Kutcha, House for a Collector. 009 Karla Cerovac, Foundation Model.

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Studio leaders: David Howarth, Jillian Jones and Ewan Stone Working in London and Venice, our focus has been the evolution of domestic architecture from places of living to spaces for exhibition and display. The Studio undertook a study of these spaces, the works they hold and relationship to the city. Galleries for a display of the work of selected artists were developed. Our first building proposition was a house for a collector, combining private living spaces with a room for display and exhibition. The main project of the year was the development of Foundation, a space for collection, gathering and education – forming part of the urban fabric of London. 002

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Architecture Undergraduate

studio ten both directions at once – architecture after brexit

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001 Chris Jones, Welsh Language Library. 002 Chris Jones, Flexible workshops. 003 Chris Jones, Sima Al-Jabri Circulation Model. 004 Chris Jones, Revetment Wall Drawing. 005 Chris Jones, Spatial Study, Long Section.

Studio leaders: Kieran Thomas Wardle and Owain Williams Studio 10 is interested in the relationship between architecture and time, this year from the perspective of a small constituency that voted to leave the EU. A dubious nostalgia and a speculative vision of the future make up the basis of many people’s reasons for voting in the UK EU referendum. By looking to the past to say something about the future, being critical as a means of being projective, and representing a nation split right through its core, this year we proposed architectures for a split constituency occurring across the lifespan of a site – an architecture which looks in both directions at once. 002

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Architecture Undergraduate

undergraduate architecture

technology

First-year technology The students used case study buildings to understand principles of technical drawing, structure, materials, construction, environment and services. This knowledge was summarised in a ‘Tech Book’, then used to investigate a technological question about the building. This year’s case studies were the students’ own homes, enabling investigation of various domestic architecture typologies, through drawings, models and analysis. Tutors: Robert Barnes, George Fereday, Ah-Ra Kim, Prof Maurice Mitchell, Siân Moxon, Jen Ng and Dr Bo Tang

Technology modules on the Architecture BA (Hons) equip students with comprehensive knowledge of construction, materials, services and sustainability, leading to an integrated approach to technology in their final design projects. Mudchute City Farm full-scale structure.

The Cass Session

Second-year technology The year began with the analysis of an exemplar sustainable building and its approach to environmental design, services integration and materials sourcing. This year’s building was Bloomberg’s award-winning office in central London. An intensive, one-week, full-scale making workshop at Mudchute City Farm allowed students to experience first-hand the structural properties of building materials through guided group construction exercises. Students produced an illustrated diary documenting their experience and related research into structures, materials and construction. In the final project, students produced engaging technical drawings of recent case study buildings related to their design studio themes.

Expert consultants, comprising structural engineers, manufacturers, graphic designers and architects, contributed a wide range of industry expertise. Tutors: Robert Barnes, Marcus Bowerman, Sandra Denicke-Polcher, George Fereday, Chris Hosegood, Jane McAllister, Prof Maurice Mitchell, Siân Moxon, Colin O’Sullivan and James Payne Consultants: Kay Gurung, SAS International; Stephen Hadley, Aidan Hall, Abdul Hanid, Matt Harrison, Odel Jeffries and William Kavananagh, Stanton Williams; Cíaran Malik, Price & Myers; Anne Marie O’Sullivan, Karan Pancholi and Aurelien Thomas, Jestico + Whiles; and Richard White

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The Cass Session

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Third-year integrated design audit In the final year, Technology is integrated with the studio design project, beginning with a diary of research and design development covering cultural, professional, technological and sustainability considerations. This culminated in an illustrated design statement setting out the project’s approach to these issues. A technical report was produced to explain the final design project’s approach to these issues. Students met professional consultants, including structural and services engineers, and sourced contemporary products at the Futurebuild trade show to fully resolve their projects and prepare them for working in practice. 008

Tutors: Robert Barnes, George Fereday, Siân Moxon and James Payne Consultants: Sanja Buncic, Entuitive; Alan Conisbee, Conisbee; Julian Dickens and Bronwen Gombert, Connected Architecture; Chris Papalexandrakos, AMACL; Aurelien Thomas, Jestico + Whiles; and Haruna Watanabe, Buro Happold

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001 Yenifer Bello-Vargas, Sustainablility diagram. 002 Anne Markauskaite, Sectional perspective of case study. 003 Harry Breeden, Exploded isometric detail of case study. 004 Katrina Austen, Callabria vernacular materials study. 005 Tai Pham, Construction layers analysis. 006 Jonathan Whittaker, Bay elevation with detail section. 007 Adriana Keast, Construction layers diagram. 008 Mudchute, 2019. 009 Anne Markauskaite, Exploded construction layers of case study.

Architecture Undergraduate

The Cass Session

Architecture MA MArch Architecture RIBA 2 Examination in Professional Practice RIBA 3

architecture

Courses

postgraduate

Units Two: Ideal World Four: Virtual Laboratory | Adaptation to Extreme Topography Five: The House and Garden Six: Civic Edgelands Seven: Polyvalent Models Eight: Both-And Midland Cities Nine: Gigantism and the Baroque Fourteen: Roding Riverfront Fifteen: Good Values

Bespoke Window Projects, Design Charette.

Architecture Postgraduate

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The Cass Session

unit two ideal world 001 Delia Scarpellino, Swains Lane. 002 Kinga Augustyn, Interior. 003 Victoria Leyland, Transitioning Through Rooms. 004 Aleksandra Kutcha, Foundation Model. 005 Kinga Augustyn, Terrace. 006 Victoria Leyland, Large Family House.

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Unit leader: Tony Fretton To make an ideal world of usual things: housing, work and play, on a site bounded by Swains Lane, Highgate West Hill and lovely Walter Segal houses to the north, which acknowledges the life of the surrounding neighbourhood and spreads happiness there. Setting briefs for conventional buildings, the Unit encourages constructible, habitable architecture that provides for imaginative reinterpretation by successive occupants, growth of community and poetic statements that are both engaging and far-reaching.

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Those issues are considered at every stage: planning the site and dwellings, designing facades and interiors, construction and the design of the portfolio.

Architecture Postgraduate

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The Cass Session

unit four virtual

laboratory | adaptation to extreme topography 001 Delia Scarpellino, Swains Lane. 002 Kasia Alaszewska. 003 Merethe Granhus, Whale Render. 004 Darja Buhanovska. 005 Darja Buhanovska, Section. 006 Merethe Granhus, Whale Pavilion Exterior. 007 Othmane Abdelali, Mineral Museum.

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Unit leaders: Andrew Grant, Nate Kolbe and Jonas Lundberg Diploma Unit 4 exploits the opportunities for rethinking and evolving the role of architecture amidst our predicament of population and climate change, its causes and effects. We embrace the optimism and hope for the future of this new brave world that places the capacity for human empathy, ingenuity and technology at the centre of our survival. The Virtual Lab is working on the act of building as a medium of architecture conditioned by material factors, production methods and new media. Hence, Unit 4 considers architecture in a world that is increasingly conditioned by emergent technology and material networks.

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The Cass Session

unit five the house

and garden 001 Anna Tebble, Collective Amenity 1:200 Model. 002 Anna Tebble, Minsoo Kim, Soroush Haghighat, Bruna Giovanni, Turn End Interior Study. 003 Minsoo Kim, Aedicular House. 004 Marie Magnien, 133 facade mode. 005 Anna Tebble, Three Houses and a Garden monoprint. 006 Anna Tebble, Three Houses and a Garden. 007 Soroush Haghighat, Garden Room. 005

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Unit leaders: Michael Dillon and Alex Ely We feel a critical shift in the aesthetic of London in the last two decades has been the requirement for private external space in dwellings. The graceful consistency of the Georgian terrace or the Edwardian mansion has been replaced with streets of inset or overhanging balconies and private courtyards. This year the Unit looked more intimately at the idea of garden space within inner city dwelling, questioning the relationship of a garden or balcony to the dwelling, and the borrowed landscape of the city. 007

Architecture Postgraduate

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The Cass Session

unit six civic

edgelands 001 Agnieszka Pyrdol, City and Settlement Dystopian Imaginary. 002 Agnieszka Pyrdol, City and Settlement Dystopian Imaginary. 003 Hannah Jarvis Howard, Model of Tomato Farm. 004 Monica Landivar, A refugee’s view of Central Athens. 005 Lionel Giordano, A refugee’s journey.

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Unit leaders: Sandra Denicke-Polcher, Jane McAllister, Prof Maurice Mitchell and Dr Bo Tang A ‘shedlands’ project in Bermondsey was followed by students investigating one of three settings: Athens, Calabria and Freetown. These landscapes of borders and boundaries included a migrant gateway or transitional settlement for those who have been uprooted, offering new opportunities for urban dwelling. Speculations and spatial imaginaries focussed on the conversion and adjustment of and addition to new buildings to assemble civic places for collaborative exchange between old occupants and those just passing through. Emergent proposals included people’s palaces, therapeutic immigration fields, integrated camp-neighbourhoods and a sustainable forestry institute. 005

Architecture Postgraduate

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The Cass Session

unit seven polyvalent models

001 Polyvalent Structure, Margent Farm Exterior. 002 Polyvalent Structure, Margent Farm Interior. 003 Daisy Zhai, Polyvalent Model 1:20. 004 Charlie Tomlinson, Polyvalent Model 1:20. 005 Josh Kaile, Polyvalent Model In Context. 006 Oliver Carter, Polyvalent Model Partial Elevation. 004

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Unit leaders: Paloma Gormley and David Grandorge This year, the Unit pursued a design methodology that was, initially, autonomous from place. Students were asked to design models of space characterised by polyvalence, meaning that it would be able to adapt, with minimal modification, to accommodate uses of school, workplace or dwelling. The modelâ&#x20AC;&#x2122;s spatial, tectonic and material nature was determined before its application to sites adjacent to rail lines in Tower Hamlets. The major project was augmented by the construction of an elevated structure built from a palette of natural materials â&#x20AC;&#x201C; Pine, Accoya, Hempcrete and Hemp composite cladding panels â&#x20AC;&#x201C; on Margent Farm in Cambridgeshire. 006

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unit eight

both-and midland cities 001 Group Detail Models. 002 Joshua Bristow, Construction as Heritage. 003 Florence Fathers, Detail Insert. 004 Monika Marinova, Facade Model. 005 Andrew Hopper.

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Unit leaders: Summer Islam and Takero Shimazaki (t-sa)

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Unit 8 explores the language of architecture in relation to the ethics of construction. We experimented with the form of new civic architecture in Stoke-on-Trent, a city with a legacy of expressive building and industrial heritage that is now diminished. The Unit remained focussed on public building and the potential of the individual artefact to influence the public realm. Taking our cue from the characterful buildings of the industrial past, we designed buildings that allow inconsistencies and redundancies, encouraging the seemingly dissimilar to exist side by side.

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unit nine gigantism and the baroque

001 Han Wang, Tottehnham Hale, Tower, Card Model. 002 David Turner, Masing Study, Timber Model. 003 Han Wang, Tottehnham Hale, Collage Drawing. 004 Summer Show private view 2019. 005 Han Wang, Tottenham Hale, Internal Courtyard, Card Model.

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Unit leaders: Jamie Dean, Aaron English, Stephen Taylor and Theo Thysiades This year, we focussed our attention on Tottenham Hale where we explored the expressive potential of architectural form at a provocatively large scale and tested its potential for density and mix of public as well as private programmes. 005

Through the year we studied an array of London building typologies from the past 200 years, and made big-scale models of contemporary continental developments to consider their spatial and formal arrangement. In November we travelled to Naples to visit the great palazzos of the Baroque period and experience their exceptional staircases and the unique way these are integrated into the city fabric.

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The Cass Session

unit fourteen roding riverfront

001 J Y Khoo, Gascoigne miniature. 002 Jessica Phillips, Render. 003 Ollie Riviere, River Roding unit model.

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Unit leaders: Pereen d’Avoine and Pierre d’Avoine

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Unit 14 continued its exploration of east London and studied the Roding River in Barking this year. Students were invited to join in with the wider urban planning research currently being carried out by Barking and Dagenham Council, and engaged with a variety of protagonists with interests in the area to evolve proposals for the Roding riverfront and environs. The aim has been to contribute to the revitalisation of the borough for the benefit of local residents as well as newcomers. Our agenda included designing scenarios which resist ‘big development’ which we understand as restrictive and limit opportunities for local enterprise as well as diminishing the public realm. We studied the history of land ownership and its economic impact on the lives of ‘ordinary’ people and questioned how we may procure and design urban settlements in which to dwell more equably.

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unit fifteen good values 001 Becca Woolman, Industrial Evolution. 002 Becca Woolman, Industrial Evolution. 003 Erith Inventory, Site Photograph by Jay Ghafour. 004 Morgan Davies, Shades of Green, a model for the management and diversification of municipal green infrastructure. 005 Morgan Davies, Shades of Green, a model for the management and diversification of municipal green infrastructure.

Unit leaders: James Binning and Ellie Howard

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Unit 15 strives to produce projects that are grounded in economic reality and hands-on practice. We are interested in how our abilities as architects equip us to challenge the status quo and address critical, contemporary urban issues, employing diverse skills in design, critical thinking and representation to produce strategic architectural proposals that have the potential to become prototypical models of the future. This year, we worked within Erith in the London Borough of Bexley, working on publicly-owned sites on the high street, industrial estates and the riverside to realise an ambitious rehabilitation of the town. At a time when Londonâ&#x20AC;&#x2122;s cash-strapped boroughs are implementing deeper cuts to public services, town centres are ailing and land for industry is increasingly vulnerable to housing development, student projects explored the potential for new forms of civic architecture and social enterprise and how to positively and ambitiously renew the built environment.

Architecture Postgraduate

design charette, the bespoke window

Applied Technology in Architecture (ATA)

In the postgraduate architecture technology courses, fourth-year students develop group projects and individual detailing exercises. Fifth-year technical teaching supports research and design of studio projects.

001 Tropical Window, Nairobi, Group 4 design charette. 002 Tropical Garden Window, Brazil, Group 5 design charette.

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The Cass Session

Groups of fourth-year postgraduate architecture students designed and fabricated prototypes for bespoke windows as part of a week-long design charette. The design charette aims to promote a direct engagement with material properties and afford an understanding of how thinking and drawing, allied with making, can inform design.

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In the weeks following this intense workshop the projects were refined for a design report and fully costed and scheduled to explore the real-world implications. Preceding the design charette a lecture series presented by a range of researchers and practitioners explored the technical issues of the design, fabrication and installation of bespoke windows. In a very short period of time students were introduced to a rigorous process of designing and making, supported by the staff and equipment of The Cass’s workshops. Economy of means in terms of materials, detailing, ease of construction and cost were tested to the limit in each project. The task was to design a bespoke window assembly that responds both to the climatic and spatial context that the window looks out onto and the spatial and material characteristics of the room it is to illuminate and ventilate. The windows were designed for various climatic situations: a hot and dry desert climate; a hot and wet tropical climate; a dry and cold Arctic climate; and a temperate climate. Each window was designed for a domestic situation in a different relationship to the interior: a distant horizon from the second floor; a garden from the ground floor; a street from the first floor and a city façade from the fifth floor. Tutors and lecturers: Liam Dewar, George Fereday, Edmund Fowles, David Grandorge, Matthew Barnett Howland, Siân Moxon, James Payne and John Ross With thanks to: Michael Battley, Marcus Bowerman, Nick da Costa, Matthew Dart, Chris Hosegood, Peter Hufton, Anatol Just, Rob Naylor and CassWorks Critics: Johannes Brattgård and Johan Dehlin

Architecture Postgraduate

Moscow Architecture School MARCH

001 Nikolai Yugai, Fisherman’s House 3. 002 Nikolai Yugai, Fisherman’s House 5. 003 Alexander Gaprindashvili, New Hero 2. 004 Alexander Gaprindashvili, New Hero 3. 005 Alexander Gaprindashvili, New Hero 4. 006 Daniil Narinsky, Kaupungin olohuone residential cooperative (city lounge) 5. 007 Daniil Narinsky, Kaupungin olohuone residential cooperative (city lounge) 1. 008 Arman Najaryan, Red Bizzarro. 009 Varya Dolgaya, House-Introvert 4. 010 MARCH, photo 7.

Moscow Architecture School, MARCH, is a unique educational centre specialising in international education in the field of architecture and in live research projects in urbanism and placemaking through the Projects Office’s MARCH Lab. MARCH is validated by The Sir John Cass School of Art, Architecture and Design at London Metropolitan University, so it offers world-class professional training in architecture in Moscow, with students receiving an internationally valid BA (Hons) or MA in architecture and urbanism. MARCH has been attracting attention in the professional sphere and in the press for the past few years, as student projects combine a serious approach with playful experimentalism and excellent execution. Architecture and Urbanism BA (Hons) This year, the Novgorod BA studio, brought by Kirill Asse, Anton Gorlenko and Yuri Palmin, continued to study invisible aspects of architecture, linking together three components: Vyborg as a place of architectural intervention, housing cooperatives as a typology, and the facade as an architectural phenomenon, which has lost its value over the twentieth century. By establishing these connections, the students were constantly transforming their buildings so that the final result became more than the sum of all its parts. Another BA studio, Fuck Context, taught by Narine Tyutcheva and Ekaterina Rovnova, was sited in the Trekhgorny manufactory in Moscow. After a series of case studies, students formed ideas for their own projects based on the idea that the character of the building is determined not by the programme, but by more longterm factors. Each independently determined what it was and to which of the contexts the building responded. Architecture and Urbanism MA One of the MA units is traditionally devoted to rethinking the fundamental themes of architecture: this time the students reflected on gravity. Based on case studies, each of the students formulated a personal architectural manifesto, which then formed the basis of the project. Unit tutors: Evgeny Asse, Igor Chirkin and Gleb Sobolev In the second MA unit, Narrativ, students were asked to look at Moscow through palimpsest and the layering of its histories as a constant repainting of the urban fabric. They then dissected and analysed the areas located along the Garden Ring as valuable objects, unique parts of city history and urban space, saturated with narrative, and supplemented them with their own projects, corresponding to the spirit and history of the place. Unit tutors: Lera Chubara, Natalia Mastalezh, Anna Panova and Nata Tatunashvili

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The â&#x20AC;&#x2DC;Cass19â&#x20AC;&#x2122; typeface, produced by Gemma Ageraniotis, Michael Brown, Luigi Conte and James Iredale, working with industry designer-in-residence Sarah Boris

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design Introduction

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Courses Design Studio Practice Fashion Fashion Accessories and Jewellery Furniture Furniture and Product Design Jewellery and Silversmithing Textiles

Previous page: Sara Abubaker Motif rug, hand tufted woollen rug This page: Wictoria Pasieka Bookend

Studios First Year 3D Second and Third Year Studios One: London Plain Two: The Asylum Three: The Lab Four: Respect Five: Unravelled Fashion Accessories and Jewellery/ Jewellery and Silversmithing

001 Ajike Doherty, Muse Etruscan. 002 Catia Cabral, Stools. 003 Anton Mikkonen, Udon Stool.

overview Marianne Forrest Head of 3D

Another year over already. We have completed our transition to Calcutta House with students getting used to exciting new spaces and workshops, new friends and new experiences. It feels like home and the locality in Aldgate suits us well. Each year brings its own host of surprises and this year we have enjoyed the incredible successes of our alumni such as that of Furniture and Product Design’s Yinka Iliori who won the London Festival of Architecture’s Dulwich pavilion prize and their competition to transform a gloomy underpass in Wandsworth; the British Council Venice Biennale fellowship, won by Ella Merriman for the 2017 Biennale, this year has been won by Adam Watts, and Textile Design’s amazing Aguille en Fete exhibition in Paris. There have been individual successes such as jeweller Petra Otenslegrova’s amazing exploration of very challenging filigree work, and of course our brilliant fashion shows: Project RED for the first-years and the awesome junglethemed graduate fashion show Wild Souls, fast becoming one of London’s must-see graduation runways.

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These successes embody the diverse practices, collaborations and connections which support and enrich the specialist teaching in the design-and-make field at the School. Our students are prepared for the ‘real world’ environment of work through direct experiences with employers, including through professional practice events such as Making a Living Week and Celebration Week. They have been introduced to working methods which lead to both subject-specific and multidisciplinary outcomes expected 002

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by contemporary culture, understanding the essence of making as a sustainable practice of design both environmentally and culturally. Students have been invited to discuss and debate developments in our changing creative scene through panel events and at guest talks with designers and makers, including our own practitioner-academics who form the backbone of teaching at The Cass. A key theme this year has been who is it for and how can it be understood? Perhaps the greatest achievement this year is the increased awareness, manifested in student work, of their pathways beyond university and beyond their own cultural comfort zones, achieving an understanding of potential progress for society and themselves.

This awareness of the dialogues between design, environment in its broadest sense and the diversity of practice open to them has evidenced a marked improvement in post-graduation prospects for employment and self-employment articulated through the national and international approach shown in research and project proposals. With all of this in mind I would like to say a special thank you to all teaching staff and their support teams for the immense dedication and focus this year. With their student-centric approach to teaching they have helped shape the future of the design-and-make industries and the way in which design is conceived and evaluated. I cannot do that without also thanking the stars of the show â&#x20AC;&#x201C; the students themselves, without whom none of this could happen.

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first year 3D

001 Gloria Alcoba Poiqui. 002 Setting up the bandsaw in the wood workshop. 003 Cat Tuohy, Ice Rock, Box Ring. 004 Syeda Rahman, Textiles print workshop. 005 Wood workshop.

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Studio leaders: Steph Aman, Marianne Forrest, James Hunting and Cathy Stack The first year of the course is an exciting probe into ideas, where they start, how they develop and how they are resolved into real products that are unique and individual to each student’s own imagination. Students in Fashion, Furniture, Jewellery and Textiles came together for teaching events and at other times split into their disciplines for subject-specific teaching, creating an energetic and diverse range of experiences for each student group. They took part in external events and shows, with trips to Copenhagen and Paris being a feature of the year. Students enjoyed work experience, assisting at events such as Paris Fashion week. The ‘Acts of Resistance’ exhibition saw Furniture students collaborate to create their own four metre long drawing. The Project RED fashion show was a highlight of the year with extraordinary feats of designing and making from the first-year Fashion students after only a term in the studios and workshops. Textiles students experienced an eclectic mix of learning, experimentation and exploration of abstract and subject-specific ideas. What an exhausting but exhilarating year!

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studio one london plain 001 Adam Watts, Where I work. 002 Ross Smith, Side Table. 003 Darta Shokrzadeh, Cabinet Detail. 004 The BDP private view.

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Studio leaders: Peter Marigold, Will Smith and Cathy Stack A trip to Copenhagen visiting contemporary design and some of the worldâ&#x20AC;&#x2122;s most famous furniture and architecture gave an inspirational kick-start to the creative process. Students worked with the Design Museum brief to create ethical and sustainable products, as well as the Italian furniture company Porada and Sheridan Coakley, the founder of SCP, to generate designs that would fit with the SCP Boxed collection typified by items for flat pack and post. Students produced a variety of pieces ranging from small tables, stools, and storage, to a dustpan and brush and were delighted to have Sheridan and his team visiting to look at the final presentations. Boxed was displayed at BDP for Clerkenwell Design Week.

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studio two the asylum 001 Debora Lima. 002 Suuad Mohammed. 003 Caroline Torisheju Gallagher. 004 Debora Lima, Fashion workshops. 005 Charlie Constantinou. 006 Halil Halil. 007 Vanessa Musoke.

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Studio leaders: Steph Aman, Karen Coughlan, Roisin Dunne and James Hunting ‘‘The lunatics have taken over the asylum.’’ – Fun Boy Three Studio Asylum questions what is real and what is fantasy, disturbing the natural order by stretching the boundaries of imagination. Alter egos are unleashed, introducing new ideas, questioning the wrong and the right and investigating why. Searching deep for inspiration, being bold and experimental, creating a storm. ‘Commercial and Couture’ and the ‘What is Beauty’ project briefs provided opportunities for carving out individual careers with ambition, pushing boundaries and creating new ideas. Beyond the imagination is reality. Every collection has been meticulously executed through tailoring, corsetry, draping and leather sculpture; skills and techniques each student has learned, adapted and made their own. 007

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studio three the lab 001 Fashion workshops. 002 Sewing room. 003 Fashion crit studio lab. 004 Detail.

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Studio leaders: Steph Aman, Karen Coughlan, Roisin Dunne and James Hunting ‘‘I find beauty in the continual shaping of chaos.’’ – Iris Van Herpen Science fiction becomes reality. Research, dissection, analysis, experimentation and exploration are the tools for discovery and creation. The metamorphosis of idea into outcome is the process.

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This year students undertook project work ranging from ‘Sensory’, a corsetry project, and ‘‘White’ Reveal the Colour’, a visionary concept project concluding in a vivid interactive presentation through ‘Fashioned by Nature’, which explored knit and printed textiles within 3D fashion design to ‘Decon Recon’, a brief that examined the reconstruction of design. Creative and technical briefs enabled students to have the relevant understanding, experience and confidence to pursue industry work placements with some of London’s most famous design houses, such as Gareth Pugh, Bruce Oldfield, Mary Katrantzou and Roland Mouret.

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studio four respect 001 Megan Lyons, bowls and fabric print. 002 Rebecca Uzong, print. 003 Gill Self, print. 004 Aisha Yusef, calligraphic print.

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Studio leaders: James Hunting, Gina Pierce, Sam Wingate and Heidi Yeo Students experienced live projects and competitions including exhibiting at Lâ&#x20AC;&#x2122;Aiguille en FĂŞte, Paris, an international rug competition at Tissage, Jaipur, and a live project with Camira Fabrics. Loraine Feldman won the project with experimental shibori weave that Camira Fabrics now produce commercially.

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Students have questioned the function of textile design, exploring cross-disciplinary approaches in textiles and confirming and refining their creative identity and individuality in preparation for their launch into the world of work. Emphasis is on drawing, as drawing underpins all practice. Students have enjoyed access to a range of making processes and technologies enabling exploration and innovation in outcomes for interior or art-based fabrics and surface design. Tuition in small groups in the studio alternated with workshops by specialist design professionals in a variety of disciplines.

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studio five unravelled 001 Andrea Dawson, Luminosity. 002 Jodie Barnacle Best, knit samples. 003 Wiktoria Pasieka, recycled plastic. 004 Andrea Dawson, textiles.

Studio leaders: Karen Coughlan, Marianne Forrest, Simone ten Hompel and Sam Wingate

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Great design demands great understanding in order to untangle, demystify and decipher the extremely complex and ever-changing requirements of clients and society. Guided by a professional team of lecturers and practitioners from the worlds of textiles, fine art and fashion, students engaged in solid research practice through hands-on workshops, experimental development techniques and abstract thought processes. They developed the ability to present their ideas confidently as part of a realistic and industry-focussed educational experience which also included visiting speakers from the design world, live projects with real clients, assisting at London Fashion Week and attending international trade shows in Paris and Florence. Through these academic and professional experiences our students developed a genuine understanding of the design process in preparation for their entry into a career in textile opportunities that await them.

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Fashion Accessories and Jewellery/ Jewellery and Silversmithing 005

001 Louise Mason, enamel brooches. 002 Petra Otenslegrova, vine neckpiece. 003 Ajike Doherty, cast bronze ring. 004 Louise Mason, enamel brooches. 005 Ajike Doherty, sapphire rings. 006 Louise Mason, mirrors. 007 Petra Otenslegrova, filigree ring.

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Studio leader: Karen Coughlan Students experienced a range of crossdisciplinary experiences from jewellery techniques such as casting and constructing form to textiles and bookbinding in an exciting year highlighted with competition opportunities and a real-world focus on employability for their individual ambitions.

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Highlights of the year included a trip to Paris and masterclasses with professional makers in the field of jewellery. Students enjoyed access to a range of making processes and technologies from filigree to chasing and enamelling, enabling exploration and innovation in outcomes for art jewellery and silversmithing. Tuition in small groups in the studio and workshops was by design professionals who are specialists in their discipline.

Introduction Fine Art 3D

Katrina Walker, sketchbook

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Courses Interior Architecture and Design Interior Design Interior Design and Decoration Theatre and Film Production Design

This page: Jenny Olver Stoke Newington Artwork

interiors

Studios First Year Interiors Second and Third Year Studios Two: State of Independence Live Project Three: Portraits Dâ&#x20AC;&#x2122;IntĂŠrieurs Four: Im/Permeable Five: Aberrant Architecture Theatre and Film Production Design

interiors overview Kaye Newman Head of Interiors

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If I were to sum up the year for the Interiors students, it would be about community and performance. The projects have focussed on a range of historic, significant and community-connected buildings. The first-years investigated the rich and diverse history of Wiltonâ&#x20AC;&#x2122;s Music Hall, a space that has been occupied by many theatre and charitable organisations throughout its past and now has a thriving programme of plays and pantos. The students were asked to design an exhibition area within the pared-back walls of the bar and meeting rooms, representing a sense of its history but through a contemporary proposal. This project was followed by a live brief where the band Small Hours asked us to design a performance space within the Whitechapel Gallery to feature in one of their promotional videos themed as an after-party.

The studios, which comprise of both secondand third-year students, presented four very different and engaging briefs. Studio 2, State of Independence, looked at what should a Civic Centre be today? Many traditional Town Halls are redundant, such as Stoke Newington Town Hall, once a beautiful example of an Art Deco building of stately proportions, that now lies empty. The students were asked to design interior spaces for the community, focussing on gatherings that engage and convey a sense of belonging, and also to accommodate workspace for the music magazine The Wire. They had to provide a business case that shared the space between the community and commercial enterprise which would support upkeep of the building and bring the building back into the heart of the neighbourhood.

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Studio 3, Portrait D’Intérieurs, worked within The Ragged School Museum in Mile End, once a warehouse, then the first Barnardo’s school for underprivileged children and now a museum of Victorian schooling. The students explored the life and character of a person through designing a series of rooms, by imagining and projecting both the emotional and observed sense of their lives through materials, light and structures. Moving to a large-scale building, Studio 4, Im/Permeable, worked with the Bussey building in Peckham using La Frische in Marseille as a leading precedent. The Bussey was once a busy manufacturing base, making cricket bats and tennis rackets, but for years was left empty until the community in Peckham started to realise its possibilities for the future. The brief of Im/permeable suggests that many schemes can go unnoticed or unseen and asks how the community understands that the building is both designed for and to be used by them. And finally to Studio 5, Aberrant Architecture, which chose to work with Cecil Sharpe House, home to the English folk dance and song society in Camden. Reflecting on notions of identity in post-Brexit Britain, students considered types of subculture. The students investigated their behaviours, customs, rituals, traditions, myths and folklore to generate a new type of space, specific and detailed to their practice and needs.

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001 Shelly McOwen, Small Hours, Interior Architecture and Design Year 1. 002 Katarina Loizou, Visual 2, ‘The Terrarium’, The Bussey Building, Peckham.

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first year interiors

001 Patrycja Sidoruk, Sequence of Performance, Wilton’s Music Hall. 002 Michael Garner, Small Hours Graffiti on a Brickwall. 003 Oktawia Beim, Small Hours Project. 004 Silvia Ghbarieh, Wilton’s Collage. 005 Sofia Trapani, Sequence of Performance. 006 Paula Goebel, Mapping of Materiality, Wilton’s Music Hall. 007 Silvia Ghbarieh, Small Hours. 008 Shelly McOwen, Small Hours Model.

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Studio leaders: Janette Harris, Karl Harris and Suzanne Smeeth-Poaros The first live project, ‘Sequence of Performance’, for first-year Interiors worked with Wilton’s Music Hall. The students undertook primary and secondary research to design an exhibition based upon the history, the building, materiality, and the past and present users of the space. The second live project asked the students to research and develop a concept to support the performances of the band Small Hours within a chosen venue. The task was to enhance, layer and provide a unique experience for those inhabiting the space.

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studio two state of

independence live project 001 Charlotte Ponting, Stoke Newington Town Hall. 002 Will Turner, View to Town Hall via Church Street. 003 Annabelle Ronnenberg, Office Space, Stoke Newington Town Hall. 004 Paula Hinderer, Event Room. 005 Charlotte Ponting, Screen 3. 006 Eleanor Hopwood, Pathologically Independent Chairs. 007 Zora Krakan Studio, The Wire office collage. 008 Kashia Zaluski, Section, Stoke Newington Town Hall. 009 Annabelle Ronnenberg, The Wire Archive Final 300.

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Studio leaders: Janette Harris and Kaye Newman This year the Studio investigated the space within Stoke Newington Hall which is now mainly redundant. Originally built in 1936, it was named the â&#x20AC;&#x2DC;Civic Centreâ&#x20AC;&#x2122;, the first time that this term had been used. 1936 was a period of renewed ideals of the future; the building followed the art and design precepts of the time by being in parts a solid example of Art Deco. It started with three main ideas to govern, educate and gather its community with the Council Chambers, the Library and the Assembly Hall.

What is a Civic Centre in our contemporary era? 009

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studio three portraits d’intérieurs

001 Ramez Tarigi, Family Room. 002 Lucy Johnson-Squire, section. 003 Ramez Tarighi, Anna Wintour section. 004 Billie-May Ukairo, Lizzy Grant aka Lana Del Ray section. 005 Ramez Tarigi, Room Render 1. 006 Manda Pawelczyk, Anne Frank concept. 007 Ramez Tarigi, Room Render 2.

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Studio leaders: Iain Hales and Cecilia Sjoholm “Rooms are autobiographies written by their inhabitants – they hint (in their bookshelves, in their laundry baskets, in their stained carpets) at how and why a particular life took on its particular form.” – Tom Morton

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Taking the notion ‘room portrait’ – the idea that a room may describe an individual as well as a portraitist could – the students were asked to develop designs for a series of rooms, which would be representative or evocative of a person, or character, of their own choosing; exploring different facets of a character’s personality, the narrative arc of their life or ‘complete’ a life of promise. 007

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studio four Im/Permeable 001 Katarina Loizou, Visual 3, Explorative adventure – signature wayfinding, The Bussey Building, Peckham. 002 Katie Thomas, Collage Response, Peckham Locality. 003 Katarina Loizou, Visual 1, The Terrarium, The Bussey Building, Peckham. 004 Jakob Austmeyer, Visual Co-working Workshop, The Bussey, Peckham.

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Studio leader: Andrew (Sid) Siddall and Suzanne Smeeth-Poaros How we access cultural buildings is fundamental to our engagement with them, our sense of familiarity, ease and ownership. Repurposing older buildings presents designers with a challenge to disclose, reveal and reinterpret space originally meant as private and function-specific. Can we celebrate, unearth and reveal the history and fabric of the structure whilst being of the moment? Can we view the site as an architectural stage set, developing immersive interactions and interior propositions to create focal points, diversions, interruptions and activators which encourage engagement? Can we envisage a playground for society, a home for artistic adventure?

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studio five aberrant architecture

001 Anna Blom, Bed Table Chair. 002 Andie McDougall, Potato Power. 003 Kamelia Ruseva, K Pop Klub House Storyboard. 004 Julianne Preppers, Perspective Section B-B. 005 Sofia Carlsson, Minimalism.

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Studio leaders: Sam Brown and Kevin Haley With the UKâ&#x20AC;&#x2122;s impending exit from the European Union we will soon have to rethink our identity and question who is Britain? With every culture, sub-culture and tribe comes a unique set of identities, rituals, traditions, customs, myths and folklore. Our core interest this year lies in the unique and bespoke, and our goal is to invent unique realities which house bespoke designs for specific subcultures and tribes within the Cecil Sharp House, home of the English Folk Dance and Song Society in Camden.

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theatre and film production design 001 Layla Brady, Riders to the Sea installation. 002 Layla Brady, Romeo and Juliet costume design. 003 Alice Larner, Make-up design. 004 Reka Podlussany, Riders to the Sea installation.

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Studio leader: Andrew (Sid) Siddall Theatre and Film Production Design at The Cass is a new degree course exploring design for both live and recorded performance, feeding on historic skillsets and inspirations to inform our thinking as we grapple with new media interventions and contemporary expectations of what design can and should be. This year has seen collaborations with students in Theatre and Performance Practice to create a series of installations based on Riders to the Sea by J M Synge, and strong placement links forged with professional award-winning shows Strongbox at Vault Festival and the musical Miss Nightingale at the Hippodrome Casino Theatre. From model box making to costume design, technical drawing to storyboarding, the course has pushed students to investigate artists and makers as diverse as Hitchcock, Jarman and Steinbeck, and used original television works such as Peaky Blinders as a springboard for new narratives and stage experiments.

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Courses Design for Publishing Graphic Design Illustration and Animation

visual communication

Studios First Year Visual Communication Second and Third Year Studios One: Studio X Two: Studio Why Not Three: Studio Ink

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visual communication

In the Visual Communication cluster, we embrace craft and explore future notions of how designers and illustrators communicate visually in 2D, 3D and digital spaces.

overview

Angharad Lewis Head of Visual Communication

Each year the Visual Communication cluster sets itself a one-word brief – an overarching theme that motivates and guides the year. In 2018/19 the brief was ‘risk’. We wanted to embed the idea of taking risks, experimenting, ‘failing’ and learning from productive failure in how our students explored visual communication. The key to this, we determined, was to support the students to feel confident and creative in their risk-taking. In students’ first year of study we shook free the negative associations of risk, encouraging students to see it as the sharpest tool in their creative kit. First-year briefs encouraged students to find a personal voice and point of view in their work through experimentation with ideas, processes and materials that might at first seem challenging but which, through thoughtful enquiry, become familiar. The first risky situation our second-years and third-years encountered this year occurred at the moment they first stepped into their newly elected studios. The students, armed with just their studio’s theme, had to devise a name and participate in a sprint-design exercise to create a visual identity for the studio. Studios ‘Ink’, ‘Why Not’ and ‘X’ were born and branded. Read more about the projects that ensued in the three studios on the following pages of this book. Amidst the industrious hum of creative risktaking, making and learning, as students worked on their studio projects, the realities of working in industry provided a steady background beat. Students are encouraged in Visual Communication to gain a first-hand knowledge of their industry and to feel that they are already a part of it. It is their voices

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and viewpoints that will shape its future. So, we regularly welcome recognised industry figures into the cluster, not only to share their own work and experiences with students, but to interact in dialogic situations. These include Q&A talks, studio crits and workshops. During 2018/19 our students enjoyed such visits from Pentagram partner Astrid Stavro, Creative Director Dines from Studio Blup, awardwinning illustrator and graphic novelist Isabel Greenberg and creative director Caterina Bianchini, among others. In work-related learning modules, all secondyear and third-year students entered D&AD awards and undertook valuable industry work placements at studios including Studio Moross, SEA Design, Hato and the Graphic Design studio of the National Theatre. For many of our students, going out into the professional world of design for the first time felt risky; however, all our students returned from placements being able to reflect positively on new skills and contacts gained, and with an understanding of a real-world creative environment. Finally, perhaps the most challenging brief we set our students in Visual Communication in 2018/19 was to design the visual identity for The Cass Summer Show. Working with our industry designer-in-residence Sarah Boris, and graduate designer Lisa Wallius, the students embraced the risk of such a challenge, and nailed it, with an identity that comprises a bespoke typeface, environmental graphics, wayfinding signage, large-scale posters and a range of digital assets. Ending the year on this celebratory note, we look forward to sending another cohort of successful graduates out into the world, knowing that they will embrace, with confidence, the risk this brings.

001 Composition and layering screen printing workshop. 002 Noah Gurden. 003 Analogue typography workshop. 004 Urszula Wojcieszczuk. 005 The Cass Show 2019 invites. 006 Letterpress studio and workshop.

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first year

visual communication 001 Laurie Smith. 002 Amber O’Reilly. 003 Laurie Smith. 004 Monica Di Zillo. 005 Suenera Rahman. 006 Veronica Piras. 007 Laurie Smith.

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Studio leaders: Kieron Baroutchi, Sara Carneholm, Joe Cruz, Emily Evans, Ricardo Eversley, Alistair Hall and Angharad Lewis In our Level 4 Studio, students started out working on a narrative location-based project, creating their own publications as a final outcome. Students used letterpress, screen print and riso printing. A wonderful range of experimental image-making informed the content generation process, as well as carefully considered typography. In the second project, students chose their own soundtrack and created a 30-second ‘sting’. They explored a wide range of moving image techniques, photography and art direction. Outcomes were brave, fun, playful, bright, moody, surprising and always innovative.

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studio one studio X 001 Hannah Reid. 002 Ida Lindblom. 003 Salem Khazali. 004 Dora Ramos. 005 Caleb James.

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Studio leaders: Ricardo Eversley and Sara Carneholm Studio X is a space that combines digital and analogue, hi-fi and lo-fi, both in process and in outcome. Analogue and digital are not opposites; they support each other, make each other stronger, more innovative, more playful and give opportunity for new risk-taking work. Students in this studio learn to develop their own practice as visual communicators. During the year, students undertook workshops in the colour darkroom as well as in Adobe After Effects, C4D (combined with riso printing), projection mapping, coding and pinhole camera. Projects saw students collaborate with dance performers and respond to music.

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studio two studio why not 001 Sabrina Paris. 002 Roseanna Ware. 003 Nadia Mokadem. 004 Nadia Mokadem. 005 Elisa Buscemi. 006 Kannika Iamphongdee. 007 Alessandra Cuccu.

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Studio leaders: Kieron Baroutchi, Joe Cruz and Emily Evans Stories are found everywhere! Not simply in the realm of literature and entertainment. Narratives shape our world, from the many new forms of media we consume to religion, science, folklore, business, politics and culture. They make connections, explain cause and effect and suggest meaning. Even more than that â&#x20AC;&#x201C; stories entrance us and draw us into their world. This Studio has examined the power of image-making, looked at some of the traditional ways illustration embraces narrative, as well as testing experimental communication and graphic image-making in order to visually translate stories and challenge students to explore their communication skills through independent research, reportage and sequenced imagery. 002

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studio three studio ink 001 Chloe De Silva. 002 Michael Brown. 003 Noah Gurden. 004 Sara Green. 005 Urszula Wojcieszczuk. 006 Shannon Johnston Howes. 007 Vivienne Mahon.

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In an age of post-digital publishing, this Studio explored both the resilient power of the printed page and the exciting possibilities of how audiences can be reached off the page â&#x20AC;&#x201C; on screen and in physical spaces. We asked, what is the role of the designer and illustrator today? How do designers and illustrators use publishing as a creative tool and as a medium to investigate, challenge and express new ideas? Our Studio was a space to get to grips with the materials and processes of publishing on the journey from concept to publication. A key project has been the annual Anthology publication, now in its third year, a collaboration with students from Creative Writing and English Literature, showcasing new voices in poetry, prose and critical writing alongside illustrators and image-makers from Visual Communication. Studio Ink students also launched pilot issues of their own zines and magazines.

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Postgraduate Design

Overview

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Courses featured: Furniture Design MA Interior Design MA Product Design MA Textile Design MA

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This has been the first year of the newly revised MA courses in Design, and our students have already shown their commitment to thoroughly researched, effective and beneficial design in a wide range of approaches and solutions to projects. The courses run in an interdisciplinary studio, through which we seek to find opportunities for innovation arising through the proximity of differing areas of knowledge and expertise. The courses run across three semesters and, in the first two, we ask students to engage with a live project for an external partner, presenting their design proposals to the client mid-way through the course, before embarking on their personal major projects. This year students engaged in ‘Grand Station Designs’, an RSA competition brief for Network Rail, proposing how they may regenerate and find alternative uses for neglected suburban railway stations. They exercised their developing skills in penetrating research and analysis of the situations they found and proposed a wide range of highly creative design solutions, many of them unexpected. Those unexpected ideas and proposals arise because of that very focus on research that seeks to discover and address the root cause of issues and situations, rather than superficially addressing symptoms. This commitment to serious and socially impactful research and design was recognised in the commentary by the judging panel for the competition – in which our students won two of the top three awards in the national competition. The outcomes of their major projects will be exhibited at the School MA show in September. We are introducing a new award in the suite of Design MA awards for next year – the Environmental, Sustainable and Regeneration Design MA. This will provide even greater opportunities for our students to engage with local, national and global issues that are in urgent need of the contributions of designers equipped with the skills and approaches required to offer creative and effective solutions.

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Overview Torange Khonsari Course leader for Design for Cultural Commons MA

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This year we kicked off the Design for Cultural Commons MA with three incredible students from the different disciplines of music, architecture and criminal law. We started the year by theoretically grounding ideas of Commons into different fields. We had collective discussions about how Commons have become a post-capitalist solution to inequality within our social and urban environment. Students then moved into developing a rigorous and ethical practice before testing it in a Commons project. Over 200 people subscribed to our public programme of lectures, which ran once a month. The lectures were a common resource, available as videos on London Met’s YouTube channel. Students sampled a variety of modules from the course as well as some modules outside the course from other London Met schools that they found to be of interest. We had visiting guests on the forefront of the Commons discourse from all over Europe joining our sessions and engaging in discussions with the students. The environment was buzzing with excitement of an emerging discourse. The course was featured in the latest issue of the Design Exchange magazine, ‘Change’, and has attracted interest from the Greater London Authority, London Legacy Development Corporation and the Design Museum, opening up possibilities for future collaboration. Students ran an event on their Commons project in July 2019 at Tate Exchange. All in all, an incredible start to a new course.

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“ From my personal experience, it has radically shaped my future in ways I could never have conceived. Starting with no previous higher education, the course has given me a level of empowerment, support and validity to expand ideas in ways I have not experienced in any other context in my 32 years.” Kandice Holmes Design for Cultural Commons MA student 004

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foundation

Courses Architecture and Interior Design Extended Degree Art and Design Extended Degree Fashion and Textiles Extended Degree Film, Photography and Media Extended Degree

This page: Thanyluck Lekpet Final project

Introduction

Foundation overview The foundation course is a gathering point for a wide range of creative people – from school leavers to career changers – who have made the decision to take an initial step towards creative practice. Chianna Roberts Head of Foundation

The Foundation programme continues to push at the boundary of expectations for student work at this level; the range of media and methods, and the issues addressed, are always a surprise and delight but this year the ambition and achievement broke new ground. The film, photography and media students have made animations, image-based installations and the film MenTality – a London Met TV special investigating the state of men’s minds today by Foundation students for Mental Health Awareness Week. youtu.be/reBmsFxgw_0 Students from across the Foundation programme – fashion, textiles, art, design, film, photography, media, architecture, interior design – presented their ideas for ‘An Imaginary Event’ to the Accelerator (the University’s specialist social entrepreneurship and business incubator). The events ranged from conventional exhibitions in unconventional places and flash mobs enlivening mundane spaces to dramatic protests politicising places through addressing issues such as poverty, climate change, disability rights and gender-stereotyping.

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The Architecture and Interior Design (AID) students took over the roof garden at the Aldgate campus once more with a reinterpretation of the shading structures. The students created and presented a wide range of individual ideas and then voted to select the final designs that would be developed and completed by groups as an ensemble piece. This is essentially a live project commissioned by The Cass and funded this year by sponsors Dales Fabrications Ltd, with support from East London Architecture Group and Jesmonite. It was a valuable experience for architecture and interior design students at the very start of their careers. The art, media and design (AMD) students presented their final projects that often related to the creative practice they will be studying at undergraduate level the following year at The Cass; though not always! Sometimes it’s simply about a particular material that they like to work with, their ambition to nail a technique or exploring the methods of a particular studio or workshop; this means that the paintings, sculptures, animations, films, photographs, models, drawings, prints, textiles, dresses, costumes, patterns, graphic design and many other outcomes cut across the boundaries of the standard creative subjects and hint at new possibilities for their further study and ahead to their future careers. 002

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001 Monoprint workshop with John Coleman. 002 Luke Cleevely, colour composition. 003 Roof build project.

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The Cass has developed its research relationship with The DisOrdinary Architecture Project to co-explore how we can open up a multitude of different ways of ‘being in the world’ to students, both as a potential design generator and as a key part of personal development. Staff and students this year have experienced and/or participated in pedagogical research guided by Visiting Professor of Diversity and Creative Practice Dr Jos Boys, who gave her inaugural lecture in May. DisOrdinary is an innovative platform bringing together disabled artists and built environment/design students, educators and practitioners for creative dialogue and action; identity and diversity are understood as complex but vital aspects of design-making, with projects aiming to help foundation-level students creatively and critically engage with their own and others’ multiple identities. And lastly, this year we said farewell to John Coleman on his retirement and return to painting practice. John has always taught at foundation level where his skill and knowledge combined with persistent encouragement has inspired so many students to understand and develop their own creativity. The Cass Foundation owes a great deal to John’s experience, expertise and enthusiasm that has significantly shaped the course.

Foundation

001 Emily Green, Calcutta House project. 002 Lucas Burgos, Transcription project. 003 Amy Collings, Final project. 004 Ahmed Kamara, Explorer project. 005 Sharamiya Cotterell,Â Final project experimentation.

Tutors Manuela Barczewski, Keith Beckles, John Cash, Aleks Catina, John Coleman, Jeremy Collins, Richard Ducker, Deej Fabyc, Nina Gerada, David Hobson, David Howells, Luke Jones, Christina Paine, Shamoon Patwari, Chianna Roberts, James Steventon and Mirsini Trigoni Very many thanks to: Guest tutors Zoe Partington and Joseph Young Trainee Tutor in Pedagogy and Creative Practice Simone Maier Guest critics Colin Oâ&#x20AC;&#x2122;Sullivan, Irina Georgescu, Matthew Haycocks, Tania Lopez Winkler, Delaram Nabidoost, Anna Mill and Diogo Real

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PASS coaches Steven Harley, Angela Mastracco, Anita Zarzycka, Maria Lee Fong, Federica Ranalli, Ronan Cahill, Hugo Campos, Preeti Tak, Latiya Nanton, Catherine Wolter, Clara Delgado Caballero and Khalid Nahary The Cass colleagues Elaine Pearson, Harvey Reehal, Karen Thomas, Naomi Groves and Mika Masuda for technical support; Charlie Snelgrove and Hub staff; Federica Arisco and Library staff; subject-area tutors for second-term projects; and tutors from the School of Computing and Digital Media Sponsors Dales Fabrications Ltd, with support from East London Architecture Group and Jesmonite for the AID Foundation Roof Project 002

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001 Joseph Franklin, Roof Build project proposal. 002 Aleksej Adamaitis Calcutta House project.

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C A S S C U LT U R E

L I F E

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Critical and Contextual Studies Joseph Kohlmaier Head of Critical and Contextual Studies

Culture is the population of the natural world with artefacts. We read these artefacts – signs, tools, cities, networks, parliaments, ontologies, continents, histories – and we interpret the ideas and conventions they encode. From these interpretations we make new realities in the form of new artefacts, producing an endless detournement of ideas and objects, concrete and abstract, which in turn become the subject of new readings and new interpretations. To question the ideological forces that animate this process means to be critical. To be aware that any such understanding is a form of apparatus – incomplete, selective, local and temporary – means to think creatively, and in context. Critical and Contextual Studies (CCS) is a school-wide teaching curriculum that aims to orient and engage students in the histories and theories of their discipline. It offers students a space to reflect on their practice, to test the ethical and ecological implications of their work, and to acquire the language and practical tools that help them understand the histories, theories, objects and phenomena that constitute the culture that surrounds us. Taught by an interdisciplinary team of practitioners, the programme helps students to develop important academic skills, but with a specific focus on the creative and critical affordances of writing in its many forms. The CCS team teaches in both undergraduate and postgraduate courses at the School, and co-curates Cass Culture, connecting its teaching activities to the School’s wider programme of public lectures and helping students to test their ideas in the context of events, research seminars, visits and field-trips, and public debate. Teaching and learning in CCS culminates in the development of an independent thesis in the final year of study. In this context, The Cass has created one of the UK’s most innovative teaching frameworks in third-year undergraduate study. Cass Dissertation brings together students from all areas – art, architecture and design – in cross-disciplinary, elective dissertation studios led by tutors and practitioners from a broad range of backgrounds, whose differing interests, approaches to teaching, research and writing practices produce a uniquely open and vibrant learning environment.

The outstanding work produced in the dissertation studios represents the cumulative effect of three years of sustained learning and the quality of the dissertations is a testimony to the creativity of our students and The Cass’s unique and expansive approach to teaching history and theory. Each year, The Cass celebrates the best final dissertations with a range of prizes. In 2018 – 19, the award winners were: The Cass Award for Best Dissertation: Lea Barre The Cass Writing Award and Best Dissertation, Fine Art: Lloyd Coles Best Dissertation, Architecture: Samuel Newton Best Dissertation, Film: James Burrows Best Dissertation, Interior Architecture: Paula Hinderer Best Dissertation, Visual Communication: Salem Khazali Best Dissertation, 3D: Liga Thrower 2018 – 19 Dissertation studios: Studio 1: Imperfect Theories, Ektoras Arkomanis Studio 2: Narrative, Storytelling and Time, Jon Baldwin Studio 3: Memento, Aleks Catina Studio 4: Knowing Audiences, Jeremy Collins Studio 5: Small Encounters, Emma Davenport and Gina Pierce Studio 6: Performative Acts – Art, Architecture and Writing, Nico de Oliveira Studio 7: Meaningful Work, Paul Harper Studio 8: The Liminal, Andrew Hewish Studio 9: The Form of the Text, Danielle Hewitt Studio 10: Science Fiction Futurity, Luke Jones Studio 11: Commonism, Joseph Kohlmaier Studio 12: Globalism, Harriet McKay Studio 13: Data Stories, Gabriele Oropallo Studio 14: Music is the Weapon – Performance, Culture, and Liberation through Music and Performance, Christina Paine Studio 15: London Walking, Clare Qualman Studio 16: Souvenir, Lesley Stevenson Studio 17: Paths of Desire, Heidi Yeo

After an introductory series of school-wide lectures, seminars and workshops, students join a dissertation studio to develop an independent topic which can be aligned or productively juxtaposed to the studio’s programme of research and activities.

Culture

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R E S E A R C H

Cass Research

Cass Research reflects the core values of the School – our commitment to the social world, an emphasis on practical wisdom and community engagement. With colleagues including Prof Anne Karpf, and with representation across all our subject clusters, Cass Research coordinates staff scholarship and fosters a shared knowledge culture through workshops, seminars, lectures, book launches and collaborations.

Dr Matthew Barac Reader in Architecture Dr Jane Clossick Senior lecturer and co-leader of Cass Cities

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Research at The Cass is grounded in four methodological modes: practice, pedagogy, the city, and human experience, the latter a strand of endeavour associated with the late Prof Florian Beigel and the Architecture Research Unit (ARU). Alongside ARU, our existing research groups and centres – The East End Archive; Pedagogic Research; Music, Technology, Theory and Practice; Architecture for Rapid Change and Scarce Resources (ARCSR) and Cass Cities – act as anchors for key events and doctoral students. Newer initiatives include Elastic Theatre and the Centre for Life Writing and Oral History (CLiOH). In the coming year, we aim to clarify correspondences between themes, events and practice with a view to consolidating our contribution in global knowledge, context of practice and design research. Research excellence remains a guiding aspiration for The Cass. In 2018/19 we implemented a strategy to drive positive articulation between postgraduate research (PGR) and the life of the School to enhance the research environment. We engage in active debate about practice research, drawing upon disciplinary characteristics, and the role of creative methodologies in defining new knowledge. This is played out in events hosted including ‘Inside the City’ Conference of Interior Educators (November 2018) organised by Andy Stone, Marianne Forrest’s exhibition ‘Acts of Resistance’ (March 2019), Prof Peter St John’s inaugural lecture ‘About Practice and Teaching’, and diverse staff scholarship including Loose Fit City (Routledge), a major new book by Prof Maurice Mitchell and Dr Bo Tang (ARCSR), and the Glenmorangie Commission in silverwork won by Simone ten Hompel, Reader in Metal, which leads to a new artefact and display for National Museums Scotland. Cass Research links closely with the studio delivery model, bringing together students, practitioners, industry leaders and researchers through projects, exhibitions, screenings and public debates, to share each studio’s research focus. Examples include our contribution to this year’s ‘MegaCrit’ on ‘Housing Models: Model Housing’, with the Metropolitan Architecture Student Society (MASS) who partnered with the Architecture Foundation and media partner Blueprint Magazine, and affiliated to New London Architecture. This embedded connection between research and teaching positions our expertise at the heart of curriculum design and delivery. Our school-wide weekly Cass Research Seminar serves as both a vehicle for research training and an engine for testing and reproduction of knowledge to which we at The Cass aim to contribute. Capacity is built in peer review, collaboration, knowledge exchange, and – through activities that foster collegiality – generating an emphasis on scholarly productivity. Our emphasis on inter-school discourse and collaboration fosters a coherent, proactive and outward-facing research and enterprise culture that has a profound impact on the immediate learning environment, the east London locale and wider communities (including formal and informal partnerships and projects in Moscow, Johannesburg, Freetown, Zagreb, Mumbai, and Calabria). Since its formal inauguration a decade ago, more than 10 doctoral candidates have completed their vivas in our PhD programme (which offers project-based, design research, practice-led and prior output delivery options). Thesis submissions in 2018/19 include Peta Bush, Chiara D’Anna, Asif Din, Christian Frost, Kirsten Jeske Thompson and Lucy Pritchard. These achievements add up to a bumper year for Cass Research; next year is looking even better!

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001 PhD student Chiara D’Anna performs Don’t You Dare! at Tristan Bates Theatre. 002 Marcus Engman, former IKEA Head of Design, at the ‘Inside The City’ conference. 003 Dr Jane Clossick introduces a Cass Research Seminar.

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P R O J E C T S

Cass Projects is a live projects office and RIBA chartered practice that provides a professional infrastructure to support work-related learning for students of The Cass at London Met. We facilitate live projects carried out by students as part of their coursework, external consultancy commissions and contract research projects.

We support socially engaged commissions where students, academics and practitioners from The Cass come together to deliver collaborative projects. Our flexible forms of delivery benefit both clients and students alike. Brief development happens through client consultation, and detailed documentation throughout the process provides for richly engaging projects. Live projects provide students with the opportunity to gain real-life work experience whilst obtaining academic credit. The images show a selection of projects completed this year. They highlight the broad range of work-related learning students engaged in: audition masterclasses as part of our annual Making a Living festival, street and building graphics on Brick Lane, play furniture on Aldgate Square and London Festival of Architecture events.

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001 Places for Play, Aldgate Square Following a consultation at the opening of Aldgate Square in June 2018, two timber structures were built by Architecture Studio 4 and temporarily installed on Aldgate Square in September. The timber-framed structures provided a setting for specific games and activities and non-prescriptive play in the new public space. They were tested by Sir John Cass Primary School children and the Portsoken Chess Club.

002 Lantern Parade, Aldgate Architecture Studio 4 worked with the Art Club at Sir John Cass Primary School to make large-scale lanterns with the schoolchildren. The undergraduate architecture students also designed and made their own lanterns and took part in the exuberant parade on the streets of Aldgate, accompanied by the Barbican’s Drum Works marching band.

003 London Festival of Architecture 2018 The Cass’s Foundation course, Architecture Studio 4 and Architecture Studio 8 all hosted successful events at the London Festival of Architecture in June 2018. Head of Foundation Chianna Roberts presented a film and talk on identity and diversity; Architecture Studio 4’s Ludwig Willis Architects presented Places for Play; and Architecture Studio 8’s what if: projects hosted Planning Action Old Kent Road.

004 Making a Living 2018, Audition Masterclass The Cass’s annual enterprise, practice and employability festival Making a Living Week ran in November 2018. Events saw over 2,000 students attend high-profile practice and enterprise lectures, workshops and panel discussions to develop their employment skills in the creative industries.

005 28 Brick Lane Cass Projects and Tower Hamlets Council launched an artwork competition to adorn the north wall of 28 Brick Lane. Students were invited to submit concept designs responding to Tower Hamlets’ desire to improve wayfinding in the local area, and to improve connectivity between Brick Lane and Petticoat Lane. Brick Lane Town Centre team shortlisted two designs, by MArch Architecture students Dan Stilwell and Stavros Skordis, which will be presented to local residents this year.

006 Crossings, Brick Lane As part of their Work Ready module, students from Graphic Design BA (Hons), Illustration and Animation BA (Hons) and Design for Publishing BA (Hons) took part in three projects for the Brick Lane Town Centre team: Pedestrian Crossings, Balcony Installation and Wayfinding projects. The proposals were presented to Tower Hamlets and shortlisted entries are to be announced shortly.

007 The Loom, Whitechapel The Cass has been collaborating with The Loom, a new shared workplace in a former textiles warehouse in Whitechapel, to create a series of ever-evolving exhibitions for their entrance area since it opened in 2016. Summer 2018’s show at The Loom, Making Matters #3, was also part of London Design Festival and featured in London Open House festival. The work by students and alumni explored the complex processes of designing and making, and showcased emerging talent from Furniture and Product Design BA (Hons), Textile Design BA (Hons), Fashion BA (Hons) and Architecture RIBA 2 (MArch).

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008 Roof Garden, Calcutta House Following Cass Projectsâ&#x20AC;&#x2122; furniture installation on the Calcutta House roof garden, Architecture and Interior Design Extended Degree students took part in a competition to design and build additive installations on the existing benches. The colourful installations provide playful shading, tables and added comfort to the existing seating. The installations were celebrated at the Foundation Show in May 2019.

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006 Made in Hayes Following the invitation from John McDonnell to deliver art and architecture projects in Hayes, Cass Projects curated and delivered a range of community projects from Fine Art, Architecture, Spatial Planning and Urban Design, and Jewellery and Silversmithing between 2012 and 2017. To document the wide range of projects and communicate their significant benefits, a research grant funded Visual Communication graduates Lisa Wallius and Finnian Kidd to produce a website that documents the projects and their impacts. The website is at: cassmadeinhayes.com

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Nicholas Kirk Architects, a practice established by an alumnus of the Postgraduate Diploma in Architecture at The Cass, is one of 10 winners of the City Benches design competition organised by London Festival of Architecture (LFA), City of London Corporation and Cheapside Business Alliance • The Cass Salon 2018 fashion show themed “beautifully wrong, sublimely scandalous” is a live-interactive installation of new designs by talented fashion graduates • Architecture lecturer Alpa Depani is among the first cohort of the pioneering Public Practice programme to boost the capacity of planning departments announced by Mayor of London, Sadiq Khan • Alumnus Nathan Hannawin is nominated for Film Director of the Year by the International Achievers Awards (IAA), the world’s largest awards ceremony for music, television, films, organisations and aspiring young people • Designs by Cass Architecture alumnus-led practice Casswell Banks and Furniture alumnus Yinka Ilori (collaborating with Pricegore) are shortlisted for the Dulwich Pavilion 2019 competition organised by the LFA • The Fundació Mies van der Rohe and Creative Europe names The Cass graduate Matthew Gregorowski as one of four winners of the

JUNE

NEWS/EVENTS Alvaro Lopez Gimenez is selected for Portrait of Britain and has his photo featured in the second Portrait of Britain book, published by Hoxton Mini Press and distributed worldwide • An image by Cass Architecture graduate Rossa Kirker is chosen for the front cover of Architects’ Journal students’ special edition. Rossa, who studies with Unit 8 was nominated for the AJ’s postgraduate student prize • Poet Kate Tempest accepts an honorary degree at the University’s annual graduation ceremony at the Barbican, where she performed part of Brand New Ancients.

JULY

second biennial Young Talent Architecture Award (YTAA) • Aardman Animator Richard Haynes celebrates the completion of his postgraduate studies in Animation at The Cass Summer Show • Creative Writing alumna Laura Nunziante has her debut novel, Salute!, published by German publishers Droemer Knaur • A selection of photographs and memorabilia from the Brady Clubs Archive curated by Cass Photography students exhibits at The Loom Gallery in Aldgate • 28 Brick Lane Street art competition organised with Tower Hamlets Council opens for student submissions

Two architecture students win awards in the prestigious Architects for Health (AfH) Student Design Awards 2018. Rachel Buckley, Architecture BA (Hons) wins the Undergraduate Open Design Award category with her Brunel Bath House and Water Garden design. Jessica Philips, who studies with Unit 14, wins the best drawing prize in the Postgraduate Open Design Award category for her Queen Alexandra Terraces design • Nye Thompson, a postgraduate Fine Art alumna, is included in the longlist for the Lumen Prize. Her project ‘Backdoored’ is included in the 3D/Interactive category of the prestigious international awards which celebrates the best art created with technology • Oriana White, a Creative, Digital and Professional Writing MA student, is announced as Highly Commended in the Festival of Learning,

AUGUST

the biggest celebration of lifelong learning in England. She was invited to attend the Houses of Parliament in June to collect her award • Rishi Trikha, course leader of Theatre and Performance Practice BA (Hons), is one of four judges for the Amnesty International Freedom of Expression Award 2018. Alongside some of the country’s most high-profile theatre critics, he presents LUNG theatre company with the Freedom of Expression Award for their piece, Trojan Horse • Obituary published for celebrated poet Matthew Sweeney (1952-2018), who was the first ever guest writer on the longrunning Irish Writers in London Summer School in 1996 • Leading designer Peter Marigold announced as Visiting Professor in Design and Entrepreneurialism at The Cass • 81 Hollybrook Grove, Dublin, Ireland by David Leech Architects whose principal leads Studio 6 on Architecture BA (Hons) is shortlisted for a 2018 World Architecture Festival (WAF) Award.

S U MME R

Long-term collaboration between Head of Designers Matteo Pacella and Philippine Hamen, both alumni of Furniture and Product Design BA (Hons), exhibit their furniture collection La Città è Mobile! at Mason’s Yard from 15–23 September as part of the London Design Festival 2018 • Moe Redish is nominated by internationally renowned furniture designer and founder of Joined + Jointed Samuel Chan for 100% Forward – a new showcase for emerging design talent in the UK. He is also awarded second place in the Derek Austin awards, which celebrates excellence in furniture design and making, for his Lift sideboards • Interior Design graduate Amanda Gunasinghe wins the Future Designer Award from the National Association of Shopfitters (NAS) and SITF for her project creating a child refugee centre from commercial property • Kemal Kemal, a Photography BA (Hons) student, exhibits work at The Hellenic Centre in Marylebone at Shadows and Reflections • Dr Jacek Ludwig Scarso collaborates on installation projects at Weissraum Gallery in Kyoto and the Magione Arts District in Palermo • Making Matters #3 at The Loom is an exhibition of work by students and alumni from The Cass exploring the process of designing and making as part of the London Design Festival 2018.

Book launch for Square Eyes, a new graphic novel by Architecture lecturer Anna Mill and Luke Jones, who teaches on our Foundation course • The Photo-Diaries of Mick Williamson is an exhibition celebrating the professional and personal photographic practice of Mick Williamson who worked at The Cass from 1972–2018 • Global coffee giant Starbucks opens first café on Italian soil in October, with Interior Design BA (Hons) alumna Alessia Bucci as design project co-lead • Visual artist and furniture design alumnus Yinka Ilori wins the LFA Thessaly Road Railway Bridge Competition • Work by alumni Naama Haneman and Callum Partridge is amongst pieces specially selected by judges at the prestigious Goldsmiths’ Fair 2018.

OCTOBER

Ella Merriman and Moe Reddish graduated in 2018 from Furniture and Product Design BA; they exhibit their work at the Young Furniture Makers show. The exhibition was organised by the Worshipful Company of Furniture Makers, a City of London livery company and the furnishing industry’s charity • Siân Moxon, senior lecturer and sustainability coordinator at The Cass, launches a new website. Rewild My Street aims to inspire and provide guidance for people wishing to adapt their homes, gardens and streets to encourage urban wildlife. It seeks to bring London’s streets back to life, reversing the trend of them becoming grey and unsustainable • Visual Communication lecturer Clare Qualmann presents a performative talk at the Tate Modern on 8 November as part of the launch of Ways To Wander The Gallery, a new book she co-authored with Claire Hind • Artist and activist Bob and Roberta Smith, Associate Professor in Fine Art, leads Make Art Not War, a nationwide initiative to get 16 to 18-year-old art students to make work responding to the question, ‘What does peace mean to you?’ • Rosemary Works Reimagined by Aberrant Architecture, a practice co-led by Interiors lecturer Kevin Haley is longlisted for two categories of the international FRAME Interior Design awards • Former Cass student David Tovey stages Man on Bench Fairytale, an immersive opera based on his experiences with homelessness • The Cass hosts Inside The City, the Interior Educators (IE) conference with speakers including Marcus Engman, former Head of Design, IKEA.

NOVEMBER

The Waiting Room is an immersive exhibition which saw 12 Theatre Arts students transforming the Atrium Gallery into a metaphorical waiting room. The exhibition was twinned with In Limbo, a participatory art installation at Tate Exchange, which also saw angelic winged students parade the Tate Modern Turbine Hall • David Leech Architects, who leads Studio 6, wins the House category in World Architecture Festival Awards for ‘A house in a garden – 81 Hollybrook Grove, Dublin, Ireland’ • MA By Project graduate Adrian Tobin is the 2018 recipient of the David Skingle Award for Studio Practice in Printmaking for his multidisciplinary ‘Transition’ project using print, ceramics and more • The Musarc Winter Konsert by architectural choir/research group based at The Cass forms part of the London Contemporary Music Festival • Architecture student Marie Henriette receives RIBA president’s commendation for dissertation ‘The Whole-body Seer: Blindness as Narrative, Subject and a Way of Seeing’ • Reader in Metal, Simone ten Hompel, wins Glenmorangie Commission to create major new piece of contemporary silverwork for National Museum of Scotland • Theatre Arts students treated to a private viewing of ‘Games’, the latest play by Henry Naylor.

DECEMBER

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AU T U M N

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NEWS/EVENTS

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Fran Williams, who graduated from The Cass in 2017, is appointed the new technical editor of professional regular journal at the Architects’ Journal • Thirdyear Theatre and Film BA (Hons) student Sol Angelucci assists senior lecturer Dr Jacek Ludwig Scarso in collaboration with the British Council in Hong Kong, as part of Spark Festival • New set of Creative Writing short courses launched • David John Tovey, an alumnus of Foundation Art and Design, included in a list of 100 notable changemakers The Big Issue magazine believes will help change things for the better in 2019 • Public Practice, a pioneering scheme which places architects in local council planning departments includes lecturer Alpa Depani among its 17 participants. Alpa was named as one of Architects’ Journal ‘People to watch in 2019’.

JANUARY

Disegno commissions furniture alumnus Ray G Brown to create ‘Spiritus Mundi’: an immersive installation for fabric brand Rubelli tapping into the often ritualistic nature of textiles and clothing • Undergraduate architecture students take part in an offsite construction and technology workshop at Mudchute Farm using materials provided by sponsor Södra Wood • Design alumnus Yinka Ilori collaborates with Universal Music to design vibrant print as gifts for Brit Award nominees • Architecture Professor Peter St John delivers his inaugural professorial lecture ‘About Practice and Teaching’ during the School’s Celebration Week • Creativity in Education event features speakers from Lego Education, FixCamp and Little Inventors • Theatre students razzle dazzle at the Posh Club with a unique cabaret performance at Hackney’s social club for the over-60s • Student vs Google project sees Foundation students test their creativity against search engine giant’s algorithms • A 200-strong audience including luminaries from industry, journalists and VIPs attend the spectacular Project RED catwalk show by first-year fashion students.

FEBRUARY

W I N TE R

Painting at The Cass is an exhibition of paintings by eight practitioners who teach at The Cass, curated by John Coleman • New work by artist Nye Thompson, an alumna of Fine Arts MFA, exhibits at both the Barbican Centre and Watermans Arts Centre. Nye’s solo show CKRBT (pronounced see-ker-bot) explored the emergent machine gaze and the unseen power structures that underpin it • Head of 3D Marianne Forrest unveils ‘Acts of Resistance’, an exhibition including new series of drawings which explore time and its relationship to a lifetime and the psychology of memory • Assemble, the Turner Prize-winning multidisciplinary collective who co-lead Architecture’s Unit 15, appointed to design a new first-floor exhibition space at the Wellcome Collection • MASS, the student architecture society at The Cass, organise a ‘Megacrit’ called ‘Model Housing–Housing Models’ in collaboration with Levitt Bernstein Architects, with contributions by students from UEL and Kingston.

MARCH

20 S P R I N G 2019

Exhibition in memory of our friend, teacher and colleague Signy Svalastoga (19572018), former Head of Architecture at the School • Land of Fibs, The Cass Theatre Arts Festival 2019, is an annual showcase of graduation work by students on the School’s Theatre and Performance Practice BA (Hons) at Canada Water Theatre • Gatti Routh Rhodes, a practice established by Cass alumni, wins the prestigious annual Young Architect of the Year Award, presented by Building Design • Alumna Caterina Avataneo is assistant curator of Sun & Sea (Marina), the award-winning Lithuanian pavilion at the Venice Biennale • Jewellery alumnus Dominic Jones appointed Global Creative Director of Links of London • Dr Torange Khonsari who leads Design for Cultural Commons MA gives a TEDx Talk in Tottenham exploring the power of civic commons • Architecture student Merethe Granhus wins the Jonathan

MAY

PhD student Chiara D’Anna presents a onewoman show Don’t You Dare! at Tristan Bates Theatre • Ellie Boggans and Mari Moreno Mirallas who study Interior Design MA are shortlisted in the RSA Student Design awards for their responses to the ‘Grand Stations Design’ brief, and went on to win commended and highly commended respectively • First-year Fine Art BA (Hons) students present their work at a series of pop-ups at venues in east and south-east London. The annual challenge saw students curate and promote a temporary exhibition in a venue they had negotiated for themselves • Prof Christian Frost is appointed new Head of Architecture at The Cass • Dr Jane Clossick presents a paper with research partner Dr Ben Colburn at Dimensions of Wellbeing conference at the University of Glasgow • Shongram, the debut feature by film alumnus Munsur Ali, is released at cinemas across the country.

APRIL

Spiers Scholarship Medal • Rewild My Street, a conservation campaign for the capital created by senior lecturer Siân Moxon is shortlisted in the City of London Corporation’s 2019 Sustainable City Awards • Gatti Routh Rhodes Architects, HASA Architects and Mae Architects, all practices with close links to The Cass are among the winners at the annual RIBA London awards • The Creativity of Difference is the inaugural professorial lecture by Dr Jos Boys, co-director of The DisOrdinary Architecture Project • Furniture and Product Design BA (Hons) graduate Elise Harrison crowdfunds to support creative classes for vulnerable adults with her business, Haus Of • The installation ‘Neither Here Nor There’ on the bridge between The Cass buildings, is the outcome of artist Isha Bøhling’s Open Field residence • Interiors graduate Megan Chandler included in Mix magazine’s annual ‘30 under 30’ roundup of rising stars in Interior Design • Imprecision: The Aesthetics of Failure is a solo exhibition by postgraduate Fine Art alumna Claire Zakiewicz during the Venice Biennale • Artists Hana Noorali and Lynton Talbot, alumni of Foundation Art and Design, selected by David Roberts Art Foundation for their Curators’ Series Work • Ray G Brown, Furniture and Product Design BA (Hons) graduate, features in an open house Makers Showcase at the iyouall store as part of London Craft Week • Alumnus Pen Sereypagna awarded grant by the prestigious Graham Foundation to develop a book project relating to his home city of Pnomh Penh • BDP, the leading architecture, engineering and design firm, hosts BOXED exhibition for Clerkenwell Design Week of new Furniture and Product Design BA (Hons) work developed as part of a live project with prestigious London design brand SCP. Get the full story @thecassart londonmet.ac.uk/thecass

The Colour Palace designed by Cass Furniture alumnus Yinka Ilori with architects Pricegore opens to the public at Dulwich Picture Gallery during the London Festival of Architecture • Wild Souls Salon delivers an evening of wonderful new fashion designs by graduating students from the School • Tedi Lena, Fine Art BA (Hons) alumnus is named one of the 44 artists selected for the BP Portrait Awards 2019 • Fine Art Professor Bob and Roberta Smith curates room at Royal Academy Summer Show. The show also features work by Cass staff including Ceramics tutor Fred Gatley and students Joshua Bristow and Monika Marinova (Unit 8 Architecture) and Postgraduate Fine Art alumni Elizabeth Vicary, Ali Bahreini, David Pereira and Leonardo Ulian • Sculptor David William-Ellis, a Cass graduate, creates official memorial for D-Day heroes on Gold Beach, Normandy • Square Eyes, a graphic novel by Cass tutors Anna Mill and Luke Jones wins World Illustration Award • The Cass hosts Architecture and Optimism event for London Festival of Architecture in collaboration with Lithuanian Art and Culture • Visual Communication students work with leading designer Sarah Boris to develop brand identity for The Cass Summer Show.

JUNE

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P U B L I C L E C T U R E S

Atrium exhibitions and events October – June The Photo-Diaries of Mick Williamson; Photograd Open Call 2018; book launch for Square Eyes; Would you?: an exhibition of refugee life in Athens; The Waiting Room; Project RED; Painting at The Cass; Acts of Resistance; Signy Svalastoga Memorial Exhibition; book launch for What are exhibitions for? Interiors industry lecture series October – January Series of lectures by designers from diverse disciplines curated by the Interior Design team. Speakers: Paul Arad, Acrylicize; Thomas Hoeffne, Bright Forest; Haldi Kraniche-Wood, British Wool; Jeremy Myerson; Richard Proto, Proto Glass Studios; Alice Rawsthorn; David Shepherd, ABB Solutions; and Sarah van Gameren, Glitheroe. Open Field Residency Programme 2018–19 October – January Open Field is a residency programme for artists initiated by Fine Art senior lecturer Ben Cain, and was curated in 2018/19 by Fine Art senior lecturer Nico De Oliveira. Residents: Isha Bøhling; Ian Gouldstone; and Olga Koroleva. The Cass Hothouse Visual Communication talks 2018-19 October – June The Cass Visual Communication Hothouse talks are a series of industry talks. The theme this year related to Language and Design, which is a research theme that ran throughout the year on the Visual Communication courses. Speakers: Dan Adeyemi; Caterina Bianchini; Sarah Boris; Ricky Haggett, Hollow Ponds; Robert Hetherington; and Isabel Greenberg. Inside the City: Interior Educators (IE) Conference November The conference invited interior educators, practitioners and new and established researchers to pursue and discuss ideas about and proposals for the city’s interior. Keynote speakers: Marcus Engman, Head of Design, IKEA; Sevil Peach, interior architect; and Professor Lois Weinthal, Chair of Interior Design, Ryerson University, Toronto. Form-Givers Lecture Series November – March This lecture series is about young practices throughout Europe, confident and inventive Form-Givers who are delivering their first projects. Lecturers discussed architectural language and form in their practice, research or teaching. The lecture series was curated by senior lecturer James Payne. Speakers: Ahmed Belkhodja, Fala; Johannes Brattgård and Johan Dehlin, Dehlin Brattgård; Søren Johansen and Sebastian Skovsted, Johansen Skovsted; Alberto Sanchez, SMS Arquitectos; and Silvia Ullmayer, Ullmayer Sylvester.

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Cass Fine Art lectures and events November – April A series of lectures, exhibitions and events as part of Cass Fine Art cluster, including Fashion Photography, Fine Art, Painting, Photography, and Theatre and Performance Practice degree courses. Events included: Tom Hunter’s Janet Hall Memorial Lecture; The Cass Christmas Cracker 2018; Easter Show 2019; and the Fine Art Year 1 Pop-Up Show series. Cass Research Seminars November – May Cass Research Seminars brought together researchers and practitioner-researchers from The Cass and the wider world, to present their work for review amongst peers. The aim was to foster a research-focused cross-disciplinary exposure of people from The Cass to one another, and to the academic field – to develop relationships and to prompt discussion. Events included: Wildness Matters; Workshop-AHRC; Water; Water 2; After Venice; Loose Fit City – a book launch; Future Housing – Brownfield or Greenfield?; Resilience and Resourcefulness of High Streets; Queerly Made; Walk-along Clapham High Street with Mark Brearley; Performance in Place; Ethics in Practice and Research; Workshop City; Archive; (Moving) Images; Activism; Edge of the City – Informal Poetics in Eleonas, Athens; Pedagogy and Practice; Writing and Practice; and Scale with Pierre d’Avoine and Stephen Taylor Design for Cultural Commons lecture series December – May A lecture series curated by Design for Cultural Commons MA course leader Dr Torange Khonsari. Speakers: Eleni Katrini; Dr Torange Khonsari; Sophie Varlow and Nick Wood; Aileen Ling, The Makeshift Commons Project and Design for Cultural Commons MA student; Rokiah Yaman, Community by Design and LEAP; and Zoe Powell, Materiom Cass Interiors Cinema Club January – February Cass Interiors Cinema Club presented the Hidden Space series, exploring the scenario of the apartment and the hidden life of spaces. Featured films: The Apartment (dir. Billy Wilder, USA, 1960), High Rise (dir. Ben Wheatley, UK, 2016), Kitchen Stories (dir. Bent Hamer, Norway, 2003) and Rear Window (dir. Alfred Hitchcock, USA, 1954).

Celebration Week – evening public talks February Evening public talks which took place during Celebration Week 2019, the annual opportunity for students to present to panels of expert critics. Events included: Stories We Need to Tell, a film, video and performance artist talk by Lucy Gunning; Creativity and Education, hosted by Peter Marigold and featuring Cecilia Weckstrom, LEGO Education, Daniel Charny, Fixperts, and Dominic Wilcox, Little Inventors; the inaugural professorial lecture, About Practice and Teaching, by Prof Peter St John; and Project RED – the first-year Fashion catwalk show 2019 Who Cares? Talks February – April Who Cares? was a student-led series of lectures, debates and events at The Cass, in dialogue with MASS (Metropolitan Architecture Student Society), and is linked to Architecture for Rapid Change and Scarce Resources (ARCSR). The programme was concerned with the interface between architecture and humanitarianism through a variety of themes and forms of practice, at one and abroad. Speakers: Dr Matthew Barac; Maggie Black; Antonio Capelao; Nabeel Hamdi; David Levitt; MATT + FIONA; Jo McCafferty; Himanshu Parikh; El Parker; Toby Pear; Dr Bo Tang; Corina Tuna; Jaime Royo Olid; and Paul Vick Association of Photographers talks February – April The Cass hosted two in-conversation events for Association of Photographers (AOP) as part of the organisation’s fiftieth anniversary celebrations Speakers: Jillian Edelstein; Clare Park; and Simon Norfolk In collaboration with the London Society: High Streets Series April – May Speakers: Prof Matthew Carmona; Emily Gee; Melissa Meyer; Dr Sonja Oliveira; Simon Quin; and Dr Gayle Rogers. Saturday Schools June Speakers: Neil Bennett; Dr Jane Clossick; Tom Coward; Benedict O’Looney; and Mark Prizeman

Cass Culture Lectures January – March A series of lectures and events as part of Cass Culture. Cass Culture aims to work outwards and grow its community out of its common interests. Speakers: Doug Fishbone and Steve Macleod

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C R O S S S C H O O L

Making a Living Week 2018 Making a Living Week is The Cass’s annual festival of employability and entrepreneurship, offering guest speakers, talks, events, workshops and careers advice for our students.

Speakers 3D Majeda Clark – award-winning alumna of Textile Design BA (Hons) Del Hossain – Managing Director of Adrem Design and Architecture Recruitment Cesare Leonardi – architect Nik Ramage – sculptor of the useless and absurd Kiki Tang – Jewellery and Silversmithing BA (Hons) alumna Grace Winteringham – co-founder of PATTERNITY Accelerator Natasha Triay – Student Enterprise Manager Architecture James Binning of Assemble – the Turner Prize-winning collective Johannes Brattgård – architect Jestico + Whiles – international architecture and interior design practice Simon Murray – architect and expert witness Ahmad Querishi – Apprenticeships Operations Manager Carla Smyth – architect and client Vicky Thornton – architect and ceramicist Careers Rosalind Davis – artist and author Peter Fillingham – artist and Fine Art BA (Hons) senior lecturer Patricia Nnadi – careers consultant Fiona Tracey – Careers and Employability Service Creative Writing and English Literature Aimée Felone – children’s books publisher Kevin Haley – co-founder and director of Aberrant Architecture Marianne Levy – author Kate Manning – children’s books sales, marketing and publicity director Tory Sandars – co-artistic director of Skewbald Theatre and Theatre Arts lecturer Dr Louise Tucker – publishing consultant, entrepreneur and writer Fine Art and Photography Associate Professor Patrick Brill (aka Bob and Roberta Smith) – artist, writer and musician James Russell Cant – course leader for Photography BA (Hons) Ania Dabrowska – Photography BA (Hons) senior lecturer Rosalind Davis – artist and author Karen Harvey – Creative Director at Shutter Hub Galia Kollectiv – collaborative artists, writers and curators Paola Leonardi – course leader for Fashion Photography BA (Hons) Olivia Gideon Thomeson – founder and director of We Folk Interiors Del Hossain – Managing Director of Adrem Design and Architecture Recruitment Cesare Leonardi – architect Nik Ramage – sculptor of the useless and absurd

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Theatre Arts Liz Bichard – Casting Director Louise Jeffreys – Artistic Director of the Barbican Visual Communication Sarah Boris – graphic designer Joe Cruz – visual artist and lecturer in Visual Communication Ciara Phelan – Ground Matter Founder, The Multi-Tasking Creative Astrid Stavro – graphic designer and partner at Pentagram Arianna Tilche – graphic designer

Celebration Week 2019 Celebration Week is an opportunity for students from across the School to present their studio work to panels of external critics. The week provides a daily programme of ‘crits’, screenings, events and pop-up shows.

Critics 3D Nick Bond – creative consultant and designer working with fashion brands across menswear, sports/performance, fashion accessories and jewellery Simon Hasan – contemporary designer Dennis Jansson – creative director and designer in the world of denim, with a ready-to-wear portfolio of influential brands including Acne, M.i.h denim, Jean Machine and Victoria Beckham Kim Thome – Norwegian designer living in London Architecture: undergraduate Xenia Adjoubei – architect and Head of International Projects, MARCH, Moscow (partner university) Cany Ash – architect and co-founder of Ash Sakula Architects Eugene Asse – architect and Dean of MARCH, Moscow (partner university) Jane Houghton – architect at Houghton Budd Architects Nikita Tokarev – architect and Director of MARCH, Moscow (partner university) Jane Wernick – structural engineer Architecture: postgraduate Xenia Adjoubei – architect and Head of International Projects, MARCH, Moscow (partner university) Eugene Asse – architect and Dean of MARCH, Moscow (partner university) Nan Atichatpong – Director of design-NA architects Professor Mark Brearley – Cass Cities Zohra Chiheb – architect and commissioning client at Croydon Council, and formerly a research practitioner in the Appropriate Housing inter-practice project team while at Levitt Bernstein Emeritus Professor Phil Christou – Architectural Research Unit Daisy Froud – lecturer in History and Theory of Architecture (The Bartlett School of Architecture) and former director at AOC, an east London architecture firm Arta Garan al – architectural assistant at Simon Condor Associates and 3dReid Drawing Prize nominee (RIBA Part 2, Unit 10, 2017) Matthew Gregorowski – architectural assistant at 6a Architects and YTAA Winner 2018 (RIBA Part 2, Unit 14, 2017)

Ella Jessel – Senior Reporter with Architects’ Journal Muneeb Ali Khan – architectural assistant at Nicolas Pople Architect, recipient of commendation for RIBA Bronze Medal (RIBA Part 2, Unit 6, 2017) Ross Kirker – architectural assistant, Allies and Morrison Architects, AJ Student Prize and RIBA Silver Medal nominee (RIBA Part 2, Unit 8, 2017) Professor Peter St John – founding partner of Caruso St John Architects Vicky Thornton – Director of Allies and Morrison with her own design and ceramics practice Nikita Tokarev – architect and Director of MARCH, Moscow (partner university) Creative Writing and English Literature Darren Chetty – writer, teacher and researcher Yvvette Edwards – author of the highly praised A Cupboard Full of Coats, longlisted for the Man Booker Prize, shortlisted for the Commonwealth Prize, and named a Kirkus Reviews Best Book of the Year Sunny Singh – novelist, journalist, critic, academic and co-creator of The Jhalak Prize Fine Art and Photography Zelda Cheatle – curator and writer Jane Fairclough – visual artist Lucy Gunning – artist Rebecca Heald – RCA tutor on MA Curating Contemporary Art and selector for Bloomberg New Contemporaries Paola Leonardi – course leader for Fashion Photography BA (Hons) Jane McAllister – course leader for Architecture BA (Hons) Interiors Alex Evans – architectural artist and theatre/event director Peter Fillingham – Fine Art BA (Hons) senior lecturer Abby Bird and Mollie Griffiths – Doing Bits Studio Tom Housden – director of Hand & Eye Studio Lighting Dr Torange Khonsari – course leader for Design for Cultural Commons MA Rosie McGoldrick – Head of Fine Art Jon Tollit and Tony Wilks – Gensler Research Institute Visual Communication Caterina Bianchini – founder and Creative Director of Caterina Bianchini Studio Associate Professor Patrick Brill (aka Bob and Roberta Smith) – artist, writer and musician Rachel Emily Taylor – artist and academic Jonathan Wilkins a.k.a Dines – founder and Creative Director of digital design agency STUDIO BLUP Theatre Arts Dr Cara Courage – Director, Tate Exchange at Tate Modern Dr John Keefe – Theatre Arts senior lecturer Dr Jacek Ludwig Scarso – Reader in Art and Performance

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S H O R T C O U R S E S 202

The Cass Session

We offer creative, professional and skills-based courses to a wide range of students who wish to either develop their existing skills, try their hand at something new or explore a change in career. Our short courses range from beginner to advanced levels of study and include Portfolio Preparation and Continuing Professional Development. We cover all the subject areas on offer at The Cass, plus a few more, with the emphasis on delivering high standard, hands-on teaching delivered by leading industry practitioners. In our well-equipped studios, students learn through making, experiment with process and technique and develop skills for personal and professional practice. 2018/19 has been another year of expansion for the short courses with the introduction of our first set of Creative Writing courses, a refresh and relaunch of both the Jewellery and Silversmithing and the Restoration and Conservation portfolios. We have also started the development of our Fashion and Textiles programme with a set of three new courses which have been well received. Our AMUSF accredited Upholstery course continues to transform the careers of students of every age and we are always delighted to see the work they produce during the Summer Show at the end of every year and hear about what they have gone on to do once they have completed their studies. As ever though, we continue to look forward with plans to continue the development of the Fashion offer in 2019/20 and a new set of courses planned in Software, Furniture Making and Musical Instrument Making.

Courses currently on offer: Furniture and Upholstery AMUSF Modern and Traditional Upholstery Introduction to Traditional Upholstery Upholstery Skills One-Day Workshop – Drop-In Seat Chair Caning and Seat Weaving Introduction to Furniture Making Intermediate Furniture Making Modern and Traditional Finishing Restoration and Conservation Furniture Restoration Restoring ‘60s Furniture Heritage Restoration Craft Skills for Painting, Furniture and Interiors Hand Veneering Architecture and Interiors Portfolio Preparation – Interior Design Portfolio Preparation for 16 to 18-year-olds – Architecture Spatial Design and Interior Architecture RIBA: Practice in the UK Sketching Interior Spaces Designing Through 3D Sketching Design for Retail Interiors Graphics and Illustration Introduction to Illustration Introduction to Children’s Book Illustration Introduction to Hand-Drawn Type Experimental Drawing Illustrated Packaging – One-Day Workshop Introduction to Screen Printing Children’s Book Illustration – One-Day Workshop Introduction to Illustration – One-Day Workshop Jewellery and Silversmithing From Metal Sheet to Hollow Form – Making Vessels and Containers Statement Jewellery with Silversmithing Techniques Wax Carving – Designing Jewellery from Soft Material Silversmithing Two-Day Workshop – Vessels and Containers

Photography Alternative Photographic Printmaking Black and White Photographic Print Processes – The Essentials Botanical Cyanotypes Discover Photography Develop Your Photography Skills – Intermediate to Advanced Workshop Introduction to Colour Printing from Film Introduction to Photography One-Day Introduction to Colour Printing Night Photography from the City to the River The Art of Black and White Photography – Summer School Software and Digital Design Algorithmic Design Techniques with Grasshopper AutoCad Fundamentals AutoCad Intermediate Introduction to ARCHICAD BIM Revit BIM 3D Printing and Rapid Prototyping Fashion and Textiles Introduction to Fashion Design Introduction to Weaving Rug Gun Tufting Musical Instrument Making Introduction to Guitar Making Intermediate/Advanced Guitar Making Theatre Production Devising Character Commedia dell’Arte for the 21st Century Creative Writing An Introduction to Writing Children’s Stories Starting to Write Writing a Novel: How to Get Started Irish Writers in London Summer School

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S T A F F

staff list A Nabil Ahmed Stephanie Aman Susan Andrews Attua Apparicio Ektoras Arkomanis Julie Asis Julia Atkins Edwina Attlee B Jon Baldwin Alison Ballard Alexander Bank Matthew Barac Manuela Barczewski Robert Barnes Kieron Baroutchi Abigail Batchelor Mick Battley Francesca Baxter Oliver Bayliss Vanja Bazdulj Keith Beckles Zoe Berman James Binning Kelvin Birk Lisa Bloomer Mark Bloomfield Emma Booth Sid Bose Marcus Bowerman Jos Boys Adam Bradley Mark Brearley Patrick Brill Pascal Bronner Luisa Brotas Paul Brown Richard Brown Sam Brown Andrea Bugli Kamile Bundonyte Toby Burgess Vanessa Butt C Ben Cain Stuart Cameron James Russell Cant Sara Carneholm John Cash Sam Casswell Alexander Catina Jolanta Cerniauskiene Zelda Cheatle Robin Clifton Jane Clossick Jason Coe Chiara Cola John Coleman Jeremy Collins Karen Coughlan Joe Cruz Andrew Cutting D Pereen D’Avoine Pierre D’Avoine Nick Da Costa Ania Dabrowska Mathew Dart Emma Davenport Karen David Ron Davis Nico De Oliveira Jamie Dean Alpa Depani Sandra Denicke-Polcher Liam Dewar Michael Dillon Eva Diu Richard Ducker Roisin Dunne E Sebastian Edge Alex Ely Chris Emmett Adam Entiwisle Emily Evans

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Sinead Evans Ricardo Eversley F Deej Fabyc Arrash Fakouri George Fereday Peter Fillingham Thomas Finn Marianne Forrest Edmund Fowles Tony Fretton Christian Frost G Matthew Gates Fred Gatley Richard Gatti David George Lezley George Nina Gerada Nandita Ghose Lucie Gledhill Lisa Goldman Paloma Gormley David Grandorge Andrew Grant James Grant Damian Grist Naomi Groves H Christoph Hadrys Jonathan Hagos Iain Hales Kevin Haley Alistair Hall James Hand Paul Harper Charlotte Harris Janette Harris Karl Harris Mathias Herbst Rosie Hervey Robert Hetherington Andrew Hewish Danielle Hewitt Theresa Hewlet Tom Hillier Andy Hills David Hobson Frances Holliss Christopher Holt Lee Hooper Christopher Hosegood Ellie Howard David Howarth David Howells Matthew Howland Peter Hufton James Hunting I Summer Islam J Jillian Jones Luke Jones Anatol Just K Kriya Kalidas Anne Karpf Yiannis Katsaris John Keefe Sinead Keegan Mary Kelly Maeva Khachfe Mursheda Khanom Torange Khonsari Ah-Ra Kim Fumi Kimura Joseph Kohlmaier Nate Kolbe Galia Kollectiv L Lee Lapthorne David Leech Paola Leonardi Angharad Lewis (Briggs)

Philippa Longson Maggi Loughran Anna Ludwig Jonas Lundberg M Gordon Maclaren Simone Maier Peter Marigold Franco Marinelli Anne Markey Jane Mcallister Heather McDonough Rosemarie McGoldrick Harriet Mckay Andrea Medjesi-Jones Joanna Meehan Anna Mill Maurice Mitchell Siân Moxon Tony Murray N Tanya Nash Robert Naylor Kaye Newman Jen Ng Joseph Noonan-Ganley Trevor Norris O Colin O’Sullivan Niall O’Sullivan Gabriele Oropallo P Christina Paine Janette Parris Angela Pascoe Shamoon Patwari James Payne Kate Payne Gina Pierce Elaine Pierson James Pockson David M Price R Harvey Reehal Lisa Rigolli Chianna Roberts Jane Roberts John Ross Gian Carlo Rossi S Damaso Sanchez Randulfe Tory Sandars Jacek Ludwig +Scarso Alex Schouvaloff Conor Scully Punya Sehmi Takero Shimizaki Andrew Siddall Sunny Singh Cecilia Sjoholm Marina Skia Suzanne Smeeth-Poaros William Smith Paul Smythe Kristoffer Solling Rachael South Ben Speltz Peter St John Cathy Stack Ulrike Steven Alice Stevenson Lesley Stevenson James Steventon Andrew Stone Ewan Stone Michael Stubbs Richard Szusman Beata Szwast T Bo Tang Ali Taylor Rachel Emily Taylor Stephen Taylor Ian Teague

Simone ten Hompel Anne Thomas Theodoros Thysiades Ariana Tilche Adi Toch Mirsini Trigoni Rishi Trikha Georgios Tsakiridis Cecile Tschirhart Louise Tucker Jelmer Tuinstra Jane Turner Shaun Turner U Michael Upton V Cristina Vanegas Francesca Vilalta Kim Vousden W Chiying (Jean) Wang Patrick Ward Kieran Wardle Russell Weekes Claire Whelan Richard Whitby Jonathan Whitehall Owain Williams Rufus Willis Sam Wingate Y Fiona Yaron-Field Heidi Yeo Z Ryan Zantinge

A Lydia Abbott Fatima Abdul Hamid Hanan Abdulamir Zahra Aboobaker Naomi Abraham Debora Abrantes Lima José Maria Abreu Pereira Sara Abubaker Shirley Accini Maria Achanova Victoria Achola-Wacha Abraham Ackah Rosemary Ackah Aleksej Adamaitis Klaudia Adamowicz Leah Adams Helena Adell Garcia-Ayats Oluwaseyi Adelowo Nekquai Adeniyi Mary Adetayo Sandra Adjei Mayisha Afzal Sidrah Afzal Rahi Agarwal Gemma Ageraniotis Phoebe Agnew Karen Agyekum-Hene Ian Ahabwe Shakibur Ahad Anika Ahamed Khan Douglas Ahern Fairooz Ahmed Jahanzeb Ahmed Syed Ahmed Harriet Ainscough David Aitken Aref Akbari Olamidotun Akinrosotu Janet Akinyemi Eno-Obong Akpan Akabla Akro Chana Al-Alas Mayes Al-Hakim Rana Al-Kolaibi Sameer Alam Katarzyna Alaszewska Myles Albon-Crouch Gloria Alcoba Poiqui Beatriz Alcobia James Alder Ritu Ale Boyana Aleksandrova Ioana Alexandru Leticia Alfaro Amer Ali Ayesha Ali Hidaya Ali Malyuun Ali Moni Ali Rozkar Ali Chopy Ali Jalal Aryan Ali-Murad Neringa Aliksandraviciute Faezeh Alimorad Sima Aljabri Roua Aljammal Catherine Allan Virginia Allel Nazar Shirley Allen Helen Allsopp Mohamad Nazeer Alnazal Hawraa Alrihani Joana Alves Tavares Dos Reis Maria Chiara Amato Emily Amos Bermet Anarbaeva Alison Anderson Patricia Anderson Sol Angelucci Amelie Anne Rhoda Antwi-Serwah Mercy Anyaele Natalie Anyanjo Engeland Apostol Elizabeth Apple Paige Archer Alise Argale Madalina Arhip Niamh Arklie Patricia Armstrong

William Armstrong Mikah Arnold Miranda Arriola Acevedo Mariana Arruda Fae Lina Arthur Shamikha Asif Michel Aslangul Kristina Atanasova Rachel Atkin Wosam Atrash Stefania Atzei Kinga Augustyn Katrina Austen Jakob Austmeyer Jolessa Awatin Gracie Ayino Marta Ayodele Yusuf Ayoob Arian Azemi B Chiara Babando Seoyoung Bae Roshni Bagga Jennifer Bailan-Ebaco Norman Bailey Heidi Baines Pau Bajet Mena Ema Bajnokova Joshua Baker Maryam Bakhtiari Zadeh Melissa Balaman Robert Balan Michael Baldwin Samantha Ball Fiorenza Balzani Karolina Banasik Alexander Bank Hillery Baptiste Aleksandra Baranova Riel Barbon Maximilian Bardsley Leoni Barker Annaliese Barley Jodie Barnacle-Best Megan Barratt Lea Barre Laura Barrington Caroline Barrow Matthew Barry Katharina Barth Mathias Barthélémy Domenico Basile Abby Batucan Lewis Baxter Azadeh Bayat Shahbazi Antonia Beamish Jaymie Bean Jamal Beckford Kimakienda Bediako Farzana Begum Nyma Begum Shaira Begum Zebu Begum Oktawia Beim Assem Beisenova Riccardo Belà Itziar Belausteguigoitia Caitlin Bell Sinea Bell-Spencer Yenifer Bello Vargas Alexandra Ben-Yehuda Alexander Benigni Alisha Benskin Arbana Berdynaj Lansinet Berete Faith Beswick Kalyani Bhagat Anjali Bhatia Ibraheem Bhuta Roger Bickmore Kamile Bieliunaite Aleksandra Bielska Paulina Bienkowska Fraser Biggins Francesca Bignoux Bilge Bilici Gamze Bilici Indra Bindere Cheryl Bishop Vineeta Bishwakarma

Violet Bizzarro Ryan Blackford Isobel Blacklock Lily Blanchflower Angela Blazanovic Anna Blom Phyllis Boakye Ellie Boggans Aderonke Boisson Georgia Bolderson Callum Bolger Jean-Baptiste Bolou Courtney Booth Jonathan Booth Carolina Borgatti Nicolaas Bornman Zohreh Boromand Ghazale Borouni Nina Bosse Rebecca Bossley Nicholas Botterill Thomas Bower James Bowie Katharine Bracey Peter Bradshaw Samuel Bradshaw-Clifford Layla Brady Shanice Bramwell-Grant Yasmin Braunhofer Harry Paul Terence Breeden Omer Brener Ines Brennan Marie Brenneis Joshua Bristow Charleen Britchfield Sarah Broadstock Laura Bromley Brendan Brosnan Andrew Brown Joseph Brown Joshua Brown Michael Brown Tilly Brown Doviltas Brucas Awuraama Bruce Hannah Brueckner Irina Bruma Chelsea Bryant Alexander Buck Jessica Buckle Sandra Bugaite Darja Buhanovska Daniel Bukasa-Muteba Viktorija Buklajeva Huseyin Bulbul Daniel Bunbury Brenda-Grace Burch Lucas Burgos Naomi Burke George Bursuc Mihaela Bursuc Craig Burton Jeremy Burton Jennifer Busaing Kafilat Busari Elisa Buscemi Emil Butoi Joanna Butryn Jacqueline Byrne C Laura Cabanas Catia Cabral Ronan Cahill Jane Cain Samuel Calcraft Edem Caliph Sarah Calota Inedia Camamate Ornella Campanari Kyeanne Campbell-Simpson Hugo Campos Ines Canellas-Jager Lidienne Cangiano Iliana Capsali Vitalie Caraus Lilash Cardozo Flores Sofia Carlsson Blandine Carminati Oliver Carter Sophie Carter

S T U D E N T S

student list Alessandro Caruana Ioana Caruntu Daisy Carvell Ashley Case Sian Cashman Niralee Casson Harriet Catchpole Alessandra Catello Andrea Cavalli Emily Cayford Robert Cazacutu Natalia Ceglarska Catherine Centofanti Kevin Cepillo Camitan Karla Cerovac Victoria Cerrada Colson Guy Chackarov Tomas Chacon Barnaby Chadwick Will Chamberlain Christopher Chan Kitty Chan Eric Chandrasegaran Grace Chantre Gomes Charley-Jo Chappell Klaudia Chara Ricky Charalambides Chrystal Charles Teagan Charles Joseph Charman Dimitrios Chatzigiorgalis Mahima Chaudhury Zoi Chavali Shuo Chen Henry Cheng Marcella Chessa David Cheverton Kai Chian Chin Rathiya Chinniah Amuthas Barry Chippendale Petru-Cosmin Chirpac Domnica Chisca Stephen Chislett Paul Chiu Hok Choi Seungho Choi Saminah Choudhury Charlotte Chowdhry Ka Man Constance Chung Asia Ciccarelli Baran Cicek Joanna Ciecinska Lasma Cimdare Djibril Cisse Ousmane Cisse Sam Clagett Charly Clark Daniel Clark Alastair Clarke Jade Clarke Luke Cleevely India Clements Michael Cliff Hannah Clifford Shantel Clunis Elizabeth Coakley Brittany Cobbinah Gabriela-Georgiana Cociasi Neil Cockburn Joel Codd Natasha Coenraad Phoebe Coldrick-Smith Sarina Cole Lloyd Coles Elena Colli Amy Collings Emma Collins Jevauntee Collins Skye Collins Terry Comer Anne Connolly Cove Connolly Padraig Connolly Margaret Conroy Charlie Constantinou Luigi Antonio Conte Emily Cook Finlo Corrin Alisha Maria Cortina Calin Costea Philip Costello

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Jacovos Costi Nyeisha Costley Sharamiya Cotterell Edward Couper Kyelle Cowell-Williams Mary Crabtree Sophie Craw Benito Cremer Charlotte Cross Alessandra Cuccu Siobhan Culhane Adrian Cullen Andrius Cupkovas Taylor Currant Morna Currie Andrew Cusack Amy Cutler Maja Czarnecka Eurydyka Czerska D Leonardo Dâ&#x20AC;&#x2122;Elio Escarpa Davide Da Rold Leonor Da Silva Ferreira Salavisa Teixeira Chiara Dadini Ece Dag Tara Daly Jasmine Damaris Bich Dang Benjamin Daniels Akua Danso Priyanka Dapodikar Victoria Dargi Aaliyah Darius Honor Darrell Mona Dash Fednard Dautey Seyi David Emily Davidson Molly Davies Morgan Davies Sade Davies Sam Davies Sebastian Davies Andrea Dawson Gabrielle Dawson Erica De Almeida Mario De Andrez Candeias Alessia De Cola Alice De Grey Angelika De Hoog Alba De La Cruz Soto Michela De Santes Chloe De Silva Iwona Debowska Emma Decogan Ambra Del Fabbro Celine Delassoud Sofia Delbono Katharine Deleay Clara Delgado Caballero Monica Delgado Soto Veronica Dellâ&#x20AC;&#x2122;Orto Rachel Demmen Christopher Dennis Janeiro Dennis Michael Denyer Alberto Deon Ramesh Depala Tanitha Desporte Joanne Devlin Fatemah Dhanji Lucilla Di Prospero Monica Di Zillo Emeline Diais Vita Dimauro Roudolf Dimov Asif Din George Dinu Joyce Dje Lou Clarisse Djedje Adryelly Do Vale Cristian Dobjanschi Thomas Dobson Jo Doezema Ajike Doherty Aaliyah Dominguez Angela Dominguez Corrales Francesca Dompe Stephen Donald

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Scott Douch Joe Douglas Rocio Dove Ikay Dowe Lucia Dracosu Esther Drake Michelle Drew Edmund Drury Anne-Laure Dugat Corissa Duhra Elizabeth Duignan Peri Duncan Charlotte Dunne Benjamin Dusserre-Robinson Blazej Dziedzic E Anna Eastwood Alexander Eccles Onyinyechukwuka Edafe Susma Edingo David Edward Jerome Edwards Kerry Edwards Tamsin Edwards Victoria Edwards Henriett Egressy Hammaad Ejaz Malika El Asry Aida El Bakri Rana El Habri Omar El-Khodary Farzana El-Syed Gabriele Elertaite Fioralba Elezi Withney Eliazord Nour Elkady Ruby Ellingham Erica Elliott James Ellis Ross Ellmore Omer Elsharif Corie Emanuel-Perrier Nicole Emmanuel Anthony Engi Meacock Aaron English Rodriguez Enrique Ariane Erlicher Imaobong Eshiet Rana Eskandari Yasmina Esteri Ennadir Mical Estifanos Marisol Estrada Marin Benjamin Ethan Jonathan Evans Nadia Everard F Abigail Fairest Nancy Clare Falloon Daria Famularo Giovanni Farina Mustafa Farttoosi Naoshin Farzana Sheriff Fashola Seyedeharmaghan Fatemi Florence Fathers Charlotte Fay Loraine Feldman Nick Fenn Dan Fentiman Regina Ferguson Carolina Fernandini Anita Ferrari Daniel Ferreres Ondo Martina Fierro Ida Fijak Jade Fitton Raymond Flowerdew Emmanuel Fonkwen James Foran Jack Ford Andrea Forrai Helen Forrest George Fortu Agnes Fouda Angelos Foulis Jordana Fournillier Agnieszka Fraczak Claudia Franceschi Joseph Franklin

The Cass Session

Rose Frawley Christian Frost Raquel Furtado Caracol G Manon Gabet Giulio Gabrielli Barbara Gagliotto Lizeth Gallegos Perugachi Aaron Galway Benjamin Gander Cristian Ganta Nigel Garcia Michael Garner Miriam Garofalo Nicolau Garrido Jessica Gaunt Elina Gavadinova Eleni Gavrili Filip Gavurnik Gabriella Gedu Christal Gentles Madison Geores Gabriel George Ivona Georgieva Hanna Gerahtu Vittoria Gerardi Darja Gerova Clemens Gerritzen Junaid Ghafoor Benedicta Ghansah Haseeb Ghauri Maha Ghazal Silvia Ghbarieh Sesen Ghezai Linda Ghio Mai Giang Stavros Giannoulatos Rachel Gibbens Rosine Gibbs-Stevenson Aesha Gibson Pania Gibson Jessamy Gilbert Margherita Gilotti Lionel Giordano Fulvia Giorgetti Jennifer Giugler Kayleigh Glass-Parker Lilian Glennon Georgia Glover Attila Gluck Michael Gnadenou Elle Godfree Melanie Godfrey Paula Goebel Dilan Gokcan Jessica Golfarini Radoslaw Golon Yolanda Gonzalez Jose Gonzalez-Arias Daniel Goode Arnelia Gordon Tyler Gordon Finley Gordon-Smith David Graham Laura Graham-Clarke Mjellma Grajqevci Merethe Granhus Amariah Grant Shila Grant-Burnett Paulina Grecka Daniel Green Emily Green Sara Green William Green Lili Greenep Thomas Greenfield Jeremy Greeno Marnie Greenrod Curtis Griffiths Reda Grigaraviciute Carlo Grignani Konstantina Grigoriadou Enrico Grimani Egle Griniute Alexandra Groszek Ruxandra Gruioniu Laura Guevara Morales Selin Guler Kinga Gurba Noah Gurden

Calypso Guy H Noura Haddad Soroush Haghighat Abdillahi Haibe Hassan Haji Cameron Hales Dorin Halga Halil Halil Charlotte Hall Chloe Hall Geraldine Hallifax Kawthar Hamad Mariam Hamed Tegan Hamid Southam Hugh Hamshaw-Thomas Ralita Hancock Daisy Hannan Olivia Hansson Luke Harding Sarah Hardy Fraser Harley Steven Harley Layan Harman Suffian Haron Aisha Harris Conor Harris Tanya Harris Valencia Harris Samantha Harrison Dina Harti Fatha Hassan Ali Hassno Elena Hastry Nicholas Hatcher Clare Hawes Eva Hawkins Jake Hawkins Jodi Hawkins Noemi Hawryluk Valerie Hayes Nicholas Head Elliott Heath George Heath Edward Hemmings Juliana Henao Uribe William Henley Anne Hennelly Emilie Henriksen Emily Hewitt James Higgins Bouchaib Hilali Cordelia Hill Laurence Hiller Emily Hinchliffe Paula Antonia Hinderer Kumiko Hirayama Fiona Hiyabu Aidan Andrew Hodgkinson Rosalind Hodgkiss Danny Holland Euan Holmes Oana Holomei Vincent Hon Caroline Hope David Hopkins Andrew Hopper Eleanor Hopwood Paris Horstmann Awan Hossein Midia Hossein Maryam Hosseini Doust Elizabeth Houghton Hannah Houghton Hosn-Hassan Houssami Sophie Howlett Valentin Hripko Vanessa Hubbard Kinza Humayun Stephan Humphrey-Gaskin Tayma Hunte Lisa Hurrell Jubbrul Hussain Syed Hussain Shannon-Jaide Hyland I Kannika Iamphongdee Ilaria Iannarilli Rilwan Ibrahim

Glory Igwe Fatima Ijaz Precious Ikekhua Beatrice Ikiriko Rebecca Ilett Stephen Illingworth Yasemin Inonu Brittany Insull James Iredale Vivola Isaac Adam Isaaks Monique Ishmael Berzan Isik Emilia Iskra Iman Issa-Ismail Daria Istoc Enrica Federica Italiano Roxana Ivascu Jeanne Izard J Annisa Jabbour Jackie Jacobs Aleksandra Jagodzinska Jowita Jakubowska Mahdi Jalal Suaad Jama Andras Jambor Anthony James Blessing James Caleb James Sally James Nadeem Jan Tehmina Janjua Bartosz Janos Marianna Janowicz Jhonnatan Jaramillo Anna Jarnfors Ayesha Jarratt Emma Jarrett Hannah Jarvis Howard Jeniksha Jayantkumar Marten Jedehulth Muguntharaj Jeevanandarajah John Jeffers Charlie Jefferson Jekaterina Jegorova Oriana Jemide Seong Wook Jeong Amber Jibb Josephine Jija Rebecca Johansson Cheriece Johnson Matthew Johnson Sherella Johnson Sophie Johnson-Pyatt Lucy Johnson-Squire Tim Johnston Shannon Johnston Howes Christopher Jones Deborah Jones Thailah Joseph Robert Joyce Jean-Luc Jules K Ilir Kabashi Aleksandra Kacina Agata Kaczorowska Helawar Kader Chris Kaewhin Joshua Kaile Anastasia Kalaitzi Natalia Kallas Ahmed Kamara Valerija Kamolina Othmane Kandri Al Sidi Abdelali Anil Karabulut Dogukan Karabulut Klaudia Karpinska Janos Katona Peterson Richmond Katsande Ellie Kavanagh Katharina Kawaters Hasret Kayran Lina Kazakauskaite Rohullah Kazemi Nadira Kazi Adriana Keast Laura Keating Clancy Keegan

Jade Keiderling Parisa Kelly Tamara Kelso Kemal Kemal Faith Kemp Sean Kennedy Leanne Kennerson Diamonika Keto Wanyan Keung Sepandar Keyvan Sargul Khak Poor Ayda Khalek Aisha Khan Somayia Khan Tara Khanna Karim Kharasan Reem Khatoun Salem Khazali Torange Khonsari Jian Yong Khoo Davood Kiani Khalkhali Daegyu Kim Hongjae Kim Keuntac Kim Min Soo Kim Philippa Joy King Jennifer Kingston John Kipling Ashley Kirk James Kirkham Agnieszka Kiryluk Orsolya Kiss Jane Kissane Kim Kiteculo Aryeh Klien Mante Klimaviciute Nathanael Knowles Natalia Kochanska-Zelska Kitti Kohalmi Emiljano Kola Jakub Kolodziejak Vsevolod Kondratiev-Popov Yilmaz Korkmaz Monika Korolewska Karolina Korzynska Paulina Kosciak Ruksana Kossari Glebs Kostenko Charalampos Kotanidis Dorota Kotrikova Frank Kouadio Nicholas Kousoulou Christopher Koutsoudes Jessica Koyenyi Malgorzata Kozdron Antonina Kozielska Ewelina Kozlowska Zora Krakan Agata Kraska Daniela Kroning Daria Krysa Aleksandra Kuchta Hassan Kunbus Sonia Kurach Hira Kurt Safiya Kurzweg Maria Kyriazopoulou L Alessandro La Rocca Nimer Laav Gueorgui Labounine Karla Labrador Yona Laci Prudenza Lacriola Dominik Lajdecki Harry Lamb Sophie-Rose Lambert Kimberly Lamport Kezia Lander Monica Landivar Ruby Lanesman Georgina Lari Alice Larner Julianna Larte Jadzia Lawal Leanta Lawrence Sadie Lawton Dora Lazar Catarina Leandro Liam Ledger Samuel Lee Maria Lee Fong

Tarryn Leeferink Amanda Leigh Thanyaluck Lekpet Ross Leonard Mathew Leung Samuel Levine Katarzyna Lewandowska Oskar Lewandowski Callum Lewis Denise Lewis Victoria Leyland Loukia Lhomme William Li Ines Liborio Guna Liepa Aisha Liibaan Sony Limbu Ida Lindblom Elin Linde Rianna Lindsay-Smith Aileen Ling Louisa Ling Juan Lis Vilchez Rhea Little Jasmine Lloyd Michelle Lo Katarina Loizou Jeanelie Louamba Michelle Low Andrada Luca Matthew Ludbrook Jessica Luke Catherine Lumpkin Julia Lymar Jermaine Lyn-Shue Jessica Lyons Megan Lyons M Michael Macias Maliheh Madadi Miguel Madeira Ventura Adaku Madubuko Jemima Madufuana Anna Magdziarz Giulia Maglione Marie Magnien Jonathan Maguire Soraya Mahmoud Vivienne Mahon Fabio Maiolin Beatrice Maione Dillan Maisuria Justyna Majewska-Bogdanska Kartikai Majithia Mellisa Majome Farhad Malek Adelle Malicdem Rukhsaar Malik Shabir Malik Courtney Mandell Luisa Männilaan Filippo Mantino Monika Marinova Anna Markauskaite Lukasz Markowski Matthew Marsden Paola Martella Berenice Martin Kyra Martin Thomas Martin Maria Martinez Latasha Martinis Rut Martorell Anna Mason Louise Mason Angela Mastracco Silvia Mavakala Chloe Maw Frederick Mawhood Susan May Rebekah Mayes Marta Mazurek Kamryn McIntosh Shelly McOwen Jane Mcallister Oliver Mcauley Ryan Mccloskey Max Mccoll Andeigh Mcdougall Chris Mcelveen Cath Mcelwain Hamish Mcgregor

Leland Mchugh Madison Mclaughlin-Heath Dominique Mcleod Catherine Mclure Marlowe Mcmillan Ryan Mcstay Emma Meadows Amira Mehiaoui Harouth Mekhjian Somayeh Melksari Tola Mellon Soha Memon Dayanna Merino Masabanda Anna Mesirca Adam Mezughi Abid Miah Aleksandra Miarka Leo Michael Sofoklis Michail Tim-Ole Michel Lida Michelaki Giulia Michelin Joanna Miesikowska Luke Mihaere Airydas Mikalajunas Anton Mikkonen Harriet Miller Rosemary Miller Lan Milne Danielle Mimran Grant Douglas Mitchell Sara Mitrasova Gary Mlynek Abdisalan Mohamed Gulid Mohamed Salamatu Mohamed Souad Mohamed Suaad Mohamed Neda Mohammad Ali Khani Fermisk Mohammadi Bolbanabad Claurina Mojakhomo Nadia Mokadem Catherine Mollett Jason Molloy Robert Molyneux Jennifer Monaghan Antonello Monno Rebecca Leah Monserrate Sophie Montague Chloe Moore Thomas Moore Tracy Moore Matthew Moreau Mari Paz Moreno Mirallas Michael Morgan Robert Morgan Amber Morris Luka Morris Gareth Mort Azadeh Mosavi Anjolaoluwa Moses-Olomu Sandra Mostis Hardik Motisariya Laura Mottola Lucia Mugena Emmanuel Muhangi Jill Murray Carla Murton Adrian Musat Vanessa Musoke Ghadir Mustafa Alsy Mutshipayi Myriam Mutshipule Vincent Mwesigwa-Kisa N Ozan Nacar Luke Nagle Khalid Nahary Satoru Nakanishi Aneta Nalewajek Varun Nambiar Latiya Nanton Mehr Narang Jennifer Nash Elena Nedelcu Sophie Nelson-Iye Michael Nemorin Peter Newby Samuel Newton Vlad Nicolae Phoebe Niner

Yuan Niu George Njike Douffa Dinallo Patricia Nkunga Sarah Noble Kofi Norman Samar Noun Krystyna Nowaczenko Christina Ntetsika Elias Nucette Lucy Nunn Chukwunonso-Azikiwe Nwachukwu

Urvi Patel Iasmina Patrascu Ana Patronilho Tavares Edward Patton Manda Pawelczyk Adrian Pawelec Patrycja Pawlik Melissa Payne Jessica Pearce Magdalena Pelszyk Luiza Pereira Da Costa Gomes Nossol Maria Perez Chauvie Maria Perezagua Adam Perkins Sophie Persson Anca Pertu Alexander Phaedona Tai Pham Tarn Philipp Jessica Phillips Diana Piccolomini Teresa Piensos Gomez Alicja Pierianowicz Alexis Pierre Carolina Pileggi Leonia Pinto Afonso Veronica Piras Aikaterini Pitsi Daniela Pitta Groz Damahn Pitters-Knight Paschalis Plastiras Alzbeta Pochyla Madalina Podgoreanu Reka Podlussany Elisabetta Pola Charlotte Ponting Danilo Ponzetta Anca Pop Maria-Elena Popovici Joshua Porciuncula Erika Postnikova Kyriaki Pouangare Christopher Powe Chris Powell Thomas Powell Daniel Power Robert Prendergast Lucy Pritchard Maria Proscia Paul Proverbs Angela Prudom Michelle Puentes Villada Luca Puzzoni Agnieszka Pyrdol

O Sean O’Brien Shelly-Ann O’Dea Elaine O’Donovan Maryann O’Driscoll Hannah O’Flaherty Emma O’Hara Norton O’Hara Hannah O’Hare Amber O’Reilly John O’Sullivan Azkar Obied Sarah Obina Nathaniel Obiri Zehra Ocal Ashley Odibo-Wilson David Ofori Gershom Ofori Amanfo Nkechinyem Ogbogbo Silas Ogbole Victoria Ogun Rasheedat Olaniyan Nelia Olariu Mercy-Sharon Olasogba Aishat Olasoji Szymon Olber Maria Oliveira Spinola Jessica Oliver Kyle Oliver Polina Olizko Maria Olmos Zunica Chantelle Oluchi Jenny Olver Barakat Onasanya Elizabeth Oniri Jade Oram Summer-Joy Oram-Timcke Adebowale Oriku Isabella Orrebo Frances Oruene-Harris Minnie Osborne Mouna Osman David Ostle Petra Otenslegrova Michael Ovaska Oyetunde Oyebode Kamelya Ozkeser

Q Qian Qian Caroline Quinn Helen Quinn R Dylan Radcliffe Brown Fatmeh Radder Imaan Rafiq Birute Raglyte Hafsah Rahman Suenera Rahman Syeda Rahman Zakia Rahman Yasmine Rajab Jonathan Ramdeen Dora Ramos Sorcha Ramsay Eleanor Ramsey-Blyth Rachana Rana Sophia Rana Federica Ranalli Ryan Rasco Haniyyah Rashid Clara Rasines Mazo Louise Raust Ali Raza Antoine Reaud Thomas Rebeschini Reece Recardo Tobias Redding Hannah Reid Philomena Reinmueller Adam Renouf Roxanne Reyes Stacey-Ann Reyes-Pile Madeleine Reynard

P Rocki Pace Marta Paczula Lewis Paine Elisavet Palaiologou Carla Palazzo Barbara Paleka Neil Palmer Yvonne Palmer-Thomas Maria-Ioanna Panagiotaki Barbara Panecka Emily Pantling Godi Panzout Despoina Papadopoulou Tereza Papadoudi Jaynika Parbato Alisa Parfeni Sabrina Paris Emma Parker Lucy Parker William Parker Kumarpal Parmar Natasha Parmenter Hannah Parr Daniel Parris Laura Pascu Wiktoria Pasieka Lubica Patekova Aisha Patel Nundni Patel Riaz Patel Shivangi Patel

Culture

Life

Tamara Rhoden-Peterson Andres Ricci Shenaye Richards Ryan Rimmer Oliver Riviere Alishea Robinson Ben Robinson Sherine Robinson Guled Roble Pablo Rodriguez Diaz Agata Rodriguez-Fernandez Enrique Rodriquez Moscoso Andreea Rolea Mauro Rolo Sardo Annabelle RĂśnnberg Michele Rorato Hannah Rose Nicholas Rose Maria Ross Nickleous Rowe Dominik Rozkosz Akulina Rugojeva Mikailla Runganaikaloo Kamelia Ruseva Andrea Russell Eve Russell Louis Russell Noelene Russell Aida Rusu Kinga Rymarczyk S Carolyn Sabuni Deyan Saev Fatemeh Safaii Rad Liida Sahamies Pouya Sahranavard Bella Said Fatimatou Said Anatt Daniel Saini Aude Saint Joanis Dalitso Sakala Aahan Sakhuja Wafaa Salim Topsy Sallows Fatima Salman Helina Salo Tiia Salo Ben Salter Richard Samuels Vika Samulyte Helena Sanchez Lucretia Sandu Julianne Sandvik Amrit Sanger Brenna Sant Ruben Santos Khadijah Sardar Nima Sardar Evelina Sarupiciute Ramou Sawaneh Alexander Scally Delia Scarpellino Andrew Scarsbrook Sinah Schmidtberg Marilin Schmitt Steven Schmitt Craig Schranz Cheryl Scott Joseph Scragg Gillian Self Marcello Seminara Valentina Senis Elizaveta Serebrova Jane Serex Victoria Servaes Melanie Servante Nina Sevova Silvia Sguazzin Mohamed Shaat Anser Shah Rashi Shah Reshma Shaik Maya Shankla Sumiya Sharif Fatima Sharif Jabeen Holly Sharples Claire Shaw Florence Shaw Caitilin Shefford Bethany Sheppard

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Sahana Shetty Raki Shiddiky Smruti Shingte Temitope Shoaga Mohammad Shokrzadeh Deborah Shore Ellie Shouer Shantel Sibanda Micah Sides Ana Sidorova Patrycja Sidoruk Kamilla Sila Emma Silva Aminah Silvera Ruben Silvestre Adao Leigh-Anne Simms Olivia Simon-Lambert Giulia Simonotti Derrick Simpson Kyle Sims Khaltoum Sineen Victoria Singini James Sirett Narmada Sivadeepan Laksitha Sivananadarajah Maiia Sivtseva Natalie Siwicki Kristin Sjovorr Stavros Skordis Leandra Slabbert Sian Slade Mae Sleeman Daniel Smith Emily Smith Giles Smith Haliymah Smith Laurie Smith Paris Smith Ross Smith Samuel Smith Magdalena Solecka-Kowal Anas Soufi Dawid Spychala Sohanna Srinivasan Teun Staal Jamie Stannard Amelia Stanton Margarita Starcea Anastasia Starostina Imogen Stead Bethany Steer Robert Stefanescu Rumen Stefanov Hollie Stephenson Krystal Stewart Christopher Stiby Harris Anna Stochmal Olivia Stockwell Ruth Stone Gintare Stonkute James Stopps Lauren Storey Silviya Stoyanova Stefani Stoyanova Rachel Strachan Isobel Stretton Khan Suleyman Emily Summers Hannah Summers Tyler Summers Mahittichai Supatira Suganya Surendran Zimmie Sutcliffe Anna Svoboda Kira Swain Sebastian Swiczerewski Harrison Symonds Dominika Synakiewicz Laura Szandomierska Olena Szczepanik Iga Szuman-Krzych Kamila Szymkiewicz T Saijel Taank Cirine Tacine Beatrice Tagoe Aydan Tahmazova Preeti Tak Marie Takahashi Christiano Takatsch Castellano

The Cass Session

Joel Talbot Mihaela Tanasa Lilla Tantos Sofia Targova Ramez Tarighi Laiqah Tariq Ege Tarlakazan Agnieszka Tarnowska Mervyn Tasker Matthieu Tate Alex Taylor Emma Taylor Jack Taylor Richard Taylor Benjamin Taylor-Powell Savane Tchoukeu Hollie Teague Anna Tebble Triin Teevali Dawit Teklu Liyou Terefe Yodit Terefe Lene Terland Eloise Tery-Lewis Stephanie Wei Yen Tham Styliani-Nefeli Theodorou ChloĂŤ Thirkell Daniel Thoeny Kathryn Thomas Lisa Thomas Matthias Thomas Millie Thomas Shirley Thomas Aimee Thompson Kirsten Thompson Ryan Thompson Liga Thrower Robyn Thurston Lauren Tillbrook John Timcke Sophie Timson Shivani Tipari Ciara Tobin Charlie Tomlinson Sonia Tong Barbara Toniak Maarja-Kristiin Toomsalu Nadezda Topolska Caroline Torisheju Gallagher Finlay Torrance Barbara Torson Anh Tran Phuong Tran Sofia Trapani Edward Trebilcock John Tregembo Craig Trevett Christopher Trundle Kleopatra Tuni Catherine Tuohy Slawomir Turek Jasmine Turley David Turner William Turner Saskia Turney Joseph Turton Amy Tyrrell U Billie-Mae Ukairo Runa Ullah Ozoemena Umunna Petar Uzelac Rebecca Uzong Haluk Uzumyiyen V Parth Vaghjiani Iara Valdivia Leticia Van Blommenstein Rodrigues Emma Vann Claudia Vargas Carla Vargas Soto Rafaela Vasa Nikolaos Vasileiou Emmanuel Vasquez Monika Vaverkova Varshalakshmi Venkatachalam Dominic Viall Janis Vilcins

Nicola Villars Andrea Vinamagua Obando Hannah Vincent Kirils Vinokurovs Simon Vipond Amrita Virdee Opinder Virdi Greta Vitali Eirini Vlachou Cosmina Voicila Isabella Voltarelli Luke Vouckelatou W Katrina Walker Milen Wall Miles Wall Courtney Wallace Joe Wallace Rebecca Waller Claire-Elizabeth Walsh Han Wang Yen-Ting Wang Roseanna Ware Charlotte Warr Hamish Warren Garmai Washington Arianna Waters Adam Watts Anna Webster Liani West-Paul Joanne White Pamela White Jonathan Whittaker Caroline Wilkinson Eleanor Wilkinson Carla Williams Hannah Williams Lucie Williams Rosemary Williams Charles Wilson Gabriel Wilson Eva Windahl Jasmin Winger Rebecca Wingett Demi Witter Julia Wladysiak Urszula Wojcieszczuk Katarzyna Wojciulik Dominika Wolfova Catherine Wolter Benjamin Wong Deborah Wood Kyra Wood Lucy Wood Rebecca Woolman Ami Wright Christa Wright Peter Wright Annemarie Wyley X Jing Xie Y Hillary Yeboah Kit Yung Yip Emily Yoram Shanti Yorke Melanie Youles John Young Maria Young Nusrat Yousuf Teng-Yang Yu Juwairia Yunus Muneebah Yunus Aisha Yusuf Can Yuzudik Z Edoardo Zaghi Katerina Zahorska Dominika Zakowana Catherine Zaluski Juan Zapata Bernal Anita Zarzycka Zhixuan Zhai Yizu Zhou Merve Zorpineci

Culture

Life

Thank you for your interest in the work of The Cass. To find out more, read our latest news and find details of our next events and exhibitions, visit londonmet.ac.uk/thecass If you are interested in studying with us, browse our courses at londonmet.ac.uk/courses Contact our enquiries team on +44 (0)20 7133 4200 or online at londonmet.ac.uk/contact @TheCassArt

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The Cass Session

The Cass Session 5 londonmet.ac.uk/thecass ISBN 9781916408326

9 781916 408326

RRP Â£15