LSBU ARCHITECTURE 2016
CATALOGUE 15/16
ARCHITECTURE
School of the Built Environment and Architecture London South Bank University
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Introduction to LSBU Architecture 2016 There are two very different ways of looking at LSBU’s architecture programme. On one hand, there is a definite tradition; architecture at LSBU reflects a 110 year history starting with the school of architecture that grew out of the founding in 1904 of the London County Council School of Building and, later (1943), the Brixton School of Building. However, there’s also our current - alternative - reading of architecture, non-aligned, and freethinking. This has developed from a small and determined group of people who, over a half century, have given opportunities to any student prepared to take up the challenge of working hard to understand a volatile discipline which is never defined in absolute terms. Architecture at LSBU is concerned with design through making, whether that making is 2- or 3D; our new Digital Architecture Robotic Lab (DARLAB) will continue LSBU’s concern with craft, reimagined through the 6 axis robot arm. Here there is a preoccupation with the building as the best vehicle to communicate creative ideas about architecture, and in this respect, the division is committed to work that has genuine professional relevance. This emphatically also encourages conversations about the poetics of architecture, the social and political purpose of the discipline, and the role of technological innovation in contributing to a responsible and resource efficient built environment. It has been noted by colleagues who understand and embrace this, that we actually have an obligation to our students to teach architecture in this storm of contextual coincidences. I of course agree. I want to thank our students, academic colleagues, and Professor Charles Egbu for their support. Both referencing the history of LSBU architecture but simultaneously looking forward, this review celebrates the work created by the LSBU architecture community this last academic year. Lilly Kudic _______________ associate professor head of architecture
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MArch: MASTER OF ARCHITECTURE The MArch: Master of Architecture course encourages the development and extension of discriminating analytical skills into ongoing debate about contemporary culture, the postmodern city, and the conflicted relationship between urban and landscape conditions. Achieved through three intense and interrogatory studios considering diverse responses to the architectural project, these contested narratives of design are complemented by reflective review of the histories and theories of architecture, and critical research expressed in extended, structured writing. The principal aims of the programme are to apply a 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. For each student, the development of investigative and analytical skills and methodologies for observation, critical reading, and representation of the physical, cultural, and phenomenological aspects of sites for the future construction of architecture is considered critical.
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STUDIO 23
Reda Mohammed Zakaria
Wing Hang Tang M Arch
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STUDIO 23 Lilly Kudic Luke Murray Art and architecture should be practices for social purpose, but the problem is that 21st century building is increasingly linked only with profit. There is a crisis concerning the social value and civic place of architecture, as opposed to its ability to make some people very rich; the issue, more and more, is what architecture is used for - and who actually uses it.
Szilvia Zsoldos
We believe Studio 23 is a place for experiment, developing a personal but relevant perspective on architecture, and always looking forward. Malcolm X stated that ‘the future belongs to those who prepare for it today’. Orlando Baghaloo
Reda Mohammed Zakaria
Our overall theme for the year was: Commune/ Community/Cooperate/Participate. 21st Century society is founded upon individualism, an idea prominent in the financial services sector of the City of London where cutthroat trading, the socalled entrepreneurial spirit, exploitative trade and employment practices, and market autonomy have become decadent and dangerous. By redefining an architecture marked by civic and social generosity - the emerging concept of the Commons - a more inclusive city can be developed.
Krishan Parmer
Szilvia Zsoldos Szilvia Zsoldos
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Wing Hang Tang
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Krishan Parmer
Szilvia Zsoldos
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Orlando Baghaloo
Lee Houston
Kiki Petrou
M Arch
Stanislava Bazitova 6
Elizabeth Vincent
The New New rooms , Theatre and ďŹ lm1 school
SECTION BB SCALE 1:200
Elizabeth Vincent
Sinead Hunter-Caprice
Anastasios Tsertikidis Pankaj Bhudia STUDENTS M Arch 2: Pankaj Bhudia, Sinead Hunter-Caprice, Sean Kelly, Nathan Stewart, Anastasios Tsertikidis, Elizabeth Vincent, Anthea Wicherts, Mohammed Reda Zakaria M Arch 1: Hajer Al-Saaty, Orlando Baghaloo, Stanislava Bazitova, Liara Foletto, Lee Houston, Arben Jashari, Lakeer Patel, Krishan Parmer, Kiki Petrou, Kyriakos Psillis, Alexander Segal, Maria Stancikova, Wing Hang Tang, Mustafa Tekman, Stephen Rimmer, Alexander Roev, Szilvia Zsoldos M Arch
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STUDIO 22
Alternate models for inhabitation. There have always been models of inhabitation which provide a better, more civilised urban life for us as citizens. It is all around us. We do not necessarily need to re-invent a housing model for the future. The underlying problem we face is actually a product of the dogma of market forces. However, we do need to address how we as Architects can provide models of inhabitation which does not put unnecessary additional pressure on the Environment. Our planet’s environmental systems are so obviously being altered by climate change due to the relentless exploitation of its limited resources, in the name of ‘progress’. Fossil fuels are the primary driver of climate change, but the parallel exploitation of material resources for construction, consumer products, travel and food production are equally responsible for the problems we face. In addition, the distribution of the population of the planet is shifting, and, the needs of people become more ‘westernised’ and consumptive. The fabric and density of cities is changing to cope with the increase of us living in cities. Our projects explore what for us seems the obvious - keeping the useful fabric of existing housing and the communities that have lived there for decades. With the help of Metsawood of Finland , we have explored the architectural potential of Urban Wood to enable a sustainable solution to London’s so called housing crisis , which is fact, a crisis of a lack of imagination..... below: Luke Marchant reimagines the slab blocks of The Aylesbury Estate as green communities. The timber skeleton frame expands and wraps the existing building to allow it become garden cities in the sky.
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STUDIO 22 Mike Kane Ron Yee As cities grow and we become dependent on ever more complex chains of supply, all cities become ever more vulnerable to the changes we face. These may be climate change, resource depletion, financial collapse, social resistance, overdensification. London which has carbon footprint the size of the the rest of UK is typical of many cities around the world. This studio is primarily interested in what we as Architects can do For the city and more importantly Us as, it’s citizens. Consequently all of the projects are are fundamentally designed as contributors as opposed to consumers. It is not enough to keep asking questions - Ideas are needed. This year we looked closely at what is happening on our own doorstep. The rapid & superdense developments of financially incentivised housing is destroying communities. It is being replaced by a wholly consumption based city, and produces nothing. Our projects explore radical alternatives to the current default condition in a variety of ways.. All along the Walworth Road, we have proposals which both retain and enhance this part of London its unique city fabric and those who make it a special place. In collaboration with Metsawood, ALL of the designs involve a low carbon solution to allow cities to be social, productive and vibrant. Projects explored a wide variety of potential solutions to making a city much less dependent on globalised capital consumption, which include inhabitation, industry, urban farming and cityspace.
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Above: Andreas Christodoulou’s proposal uses the derelict recycling facility off the Walworth Road. It is re-programmed to make buildings a production facility to train in construction skills for a self build community land trust who can build their own houses. The facility then becomes a timber production company to produce prefabricated housing across London.
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Below: Adam Robbins design for a super productive urban farm, the towers are machines which can produce multiple crops throughout the year, and the facility works with and for East Street Market. The scheme would reduce London’s over reliance on food imports. All the energy for food production is produced on site.
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Left & above: Mandeep Ryait’s proposal to re-programme the existing typical housing estates south of Burgess Park: the pressure to densify the city allows the inaginative use of landscape to not only citizens to produce, but also enjoy the city as a place to meet others. The buildings he utilises are about to be demolished by Southwark to make way for unimaginative developer housing which is mono-cultural and ownership driven.
Below: Sesen Ghezai analyses the Aylesbury Estate as a place to insert a ‘mat’ landscape. Again,the existing fabric of the city and the community is absorbed and intensified to make a diverse city. Into the estate Sesen proposes that the necessary elements of city life are re-instated to allow the community to flourish, along with an intensified landscape of courts and squares.
STUDENTS M Arch 2: Andreas Christodoulou, Sesen Ghezai, Daniel Kellett, Gholam Navabi, Benedict Okundaye, Adam Robbins, Mandeep Ryait, Darta Viksna M Arch 1: Paul Boateng, Samue Coco, Robert Davidson, Tom Garton, Ben Hicks, Camelia Ivan, Luke Marchant, Aaron Mcdonald, Sonda Mvula, Nick Padhiar, Thasmia Reza, Daniel Vilette, Graham Whatley, James Wong, SD (Wen Yi) M Arch
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STUDIO 21
1 : 200
M Arch Section 1
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STUDIO 21 Alex Graef Michael Hickey Porosity Living in London is unaffordable for the majority of its population with not enough houses being built and a state of crisis proclaimed. Studio 21 sought to explore appropriate models for higher density proposals that would combine the provision of homes with places of work and other complimentary uses set within that urban context. The models developed sought a responsiveness to local conditions and infrastructure that is both conducive to a sense of community and individual expression and privacy. We believe higher densities are sustainable when they achieve a high level of connectivity and programmatic mix that enable users to shape, share and customise. ‘Porosity’ served as a defining metaphor for these buildings, or urban structures, that incorporated adaptability and informality within their programmatic make-up, vagueness, emptiness and pure unassigned space within their functional matrix .
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STUDENTS M Arch 2: Fausto Gimenez, Tom Key, Sargon Latchin, David Parish, Farah Razif, Monika Theophanous M Arch 1: Anthanasia Chrysanthou, Sylvia Chudzik, Bonifaz Galgoczky, Neil Goodhew, Nabiel Malik, James Mitchell, William Monte, Philippa Morris, Robert Gillett-Ratley, Paulo Da Silva, Pavlos Staramos, Kevin O’Sullivan, Paul Taylor, Oshane Woodhouse, Leman Zlatkova M Arch
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HISTORY AND THEORY Master of Architecture dissertation titles 2015 Bethany Brown “Luxury in Lagos: Interrogating Resort Architecture in Modern Africa” Sarah Burton “The Influence of Charles Dickens on the Urban Development of Victorian London” Anna-Marie Bywater “The Integrity of the Craftsmen: A Pivotal Argument Within the Deutscher Werkbund” Sam Cox “What are the Socio-Economic and Environmental Implications of Constructing a 450m2 Aquaponic Farm in Greater London?” Duane De Gale “Slow Architecture: Reclaiming Identity Through Time” Osa Enabulele “Architect Romance with Comic Strip” Irene Evgeniou “Kisho Kurokawa’s Philosophy of Symbiosis: An Architectural Dialogue Between Two Antithetical Aesthetic Traditions” Emmanuel Fonkwen “Critic and Architect in Dialogue: The Influence of Colin Rowe’s Urbanism on James Stirling’s Architecture” Elizabeth Foulkes “Somerset House: Spectacle and Regeneration of a Masterpiece” Dhamin Gandhi “The Agitated Core – Decentralisation and Disintegration” James Gould “Form Ever Follows Function” Monica Jociute “Skin, Body & Structure: Finding the Space between Fashion and Architecture in the Work of Lucy Orta” Thomas Kozdon “Heidegger’s Hut, St Jerome in his Study, and Brighton Library: A Trans-historical Critique of Places of Quiet Study” Michael Lynskey “Titillation: How Far Does Voyeurism in the City Reflect the Central Antagonism Between our Desire to Watch and be Watched and our Claim to Privacy?” Madeeha Maham “Form and Formality: The Ingredients of Successful Public Spaces in London” Thelma Mannion “Dead Silence: Architecture’s Lost Dialogue with Death” Alkaios Michail “Shelters for Life Vs. Design for Thrive” Nafisah Ostadsaffar “Technology of Temptation: Producing and Servicing the Idea of Las Vegas.”
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HISTORY AND THEORY Paul Davies Matthew Barac Sean Antonio Pacileo “Saving the Planet and the Human Condition, is Arcology the Answer? Arcosanti: A Case Study in Arcology” Kim Pang “Imagining Cockaigne: Gentrifying Walthamstow/Degenerating London” David Parish “Starving Hinterlands – Destroyed by their Urban Equivalents” Adam Robbins “London South Bank: A Cultural Utopia Born from ‘Dystopian’ Brutalism” Mandeep Ryait “Growing Up in Social Housing: Evolution, Issues and Life Prospects” Philip Schnell Sramek “Making Room for Londoners: How Politics, Prices and Property Dynamics are Driving Architectural Innovation” Lauren Shallice “Engineering Paradise: Why Walt Disney’s EPCOT Could Never be Materialised” Hasaan Sharif “Down the Road” Andre Tajchman “The Translation of Music into Architecture” Monica Theophanous “Development and Regeneration, the Effect on Docklands Warehouses: Case of Metropolitan Wharf” Darta Viksna “Mortgaging the Future: Architects Attempts to Cope with Rising Demand for Primary School Places in 2014” Vasiliki Vasilopoulou Kontopanagiotou “A Connoisseur Architect in the Hunt of Truth” Elizabeth Vincent “Monsieur Hulot: Jacques Tati’s Commentary on Modern Society” Reda Zakaria “Making Paris: The Rapid Building Programme of King Henri IV, 1594-1610” Dawood Zohrabbagi “Computer Programs in Architecture”
Post graduate 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. In the lead-up to the final-year (or part-time equivalent) dissertation, a course in research methods frames the relevance of fieldwork techniques, modes of intellectual inquiry, and offers guidance on planning and writing up research. Cultural Context subject area staff members contribute regularly to other areas of the curriculum and to the wider university and alumni community, including a suite of lectures offered at MA level on cities and their interpretation. On joining the MA students Paul presents a weekly book club of ‘Critical Readings’ (accessible via criticalreadingslsbu2015.blogspot.com). These are not just heavy theoretical texts, but include popular novels, journalism and poetry. Each student blogs their way through this process; gradually coming to grips with the big issues of our time. Matthew then establishes the territory for the student’s dissertation with a course on research methods, and then the two join together to tutor the student’s dissertation; the crowning effort in each student’s academic portfolio. It has been to our advantage to alternate phenomenological and Marxist perspectives, and we would like to thank our students for being both receptive and responding with such vigour to these subjects too easily put to one side of the design studio. 17
CONSTRUCTION SEQUENCE CONSTRUCTION SEQUENCE
TECHNOLOGY
CONSTRUCTION SEQUENCE
STAGE 1 STAGE 1 LOWER LOWER BASEMENT BASEMENT -- Piping Piping & & Foundations Foundations -STAGE Concrete 1 In Situ Floor And Wall LOWER BASEMENT - Piping & Foundations - Concrete In Situ Floor And Wall
STAGE 4
STAGE 4 CORE CORE - Prefabricated Timber - Prefabricated Timber Glulam Columns & Beams Glulam Columns & Beams
STAGE 4 CORE - Prefabricated Timber Glulam Columns & Beams
STAGE 7 TRUSS STAGE 7 - Prefabricated Timber TRUSS Truss System
- Prefabricated Timber Truss System
STAGE 2
STAGE 3 GROUND FLOOR FLOOR GROUND Concrete In In Situ Situ Floor Floor Slab Slab -- Concrete
STAGE 2 UPPER BASEMENT - Concrete In Situ Floor And Wall
STAGE 3 GROUND FLOOR - Concrete In Situ Floor Slab
STAGE 5
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STAGE 6
STAGE 5 STRUCTURE STRUCTURE - Prefabricated Timber Glulam - Prefabricated Timber Glulam Columns & Beams Columns & Beams - Prefabricated Hyperbolic Timber Columns - Prefabricated Hyperbolic Timber Columns --STAGE Concrete 5 In-Situ Concrete In-Situ Shear Shear Party Party Wall Wall
STAGE 6SLABS PANELS FLOOR FLOOR SLABS PANELS - Prefabricated Timber Floor Joist Panels - Prefabricated Timber Floor Joist Panels
STAGE 8 LECTURE HALLS
STAGE 9 WATERTIGHT STAGE 9 - Light Weight Wall Panels WATERTIGHT - Raised Floor -- Light LowerWeight CeilingWall Panels - Wall Raised Floor Glazing - Lower Ceiling Roof Glazing
STRUCTURE - Prefabricated Timber Glulam Columns & Beams - Prefabricated Hyperbolic Timber Columns - Concrete In-Situ Shear Party Wall
STAGE 8 LECTURE HALLSTimber Glulam Beams - Prefabricated & Columns - Prefabricated Timber Glulam Beams Light Weight Timber & Columns Wall Panels & Floor Joist Panels
- Prefabricated Light Weight Timber Wall Panels & Floor Joist Panels
STAGE 7 TRUSS - Prefabricated Timber Truss System
STAGE 3
STAGE 2 UPPER BASEMENT BASEMENT UPPER Concrete In In Situ Situ Floor Floor And And Wall Wall -- Concrete
STAGE 8 LECTURE HALLS - Prefabricated Timber Glulam Beams & Columns - Prefabricated Light Weight Timber Wall Panels & Floor Joist Panels
STAGE 6 FLOOR SLABS PANELS - Prefabricated Timber Floor Joist Panels
- Wall Glazing - Roof Glazing
STAGE 9 WATERTIGHT - Light Weight Wall Panels - Raised Floor - Lower Ceiling - Wall Glazing - Roof Glazing
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TECHNOLOGY Lilly Kudic Brian Murphy Technological thinking at postgraduate level is considered as an amalgam of creative structural, constructional, and material thinking allied to a fundamental sense of ethical responsibility for the minimisation of energy usage through resource efficient specification. Innovation is therefore tied to seeing architectural practice as a process of balancing formal and functional change with emergent, socially responsible technologies. Technology lectures are delivered both in house and by invited lecturers, and examine issues at the interface of architectural histories and theories and technological case studies of contemporary projects. These include: * digital design and construction technology; intelligent cladding systems and Super Skins; through parametric design, optimising envelope and building performance using minimum numbers/maximum variation in faรงade systems * digital manufacture; intelligent 3D modeling and printing; mass customisation processes * 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
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FIELD TRIPS
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DIGITAL ROBOTICS Federico Rossi DARLAB (Digital Architectural Robotics lab) is a research platform in architecture education that advances experimentation and cross-discipline collaboration among professors, students and industry partners to expand the boundaries of architectural practice. We are a mixed team of qualified experts from all over the world who work together to obtain the best results out of avant-garde technologies applied to architecture and design. The intention is to give to students and visitors a 360″ knowledge of the matter. The DARLAB is located in London South Bank University’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. Often we collaborate with digital artists such as Quayola and United Visual Artist, engineers, architectural such as Zaha Hadid Architects to implement design to production processes. We have recently developed 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 on www.darlab.net
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BA (hons) Architecture
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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 now four design studios: * Studio 1: Architecture and Inter/spatiality * Studio 2: Experimental Architecture and Structures * Studio 3: Architecture and Experience * Studio 4: Architecture and Regeneration
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STUDIO 4
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STUDIO 4 Seamus Ward Dan Wilkinson Studio 4 investigates, and responds to, the socioeconomic factors which can both literally and metaphorically shape issues of context. Considering forces such as gentrification -or urban alchemy design proposals are free to suggest alternatives to, or even promotions of, the ubiquity of these situations. Through spatial and material translations of the conditions uncovered when engaging with issues of site and type, the rigor of the studio’s research is expected to be juxtaposed with the indifferences of time and occupation - how can an informed proposal speak simultaneously to the past, present and future, and while attempting to do so, can cultural and stylistic shifts be preempted through an architectural critique? The studio aims to address these issues through both the language of architecture and the language of representation.
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STUDENTS BA 3: Seymus Acis, Anne Natacha Alfred, Adam Bouabida, Alex Coney, Mbilia Eluku, Jake Holmyard, Thomas Lane, Denislav Lyubenov, Emma McMullan, Rebecca Moss, Chandni Rahkra, Conor Sanderson BA 2: Daniel Broom, Matthew Burroughs, Joshua Chatman, Hugo Delauncey, Andrew Gear, Hanan Al Hilli, Eleni Marmarou, Yousef Mohammed, Isaias Penteado, Rocco Plessi, Calum Rae, Billy Taylor BA (hons) Architecture
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STUDIO 3
Problem Solution
Through building a public seating area for the community it should help reinvigorate the relationship between Exmouth Market and Spa Fields. Also, more seating is provided and more importantly indoor seating which was absent from the site previously.
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STUDIO 3 Michael Evans Nick Willson Where eastern Bloomsbury merges into the former Borough of Finsbury, topography, historic patterns of land ownership, and ‘surgical’ infrastructure interventions in the 19th C have left the area only weakly interconnected into the surrounding urban matrix. The Foundling Hospital, completed in 1752 on open fields just beyond the then boundary of the city, was perhaps the most significant influence on development in the area. Sold up in 1926, the charitable purchase of its site to form the vast childrens’ playground now known as Coram’s Fields alongside the Corum Foundation’s quaint residual ‘village ’create a vacuum in the heart of the area, which displaces through traffic and conventional activities.
“ here i sit, on the upper storey, with my
papers scaaered around me where i have pored over diverse manuscripts and hand her printed maaer. Across the upper landing is my laboratory with all the necessary veeels, beyond which is my storehouse replenished with chemical stuu ”
Becalmed, the area remains idiosyncratic in both its physical configuration and the diversity of uses it can still sustain.
“ At the great table in the middle my library room, I am presreved in safety from all follies and thus i become more truly myself; i am at peace ”
As such it provides fertile ground for the dance rehearsal studios, photography schools, literary archives, manufactories and orphanges the students have designed.
“ We were upstairs again , although my sense what was above or below ground was now subtly confused ”
“ Do nn be dismayed . All will be revealed to you. for the world itself is very like a maze ”
2016
1870 “ Books do nn perish like humankind; you may take up a book in time , but you read it in eternity. These volumes will be a continual silent presence noy only for me but for the posterity many ages. There was some presence within me which had always existed in this soi soil , this stone , and this air ”
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Structural Concept
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Design Developement Concepts
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Structural Concept
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Design Developement Concepts
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STUDENTS BA 3: Abdhulhaq Ahmadzai, Cornelius Ajayi, Syed Akbur, Sodiq Akinbade, Kazeem Awontunde, Natalija Beremignia, Douglas Craven, Alexandra Filippidi, Alexander Frisch, Mahmudul Hasan, Saeed Khanban, Nathan King BA 2: Selin Arabacilar, Abdullah Baz, Himmang Chemjong, Izabel Chirinian, Joel Glazer, Yen Ah Kom, Yaren Kuruovali, Ludmilla Lomba, Guilherme Monterio, Linnea Williamson BA (hons) Architecture
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STUDIO 2
BA (hons) Architecture
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STUDIO 2 Nic Pople David Tasker Peter Corbett The studio uses architectural and engineering practice as the basis for a linked series of projects - all based, for this year, in Sussex. Whether concerned with the Farmhouse of the Future (Tablehurst), the Time Bridge (Lewes), or Phoenix Rising (again, Lewes), the proposition is that design development must minimise environmental impact and, wherever possible, use natural materials. Whilst inevitably questioning the provenance of funding available to rural revitalisation projects, the studio develops design proposals aiming to reawaken definitions of authentic community architecture, revive the redundant industrial landscapes of coastal England, and propose a vital material language reflecting and responding to both challenges. Critically, this needs to be seen in the context of global warming, the effect this has on rising river and sea levels, and the need for sustainable solutions to flooding – and, indeed, an architecture accepting the inevitability of flooding.
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BA (hons) Architecture
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STUDENTS BA 3: Ruxandra Dascalu, Raphael Dobryniewski, Andra Draghia, Rafal Ghazi, Edward Hancock, Muneeb Ali Khan, Rogerio Lusende, Guldane Mahmut, Aikaterini Petroulaki, Paulo Pires, Giulia Romano, Hager Zakaria, Nouran Zakaria, BA 2: Mariana Andrade, Safraz Chaudry, Vitor Marques Curti, Joel Jones, Julia Laine, Jacky Mbatchou, Ehsan Mussa, Lorem Pardim, Katarina Polatscheck BA (hons) Architecture
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STUDIO 1
BA (hons) Architecture
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STUDIO 1 Carla James Catriona Burns Inter/Spatiality. The studio investigates how the environment and spatiality are embedded in the way cities are made and evolve. Our discussions are framed within the context of unprecedented urbanisation, a challenge that is coupled with the global problem of climatechange. We examine the relationship between internal and external spaces within public and private realms and how they positively contribute to the city as a mediator of a diverse environment. Studio 1 examined spatial typologies along Bermondsey Street in South London, looking at physical space in its material lived form and the spaces ‘in between’ buildings, interstitial and ‘forgotten’ spaces. We researched the positive impact this internal/external and public/private relationship can have at a micro-level on the health of the individual in an increasingly populated world. Inter/Spatiality proposes an architectural response which looks beyond the spatial realm of a building to the world beyond. These discussions frame the conceptualisation of architecture and interval and sustainability in an interdisciplinary way, reflection the notion that spatial production is a collective concern.
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STUDENTS BA 3: Darren Clarke, Rosa Di Giola, Rawan Habiballa, Ivan Mills-Lamptey, Adamos Papakonstantinou, Eriseltna Petsani, Juliana Ribas, Sam Roberts, Chris Smyrios, Liam O’Sullivan, Eliza Zake BA 2: Syed Bahroz Ali, Jack Biggerstaff, Jaime Cuthbert, Michael Crook, Laura Emiowele, Stefan Eriksson, Carla Bento Jackson, Sepander Keyvan, Mark Kilby, Marie Lanna, Peter Oboko, Luke Parmenter, Ewa Sienko, Sofyan Silem, Remi Waters BA (hons) Architecture
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BA (Hons) YEAR ONE
BA (hons) Architecture
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BA (Hons) YEAR ONE Steve Bowkett Tim Jones Sue Phillips The work within the design studio this year centred on the relationship between Architecture and it’s representation in semester 1 and Architecture and culture through appropriate technologies in semester 2 Semester 1: Visible Cities …..Invisible Cities After the initial introductory project ‘What are you like’, the first assignments of the year centered 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’ was set as a series of weekly assignments that focused on the measurable and palpable aspects of the public spaces; street scale and proportion, building profiles, journey and storyboarding, image and legibility, public and private thresholds etc. This analysis then culminated in a small intervention to provide the University with a new architectural identity. 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. Again the project concluded with a small urban intervention using the essence of the invisible city to inform the environment. During the semester one we took a field trip to the city of Seville, Spain and also visited a number of exhibitions in London. BA (hons) Architecture
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Semester 2: Art / Space The major project of the year centred around the design of a small arts foundation building that would accommodate studio space for two people about to start their creative journey. The notion of ‘Art / Space’ was that the resulting building would be funded by a patron, one on a list 40 successful living British artists, with an empathy towards a particular artistic expression. The connection between the Artist, 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 investigated contemporary art practice, technological precedent studies and engineering projects (bridge design) to provide an integrated approach to the teaching across the academic year. BA (hons) Architecture
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STUDENTS 1st Year: William Albuquerque, Saad Ali, Afan Al-Allak, John Chapusha, Paul Chiu, Jack Crabtree, Thomas Gibson, Chun Yin Li, James Mason, Laura Pepple, Alberto Visentin, Albert Willsmer, Jessica Wynyard,
BA (hons) Architecture
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COMMUNICATION I/ II
BA (hons) Architecture
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COMMUNICATION I/ II Federico Rossi Tim Jones Steve Bowkett With the aim of cultivating a reflective and creative competency in relation to sharing, expressing, testing and depicting architectural ideas, the set of modules that fall under the umbrella of Media Studies run from Year 1 until the end of the undergraduate course. Hand-drawing and model-making capabilities are as important to architectural production and creativity as computer skills so it will be a journey from analogue to digital tools. Hand-drawings and Computer Aided Design (CAD) digital drawing activities articulate with the studio programme for Year 1 students, who are introduced to the premise that drawing and modelmaking offer us the tools to both test our designs and also to discover creative possibilities. In Year 2, digital media skills are developed with a series of workshops that cover the basics and advanced three dimensional modelling and concept of digital fabrication such laser cutting and 3D printing. The teaching of CAD in 2D and 3D will play an essential role to support the design studio developments and also to provide core skills to enhance employability preparing students for their post Part 1 year-out. Year 3 students are expected to use acquired CAD, visualisation, mixed media and graphic skills to enhance and optimise the presentation of their design ideas. Students are encouraged to develop distinctive, individual approaches to how they communicate using image and form; these methods and approaches evolve alongside their emergent design personalities. The emphasis is thus directed towards the use of graphics software and the many other means of communicating design intentions including film, drawing, collage, and multi-media. Subject specialists work with the design studios to enhance and expand the possibilities of representing architectural ideas.
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CULTURAL CONTEXT
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CULTURAL CONTEXT Paul Davies Matthew Barac Undergraduate studies in the history and theory of architecture position the student experience within the wide subject area, establishing views as to the role of architecture in its cultural context. These include the interpret-tation of architectural history, the ethical and rational critique of archi-tecture, the topic of the city, and the application of philosophical thought to architecture. In Year 1 of the undergraduate course (or part-time equivalent), the cultural context of architecture is introduced through a semester-long traditional survey course. In the second semester, attention turns from the scale of the individual building and its place in history to that of urban environments and the ways in which we describe, encounter, and work with cities. In Year 2, the Cultural Context course focuses on the history of modernism and orientates itself around the Architectural Review’s monthly Reputations feature, to which Paul Davies regularly contributes. The lectures pair significant architects to elucidate broader concerns regarding their public and private roles. Final year BA (Hons) students undertake a module that completes their degree-level historical studies in architecture, and considers the interplay of philosophy and theory in the realm of interpretation by exploring ideas in architecture.
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TECHNOLOGY I/II/III
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1 - Addition of basement level onto existing structure. 2 - Addition of elevator cores and ground level floor slab. 3 - Prefabricated dance studios lowered and fixed onto structure. 4 - Roof with its support structure added. 5 - Polycarbonate panels and frames fixed onto supporting structure
Construction Sequence
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TECHNOLOGY I/II/III Lilly Kudic Technology is approached as a means of imagining materiality and stability fundamental to the design process, and involves definition of a critical strategy by each individual student. With courses offered at each level of the BA[Hons]Architecture programme, students’ technological enquiry starts with consideration of structural systems, and progresses through detailed case studies of exemplary small and medium size buildings to the holistic definition of structural, constructional, environmental, and detailed design content underpinning the degree project. Acknowledging that ideas about design change over the time spent refining that design, the final piece of work deals with sequences - either of drawings, or of technically-focused models recording iterative process, and the cumulative improvements/changes each shift represents. The sequence demonstrates the following principles: * how developmental, iterative design is informed by technology * the impact of different materials on constructional decisions * the influence of constructional decisions on spatial design * the impact of specification choices on the texture/ materiality/resource efficiency of the project * how carefully conceived physical models and 3-dimensional investigation document these phenomena
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Introduction
UPCOMING
Some Landscape Anomalies Any landscape is a condition of the spirit (Henri-Frederic Amiel)
Landscape Anomalies Ward Wylie Atelier
North Antrim has long been celebrated for its scenery, its personalities and its associations. Patrick herding sheep on Slemish, Finn MacCool building the Causeway, Bruce studying the famous spider in Rathlin. Not only are the people memorable, but each has an interesting landscape anomaly or singularity with which they are easily identified. This connection between the physical, the historical and the legendary is extensive, but often less well known or exalted than the foregoing. We have selected ten such examples for a closer look (as Robert the Bruce found, a closer look can sometimes be very rewarding). In this part of the world, as our literature shows, the classical world is never very far away. The characters in our play include not only Planter and Gael, School-teacher and Blacksmith, Grey Man and Madman but also such role models as Ulysses, Vulcan and Aristotle. Their ‘locations’ are various and anomalous, sublime and scenic, dramatic, even downright gloomy. Some outcomes such as Great Trees seem serendipitous; others such as Enigmatic Ruin are quite inscrutable, a local version of a Koan or Zen puzzle; more to be reflected upon than understood. By the way, you might find it difficult to find anyone at the Cliffside venue. That’s because the dramatis personae are essentially…..yourselves. Ward Wylie Atelier
EVENTS Lilly Kudic * June 2016: internal validation of new MSc: Master of Science in Architecture and MSc: Digital Architecture and Robotic Construction courses * March 2016: debate and discussion Urban Wood: An Alternative Architecture, with Alex de Rijke (dRMM), Andrew Waugh (Waugh Thistleton), Jon Broome (Jon Broome Architects), Frank Werling (Metsa, Finland) discussing advanced uses of structural timber as a resource efficient alternative to conventional reinforced concrete and steel primary structural systems * February-March 2016: exhibition of Metsa Wood 4,5m high structural timber model reimagining the Empire State Building, NYC, in structural timber. Metsa’s plan B is a global re-strategising of long span, large volume buildings taking architectural icons such as the Colosseum and Empire State Building and proposing their structural redesign using laminated veneered lumber (LVL) * December 2015: lecture Making Sense, with Nic Pople presenting recent projects in practice * November 2015: RIBA mid term monitoring visit, with exhibition and portfolio samples from across architecture programme * November 2015: book launch and lecture Architectural History Retold, with Paul Davies discussing his latest publication
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Thank you‌ to all our guest critics and guest lecturers, and external advisers and examiners including Kira Ariskina, Richard Cottrell, Ben Cowd, David Gloster, Matthew Morrish, Doina Moss, Beatrix Frankfurt, Zakirah Begum, Paul Murphy, Kevin Singh, Frosso Pimenides, Matt Tabram, Jane Tankard, Angie Vanezi, and Andre Viljoen., Rosa Aragon, Gareth Davies, Dil Green, Chee Kit Lai, Duncan Mcleod, Jordan Perlman, Carl Vann, Vangelis Lantavos, Dionysis Gonatas, Liz Eleftheriou, along with all the Atenistas Student Mentoring Scheme Practices AD Architects, AndArchitects, Ape Architecture & Design, Avanti Architects, Bradley van der Straeten, Carl Turner Architects, Crossrail, Duggan Morris Architects, Gatton Manor, Hassell, Henley Halebrown Rorrison, HOK, Krause Architects, Levitt Bernstein, Mountford Piggott, Paul Murphy Architects, pH+, RTKL, Sheppard Robson, Studio Gil, and Tate Hindle A fond farewell is given to Alex Graef and Matthew Barac for an inspirational postgraduate studio and sterling support of the research agenda at LSBU respectively; we wish Alex and Matthew well in the next phase of their professional careers. And extra special appreciation and gratitude is extended to John Howe for many years of devotion to providing the RIBA part 3 course and Examination in Professional Practice‌thank you John. 52
www.lsbu.ac.uk/schools/the-built-environment-and-architecture