Architecture final catalogue 2017 by LSBU

LSBU ARCHITECTURE 2017

CATALOGUE 16/17 ARCHITECTURE

School of the Built Environment and Architecture London South Bank University

LSBU Architecture 2017 The ethos of LSBU architecture is to broaden opportunity for all students wishing to join the profession, and then develop their skills as versatile problem solvers. LSBU is proud to have always supported part time study - and we intend to complement this with an apprenticeship programme very soon. Our ambition is to speculate on the future, and make proposals for what that future might look and feel like. The intention is to establish a position on innovative resource efficient design, emphasising our established interests in materiality and making, and develop new formal propositions reflecting the social complexity of the 21st century. Architecture here concerns itself with the creation of hope, a clear conviction that architecture has a significant cultural and social role, and the belief that an environment where audacious ideas are offered will create positive change. Making new propositions for the city is an exciting responsibility we accept, and enjoy. Urban form and operation use a template that has shifted very little in real terms since the classical era. We urgently need to test other models. These might include asking how architects can make interventions in informality, how we probe intense verticality and hyper density, and how creating pockets in the existing fabric of the overground, or the nooks and burrows of the underground can create different relationships between work and leisure. Whilst London remains a well-established test bed for LSBU, ideas were also hatched in Seoul, Tokyo, and Venice â&#x20AC;&#x201C; as well as stretches of the British coastline varying between idyllic Norfolk, and the bleaker stretches of Essex. This is vitally important. It seems unlikely that any student of architecture will in the future ever be tied to single orthodoxies of methodology, geographical location, or career. We need therefore to create highly adaptable graduates. Finally, I want to thank our students, academic colleagues, practitioners, and our Dean, Professor Charles Egbu, for their support. LSBU architecture is, like every creative activity, a work in progress and I am grateful for every contribution made to this. Lilly Kudic professor head of architecture

MArch: Master of Architecture The principal aims of the programme are to focus on innovation in design, construction, and resource efficient technology, ensuring students acquire skills and methodologies relevant to contemporary professional practice, and develop the ability to produce complex and diverse design proposals, where complexity is seen in terms of intellectual density rather than an emphasis on large scale development. Architecture is a practice in constant flux, affected by its wider context, whilst simultaneously affecting our existing society, culturally, politically, and technologically. The necessary demand for design innovation, critical awareness, and professional practice are principal objectives that are grounded in architectural education. Design studios, research, and practice are fundamental to individual and collective development. The studio acts as the catalyst, proposing questions about our 21st century condition. Research enables students to theorise agendas that elucidate and overcome challenges, whilst practice enables such innovations to be built and tested. This theoretical and practical dichotomy does not alleviate us from risk, but without opportunities for experimentation, our discipline would be wholly ineffective. The diversity and complexity of our built environment demands our participation in ways that respond to an agenda for change. Discourse is an integral part of discovery and inquiry inherent in the Masters level of study of this deep and complex subject. Our courses are here to educate and challenge students’ perceptions of architecture, rather than simply a means to an end within building production. This means that the opportunities provided here at LSBU should engage all students intellectually in ways that harness their capabilities as future architects. Our multi-dimensional, polyvalent view of architecture embraces the discourse’s potential, over and above a restrictions of choice. Collectively, we believe that architecture remains a poignant force for social, environmental, civic, and formal change – in short, that architecture really does matter. Reflecting this in students’ work is a collective responsibility that has to be seized with passion. Studio 21: Nick Willson/Rodrigo Moreno Masey Studio 22: Mike Kane/Ron Yee Studio 23: Lilly Kudic/Luke Murray M Arch

Studio 23 Lilly Kudic Luke Murray “…beauty today can have no other measure except the depth to which a work resolves contradictions. A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them…” Theodor Adorno: Functionalism Today By developing a 21st century understanding of geometry, proportion and order, the work of Studio 23 seeks to resolve contradictions in architecture by recognising that things which seem solid and inactive (societies, landscapes, buildings etc.) are actually always in a state of action. Architecture must act in ways that promotes change, because architecture is not simply a derivative of formalism, but instead must offer models of political, social and technological purpose. Architecture becomes building when it refuses to challenge and question our society. The overall themes for the year in Studio 23 included vectorial drift and assemblage, where fluidity, exchangeability, and multi-functionality offered new perspectives on architectural discourse. How could components in plan and section become kinetic and affect the others around them, to inform architectural space against the modularity of sameness? Our investigations into strategies for assemblage were two-fold: • mathematics, scale, proportion, rhythm and symmetry as an implicit part of structural integrity, and a derivative of harmony • urban and peri-urban landscapes formed the boundaries of our activities MArch 1 worked on the seashore at Holkham Bay to examine the concept of structure as space. The project asked how a hothouse capturing nature might be developed among the dunes and pine trees of a coastal location where site form is modified daily by the wind and sea.

Wing Hang Tang

The design thesis project was the Fun Palace Futures project set in Seoul. One of the hardest, longest working hours societies in the world, making it a 21st Century, global power. South Korea also has one of the most volatile political cultures. Notions of protest and resistance are often or always taken to the street. Working in partnership with students and staff from Myongji University in Seoul, we asked how such a phenomenon could be matched to the wired nature of this city, and generate new architecture to sooth and mend these complex urban conditions. 4

Studio 23

4.17

4.15

4.0

4.13

4.1

4.11

4.9 4.7

4.5

4.3

Orlando Baghaloo M Arch

Studio 23

Wing Hang Tang M Arch

Studio 23

Kazeem Awotunde

Kiki Petrou M Arch

Lakeer Patel 7

Studio 23

Stanislava Bazitova

Alex Segal

M Arch

Andra Draghia

Studio 23

Wing Hang Tang M Arch

Studio 23

Adamos Papakonstantinou

M Arch

Orlando Baghaloo

Joe Hurcombe

Jorge Coronada-Fuentes

Mari-Eleni Kougia

Jorge Coronado-Fuentes

Chris Parker 10

Studio 23

Lee Houston

Krishan Parmar

Students M Arch 2: Orlando Baghaloo, Stanislava Bazitova, Katarzyna Ewa, Lee Houston, Joseph Hurcombe, Lakeer Patel, Kiki Petrou, Alexander Segal, Maria Stancikova, Wing Hang Tang, M Arch 1: Cornelius Ajayi, Hajer Al-Saaty, Kazeem Awotunde, George Coronado-Fuentes, Marlena Cudzilo, Andra Draghia, Jorge Forastieri, Mari-Eleni Kougia, Benjamin NG, Francesca Orange, Adamos Papakonstantinou, Chris Parker, Davina Quinland, Adeniyi Shonubi, Cemile Simsek, Agni Stasinopoulou, Francesca Tedesco M Arch

Tower 2 - Hydro Energy Research Education Tidal power or tidal energy is a form of hydropower that converts the energy obtained from tides into useful forms of power, mainly electricity. Although not yet widely used, tidal power has potential for future electricity generation. Tides are more predictable than the wind and the sun.

Studio 22 Mike Kane Ron Yee

Thasmia Reza

Jack Baron

(Re)Source This year the re/source studio 22 left London for a short break, to investigate how the city can be resourced without destroying the planet. After last year’s Walworth programme which was published as a research paper, the open landscapes of Grain allowed a broader range of issues for the studio to investigate. The Isle of Grain is a unique landscape which has both the traditional Kent agricultures and both modern and redundant industrial landscapes. It is where energy for the metropolis is generated - Kingsnorth, the UK’s last coal power station (currently being dismantled), a new LNG power plant reprocessing gas to supplement the last of North sea gas, and just offshore is the London Array wind farm. The Isle also has a long tradition of growing foods for London. Hops, apples, asparagus, wheat, and others have been grown here for centuries. Sitting at the mouth of the Thames, it also has 3 container ports supplying goods to London and the UK. Many of the projects looked at innovative ways of providing alternative energies, food production and construction techniques to allow for a future zero carbon city. Programmes such as lithium production, the salvaging of a city, super productive landscapes, e-waste, timber production, several energy research programmes and health were seen as supplementing the need for resourcing both the land and the city. In researching local and global issues many of the projects are designed to be applicable worldwide. Our study trip to Japan allowed us an insight into timber construction, the ‘mat building’ and the exquisite landscapes of Kyoto and beyond. The traditional architecture we explored helped us understand how the present can evolve meaningfully. The Shinkansen pass allowed us to travel widely across Japan from Kyoto/Osaka, Nara, Gifu, Kanazawa, Naoshima, Hiroshima and Tokyo. 12

Studio 22

Luke Marchant

M Arch

Camelia Ivan

Studio 22

Tom Garton Major Ports Coastal artillery GHQ Naval Fort ArmyFort

Grain Tower

Grain Fort is a former artillery fort located just east of the village of Grain, Kent. It was constructed in the 1860s to defend the confluence of the Rivers Medway and Thames during a period of tension with France.

Red Sands

London Array

The Maunsell Forts are armed towers built in the Thames and Mersey estuaries during the Second World War to help defend the United Kingdom. They were operated as army and navy forts,and named after their designer, Guy Maunsell. The forts were decommissioned in thelate 1950s

The London Array is a 175 turbine 630MW Round 2 offshore wind farm located 20 km off the Kent coast in the outer Thames Estuary in the United Kingdom. It is the largest offshore wind farm in the world, and the largest wind farm in Europe by megawatt capacity. Set among London Arrayâ&#x20AC;&#x2122;s 175 turbines are two identical offshore substations, located either side of the site and some 6.5km apart. The substations receive the electricity generated by the turbines at 33kV.

Knock John Navy Fort

Knock John reached its final position and was sunk on 1st August 1942. It was the forth and last of its kind. The other three were, in order of placement, Roughs Tower, Sunk Head Tower and Tongue Sands. Tongue Sands was destroyed by a storm in the mid-1990s.

Abondoned Relics in the Sea

Sustainable Energy from the Sea - Wave

Wave power is enormous; It is never ending, yet an untapped energy source. The best systematic procedure to bring this power stored in sea water is to take-up the movement directly by submerged object.

Greater Gabbard Wind Farm

Easy to build Wave power generator details: Floating Blob facing wave front; Uni-directional gear, speed up gear and electricity generator; wave agitator; Load to prevent the device tilting, this is a vessel filled with water or sand can be easily pump out before mobilizing Floating platform floating on surface of ocean, connected to wave agitator to vary along with tidal level Such an wave power generator is a direct link mechanism, consists of a buoy, rack, and a pinion accompanied by oscillations converter providing a direct force transfer path.

Sunk Head Navy Fort

- Research Centre - Education - Alternative Energy - Storage

Galloper Array Wind Farm

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Bla ck

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Ray Sand

Laboratory

East Barrow

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Frank Lloyd Wright -Johnson Wax Headquarters Johnson Wax Headquarters is the world headquarters and administration building of S. C. Johnson & Son in Racine, Wisconsin. Designed by American architect Frank Lloyd Wright for the company's president, Herbert F. Wri "Hib" Johnson, the building was constructed from 1936 to 1939.[3] Also known as the Johnson Wax Administration Building, it and the nearby 14-story Johnson Wax Research Tower (built 1944â&#x20AC;&#x201C;1950) were designated as a National Historic Landmark in 1976 as Administration Building and Research Tower, S.C. Johnson and Son

nd Sa

Long Sand

London Array

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Sketches

Water tower ideas with a central core, rising to a water tank storing water to fall to create hydroenergy. A frame exposing the core elements.

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Gunfleet sands 1 offshore Wind Farm

Dengie Flats

THE RENEWABLE ENERGY FUTURE

M id dle

Water tower storing energy aided with height creating hydro energy. Flowing water creates energy that can be captured and turned into electricity.

Long Sand Knock John Navy Fort

s nd Sa

Shingles Patch

k oc n K

p ee D

Tongue Sands Navy Fort

Phoenix Unit

Princess Channel

Grain Tower

Red Sands

Kentish Wind Farm

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l ne an Ch Margate Sand

Thanet Wind Farm

Littered with relics of Industry and War in the Sea.

Thasmia Reza

M Arch

Samael Coco

Studio 22

Luke Marchant

Wen-Yi Wong (Estee)

M Arch

Samael Coco 15

Studio 22

Mahir Al-Rubaiee

Vanisha Saini M Arch

Samael Coco 16

Studio 22

Samael Coco Students M Arch 2: Mahir Al-Rubaiee, Vishal Baichande, Jack Baron, Paul Boateng, Samue Coco, Robert Davidson, Thomas Garton, Camelia Ivan, Arben Jashari, Luke Marchant, Aaron Mcdonald, Sonda Mvula, Puja Patel, Thasmia Reza, Nathanael Smetham, Mustafa Tekman, Graham Whatley, Vernon Windell, Wen-Yi Wong M Arch 1: Mishael Ainsworth, Alexi Constantinou, Christian Duvalma, Waad Durzi, Robert Healy, Rowan Oâ&#x20AC;&#x2122;Malley, Vanisha Saini, Fadi Shawkat, Bryan Strom, Umar Valimahomed, M Arch

Studio 21 Nick Willson Rodrigo Moreno Masey

Athanasia Chrysanthou

Poetics in Dwelling The everyday process of being in a dwelling, a home or another space, relates back to being in the world and the relationship between one and others, between our own space and wider spaces and environments - from the smallest retreat to a larger co-housing project. We will investigate this through a single family dwelling in a semi-urban setting. Innovation will be paramount, not only in the design but also in technology, materials, energy consumption and passive designs. Unit 21 has been investigating housing as a subject throughout the year. Housing in the UK and London is currently an area which requires not only the quantity but also the quality of it to be raised and examined. The unit has been exploring new types of co-housing along with multi user housing typologies. Fourth years have been looking at new models of co-housing in Teddington Lock which addresses a contextual and social brief, and fifth years have been exploring new forms and models for multi user high density inner city housing, the site being the former petrol station along Shoreditch high street. In both cases a sense of community, sustainability, context and innovation has been encouraged.

Conor Sanderson

Studio 21

Kevin O’Sullivan

M Arch

Kevin O’Sullivan

Conor Sanderson

Studio 21

Benjamin Williams

M Arch

Athanasia Chrysanthou

Benjamin Williams

Studio 21

Liara Foletto

The Evolution of the 8 year, Co-Housing NEET Self Build

Liara Foletto Nicole Bushell

Plan at 6 months

Stage One - Plant Oak Trees for use as timber in 9 years -Plant Water Reed for thatch & waste cleaning purposes -Building and Care of sheep for wool insulation -Ground clearance for use of wood already on site -Temporary Housing in the form of hammocks under shelter -Singular Shower and Toilet Facilities -Planting of vegetables

M Arch

Plan at 2 years

Stage Two - Yearly harvest of thatch & increase in plot size -Permanent, sheltered accomodation -Rammed Earth walls for all concentric walls -Addition of another, larger toilet & shower facilities -Construction of ‘upcycling warehouse’ for furnishings

Plan at 5 years

Stage Three -From clay excavated from reed bed, clay bricks will be made -Clay bricks construct all segment walls -Larger & final accomodation constructed -Addition of a further, larger toilet & shower facilities -Larger plot size in thatch -Larger ‘upcycling’ and recycling facility

Liara Foletto

Plan at 8 years

Stage Four -Harvest & finish timber for use -Clay bricks replace majority of rammed earth walls -Upcycling facility used for purchase of recycled furniture for locals, by locals -Addition of a further, larger toilet & shower facilities -Larger plot size in thatch to be used for shortage in Norfolk -Community gathering for feast of sheep no longer required

Ourania Ntousia Site Plan at 6 months

Site Plan at 2 years

Site Plan at 5 years

Site Plan at 8 years

Studio 21

Kyriakos Psillis

COMPONENTS TO A ‘MODERN DAY LIVE IN APPRENTICESHIP’

M Arch

Nathan Spinner

Gvidas Ulcinas 22

Studio 21

Arjun Sampat

Luke Saunders Ourania Ntousia Students M Arch 2: Dina Cardoso, Anthanasia Chrysanthou, Sylvia Chudzik, Liara Foletto, Bonifaz Galgoczki, Mehdi Kane, Nabiel Malik, Nikul Padhiar, Kyriakos Psillis, Stephen Rimmer, Pavlos Staramos, Kevin Oâ&#x20AC;&#x2122;Sullivan, Oshane Woodhouse, M Arch 1: Dana Abdeen, David Abimbola, Leen Al-Rub, Mikkel-Angelo Austin-Bennett, Nicole Bushell, Jennifer Asiedu, Daniel Edwards, Thomas Graham, Sherien Mechail, Assan Nkwelah, Ourania, Ntousia, Arjun Sampat, Conor Sanderson, Luke Saunders, Nathan Spinner, Gvidas Ulcinas, Benjamin Williams, Leman Zlatkova M Arch

History and Theory Paul Davies Postgraduate studies address the cultural dimension of architecture through modules designed to develop students’ intellectual faculties and critical awareness. A seminar addressing a suite of readings is conducted through both live debate and interactive blogging, prompting students to generate a vocabulary for architectural criticism. We see the History and Theory programmes within the architectural school as a steady progression from overall survey in BA year one to specialist dissertation in the final year of MArch. In first year western architectural history is retold, followed by a course on city development. In second year we base the course around Reputations, a regular feature within the Architectural Review delving deeper in to the context surrounding major figures and their work. In third year we move to a more interactive format, debating ideas in architecture from ‘Rationalism’ to ‘Profit’. Joining the MArch, students pursue a course of Critical Readings where ten texts, from Paul Mason and Henri Lefebvre to Jane Rendell and Evelyn Waugh, both academic and less so, are dissected to broaden each students’ critical platform, and this is followed by a course on Research Methods preparing them for their dissertation. We are pleased to welcome our Research Professor, Dr Teresa Stoppani to the team, and I would like to acknowledge the valuable assistance of Luke Murray, Je-UK, Andrew Stoane, Sean Griffiths & Kevin Rhowbotham in delivering our courses this year, as well as thanking all second readers of the dissertations. Prof. Teresa Stoppani

Paul Davies

History and Theory Roman Public Thermae Stanislava Bazitova High Victorian Camelot Athanasia Chrythansou The Degeneration of Urban Space: Rob Krier Pavlos Staramos Usonia Liara Foletto Un-branding Architects Mustafa Tekman From Place to Place: From Kenneth Frampton to Jon Jerde Orlando Baghaloo Loving Ludwig Hilberseimer Lee Houston Sky, Space, Trees, Steel & Cement: Infrastructural Ideologies Luke Marchant Car Crash Urbanism: Detroit Aaron McDonald Louis Kahn’s Struggle with Pipes Thasmia Reza The Electric Church Alex Segal Sex, Wine and Bathing: Changing Traditions Bonifac Galgoczki Manchester Maria Stancikova Alvin Boyarsky: Creator of the Postmodern Architect? James Mitchell Open Plan vs Free Plan Kyriakos Psillis The Goths Domesticated and the Whiggification of Britain Will Monte UK Pre-Fab: The Oldest New Idea Kevin O’Sullivan The Phenomenology of Architecture Kiki Petrou Le Corbusier’s Four Villa Types: Dream to Reality Phillippa Morris Demystifying Social Housing Paul Boateng Flooded Cities: Catastrophe and Resilience Robert Davidson The Tactile in Architecture Sylwia Chudziik Education and Practice: The Great Divide Tom Garton Stories in the Coffee Grinds Samael Coco Arts and Crafts Architecture in Britain Neil Goodhew Are Architects and Planners Obstacles to Slum Upgrading? Camilia Ivan Social Realism and Politics in the Architecture of Tirana Arben Jashari The London Housing Estate Crisis James Taylor The Architecture of Herman Hertzberger Puja Patel Leonardo - Le Corbusier Sonda Mvula Architects and Product Design Alexander Roev Le Corbusier’s Social Experiment at Pessac Szylvia Zsoldos Phenomenology and Space/Place Dialectics Daniel Tang Alternative Communities Paul Taylor The Case Towards a New Materiality Terrance Thackerey Changing Attitudes to Social Housing in the UK Robert Gillett-Ratley Order vs Chaos; Chandigarh and Lagos O’Shane Woodhouse The Vocabulary of Religious Architecture Estee Wong Form, Flesh, & Finance Daniel Villette Exploring Sacred Space Nabeil Malik The Englishness of High-Tech Graham Whatley A Discussion on Landmarks Lakeer Patel M Arch

MArch Technology

Joe Hurcombe

Chris Parker

M Arch

Lakeer Patel

Kiki Petrou

MArch Technology Energy and Resource Efficiency in Design Brian Murphy Technical Thesis Lilly Kudic Innovation is tied to seeing architectural practice as a balancing of formal and functional change with socially responsible technologies. Technological thinking at postgraduate level is an amalgam of creative structural, constructional, and material sensibility allied to the ethical responsibility for minimising energy usage through resource efficient specification. The MArch 1 year develops students’ understanding of energy conservation, the reduction of environmental impact using appropriately specified building materials and systems, consideration of strategies for resource and energy efficient design relevant to professional practice, and the application of environmental research data to developing and supporting design proposals for the projects undertaken in the design studios.

Krishan Parmar

M Arch

Technology lectures for MArch 2 are delivered in house by a range of lecturers; the course examines issues at the interface of architectural histories, theories, and technologies. These include: • digital design and construction technology; intelligent cladding systems and smart skins • through parametric design, optimising envelope and building performance using minimum numbers/maximum variation in facade systems • digital manufacture; intelligent 3D modelling and printing; mass customisation • achieving visual concrete and precast architectural concrete solutions • low carbon, zero energy, high thermal mass concrete • advanced structural design using laminated and hybrid timber systems • advanced digital manufacturing relating complex form to feasible structures through iterative form finding • expandable and deployable structures; large motion systems using origami and foldable structures, cable nets, tessellated geometries • additive manufacturing; biomimetic research; digitally driven freeform fabrication • long span and folded plate structures

Design Development

Andra Draghia

M Arch

Paul Taylor

Krishan Parmar 28

Design Development

Chris Parker

Alex Segal

RISING PERSPECTIVE (800x800) DESIGN 401 - VECTORIAL DRAFT CHRIS PARKER 2016/17

Alex Segal

M Arch

Lee Houston 29

Field Trips: Korea, Japan, Italy, Denmark

M Arch

2017

M Arch

Digital Architecture and Robotic Construction Federico Rossi

DARLAB (Digital Architectural Robotics lab) is a research platform in architecture education and robotics with advances experimentation and crossdiscipline collaboration with industry partners and architectural practice. The DARLAB is directed by Federico Rossi and a mixed team of qualified experts with different specialism from architecture, design and engineering. We are located at the London South Bank Universityâ&#x20AC;&#x2122;s Southwark campus. Our teaching activities is to endow the students with competence in dealing with the design and production aspects of digital fabrication and to involve them actively in research with our partners or other academics. We develop applications to consult the industry for specific uses. This could include large scale 3d printing, robotic milling, automation in building industry, 3D scanning and customized training. Our long term collaboration with visual digital artist Quayola brought us to participate at Ars Electronica Festival, VW Forum and recently the work we developed has been displayed at the Astana Expo 2017 for the Gran Palais . We have recently lanuched a new MSc course in Digital Architecture and Robotic Construction to help students to acquire those new skills required for the industry and architectural or engineering practice. More information can be found at www.dar-lab.net

M Arch

Professional Practice part 1/part 2 Kathy Gal BA[Hons]Architecture Course objectives The objectives of this course are to introduce, reflect on, and question professional practice, practice themes, and the relationships between the different influences, constraints, and aspirations in theoretical, and actual design and construction. Students are introduced to professional, ethical, financial, statutory and regulatory topics and, by reference to real projects, consider issues of conflicting demands and successful integration. The course is currently provided in the final year of studies to both full- and part-time students. Course structure Lectures and seminars on professional practice are provided weekly, through Semester 2. The topics covered include the purposes and intentions of architecture as a discipline, a profession and a business; the nature of current practice; professional, legal, regulatory issues; forms of practice, and practice and business styles and finally, aspirations and strategies for future practice. Assignment The objectives of the assignment are to consider current legislative and professional constraints and, by reference to a self-selected published UK building completed within the last two years, research and analyse a series of topics to understand difficulties and successes. Students are asked to role-play project development as if the selected project had not yet been constructed. Using their research and analysis, they are asked to make a case for the likelihood of success for the project to a client. Students work in groups to prepare the presentation, and also complete individual essays which focus on an aspect of the project and offer suggestions for improvement. MArch: Master of Architecture Course objectives This course comprises Professional Practice and Design Economics. The objectives of the Professional Practice component are to develop and question professional practice and practice themes introduced at an earlier stage of study and encountered in practical training experience. Students are introduced to the approaches to comprehensive and critical integration of practice issues with design and design considerations, and recognition of the enhanced capabilities that this awareness and skill provides. The course is currently provided in the final year of studies to both full- and part-time students. Course structure Lectures and seminars on Professional Practice are provided weekly through Semester 1. The topics covered include the purposes and intentions of architecture as a discipline, a profession and a business; the nature of current practice; professional, legal, regulatory issues; forms of practice, and practice and business styles and finally, aspirations and strategies for future practice. Topics are covered in greater breadth and depth, and developed to a level appropriate to the year of study. Assignment The assignment objectives are to research current professional and legislative constraints, and consider how these influence, affect and change how building projects are realised and how, by knowledge and ability, personal professional capabilities may be improved. Students select one of their own projects from an earlier year and to relocate it to a self-selected site UK in the current time. They research planning, regulatory, costs and procurement issues, and apply these to their project, identifying what must or could change to achieve compliance or offer improvements without loss of design intent and integrity. Finally, they reflect on the professional approach adopted by a practice where they have worked, and set out their own aspirations and strategies for their professional activities in the future. M Arch

RIBA Professional Practice part 3 Kathy Gal

RIBA PROFESSIONAL PRACTICE PART 3 2016-2017 COURSE CODE 1089

RIBA Professional Practice part 3 The Examination is intended to establish whether a person is competent to practice architecture in the United Kingdom. The definition of competence is set out by meeting the minimum standards provided in the ARB/RIBA Professional Criteria for part 3.

Candidates wishing to sit the RIBA Professional Practice part 3 examination are required to have successfully completed a recognised qualification at part 1 and part 2 level, or their equivalent recognised examinations. In addition, candidates are required to have completed the relevant professional practice experience before undertaking the Examination.

RIBA  Professional Practice Part 3

Each candidate’s experience of learning and development in professional practice will differ, depending upon the type of project, type and location of practice and management processes undertaken, and the preparation for the examination must therefore be approached in a structured way, with motivated self-learning. Students should not rely solely on the subject matter and handouts in the lecture series, but take the initiative in wider reading and research. Through Semesters 1 and 2

The candidate should manage the relationship between professional experience and academic study to provide coverage of the Professionalism Professional Criteria, presenting a critically reflective body of work that complies with theClients, requirements of the professional adviser Users + Delivery ofstudies Services or course provider. To meet the Professional Criteria, the candidate’s experience should include evidence of commercial awareness, Legal Framework + Processes self-management, professional competence and integrity. A successful candidate should also be able to demonstrate authorship, Management knowledge, effective communications skills, and reasoning and understanding in relation to all issuesPractice within the+Professional Criteria.

Building Procurement RIBA PROFESSIONAL PRACTICE PART 3 2016-2017 The examination comprises a Case Study of 8-10,000 words, professional CV, Career Appraisal, records of professional experience, COURSE CODE 1089 two written examinations and a professional interview approximately one hour in length.

The Examination is intended to establish whether a person is competent to practice Architecture in the United Kingdom. The definition of competence is set out by meeting the minimum standards provided in the ARB/RIBA Professional Criteria for Part 3.

RIBA  Professional Practice Part 3

Course structure

Through Semesters 1 and 2 Professionalism Clients, Users + Delivery of Services Legal Framework + Processes Practice + Management Building Procurement

M Arch

Candidates wishing to sit the RIBA Professional 20 lectures plus discussion sessions that cover the Professional Criteria Part 3 Practice Part 3 examination are required to have Case study synopsis and review, case study tutorials successfully completed a recognised qualification RPG: 'The Contract Game' at Part 1 and Part 2 level, or their equivalent Examination preparation and revision recognised examinations. In addition, candidates Mock oral examinations Guidance documentation, bibliography are required to have completed the relevant professional practice experience before undertaking the Examination. Each candidate's experience of learning and development in professional practice will differ, depending upon the type of project, type and

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BA (Hons) Architecture

BA[Hons] Architecture The LSBU Bachelors course in architecture offers a design-focused education addressing the building of intellectual, practical, and professional skills that prepare students in their first cycle of learning for global professional practice in the contemporary world. Design remains the core integrative activity, with the vertical studio system in BA2 and BA3 years (and their part time equivalents) offering students choice in developing specific interests in architecture in groups combining full time and part time students. The range of topics reflects a new dynamic in the teaching and learning of architecture, to critically acknowledge the diversity of our students - always a distinctive dimension of the BA[Hons]Architecture course. Design practice and research-informed teaching is reinforced in the studios with opportunities to shadow staff project work and research interests, working with teaching teams that include practitioners, specialist designers, and visiting architects and critics. LSBU studio culture is reinforced by talks, public events, and field trips allowing students to benefit from architecture’s strong links with industry, professional bodies, and the wider architectural community. Following review of the course to actively respond to feedback received over the year, there are four design studios: • Studio 1: Andrew Stoane/Dan Gullan • Studio 2: Mike Hickey/Luke Zuber • Studio 3: Je-Uk Kim/Charles Gibault • Studio 4: Seamus Ward/Dan Wilkinson

Joel Jones - Studio 4

BA (hons) Architecture

Studio 4 Seamus Ward Dan Wilkinson Studio 4 looks to engage with architectural design in its current context through drawing and visual studies. Through considering the act of drawing as both a perceptual and conceptual tool, we aim to incorporate the history of architecture with the issues it currently faces, such as; global warming and contemporary political factors. The history of architecture is inseparable from a history of sketching, and as such we use drawing - both in a traditional and contemporary sense - as a method to draw forth designs which react to these given conditions. The common response to current environmental issues by architects can be perceived as an overreliance on off-the-shelf solutions and abstract statistics. Looking to counter this, Studio 4 engages with these same issues through design itself - how might our buildings work through actively engaging with the weather and its predicted fluctuations? This has been approached within the studio through investigating ideas of function and occupation away from the generic, these investigations being cultivated through drawing itself.

BA (hons) Architecture

Callum Rae

Studio 4

Callum Rae

BA (Hons) Architecture

Callum Rae

BA (hons) Architecture Callum Rae

FIRST FLOOR PLAN

BASEMENT PLAN

Joel Jones SECOND FLOOR PLAN

SECOND FLOOR PLAN

THIRD FLOOR PLAN

SECOND FLOOR PLAN

FIRST FLOOR PLAN

BASEMENT PLAN

1:200 SCALE

Studio 4

BA (Hons) Architecture

Joel Jones

Joel Jones 41

Studio 4

BA (hons) Architecture

Joel Jones

Studio 4

BA (Hons) Architecture

Joel Jones

Studio 4

Rocco Plessi BA (Hons) Architecture

Studio 4

Joel Jones Students BA 3: Syed Bahroz Ali, Joel Jones, Tinashe Mutera, Rocco Pessi, Callum Rae BA 2: Sidney Da Cruz De Carvalho, Tilson Cunha, Jack Crabtree, Jack Deâ&#x20AC;&#x2122;Courcy, Ricky Edwards, Obadimeji Iteolnira, Camilio Andrew Quintero Posso, Alexander Tomes, BA (Hons) Architecture

Studio 3 Je-Uk Kim Charles Gibault Postcapitalism Paul Mason argues that “we are entering the postcapitalist era without us noticing,” in his book, ’Postcapitalism: A Guide to Our Future’. Increase of noncapitalist and open-source commodities in digital economy brought by the advancement of information technology challenges the factors of production predicated. Transition from the neoliberalist capitalism to post-capitalism requires us to re-evaluate the lifestyle we were used to differently in revolutionary sense in order to operate in new era. Mason used the term ‘New human being’ in his book. At this junction, ‘Infrastructure to Post-capitalism’ investigates how we can respond/react architecturally to support the transition from neoliberalist capitalism to postcapitalism by researching/analysing wide range of topics of interest and proposing metaphoric and literal infrastructure to post-capitalism. Studio 3 visited Seoul, Korea as it is an exemplary city where it demonstrates the rise and fall of neoliberalism; epitomised by wealth imbalance, globalisation, environmental problems and demographic crisis being big problems for the society, in a very short span of time. Students proposed strategic programs as a response to their own version of the transition to post-capitalism. It is metaphoric infrastructure through a series of analysis and researches. They re-evaluated conventional typologies to hybridise at a programmatic level in architectural scale. They also interrogated different kinds of boundary conditions to establish relationship between programmes as cultural agencies. Programmes included/redefined various range and mode of working/manufacturing, community based spaces, cultural institution and so on. The list is not limited and open-ended.

BA (Hons) Architecture

Yen Ah Kom

Studio 3

BA (hons) Architecture

Abdullah Ahmad Baz

Studio 3

BA (hons) Architecture

Yen Ah Kom

Studio 3

Linnea Williamson

Linnea Williamson Joshua Chatman Students BA 3: Abdullah Ahmad Baz, Yen Ah Kom, Ivan Mills-Lamptey, Guilherm Monterio, Elijah Oretuga, Erienlnta Petsani, Johannes Schneider, Linnea Williamson BA 2: Usman Adeshola, Mohamed Al Doury, Saad Ali, Simona Bullita, Paul Chiu, Fanson Festus, Lambros Georgiou, Alex Ho, Zubair Hussan, Nojrujjaman Khan, Chin Yin Li, Peter Oboko, Luis Rodrigues Guedes BA (Hons) Architecture

Site Plan Hawley Wharf 1:1000

Studio 2 Michael Hickey Luke Zuber To assemble is to gather together into a single place for a common purpose. It describes both the bringing together of objects into a single unity as well as the coming together of individuals into a single group. As such it recognises both the importance of the individual component parts, as well as the unified whole. To assemble is also to describe the act of constructing and to MAKE. These 3 readings of Assemble: 1. the Individual Component and Unified Whole, 2. The Individual person (Private) and Community (Public) and 3. To Make: are the common threads that informs all of the Studio analysis and subsequent architectural proposals Architecture: The art or science of designing and creating buildings - Merriam Webster Studio 2 believes that good design emanates from the recognition that the areas of art and science seamlessly overlap and that the conceptual proposal must be informed and enriched by the designerâ&#x20AC;&#x2122;s engagement with the plastic reality of Making. Architecture is a 3-dimensional outcome and our students are encouraged to explore their ideas through extensive use of the workshop facilities to elaborate and test both the form and materiality of their proposals through the process of model-making. Proposed Section AA Scale 1:200

Remi Waters

Site Plan Hawley Wharf 1:1000

BA (Hons) Architecture

James Mason

Studio 2

BA (hons) Architecture

James Mason

Studio 2

BA (hons) Architecture

James Mason

Studio 2

Students BA 3: Selin Arabacilar, Sarfaz Chaudry, Himming Chemjong, Joel Glazer, Sepander Keyvan, Yaren Kuruovali, Jacky Mbatchou, Yousef Mohamed, Ehsan Mussa, Isaias Penteado, Remi Waters BA 2: William Albuquerque, Hok I Choi, Mohammed Rahman Al Noor Choudhury, Samia Fontanetti, Thomas Vincent Gibson, Javier De Leon Gonzalez, Sekani Makanema, James Mason, Ashley Newman, Aaron Salmon-Arhin, Albert Willsmer BA (Hons) Architecture

Studio 1 Andy Stoane Daniel Gullan

Studio Models 3rd Year

BA (Hons) Architecture

Architecture and Connectivity Through its theme of connectivity, studio 1 confronts two of the most urgent issues facing the contemporary city – infrastructure and housing. It investigates not architecture’s formative role in infrastructures themselves, but its potential to recalibrate programmes around their points of connectivity with the city – the psychological connectivity of public and private domains, through the building envelope, and sociological connectivity, through architecture’s ability to orchestrate new forms of publicness. Semester 1 tested architecture’s mediation of infrastructural operations, beginning with an urbanscale project involving strategic interventions into LSBU’s campus, devised to affect temporal patterns of pedestrian movement and interaction. Next, the analytical field narrowed and the focus switched to transportation infrastructures, localising findings onto two sites in Edinburgh, an urban railway station and a proto-urban tram terminus on deindustrialised docklands. Propositions were made for public activities, connecting with the associated infrastructural networks and processes. Semester 2 returned to London, consolidating discoveries and introducing the second component, housing. It developed knowledge of key parameters in apartment building design, before locating projects on tube station sites, questioning how the activity of the tube could be productively tapped to stimulate a new public-realm, itself connected to public housing in the air space above; thus avoiding the over-burdened and finite commodity of the ground.

Studio 1

Ewa Sienko

BA (hons) Architecture

Ewa Sienko

Jack Biggerstaff

Studio 1

Ewa Sienko

BA (hons) Architecture

Laura Emiowele

Mike Crook

Jack Biggerstaff

Mike Crook

Studio 1

Rebecca Moss

Jack Biggerstaff Zahra Zare Alberto Visentin Students BA 3: Jack Biggerstaff, Izabel Chirinian, Laura Emiowele, Mark Kilby, Eleni Marmarou, Emma McMullan, Rebecca Moss, Ewa Sienko, Sofyan Silem, Roxanne Vascovici BA 2: Abena Ababio, Christina Anna, John Anthony, Jamie Cuthbert, Tooba Musarat, Mwiinga Mutanga, Styliani-Efthymia Papachristou, Laura Pepple, Veronika Rudzite, Alberto Visentin, Zahra Zare BA (Hons) Architecture

BA (Hons) Year 1 Steve Bowkett Tim Jones Sue Phillips Semester 1: Assignment 1 ‘Visible Cities …..Invisible Cities’ After the initial introductory project ‘What are you like’, the first assignments of the year will focus on the students engaging and analyzing the environment and cityscape between the Campus and the ‘South Bank’ through the medium of hand drawing. ‘Visible Cities’ is set as a series of weekly assignments that focused on the measurable and palpable aspects of public spaces around the university; street scale and proportion, building profiles, journey and storyboarding, image and legibility. As a pedagogical counterpoint to ‘visible cities’ we then introduced the notion of ‘the City of memory, dreams and illusion’ via the book ‘Invisible Cities” by the author Italo Calvino. The book, a series of descriptions of fantasy cities, reinterprets the journey of the 13th century explorer Marco Polo across the Tartar Empire. Each student was invited to interpret the text of one of the cities described and make a model to a given format followed by a series of orthogonal and experimental drawings. Assignment 2 ‘ A Room in the City’ With the students acting as their own client, this project will focus on the design of a small interior apartment within a 5 metre cube. The space will accommodate a place to; wash, to cook, to eat, to sleep and an area for study. The project is a vehicle for the understanding of scale through drawing plans, sections and making models.

BA (Hons) Architecture

BA (Hons) Year 1

BA (hons) Architecture

BA (Hons) Year 1

Semester 2: Assignment 3 ‘Craft Space’; A Craft and Design Workshop The major project of the year focused on the design of a small crafts studio to accommodate workshop space for two crafts people with a similar interest. Our students were invited to select and study a craft of their choice and explore the relationship between the craft techniques and materials and the resultant spatial needs. The connection between the craft and the appropriate technology and the cultural background then became the driving parti for each of the student’s individual responses. Simultaneously supporting these assignments throughout the year Communications and Technology studies will investigate contemporary art practice, technological material studies and engineering projects (bridge design) to encourage an integrated approach to the teaching of all subjects across the academic year.

BA (hons) Architecture

BA (Hons) Year 1

BA (Hons) Architecture

BA (Hons) Year 1

BA (Hons) Architecture

BA (Hons) Year 1

BA (Hons) Architecture

Communication I / II Federico Rossi Tim Jones The aim of this project was to experiment with a variety of processes in making and in meaning to alter and reconstruct a time honored form of recorded communication.....the book. Students were required to purchase 2 books with different subject matter. Book 1 Technical ..... having special knowledge especially of a mechanical or scientific subject. Book 2 Cultural ..... a way of life , the general customs and beliefs of a particular group of people at a particular time. It is important when selecting a book that the potential of how this may be physically transformed is considered, using the graphic and intellectual content in the book as a starting point. The chosen books will become the focus of the communications project in which the processes and alterations made will be recorded and edited into the â&#x20AC;&#x2DC;BOOK X2â&#x20AC;&#x2122;. The resulting piece of work (the new book) will be principle submission and will be inclusive of skills learnt during Federico Rossiâ&#x20AC;&#x2122;s Semester 1 CAD workshops. The process of integration and inspiration from the nature of the books is to be approached both digitally and manually to give students an opportunity to carve, cast, collage, etc as well as an opportunity to use digital methods e.g. Photoshop, laser cutting and 3D printing . It is expected that the student will alter physically in stages substantial proportions of the books. This may be undertaken archaeologically, sculpturally and methodically by dissection or by removal of pages, to redact, in order to reconstruct the content . High quality, well lit photographs of this process should be taken including text describing the intention and methods used in the making of the book. NB This process demands a range of creative skills. Both the physical... collaging, carving, cutting, material changes as well as the conceptual strategies needed to communicate a design development process.

BA (Hons) Architecture

Communication I / II

BA (hons) Architecture

BA Technology Essential Structures Lilly Kudic Technology 1 [studio] Steve Bowkett Technology 2 Je-Uk Kim Technology 3 The course overall provides a rich introduction to tectonic thinking and detailed exploration of technology in architecture. This develops studentsâ&#x20AC;&#x2122; understanding of how construction technologies, processes, and techniques at the scale of detail resonate with ideas articulated at a more global scale, and thus can reinforce a design argument. Technology is approached as a means of imagining the materiality and stability fundamental to the design process, and involves definition of a critical strategy by each individual student. All BA technology modules investigate the subject area as interconnected to strategic architectural design thinking. Lectures provide understanding in principle and practice of structural terminology and systems, introducing a range of technologies from traditional, contemporary, and progressive construction to innovative and emergent materials and fabrication. These allow students to identify and encapsulate the constructional and environmental ideas supporting their design proposals, and develop awareness of technology as an ordering system for driving architectural concepts. Through the union of design thinking and constructional knowledge, the speculative design proposal established by students is strengthened by technological insight.

BA (Hons) Architecture

BA Technology

BA (hons) Architecture

LSBU ARCHITECTURE OPEN LECTURE SERIES Events Theatre - Keyworth Centre

time 18:30 - 20:00

LSBU ARCHITECTURE OPEN LECTURE SERIES Events Theatre - Keyworth Centre

time 18:30 - 20:00

James Soane

Harbinder Birdi

Andrew Morris

10 November 2017

14 November 2017

01 December 2016

James Soane is a qualified architect, teacher and writer having studied at Cambridge and the Bartlett graduating with distinction. He set up Project Orange with Christopher Ash and joined full-time in 2001 having been a director of Sir Terence Conran’s design company where he worked on a number of high profile projects including the Great Eastern Hotel in London, Ark Hills in Tokyo, Bridge Market in New York and Das Triest hotel in Vienna.

Harbinder Birdi, Senior Partner and Head of Infrastructure at Hawkins/Brown will be discussing a number of the practices infrastructure projects within London that respond to the city’s increasing population. Using the practices designs for three Crossrail stations and Thames Tideway Tunnel, the talk will bridge the disciplines of architecture, engineering and fine art and will debate how good interdisciplinary design can be achieved.

Andrew Morris is an Associate Director at Canary Wharf Group, and has been involved since its inception on the redevelopment of the Shell Centre site on the South Bank. As a trained architect, Andrew has previously worked for a number of notable practices including Ahrends Burton and Koralek where he worked on the British Embassy in Moscow.

Project Orange was set up by Christopher Ash and James Soane in 1997. Their belief is that their varied approach to architecture is underpinned by sound technical logic, common sense and a spatial intelligence. A successful project needs a successful idea and a good narratives that are accessible to clients, which means they are more likely to understand the whole process. The practice is hands on, designing, drawing, negotiating, sharing ideas as well as billing, learning and making coffee. Right now James is the Director of Critical Practice at the London School of Architecture, which is an exciting new educational model.

Since 1988, Hawkins\Brown have won or been shortlisted for over 150 awards, and are proud to have won accolades such as the AJ Employer of the Year and AJ Practice of the Year, along with being shortlisted for the RIBA Stirling Prize.

As a Development Manager for Canary Wharf, Andrew has been involved with a number of different projects across London, including: RSH’s scheme at Riverside South. Fosters+Partners Canary Wharf Crossrail Station. South Bank Place; the redevelopment of Shell’s offices at Waterloo. Lollard Street; the off-site affordable development for South Bank Place, with 96 units and a new nursery. Phase 1 of Wood Wharf; the new mixed use development at Canary Wharf including over 3,300 new homes.

London South Bank University - The School of the Built Environment and Architecture -

www.lsbu.ac.uk -

103 Borough Road, London SE1 0AA

contact: kudicl@lsbu.ac.uk

This year Andrew was nominated for the AJ Client of the Year for his work on Lollard Street.

London South Bank University - The School of the Built Environment and Architecture -

LSBU ARCHITECTURE OPEN LECTURE SERIES Events Theatre - Keyworth Centre

www.lsbu.ac.uk -

103 Borough Road, London SE1 0AA

contact: kudicl@lsbu.ac.uk

Events Theatre - Keyworth Centre

Sadie Morgan 2 February 2017

Educated at Cambridge, Frank Woods is an independent architect and conservation consultant who is a direct link to some of the most provocative works of British Modernism designed in the last 60 years. He is still practising, and lecturing and examining at schools of architecture on professional practice. Formerly a partner of Chamberlin Powell & Bon (and later, Chamberlin Powell Bon and Woods), he worked on the design of the Barbican and many other works, particularly at the universities of Cambridge, Oxford, and Leeds, the majority of which are now listed.

Sadie Morgan is a founding director of leading architectural practice dRMM, alongside Alex de Rijke and Philip Marsh; the studio is renowned for innovative, high quality, and socially useful architecture. dRMM received the 2013 Schuco Gold Architect of the Year Award for ‘the most significant contribution to British Architecture over the past year’, followed in 2015 by the Housing Architect of the Year Award, recognising dRMM’s work on some of the most significant regeneration projects in London. These include Faraday House for the Battersea Power Station masterplan; the 2012 Athletes’ Village for the London Olympic Games, and Trafalgar Place, part of the Elephant & Castle redevelopment. In 2016, the practice received its second shortlisting for the RIBA Stirling Prize.

Frank has also worked as architectural Assessor to the Arts Council, as chair of the Association of Consultant Architects, chair of the RIBA Journal, chair of the ACA working party on fees, and as a member of the RIBA fees sub-committee, and numerous Construction Industry Council sub-committees. His work has been published in the AJ, AR, THES and by Oxford University Press. He has appeared on Radio 3 and is the co-author of Overlay Drafting (Architectural Press), and co-editor of the ACA Illustrated Directory.

Endless Stair TATE Modern

Centaur Street

contact: kudicl@lsbu.ac.uk

9 March 2017

Trial Pieces

featuring a selection of recent projects Niall McLaughlin is Professor of Architectural Practice at the Bartlett, the winner of the 2016 RIBA Jencks award, and the Irish Representative at the 2016 Venice Biennale. Twice shortlisted for the RIBA Stirling Prize (2013 and 2015), Niall has won the Stephen Lawrence Prize in 2004 and 2015, and been shortlisted for the Mies van der Röhe prize. He has also been a judge for the RIBA President’s Medals competition, the SOM Travelling Scholarship, and the Architectural Review graduate awards, as well as being visiting professor at the University of California, and Lord Foster visiting professor at Yale University. Following 6 years at Scott Tallon Walker, Niall established Niall McLaughlin Architects in 1990. Balancing innovative projects with a commitment to teaching which promotes the values of an excellent education in architecture, Niall’s projects include the Bishop Edward King Chapel, the Natural History Museum, Auckland Castle, ‘Losing Myself’ (Irish Pavilion at the Venice Biennale), The Fishing Hut, and Darbishire Place Peabody Housing.

Trafalgar Place

Trafalgar Place Clapham Manor

103 Borough Road, London SE1 0AA

time 18:30 - 20:00

Sliding House Hastings Pier

www.lsbu.ac.uk -

contact: kudicl@lsbu.ac.uk

Níall McLaughlin

Sadie also chairs the Independent Design Panel for High Speed Two (HS2), reporting directly to the Secretary of State, and is one of seven chosen interim commissioners for the National Infrastructure Commission (NIC) led by former Cabinet Minister, Lord Adonis. Most recently, she was asked to join Lord Heseltine’s Thames Estuary 2050 Growth Commission. Sadie has sat on numerous competition juries, including the RIBA National Awards Advisory Panel and World Architecture Festival Super Jury; she regularly represents the profession in the media. In 2013, Sadie became the youngest, and third female President of the Architectural Association; in 2014, she was shortlisted for the AJ Woman Architect of the Year award, and recently won the CBI First Woman award in recognition of her outstanding contribution to the built environment. In 2016, she was the first woman to receive the Building Magazine Personality of the Year award.

Hastings Pier

103 Borough Road, London SE1 0AA

Events Theatre - Keyworth Centre

time 18:30 - 20:00

08 December 2016

www.lsbu.ac.uk -

LSBU ARCHITECTURE OPEN LECTURE SERIES

time 18:30 - 20:00

Frank Woods

London South Bank University - The School of the Built Environment and Architecture -

Rundeskogen Farady House Battersea

www.lsbu.ac.uk -

103 Borough Road, London SE1 0AA

contact: kudicl@lsbu.ac.uk

London South Bank University - The School of the Built Environment and Architecture -

www.lsbu.ac.uk -

103 Borough Road, London SE1 0AA

contact:kudicl@lsbu.ac.uk

Events LSBU Open Lecture The LSBU Open Lecture developed from the idea that students, academics, and practitioners could attend a series of mid-week evening presentations examining very different models of professional practice. The Open Lecture series provided a very constructive and comprehensive review of how architects define the way they work to support their ideas about architecture.

LSBU ARCHITECTURE OPEN LECTURE SERIES Events Theatre - Keyworth Centre

time 18:30 - 20:00

Carl Turner 24 November 2016 LSBU alumnus Carl Turner is founding director of Carl Turner Architects and co-founder of Pop Brixton, Peckham Levels and social enterprise Make Shift. Carl Turner Architects (CTA) is a multi-disciplinary general practice which works across a range of project scales and typologies, from furniture and interior design, bespoke one-off houses, through to larger urban design/regeneration projects, innovative work space solutions, and cultural and arts projects. The practice sees itself as ‘thinkers and makers’, and have acted as contractors and developers from time to time. This gives the practice a unique viewpoint and what they believe to be a very unusual skill set. CTA has developed a particular specialism in temporary or ‘meanwhile’ regeneration projects with their Pop Brixton workspace campus and Peckham Levels, the conversion of a 1980’s multi-storey car park in Peckham into artists’ studios, co-working and maker spaces, along with public and events spaces.

London South Bank University - The School of the Built Environment and Architecture -

www.lsbu.ac.uk -

103 Borough Road, London SE1 0AA

The transition from an academic environment to the very different professional situation is complex; this Open Lecture series successfully explained how practitioners of very different generations, backgrounds, and interests had successfully faced this challenge. Each presentation allowed us to reflect on and form our own position, and illustrate the many routes to realising excellent architecture.

contact: kudicl@lsbu.ac.uk

Shell Centre Hoardings at Southbank Place 2016 In October 2016 two architecture students from LSBU unveiled their design for facetted mirrored hoardings at Southbank Place, after winning a competition to transform a 13 metre long stretch of Sutton Walk that borders the Shell Centre redevelopment site. The use of mirrors was inspired by Rufus Butler Seder, whose LifeTiles installations are featured globally – and the 1963 film ‘A Look at Life’, which was released when the Shell Centre first opened and focused on the daily activities of people work¬ing in the newly opened building. Using a basic plywood structure, the challenge was in perfecting the intricate mirror angles to accurately reflect the passing pedestrians’ image the length of the narrow walk way – and at the same time communicate vital information about the entire LSBU architecture programme. Conceived by Canary Wharf Group and Qatari Diar, joint developers of the Shell Centre mixedused scheme, the competition emphasised the developers’ commitment to community engagement and championing of the local environment. LSBU is particularly grateful to Manuela Zwingmann Wood and Andrew Morris (Canary Wharf Group), and James Herbst (Octink) for their patience and support in seeing this project to completion.

BA (Hons) Architecture

RIBA Presidentâ&#x20AC;&#x2122;s Medals December 2016 In the RIBA Presidentâ&#x20AC;&#x2122;s Medals competition (Bronze Medal), Muneeb Ali Khan was awarded a commendation for his work on the Lewes Art Foundry.

South London Society of Architects RIBA

Jack Biggerstaff received the award for the best 2nd year student from the SLSA at the RIBA with Debbie Flevotomou. BA (hons) Architecture

Daniel Tang received the award from the SLSA for best 4th year student at the RIBA. 71

RIBA Mentoring Scheme 2017 LSBU extends its gratitude and appreciation to the following practices for their help with and support of the RIBA Student Mentoring scheme: AD Architects AndArchitects Ape Architecture & Design Assael Architecture Associated Architects Avanti Architects Ben Adams Architects Carl Turner Architects Crossrail Henley Halebrown HLM JelleyEast Levitt Bernstein LTS Paul Murphy Architects pH+ Sheppard Robson Studio Gil Tate Hindle Vine Architecture Studio The universityâ&#x20AC;&#x2122;s connection with professional practice is highly valued, and we are very pleased to work with all these distinguished architects to help develop the next generation of practitioners.

External Examiners We would like to thank all our external examiners for BA[Hons]Architecture: Professor Andre Viljoen Richard Cottrell Professor Kevin Singh Ben Cowd MArch: Master of Architecture: Doina Moss Frosso Pimenides 72

Our very grateful thanks are also due to Zakirah Begum who has been the programme administrator for architecture for many years; she has been consistently patient, exceptionally good humoured, and genuinely supportive - and we will all really miss her. Zakirah is taking up a position in the Collaborations Unit of LSBU, and we wish her every success with this.

We would like to thank Professor Myung Ho Lee, from Myongji University, Seoul, for presenting to our LSBU students in his architectural practice, MLNP and for continued collaboration on the RIBA Polyark IV design project with his studio.

Thank youâ&#x20AC;Ś The department of architecture is very grateful to Paul Elsdon, Joe Cheney, Tony Roberts, Tony Hope, Colin Edwards and Silvio Lvandeira and all the technical staff supporting the LSBU workshops, without whom 3D and AV work in architecture would not be possible. Your help throughout the year is much appreciated. Our special thanks to Martin Clarke, Print Services Manager and the print room, for without their help this catalogue would not be possible. 74

School of the Built Environment and Architecture: architecture courses professionally validated courses BA[Hons]Architecture RIBA part 1

3 years full time; 5 years part time enquiries: Steve Bowkett [bowketsh@lsbu.ac.uk]

MArch: Master of Architecture RIBA part 2

2 years full time; 3 years part time enquiries: Lilly Kudic [kudicl@lsbu.ac.uk]

Professional Practice RIBA part 3

18 weeks, part time enquiries: Lilly Kudic [kudicl@lsbu.ac.uk]

university validated higher degree courses MSc: Master of Science, 1 year full time Architecture enquiries: Lilly Kudic [kudicl@lsbu.ac.uk] MSc: Master of Science, Digital Architecture and Robotic Construction

1 year full time; 2 years part time enquiries: Federico Rossi [federico.rossi@lsbu.ac.uk]

PhD programme

There are many opportunities for graduates with suitable qualifications in architecture (or closely related to the subject) to study at doctoral level. Please send enquiries to Professor Teresa Stoppani: stoppant@lsbu.ac.uk www.lsbu.ac.uk/schools/the-built-environment-and-architecture 75

www.lsbu.ac.uk/schools/the-built-environment-and-architecture