LSBU Architecture End of Year Catalogue 2023 by lsbu_architecture

2023 ARCHITECTURE

Dear Readers,

We apologise for any errors or omissions within this book and assure you that they will be corrected in the digital edition. We greatly appreciate your feedback on any issues you may come across.

Thank you for your understanding.

3 COVER DESIGN & ILLUSTRATIONS BY TIMOTHY PERCIVAL WWW.TIMOTHYPERCIVAL.COM JUNE 2023

4 CONTENTS DEAN’S MESSAGE 6 Professor Chris Harty WELCOME FROM THE HEAD OF ARCHITECTURE 8 Professor Igea Troiani

BA (Hons) Architecture (ARB/RIBA PART I FT/PT/APP) 12 BA Year 01 14 Preludes & Nocturnes BA STUDIO 01 22 Adaptive Civicness BA STUDIO 02 30 Transpositional Plasticity BA STUDIO 03 38 Growing Homes BA STUDIO 04 46 Rising above Recession BA STUDIO 05 54 User Experience & Regenerative Urbanism BA STUDIO 06 62 Captured Visions Communications 01|02 70 Technology 01|02|03 74 Cultural Context 01|02|03 78 Professional Practice 82

PART 01_Undergraduate courses

5 PART 02_Postgraduate courses MArch: Master of Architecture (ARB/RIBA PART II FT/PT/APP) 88 MArch STUDIO 01 90 Super Structures MArch STUDIO 02 98 ReMIX Architecture MArch STUDIO 03 106 Structure As Space Technology 05 114 History & Theory: Critical Thinking 118 Architecture and Theory: Dissertation 122 Energy and Resource Efficiency in Design 126 Professional Practice & Design Economics 130 PART 3 (ARB/RIBA PART III) 134 Architecture Research (DARLAB, The Raid Lab) 138 Architecture Community 142 Studio Trips & Events 144 Studying at LSBU 148 Architecture Lecture Series, Talks & Exhibitions 152 London’s Common Gardens 156 London South Bank University Architecture Staff 158 Student List 160

DEAN’S MESSAGE

Welcome to the LSBU Architecture 2023 Catalogue!

As the new Dean of Built Environment and Architecture I am delighted to be able to write my first welcome to you to London South Bank University’s Division of Architecture End of Year Show. I am equally delighted that this showcase of our students work and celebration of their achievements is taking place in our newly refurbished Student HUB exhibition space for the first time.

End of Year shows are signature events for architecture schools and pivotal moments for their students, marking the end of long and often challenging journeys and standing as testament to their quality, dedication and resilience.

I would take this opportunity to thank colleagues, not just for their role in bringing the show to life, but also for their work across the academic year.

Finally I thank our fantastic students and apprentices who have worked so hard to bring this wonderful showcase of creativity and new talent together. We are immensely proud of your achievements and look forward to following and supporting them as they move to the next stage of their professional careers.

Professor Chris Harty Dean, Built Environment and Architecture LSBU

June

2023

WELCOME Head of Division of Architecture

This catalogue celebrates an extraordinary year of accomplishment and change in the Division of Architecture, so I want to open by thanking everyone involved for their hard work. Since joining LSBU in May 2022, the students, staff, external reviewers & critics have worked collaboratively over the year to produce the high-quality work we celebrate in this catalogue. My congratulations goes to the students and their teachers.

2022-2023 has been an important year of change. Key changes to the Architecture Division has involved gaining more studio space, appointing new staff and moving staff into teaching and research to expand their potential, improve our modes of communication and teaching & our apprenticeship experience and relationship with apprentice employers, generating research active events to become experts in theoretical and practice-based research to improve our production of world-leading architects, researchers and thinkers and overall, (Phew!) Quite simply we’ve been building an LSBU School culture that is lively, dynamic and satisfying.

First, we were able to expand our Architecture studios space to occupy another floor, so in addition to occupying the 6th and 7th floors of the Keyworth Centre, we also have the 8th floor of the building. That has allowed us to have a dedicated studio space for each of 3 x BA Year 1 studios, 6 x BA Studios and 3 x MArch studios, allowing students to have their own desk. We want to build our studio culture so that apprentices, full-time and parttime students in a studio can be in the same space for greater peer-to-peer exchange. We have also expanded our facilities with printing available in the Keyworth Centre but also in the new LSBU HUB. We continue to offer 3D printing, laser cutters alongside an expanded use of the Wood workshop and next year Metal Workshop on Borough Road.

This year we welcomed new staff including Dr Asem Al Bunni, Dr Hamed Khosravi, Eva Sopeoglou and Kathy Gal. Each of

these people have added expertise, energy and innovation to our teaching and leadership of studios, modules, or courses. They complement our existing staff who have shown vigour in demanding times of teaching.

We’ve finetuned and continue to finetune our communication and teaching, our timetabling and setting of standards of quality and marking of work. We have undertaken a full overhaul of all our courses and use the VLE Moodle platform for parity of communication with all our students, knowing apprentices are in only one day a week.

The unique feature of LSBU Architecture is no doubt our Apprenticeship courses in the BA (undergraduate course) and MArch (postgraduate course). We continue to strengthen the way we integrate and learn from the work of our apprentices (and their employers) in their on-the-job training and what our traditional fulltime and part-time architecture courses can offer our apprentices academically. This is an area we work on further next year.

In terms of research, Architecture was returned for the first time in the REF and we are working to expand our research expertise and contributions for the next REF round. We continue to obtain funding and produce significant leadership in areas of digital innovation and socially and environmentally responsible architecture. We ran a guest lecture series delivered by world-leading practitioners and academics, held symposia and workshops and have been busy publishing and producing exhibition outputs.

2022-23 has been an outstanding year for the Division of Architecture at LSBU. We are well placed to improve the quality of our teaching and research to help our students produce even higher quality work next year.

Professor Igea Troiani Head of Division of Architecture

June 2023

11 BA (Hons) Architecture (ARB/RIBA PART I)

BA (Hons) Architecture (ARB/RIBA PART I)

Course Directors:

Angela Vanezi - BA Hons Architecture FT& PT (Sem 1)

Spyros Kaprinis - BA Hons Architecture FT & PT (Sem 2)

Monika Jociute - Level 6 Architect Apprenticeship

BA Year 01 Design Tutors

Carlene Prince, Steve Bowkett, Yakim Milev, Andrea Tiberi, Calista Stewart, Carlos Sanchez, Elisavet Hasa, Larry Allison, Malgorzata (Gosia) Starzynska-Grzes

BA Design Studio 01

Asem Al Bunni, Adamos Papakonstantinou, Kira Ariskina

BA Design Studio 02

Spyros Kaprinis, Daniel Wing Hang Tang

BA Design Studio 03

Valerio Massaro, Ioanna Petkova

BA Design Studio 04

Monika Jociute, Liam Bedwell

BA Design Studio 05

Elham Valikhani, Tony Okoluko, Elisavet Hasa

BA Design Studio 06

Bandele Olubodun, Jonathon Bush

Communications 01-02

Adamos Papakonstantinou, Andrea Tiberi, Bandele Olubodun, Carlos Sanchez, Daniel Tang, Steve Bowkett, Yakim Milev

Technology 01-02-03

Vincenzo Caputo, Maria Echeverri, Ruggero Bruno Chialiastri, Joao Bravo da Costa, Milo De Luca, Maria Aceytuno Poch, Poppy van Dijk, Teo Andonov, Wynne Leung, Matthew Lacey, Andrea Tiberi, Larry Allison.

Cultural Context

Carlene Prince, Stephen Lovejoy Steve Bowkett, Elizabeth Hasa, Valerio Massaro, Ioana Petkova

Professional Practice

Monika Jociute, Asem Al Bunni, Stephen Hadley

“I realize that an interaction between the design for a new building with associations of the past is a dangerous tightrope to walk, with compromise and sentimentality on either side.”

James Stirling, “Stirling Connections,” Architectural Review, Issue 157 (May 1975): 273-76.

It is now more evident than ever that a specific formula for the education of an architect does not exist. The architectural profession is becoming increasingly multi-faceted and complex, and the contemporary position of the architectural student and architect is facing unprecedented challenges. These challenges are also faced by contemporary architecture schools, which undertake the demanding task of positioning themselves in the context of our present reality, but always bearing in mind the importance of the past and the future, as well as the need for maintaining an architectural vision.

Our BA (Hons) Architecture programme is one of a suite of courses run by London South Bank University which are professionally validated by the Royal Institute of British Architects (RIBA) and prescribed by the Architects Registration Board (ARB) at Part 1 Level of the professional pathway to registration. Our course offers students the opportunity to study and develop within this rigorous and professionally recognised educational framework. We offer a course that emphasises architectural synthesis and design underpinned by studies in core subject areas such as Technology, Communications, Cultural Context, and Professional Practice. We are also extremely proud to have always supported part-time study, something which is complemented with an apprenticeship programme as well. Our aim is to educate resilient and reflective graduates who can respond to the challenges of the future.

Our pedagogic model gives great emphasis on studio and workshop activities, and engagement with the design process through critical analysis, drawing, and model making through both analogue and digital means. Our main aim is to create and foster critical thinking skills through our BA studio culture, which encompasses several

distinct aspects of design teaching, a balanced merging between the individual and the collective. Students are encouraged to design buildings that are responsive to both the physical context - the climate and the site in its wider and immediate context - and the social, economic, and cultural context of the location under study. An understanding of the context is developed through various site visits and study trips, in which students are expected to immerse themselves within the culture, environment, and climate of the location. The challenge of achieving a balance between the future needs in a city and the maintenance of cultural traditions, community values and local identity is one which students are asked to confront in their various design activities.

Finally, design practice and research-informed teaching is further reinforced in the studio format through opportunities to engage in staff practice and research interests, and in teaching teams that include practitioners, specialists, visiting architects and critics, public talks and events, field trips and the RIBA Mentoring Programme. This yearbook showcases the best studio results produced by our BA (Hons) Architecture and MArch students in the past academic year.

Spyros Kaprinis Course Director, BA Hons Architecture

June 2023

BA Studio Year 01

Preludes & Nocturnes

Year Lead

Carlos Sanchez

Design Tutors

Carlene Prince, Steve Bowkett, Yakim Milev, Andrea Tiberi, Calista Stewart, Carlos Sanchez, Elisavet Hasa, Larry Allison, Malgorzata (Gosia) Starzynska

Year 01 Students

Abi Retter, Adam Bouaoune, Adam Willard-Spencer, Adedoyin Daniel Adeyelu, Agnesa Bikliqi, Aleena Mahmood, Alex Szal, Ali Sangare, Amal Looby, Amariah

Lawal, Amelia Edwards, Aqsa

Shahid, Ashley Reid, Ashrakur

Rahman, Azhaar Abdikadir, Basira

Ahmadi, Blerta Elezaj, Catalina

Butucel, Charley Williams, Charlie

Dadson, Charlotte Elliott-Ford, Corin Bateman, Daniel Pinto

Rodrigues, Danni Ager, Darian

Benavides Sarango, Dumitru

Ghinda, Enkela Sadikaj, Ewelina

Remiszewska, Fahim Hussain, Faisal Alaskar, Friba Ali, George Thorpe, Ghofran El Marioud, Giles Jost, Hamzah Varachhia, Hansan Ahmed, Harrison Forde, Hussain Shamaian, Ian Buzdugan, Ilmiye Ergiden, Isha Ahmed, Ishaq Ssenyonga, Jairo Camposano

Orihuela, Jolanta Wojtala, Joseph Halls, Joseph Cross, Joshua Freeman, Julia Bednarek, Juliana Congil Goncalves, Julie Janisch, Jyothirmayee Mannar, Kaaya Goncalves-Gosai, Kallie

Redgewell, Kamber Tintas, Katherine Correa, Keyan Arap, Lauren Day, Louise Le Maire, Mahnoor Paracha, Maisha Tahid, Maisie Odom, Maleeha Rashid, Manuela Goncalves, Mariam

Riane, Mark Austin, Matthew

Hofman, Matthew Deely, Merieme

Alimerina, Micah Fleary, Michael

Pecyna, Mikolaj O’Brien, Mohamed Haddi, Mohammed Sami, Muneera

Junaid, Myles Garrett, Natascha

Benitez Villafuerte, Navidaa Musa, Nikita Fevralovs, Peter Horvath, Rose Thomas, Rustam Rahmatulin, Salman Hafeez, Sami Almond, Samuel Olajide, Sana Shabir, Sarun Premachandran, Shelayne

Dowman, Syed Ahmed, Tasnia

Siddique, Thomas Raymen, Tooba Zahid, Uzair Lacewala, Vanessa Kandracova, William Perkins, William Roberts, Yi Chiew.

Preludes & Nocturnes

This year, BA1 focused on the theme of Balance. When something “feels” balanced the sum of its pieces and parts collectively forms an evenly designed composition.

When referenced in architecture, the term Balance is considered an essential factor in the use of its principles. One of its core values ‘stability’ is central in the demonstration of construction assembly and structural integrity for a building to ‘stand up’. Through its common aims ‘Equilibrium also plays its part, in the equal distribution of components from foundation to roof. These components are skilfully connected by the informal balance (asymmetry) and interconnected by threshold openings (doors and windows), creating details of all proportions and scales; together forming a unified and stable environment from this Architectural Orchestration.

A balanced architectural orchestration embraces design by using all our senses, i.e. haptic (touch), optic (see), and acoustic (hear). While doing so, enables our built environment to encompass an urban fabric that accommodates a greater understanding of people’s material needs and our well-being. These everyday requirements are integrated into our whole sense of balance, by integrating the active need for Rest, the need for Work, and the need for Play. These individual entities either harmoniously support or equally work against one (each) another, while striving for a balanced existence.

With the above in mind, the entities of Rest, Work and Play, this year served as the main lens to study and understand the different areas/configurations of the architecture surrounding us, the intention was that the individual design briefs will gradually introduce students to what an ‘architectural design process’ entails throughout the different stages of the projects and the course programme.

Central to the discipline, lies the understanding that we, as creators and designers of architectural spaces, are instrumental in the change and quality of our own built environment, the notion of understanding the multi-layers of our surroundings and the communities within, will constantly unravel new challenges. It is these challenges that required a balanced and reactive design solution.

01:

Fig 01: Adedoyin Daniel Adeyelu

BA Studio Year 01

Preludes & Nocturnes

Collage

Fig

Site Highline Residential Council/ Ex-Council Residential Educational Pub Under Construction Supermarket Place of Worship KEY CamleyStaccess There is a good variety of uses across the immediate area with several sites

Fig

• The 2D collage I created is created by light and shadows of the attic 3D model and my movement in the attic. • CDs represent light and reflection

02: 03: 04: 07: 06: 05: 08:

• Bottom left corner shops a combination of my work, play and rest in the area.

Proposed Drawings

Collage Relief

Fig 09 Fig 10 Fig 11: Jolanta Wojtala

Name: Jolanta Wojtala Student ID: 4141135 Architecture BA (Hons) Year 1 Semester 1 Design Module 101 Module code: EBB 4 501 2022/23

Fig 14

ASHRAKUR RAHMAN 3622549

RELIEF The colouring of stained glass is achieved by adding different metallic compounds to the glass when molten. In catholic churches these colours also have different meanings: Red - represents the blood of Jesus Blue Symbolic of sincerity, piety and hope often associated with the Virgin Mary Yellow - Seen in the halos of saints to represent divinity, power, or glory. Green growth, rebirth and life, as seen in nature all around us. White symolises innocence and purity Purple - mirrors the suffering and endurance of jesus during his crucifixion. Violet - can be seen to represent truth, suffering, passion or love Brown - representative of the renunciation of worldly things and pleasures. In Catholic churches stained glass windows were installed to spread the gospels in a visual manner making them accessable to everyone. This was especially important in a time when most people were illiterate and unable to read the bible themselves. The relief is made in a way that means the design can be projected onto another wall or surface so it can be shared with a larger audience. After projecting the relief it was realised that it can have a more dynamic nature. By changing the shape of the slot in the back of the box the projection also changes shape. Perhaps this could represent the dynamic nature of the space a church provides and how this can be mirrored when designing an envelope. Colour Projection RELIEF The colouring of stained glass is achieved by adding different metallic compounds to the glass when molten. In catholic churches these colours also have different meanings: Red - represents the blood of Jesus Blue Symbolic of sincerity, piety and hope often associated with the Virgin Mary Yellow - Seen in the halos of saints to represent divinity, power, or glory. Green growth, rebirth and life, as seen in nature all around us. symolises innocence and purity Purple - mirrors the suffering and endurance of jesus during his crucifixion. Violet - can be seen to represent truth, suffering, passion or love Brown - representative of the renunciation of worldly things and pleasures. In Catholic churches stained glass windows were installed to spread the gospels in a visual manner making them accessable to everyone. This was especially important in a time when most people were illiterate and unable to read the bible themselves. The relief is made in a way that means the design can be projected onto another wall or surface so it can be shared with a larger audience. After projecting the relief it was realised that it can have a more dynamic nature. By changing the shape of the slot in the back of the box the projection also changes shape. Perhaps this could represent the dynamic nature of the space a church provides and how this can be mirrored when designing an envelope. Colour Projection RELIEF The colouring of stained glass is achieved by adding different metallic compounds to the glass when molten. In catholic churches these colours also have different meanings: Red - represents the blood of Jesus Blue Symbolic of sincerity, piety and hope often associated with the Virgin Mary Yellow - Seen in the halos of saints to represent divinity, power, or glory. Green growth, rebirth and life, as seen in nature all around us. White symolises innocence and purity Purple - mirrors the suffering and endurance of jesus during his crucifixion. Violet - can be seen to represent truth, suffering, passion or love Brown - representative of the renunciation of worldly things and pleasures. In Catholic churches stained glass windows were installed to spread the gospels in a visual manner making them accessable to everyone. This was especially important in a time when most people were illiterate and unable to read the bible themselves. The relief is made in a way that means the design can be projected onto another wall or surface so it can be shared with a larger audience. After projecting the relief it was realised that it can have a more dynamic nature. By changing the shape of the slot in the back of the box the projection also changes shape. Perhaps this could represent the dynamic nature of the space a church provides and how this can be mirrored when designing an envelope. Colour Projection RELIEF The colouring of stained glass is achieved by adding different metallic compounds to the glass when molten. In catholic churches these colours also have different meanings: Red - represents the blood of Jesus Blue Symbolic of sincerity, piety and hope often associated with the Virgin Mary Yellow - Seen in the halos of saints to represent divinity, power, or glory. Green growth, rebirth and life, as seen in nature all around us. White symolises innocence and purity Purple - mirrors the suffering and endurance of jesus during his crucifixion. Violet - can be seen to represent truth, suffering, passion or love Brown - representative of the renunciation of worldly things and pleasures. In Catholic churches stained glass windows were installed to spread the gospels in a visual manner making them accessable to everyone. This was especially important in a time when most people were illiterate and unable to read the bible themselves. The relief is made in a way that means the design can be projected onto another wall or surface so it can be shared with a larger audience. After projecting the relief it was realised that it can have a more dynamic nature. By changing the shape of the slot in the back of the box the projection also changes shape. Perhaps this could represent the dynamic nature of the space a church provides and how this can be mirrored when designing an envelope. Colour Projection 02: 10: 11: 09: 12: 13: 15: 14:

BA Studio Year 01

Preludes & Nocturnes

16: 17: 18: 19: 22: 20: 21:

and the wood of the existing benches for a sense of belonging.

included in the initial submission on 31st been highlighted in pink All other work been re-worked.

OVERVIEW INSPIRATION ANALYSIS DEVELOPMENT

DELIVERABLES 14

SKETCHBOOK 27

CANOPY DEVELOPMENT

A B C D E F G A

PLANTING

SEATING DEVELOPMENT

I took a similar approach the seating beneath the my design was to use the the canopy as points for disposal. The cirular layout encourages reatining the concept of to talk about their smoking stigma of walking into a

Alexandra Szal Module:EBB_4_501_Design

Public Circulation

Private Circulation

Public Circulation

Private Circulation

Fig 16: Amelia Edwards Fig 17: Matthew Deely Fig 18: Isha Ahmed Fig 19: Ilmiye Ergiden Fig 20 & 21: Alex Szal Fig 22: Mikolaj O’Brien

A small cluster of alkali-friendly plants including Dogwood and Hawthorn with a central Euonymus Alatus tree in the centre. Sized so that users can still walk around the central area on the inside of the bench. 14

I began exploring the idea that the smokers’ ashes could fertilize the soil as a metaphor for growth. Whilst searching for plants that thrive in alkaline soil came across the hydrangea. It’s individual flowers evoked a soft canopy with 4 petals reaching down to stabilise. The final canopy was evolved bu extrapolating this concept.

SE ELEVATION 1:200 @ A2

structure and the variinformation, work components could example, during simultaneously days to inspire opportunities of inspiration interest. These views a view that frame has many

Fig 23 & 24: Joshua Freeman Fig 25: Ashley Reid Fig 26: Charlotte Elliott-Ford Fig 27 & 28: Joshua Freeman Fig 29: Giles Jost Fig 30: Alex Szal

REFERENCE TO KAZIMIR MALEVICH SUPREMATISM 34 DRAWINGS, 1920 / MATERIALS EXPLORATION — REFERENCE TO MINI PROJECT ISSUE 29/04/2023 DRAWN BY JMF PROJECT Soot Studios: Artist Co-living Space PROJECT NO. 103 SITE ADDRESS 42 St Pancras Way, London, NW1 0QT, England Floor Plan Ground Floor 1:100 A2 N 11 16 17 18 14 13 LOADING AREA RESIDENTS ENTRANCE COMMUNAL AREAS STUDIO WORKSPACE STORAGE TERRACE TOTAL 8 DOWN UP 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 12 15 GROUND FLOOR STUDIO SPACE & CAFE GROUND FLOOR PLAN ISSUE 29/04/2023 DRAWN BY JMF PROJECT Soot Studios: Artist Co-living Space PROJECT NO. 103 SITE ADDRESS 42 St Pancras Way, London, NW1 0QT, England Roof Plan 1:100 A2 N ROOF ACCESS ST PANCRAS WAY 42 40 44 REGENTS CANAL SITE ACCESS GREEN ROOF GROSS FLOOR AREA EXTENDS TO OVER 900m² RESIDENTS ACCESS PUBLIC ACCESS SOLAR PANELS 23: 24: 25: 26: 28: 29: 27: 30:

Proposed Plans

BA Studio Year 01

Proposed Long Section

Fig 31: Alex Szal Fig 32-34: Isha Ahmed Fig 35: William Roberts Fig 36: Mikolaj O’Brien Fig 37: Ashrakur Rahman Fig 38: Charlotte Elliott-Ford

34 Design 103 Hiding in Plain Sight Hiding in Plain Sight William Roberts Design 103 45 Proposed Elevation In Context 43 Proposed Elevations South Elevation - Summer South Elevation - Winter West Elevation East Elevation Sangari - For Khodu that only grows in summmer Green House Market Open in the Summer Months (May-August) 43

Elevations South Elevation - Summer South Elevation - Winter West Elevation East Elevation Sangari - For Khodu that only grows in summmer Green House Market Open in the Summer Months (May-August) PROPOSED GROUND FLOOR 1:100 @ A2 Scale 1:100 @ A2 0m 10m 5m 2m N 41

Fig 39: Joseph Halls

Proposed

First Floor Communal Kitchen Dining Area Allotment and Growing space Second Floor Third, Second and First Generation Living Bathroom 31: 32: 33: 34: 35:

Preludes & Nocturnes

model, transparency of spaces

This is the Fig 40: Giles Jost Fig 41: William Roberts Fig 42: Mikolaj O’Brien Fig 43: Matthew Deely Fig 44: Fahim Hussain

THE CONSTITUTION PUBLIC HOUSE BASEMENT 02 PRIVATE DINNER RE-CONSTITUTION Appendix Design 103 Hiding in Plain Sight 36: 37: 38: 39: 42: 40: 44: 45: 46: 43: 41:

Fig 45: Ashrakur Rahman Fig 46: Alex Szal

BA Studio 01

Adaptive Civicness

Design Tutors

Asem Al Bunni (Lead), Adamos Papakonstantinou, Kira Ariskina

Year 02

Arthur Wood, Kimberley France, Alketa Sadikaj, Caitlin Mitchell, Taylor Locke, Zara Bostan, Reem Mohammed, Haaris Nabibux, Camelia Friptu, Ozlem Yeter

Year 03

Tilly Brown, Kai Martin, Gina Virdi, Carmel Simmonds, Houda BenHamadi, Atef Mohammed Monnan, Kate Rutland, Joseph Olatunbosur, Misha Naseem, Yeliz Bozkurt, Kelsey De Sousa Freire, Drashti Parsana

Guest Critics

Sam Harvey (PDP) Alan Yakoub (rg+p)

BA Studio 01 continues its interest in the community and urban context. The studio studied the impact of local and global issues through civic spaces. We are interested in analysing and speculating on the social, economic, and spatial consequences of the new relation between users and the highly technological environment we live in.

This year we will focus our attention on Adaptive Civicness; Architecture adapting to critical global issues as a consequence of environmental, social, political or economic changes, affecting the community we live in and studying the contextual and social impact it can have in architecture.

Students are required to research and propose a civic piece of Architecture which responds to the community needs while considering its adaptation to an environmental, social, political, or economical crisis scenario developed through their research and own narrative. While our methodologies vary from geometrical, technological, and theoretical approaches to design development, we aim at practical solutions in the execution of a design proposal, we encourage students to experiment with materiality and physical modelling in the development of their designs, understanding scale and contextual relationships.

The aim of the adaptable civic space would be to accommodate the safety of the community and user i.e.. Environmental scenariosudden flooding, political- riot safety zone, socialhousing crisis.

Can we design civic spaces which can be adaptable to societies needs in urgent circumstances without diminishing the user experience and contextual relationship?

01:

Fig 01: Alketa Sadikaj

BA Studio 01

Adaptive Civicness

Fig 02: Atef Mohammed Monnan Fig 03: Tilly Brown

04: 02: 03:

Fig 04: Tilly Brown

Fig 05: Kimberley France Fig 06: Arthur Wood Fig 07: Tilly Brown Fig 08: Taylor Locke

05: 06: 07: 09: 08:

Fig 09: Camelia Friptu

BA Studio 01

Adaptive Civicness

26 10: 12: 11:

Fig 10: Arthur Wood Fig 11: Arthur Wood Fig 12: Carmel Simmonds

27 13: 14: 15:

Fig 13: Carmel Simmonds Fig 14: Haaris Nabibux Fig 15: Haaris Nabibux

BA Studio 01

Adaptive Civicness

28 16: 17: 18: 19: 20: 21: 22:

Fig 16: Alketa Sadikaj Fig 17: Houda BenHamadi Fig 18: Kai Martin Fig 19: Joseph Olatunbosur Fig 20: Atef Mohammed Monnan Fig 21: Gina Virdi Fig 22: Taylor Locke

29 23:

Fig 23: Alketa Sadikaj

BA Studio 02

Transpositional Plasticity

Design Tutors

Spyridon Kaprinis (Lead), Daniel Tang

Year 02

Ezra Barwin, Aamina Moheuddin, Ellis Smith, Xhovana Sejdia, Mohamed Musa, Marios Rustemi, Daniele Ferrentino, Pedram Nejad, Sundeep Bhudia, Jonah Howley

Year 03

Louis Soubeyran, Swathee Atputhasigamany, Taneen Hossain, Ilyayda Yaldaram, Ibraheem Farooq, Mirza Hussain, Afif Khalid, Akay Ozturk, Kirupa Raja, Ted Elliott, Robert Atkins, Jervin Tiongson

Guest Critics

Dimitris Akritopoulos (Upton-Hansen Architects) Gonçalo Pinheiro (Upton-Hansen Architects)

The theme of Transpositional Plasticity has two basic aspects: the notion of transposition has to do with the ability of analysis existing precedents and sites and developing operational methods of architectonic synthesis for other contexts and modalities. The notion of plasticity has to do with the capacity to receive form (e.g., clay) and the capacity to give form (e.g., plastic arts). Talking about the transpositional plasticity of a site thus amounts to thinking of the city as something modifiable, ‘formable’, and formative at the same time, while considering previous contextual conditions and historical typologies that might influence and instigate new architectonic possibilities.

BA Studio 02 aim to focus on a radical critique of the typical approach to form, that is completely divorced from a morphological and Cartesian design approach. This studio will explore the concepts of transposition and plasticity, their malleable and modifiable properties, and apply them to the aptitude of the given sites to respond, remodel, reorganize, and continually change for better ability to adapt to new situations.

The proposition is an investigation to the possibility of a new urban morphology that is responsive to the complex network of systems within the growing contemporary urban landscape. Mapping, drawing, and model making (utilizing graphic, physical, digital, analogue, and time-based registers) will be used as methods of investigation and design speculation.

Fig 01: Daniele Ferrentino

BA Studio 02

Transpositional Plasticity

Fig 02: Jervin Tiongson Fig 03: Jervin Tiongson Fig 04: Jonah Howley Fig 05: Sundeep Bhudia

02: 03: 04: 05: 06:

Fig 06: Daniele Ferrentino

Fig 07: Aamina Moheuddin Fig 08: Sundeep Bhudia Fig 09: Kirupa Raja Fig 10: Robert Atkins

07: 08: 09: 11: 10:

Fig 11: Swathee Atputhasigamany

BA Studio 02

Transpositional Plasticity

34 12: 14: 13:

Fig 12: Ellis Smith Fig 13: Swathee Atputhasigamany Fig 14: Pedram Nejad

35 15: 16: 17:

Fig 15: Daniele Ferrentino Fig 16: Jonah Howley Fig 17: Daniele Ferrentino

BA Studio 02

Transpositional Plasticity

36 18:

21: 22

23:

24:

Fig 18: Louis Soubeyran Fig 19: Robert Atkins Fig 20: Ted Elliott Fig 21: Robert Atkins Fig 22: Kirupa Raja Fig 23: Jonah Howley

37 25:

Fig 24: Jervin Tiongson Fig 25: Robert Atkins

Growing Homes

Rethinking Architecture Through Community Gardening

Design Tutors

Ioana Petkova (Co-Lead), Valerio Massaro (Co-Lead)

Year 02

Kimberley Cornejo Ortiz, Alysha Hussain, Emily Kajdi, Angela Hernandez Bonna, Tanya Mcnally, Rhys Riddle, Manuel Gonzales Tapia, Alex Webb, Lillian Bartella, Dylan Finch

Year 03

Rory Ward, George Arcino, Rex Galanta, Jenna Daher, Alexandra Blanaru, Arika Pal, Sahar Maryal, Kameron Grant, Aimie Cheetham, Stephen Jell, James Kernot

Workshop Partners: Nooma Studio, Vanessa Lastrucci, Loughborough Farm

This year BA Studio 03 re-imagined domestic spaces and practices through the idea of situated ecological thinking. Historically, architects have conceived of the environment by using formal and visual structures to specialise their ideas of ‘nature’. The studio tried to challenge this premise by embracing a plural and open definition of ecology, and by nurturing new understandings of architecture serving humans and non-humans alike. London’s environment is contested by many overlapping claims, simultaneously facing a global ecological breakdown. In this hyper-local setting, we aim towards a deeper rethinking of the built environment as a set of wider ecological relationships. Housing, as its largest fraction, is the most socially and ecologically critical. For that reason, Studio 03 proposed to rethink domestic space experimenting with new situated definitions of ecology.

In the first semester, the studio explored existing growing practices on a local community farm. Gardens and gardening offered the formal, spatial, social, and practical starting point for research. 201-301 focused on developing creative visual tools to map human and non-human stakeholders and their relationships with the built, natural, and social environments. The semester concluded with a proposal for a real London urban farm built upon the research findings. This project has then been expanded into a technological, ecological, and social concept for a residential proposal. The studio emphasised the development of artistic illustrations and physical modelmaking through which design ideas are explored, conceptualised, and tested.

BA Studio 03 questioned how to make use of community farming to develop socio-ecological design approaches to housing. Urban gardening and gardens became references to investigate the different relationships between the city, nature (in its many definitions) and local stakeholders. The legacy of community gardens and situated ecological thinking allowed us to explore several relevant themes, such as urban land ownership and governance, food production and urban farming, well-being and regenerative design.

BA Studio 03

01:

Fig 01: Aimie Cheetham

BA Studio 03

Growing Homes

Fig 02: Angela Hernandez Bonna Fig 03: James Kernot Fig 04: Angela Hernandez Bonna and Tanya McNally Fig 05: Emily Kajdi

02: 03: 04: 05: 06:

Fig 06: Alexandra Blanaru

41 07: 08: 09:

Fig 07: Emily Kajdi and Lillian Bartella Fig 08: James Kernot Fig 09: Steve Jell

BA Studio 03

Growing Homes

42 10 12: 11:

Fig 10: Aimie Cheetham and SteveJell Fig 11: Emily Kajdi Fig 12: Rhys Riddle

Key: Atrium

Sanitising room

Heated room

Extraction/ honey packing

Candle making room

Product cooling storage

Safety check room

W/C

Bedroom

Kitchen/dining/living Services & Circulation

Fig 13: Rhys Riddle Fig 14: Alysha Hussain Fig 15: Emily Kajdi

14: 13: 15: 16:

Fig 16: Aimie Cheetham

BA Studio 03

Growing Homes

44 17: 18: 21: 22: 19: 20:

Fig 17: James Kernot and Rory Ward Fig 18: Rory Ward Fig 19: Kimberley Cornejo Ortiz Fig 20: Sahar Maryal Fig 21: Jenna Daher Fig 22: Alex Webb

Fig 23: Dylan Finch

23:

Fig 24: Aimie Cheetham

BA Studio 04

Rising above Recession

Re-imagining Architecture in Uncertain Times

Design Tutors

Monika Jociute (Lead), Liam Bedwell

Year 02

Oliver Davies, Norran El-Attar, Thomas George, Agon Gjakija, Tselmeg Erdembileg, Anxhela Jaho, Matilda Jaho, Sara Krasniqi, Dejzi Laze, Sara Mihaila, Savannah Williams-Duberry

Year 03

Luke Sadler, Thomas Dickason, Kian Hales, Karen Uribe Orozco, Rayan Sarafian, Xhesika Rama, Owen Faunt, Emily Foster, Joseph Hannaghan, Rudy Logue, Ellie Spencer

Guest Critics

Maxim Sas (Hawkins Brown)

Oliver Beetschen (Charcoalblue)

Lauren Shallice (Hale)

Stephen Hadley (Stanton Williams)

Kevin Coello (Stanton Williams)

In BA Studio 04, the key theme and focus of investigations were tailored towards how architecture and infrastructure could be used as a tool to reimagine, change, and regenerate. It was here where Studio 04 was encouraged to consider creative and innovative forms of infrastructure as an architectural tool to unlock a site’s true potential and be fully integrated into the holistic approach of a project.

This approach encouraged Studio 04 to research and think beyond the boundary of a building’s footprint alone and cast a wider net of architectural thinking and discourse. This was undertaken through a series of research and brief creation exercises, which were developed specific to each student’s findings within the local physical context of a chosen site, as well as influences arising through current social and economic scenarios.

BA Studio 4 investigated how ultimately architecture played a role in bringing people together in a socially, economically, and environmentally sustainable manner. In turn, the students began to propose and develop their ideas and briefs around the above. The students developed their ideas through a mix of analogue and digital representations with an onus on design through model making.

01:

Fig 01: Ellie Spencer

BA Studio 04

Rising above Recession

48 02: 04: 03:

Fig 02: Thomas Dickason Fig 03: Owen Faunt Fig 04: Thomas Dickason

49 05: 06: 07:

Fig 05: Owen Faunt Fig 06: Ellie Spencer Fig 07: Ellie Spencer

BA Studio 04

Rising above Recession

Fig 08: Kian Hales Fig 09: Kian Hales

08: 09: 10:

Fig 10: Luke Sadler

Fig 11: Rudy Logue Fig 12: Rayan Sarafian

11: 12: 13:

Fig 13: Rayan Sarafian

BA Studio 04

Rising above Recession

52 3D Model External Drawing 14: 15: 16: 17: 18: 19: 20:

Fig 14: Norran El-Attar Fig 15: Sara Krasniqi Fig 16: Emily Foster Fig 17: Joseph Hannaghan Fig 18: Agon Gjakija Fig 19: Anxhela Jaho Fig 20: Matilda Jaho

53 21: 23: 22:

Fig 21: Oliver Davies Fig 22: Xhesika Rama Fig 23: Xhesika Rama

BA Studio 05

User Experience & Regenerative Urbanism

User Experience and Regenerative Urbanism

Design Tutors

Elham Valikhani (Lead), Elisavet Hasa, Anthony Okoluko

Year 02

Victoria Walker, Shaimae Binani, Jasmin Eloubaidi-Saunders, Adrian Konik, Louis Lefroy-Brooks, Reshawn Harding, Chelsea Goodman, Youssef Jib, Malvern Nyawiri, Wasim Bensaifa, Elis Klinger Asura

Year 03

Nazahah Iqbal, Nuha Chowdhury, Marianne Hernandez Bonna, Viktoria Petkova, Dorothea Donnely, David Bekiareli, Mhd Naji, Hannah Wallis, Georgina Kidd, Anthony Thrower, George Rose

Guest Critics

Eftychios Savvidis (Kennedy Woods), Julia Skeete (SOM)

Kenet Bakamovic (Architectural Association),Theo Svoronos (Studio McLeod)

BA Studio 05 investigates the incipient transformations of communities and lifestyles to propose innovative architectural responses to new spatial and material demands arising from rapid population growth, technological shifts, the climate emergency, and the global pandemic.

Our studio requires students to conduct research and design for user experience, new urban communities, and urban regeneration. To achieve this, we propose specific sites within the “Areas of Opportunity” in Waterloo (Semester 1), and the Boroughs of Tower Hamlets and Newham (Semester 2). In Semester 1, students explored and designed based on the theme of “A User’s Experience in the City,” addressing the needs and vulnerabilities of their chosen users. The focus was on the regeneration of existing buildings/ areas, requiring students to demonstrate an understanding of the global and local context and to develop sensitivity and knowledge of “Sensuous Architecture” and “Material Reimagination.” In Semester 2, we continued to explore the same subjects but this time focused on designing for a collective of users. Under the themes of “Coliving” and “Co-working,” students designed projects to provide architectural solutions for the spatial needs of diverse and complex communities of artists, makers, and craftspeople. The studio seeks projects that take a realistic approach while also incorporating a complex social diagram and embracing new developments in sustainable and innovative building technologies.

This year, the main focus of the studio was to encourage students’ imagination in designing projects that can pave the way for co-living and co-working, anticipating environmental and societal changes and dilemmas in the coming decades.

01:

Fig 01: Anthony Thrower

BA Studio 05

User Experience & Regenerative Urbanism

56 06: 07:

Fig 02: David Bekiareli Fig 03: Georgina Kidd Fig 04: Georgina Kidd Fig 05: George Rose Fig 06: Georgina Kidd

02: 03: 04: 05:

Fig 07: George Rose

Fig 08: Georgina Kidd Fig 09: Georgina Kidd Fig 10: Shaimae Binani Fig 11: Jasmin Eloubaidi-Saunders Fig 12: Jasmin Eloubaidi-Saunders

12: 13: 08: 09: 10: 11:

Fig 13: Louis Lefroy-Brooks

BA Studio 05

User Experience & Regenerative Urbanism

58 14: 17:

Fig 14: David Bekiareli Fig 15: Anthony Thrower

Mother Daughte Son Mother Son Daughter Son Mother Gu t/Sc d C LIVING ROOM BEDROOM PLAYROOM Space required at home DAILY ROUTINE AND LOCATION LIFETIME OF THE PROPERTY 2023 Garden BEDROOM Daughter leaves home DINING ROOM lIVING ROOM STUDY BEDROOM 2033 2043 SON DAUGHTER MOTHER 15 16: 18:

Fig 16: Anthony Thrower Fig 17: David Bekiareli Fig 18: Georgina Kidd

59 19: 20: 21:

Fig 19: Reshawn Harding Fig 20: Anthony Thrower

22: 23: 24: 25: 26: 301 User Animation By David Bekiareli

Fig 21: Adrian Konik Fig 22: Malvern Nyawiri Fig 23: Jasmin Eloubaidi-Saunders Fig 24: Victoria Walker Fig 25: David Bekiareli Fig 26: Adrian Konik & Louis Lefroy-Brooks

User Experience & Regenerative Urbanism

60 27: 28: 30: 31: 32: 23:

Fig 27: George Rose Fig 28: Marianne Hernandez-Bonna Fig 29: Dorothea Donnely Fig 30: Viktoria Petkova Fig 31: Georgina Kidd

Fig 32: David Bekiareli :

29 33:

BA Studio 05

61 HANNAH WALLIS DESIGN PORTFOLIO 3821112 20

Fig 33: Anthony Thrower Fig 34: Reshawn Harding Fig 35: Hannah Wallis Fig 36: George Rose Fig 37: George Rose

34: 36: 38: 37: FIRST FLOOR PLAN 3.3.3 HANNAH WALLIS DESIGN PORTFOLIO 3821112 22 FIRST FLOOR PLAN 3.3.3 35:

Fig 38: Georgina Kidd

BA Studio 06

Captured Visions

Design Tutors

Bandele Olubodun (Lead), Jonathan Bush

Year 02

Andi Abdullahi, Zach Baldwin, Ada Bartholomew, Enoch Koomson, Cem Bektas, Manal El Fardi Bakkali, Shanai Keddo-Campbell, Gerard Mortimer, Carla Myawiri, Chelsee Oliveira, Sharad Suman

Year 03

Najla Ahmed, Tasnima Ahmed, Iman Amir Heidir, Shanislav

Brezden, Owen Gosden, Jacob Hughes, James Low, Zahra Rana, Emma Sidey, Rory Thrush, Christine Ylagan

Guest Critics

Adrian Hill (Hill Patru)

Folake Ekundayo (Drake and Kannemeyer)

BA Studio 06 embarked on an enlightening journey, exploring the fascinating fragments of rich and intricate observations across history. This process highlighted how, at times, architecture experiences phases aptly described as ‘concentrated progress.’ Such substantial advancements often result from breakthroughs in unrelated domains, pushing our design thinking beyond traditional boundaries. In line with our educational goals, we sought to enlighten our students about the critical intersection of climate change and the significant role played by the building and construction industry in taking responsibility for this global issue.

Photography, Cinema, and Cinematography

Our exploration delved into the crucial part technology has played in the rapid expansion of urban environments. We began by scrutinizing photography, analysing its fundamental significance to human history and the ongoing influence of the film industry in enhancing people’s comprehension of bygone eras. This impact is particularly prominent in shaping public perception and driving societal transformations.

Using cinematic case studies, we furthered architectural theories while embracing emerging visualization techniques. Leveraging these mediums, the studio conducted research on various strategies to tackle today’s climate challenges, draw lessons from the pandemic, and underscore the accelerated pace of technological progress.

As we commenced the year, we ignited discussions inspired by case studies, historical graphic mediums, and field research. We pondered the principles of light, color, materials, and technology to holistically incorporate our findings into our designs. These designs embraced a diverse array of forms, such as artefacts, sculptures, installations, collages, photography, darkroom photo manipulation, and VR technology, among others. This collective effort ultimately led to an architectural resolution by the end of the year.

63 GROUND FLOOR PLAN GROUND FLOOR FIRST FLOOR FRAMEWORK PROPOSAL 6. 4 P R O P O S A L | A X O N O M E T R I C

01:

Fig 01: Christine Ylagan

/Collage

BA Studio 06

Captured Visions

that Stage 1: for the design development stage i had an idea of moving the

Stage 2: Here i have moved both of the staircases to the court yard area

Stage 3: I moved staircase on the opposite sides of the building to make it more symmetrical. I introduced possible divided between exhibition

Stage 4: Main changes that happens in this stage of development was the addition of new exhibition spaces on the bottom of the page and more clear divide between public private. Also the outlines of the dividers between exhibition spaces has become clearer the changes were made to improve the circulation of the building

Stage 5: was finalised both floors area has

64 Development: Old Cinema

that 26 / Captured Visions // The Cinema Museum / Studio 6 / BA Architecture Y3 / 2022-23 / 27 The Cinema Museum campus assimilates into the local area though the control of scale and the use of regional materiality. The project provides high quality internal spaces for entertainment, education and research while creating an oasis-like public realm in the centre of the city to be enjoyed by visitors and passers by alike. / Studio 6 / BA Architecture Y3 / 2022-23 / 5

Design Development

Development: Atrium Space early design phase of the project centred around defining space though a series of physical collages, sketch models and drawn sketches. This process aimed to architecturalise the massing produced in the previous project, drawing inspiration from existing, published, architectural designs shape the spaces in the final design outcome.

/Contemporary Cinema Atrium Collage /Contemporary Museum Massing Development Sketch /Public Realm/ Atrium Concept Collage /Atrium Stair Development Model /Research Development Sketch Fig 02: Stanislav Brezden Fig 03: Stanislav Brezden Fig 04: Jacobn Hughes Fig 05: Owen Gosden

02: 03: 04: 05: 06:

Fig 06: Jacob Hughes

For my case study I looked at WandaVision, the premise of the show is about the main character, Wanda making a town for herself from magic. With all the magic she has she creates her ideal town in America, 1950s suburbia and as the show progresses through the episodes she jumps through the decades up to the present. I wanted to look into more detail on why she chose the 1950s suburbia. The 1950s suburbs were on a rise; people were moving out of cities and to suburban towns. There was the baby boom, people were coming back from WW2 and having children, there was an increased demand for houses. Due to the war veterans had a lot of incentive under the GI bill, this meant things such

In the show Wanda has a family of her own creating this nuclear family further pushing this narrative of the American dream and gender role in the 1950s. This idea of moving to the suburbs and having the nuclear family was heavily pushed by media and film with numerous coming out centred around how great suburban life is, that is of course if you are a white man living in america. Unless you had money to buy a car to go to work or buy food it would be very difficult to live there. Minorities couldn’t even think about moving to the suburbs unless they wanted to be met with violence and intimidation, it also didn’t help that banks refused to give out loans to minorities such as African Americans and highlight areas which minorities lived in and classified them as “risky investment” causing this segregation and ena

SYNOPSIS 27 Design 302 II Research_ THE CINEMA MUSEUM Studio-6 CAPTURE THE MOMENT 3823668 Design 302 PHASE II Research_ THE CINEMA MUSEUM Studio-6

Fig 07: James Low Fig 08: James Low Fig 09: Rory Thrush Fig 10: Rory Thrush

07: 08: 09

10:

Fig 11: Najla Ahmed

BA Studio 06

Captured Visions

66 19 CAPTURE THE MOMENT 3823668 Studio-6 SECTIONS Proposed section AA Proposed Section BB 12:

Fig 12: Rory Thrush Fig 13: Zahra Rana

13: 14:

Fig 14: Tasnima Ahmed

67 58 Full Site Perspective Views 15:

Fig 15: Emma Sidey

BA Studio 06

Captured Visions

pictures cut out to form a space. They visualise the possible materials or features that facade and a unique walkway. The exhibition space 1 has glass on

Cafe

16: 17: 18:

the side looking outside

space

Fig 16: Gerard Mortimer Fig 17: Cem Bektas Fig 18: Cem Bektas

69 B 19: 20: 21: 22: 23: 24:

Fig 19: Shanai Keddo-Campbell Fig 20: Shanai Keddo-Campbell Fig 21: Gerard Mortimer Fig 22: Manal El Fardi Bakkali Fig 23: Chelsee Oliveira Fig 24: Chelsea Oliveira

Communications 01

Module Lead

Carlos Sanchez

Communications 02

Module Lead

Steve Bowkett

Communications 01 Tutors

Adamos Papakonstantinou, Carlos Sanchez, Steve Bowkett,

Communications 02 Tutors

Andrea Tiberi, Bandele Olubodun, Daniel Tang, Yakim Milev

Communications 01|02

This module, supported by the short courses, is centred on how we communicate architectural concepts through Digital forms of Communication.

The composition of the Communication modules consists of introductions to a variety of digital representation techniques. This year we delivered four workshops to choose from, each that ran for a duration of 5 weeks. The software that was used included: Grasshopper and Revit Dynamo as individual workshop studies and along with the introduction to Robotics short course and a course on Digital Representation formed the four options.

The main objective of this module is the introduction to an understanding of the transformative nature of architecture through digital communication, ensuring that the training of professionals within architectural studies is a central component to the new developments in technology and manufacturing methods within the industry.

Students were introduced to specific techniques in parametric and interactive design. They were shown how to develop skills in making and testing both physical and virtual prototypical performative objects, and through those activities were able to develop a range of design and technical skills, including: coding, use of electronic controllers, parametric design, robotics, virtual reality, and a variety of other approaches to architectural design.

should initially take a number of short journeys within a set area in the city and photographically record these routes with your camera or Iphone. These journeys may be done randomly, or they review each of these journeys and decide which one which is spatially and architecturally the most interesting. Having chosen your route, produce around 8 to 10 photographs of your sequence sheet as a sequence of corresponding framed drawings. As you can see with the worked example in the presentation you will have to make a decision about how much detail and colour (if any) previous frame within the sequence to be able to read all of these drawings together as a story. should initially take a number of short journeys within a set area in the city and photographically record these routes with your camera or Iphone. These journeys may be done randomly, or they review each of these journeys and decide which one which is spatially and architecturally the most interesting. Having chosen your route, produce around 8 to 10 photographs of your sequence sheet as a sequence of corresponding framed drawings. As you can see with the worked example in the presentation you will have to make a decision about how much detail and colour (if any) previous frame within the sequence to be able to read all of these drawings together as a story.

02 - Materials and Concepts

As a group we wanted to develop a basic concept model of our wall. Therefore, using a variety of recycled materials including paper, card, foam board and cons of each. It enabled us to

Group Concept Models

Close up on detail; adding mirror film flames to sine wave

Concept

HACKSAW RIDGE - JOE HYDER

02.2 - Concept Opt.1. Presentation Opt.2. Fibre Opt.3. Layered Opt.4. Fibre Opt.5. Foam

02. Interior Perspective View - Expressing Craftmanship, Beauty and Simplicity of Zumthors work

Fig 01: Holly Mclean Fig 02: Adedoyin Adeyelu Charlie Dadson, Joe Cross, Matt Deely, Rustam Rahmatulin Fig 05: Basil Anuar, Fahim Hussain, Joe Garnett, Joe Hyder, Max Martin Zihan Musthafa Fig 03: Amy Goldthorpe, Asma Parker, Beth Norris, Jessica Fuller, Molly Brown, Olivia Pickup

01: 02: 03: 04: 05:

Fig 04: Harry Flack

72 13 elements reference, to model. The physical which would Drawing not to scale 01. Exterior Approach View & Landscape Setting - Emphasising The Dramatic Landscape, Atmospheric Climate and Human Scale 06: 07:

Fig 06: Harry Flack Fig 07: Basil Anuar

2d Roof Block Site Plan Render Drawing Case Study of The Barcelona Pavilion by Mies Van der Rohe Drawing Title: Roof Block Site Plan Style: Render + Post Production Drawing Scale: 1:500 @ A3 Drawing No. 03 08:

Fig 08: Harry Flack

ng the same panels from E2

10: 11:

Sketch Figure Drawing

12: 09:

Sketch Figure Drawing

Technology 01 Module Lead

Vincenzo Caputo

Technology 02 Module Lead

Milo De Luca

Technology 03 Module Lead

Andrea Tiberi

Technology 01 Tutors

Vincenzo Caputo, Maria Echeverri, Ruggero Bruno Chialiastri, Joao Bravo da Costa,

Technology 02 Tutors

Poppy van Dijk, Milo De Luca, Maria Aceytuno Poch, Teo Andonov, Wynne Leung, Matthew Lacey,

Technology 03 Tutors

Andrea Tiberi, Larry Allison

Technology 01|02|03

The Technology modules aim to provide students with a comprehensive understanding of the intrinsic role played by technology in the realm of architectural design. These modules delve into the interplay between design and building systems, encompassing fundamental principles pertaining to structural integrity, environmental strategies, and the construction of building components. By means of precedent studies and informative lectures, students are exposed to a diverse array of construction techniques, ranging from conventional methods to contemporary and emerging practices, all with a steadfast commitment to sustainability.

Significantly, these modules underscore the profound interconnections existing between the conceptualisation of design, the process of decision-making regarding technological alternatives, and the practical application of construction knowledge, thereby informing their influence on the final outcomes of design proposals. Intended for undergraduate students, Technology modules 01-02-03 facilitate an extensive analysis and synthesis of construction technology, environmental design, and the web of interdependencies that bind them together.

Fig 01: Alexandra Szal, Amelia Edwards, William Roberts Fig 02: Harrison Forde Fig 03: Ashley Reid Fig 04: William Roberts

01: 02: 03: 04: 05:

Fig 05: Matthew Deely

3 Structural System Transfer Structures

1 Isometric view of tree transfer structures from Portugal Street

Due to the requirement to vary the column grid to respond to changes of usage/layout in different levels, it is necessary to introduce transfer structures at ground, level 1 and level 3 (Figures 1 & 2).

A ‘Tree’ transfer system has been adopted to suit the need to adapt to changing functionality of the structure. Both concrete and steel solutions have been considered and whilst both are structurally viable, each option has its benefits and drawbacks.

First order transfer trees

The first order transfer trees, situated at the underside of first floor, support the superstructure above on a 15.2m grid. Each tree effectively supports 232m2 at each level, and are therefore carrying significant axial loads down to the foundation structure below.

Second order transfer trees

The second order trees, situated at level 3, support the office floors above. Each second order tree effectively supports 117m2 at each level up to roof, again carrying significant axial loads.

Second order transfer trees

The second order trees, situated at level 3, support the office floors above. Each second order tree effectively supports 117m2 at each level up to roof, again carrying significant axial loads.

2 Isometric view of rotating transfer structure

3 Plan view of rotating transfer structure

A key aspect is the lack of interior columns to maintain free open space. Thus, the engineering teams opted to transfer the vertical loads along the perimeter of the exterior walls with 6 m spaced columns further supported by stiff connections. Moreover, the columns are linked with brackets that support the platform/shelves used to exhibit the cars along the walls of the museum.

Structural Columns 6 Material Palette Chosen Materials

horizontal

vertical

windows

this depth

Reconstituted Portland Stone Bronze Reconstituted Roachbed Natural Bed Limestone Stainless Steel Aluminium 06: 08: 07:

Student: Daniele Ferrentino

combination of re-constituted roach bed and re-constituted Portland stone, grit blasted to expose the aggregate, will form the fins and the solid surfaces of the building. Splayed fins, reveals and cills will be treated to maximise the light reflective qualities of these surfaces. The re-constituted stone surfaces will have a depth, designed to also provide

and

shading. The

are set into

and framed in aluminium.

Fig 06: Thomas G George Fig 07: Daniele Ferrentino

Student: Daniele Ferrentino

Fig 08: Thomas G George

Structural

Columns

1 Isometric view of tree transfer structures from Portugal Street Isometric view of rotating transfer structure

view of rotating transfer structure

Plan

1 Isometric view tree transfer structures from Portugal Street 2 Isometric view of rotating transfer structure 3 Plan view of rotating transfer structure

77 09: 10: 11:

Fig 09: Robert Atkins Fig 10: Aimie Jane Cheetham

12: 13:

Fig 11: Robert Atkins Fig 12: Ellie Spencer Fig 13: Ellie Spencer

Cultural Context 01

Module Lead

Carlene Prince

Cultural Context 01 Tutors

Carlene Prince, Stephen Lovejoy

Steve Bowkett

Cultural Context 02

Module Lead

Stephen Lovejoy

Cultural Context 02 Tutors

Elizabeth Hasa, Stephen Lovejoy

Valerio Massaro

Cultural Context 03

Module Lead

Stephen Lovejoy

Cultural Context 03 Tutors

Elizabeth Hasa, Ioana Petkova

Stephen Lovejoy, Valerio Massaro

Cultural Context 01|02|03

Cultural Context 01 - The introduction to History and Theory in Architecture. This year’s lecture series and module assignment incorporates the BA.Yr1 Design Studio theme of Rest, Work and Play, Life in Architecture. The emphasis is aimed at the many ways we are already deeply familiar with architectural history and theory with its presents within all the spaces we use on a daily basis - in the architecture of our homes, where we work, the spaces where we study, socialise, and reflect; these spaces today have all derived from key architectural ideas and theories of the past. The lecture series will examine each of these spaces in turn, charting the development across history and highlighting notable architectural ideas and built projects in various cities within the world of architecture. It will demonstrate to the students that architectural history and theory is not something abstract or arbitrary, but something that is all around us in our daily lives.

Cultural Context 02 is a comprehensive overview of how architecture has evolved in response to the changing needs of society, from the very first nomadic shelters through to the complex multi-purpose value-driven architecture of today. Key architectural styles and movements are discussed and placed in their historical context, from the aesthetic styles that developed from the need of organised religions to communicate through their buildings, to the rise of future-oriented modern architecture following the industrial revolution and the trauma of the World Wars.

Cultural Context 03 challenges students to question the role of the architect by exploring the different ways in which architecture can be perceived. By doing so, students engage with many of the critical debates currently taking place in the profession. The edges of architecture are also explored, looking at where architecture begins to overlap with adjacent disciplines, from planning, urban design and heritage to psychology, economics, and politics.

Fig 01: Alison Scott Fig 02: Joe Hyder Fig 03: Matthew Deely Fig 04: Holly McLean

01: 02: 03: 04: 05:

Fig 05: Basil Anuar

Cultural Context 02

Balkrishna Doshi Ahmedabad

80 Meaning: Sacred Space | Lecture 04 Pre Lecture: Activity: - Choose a place of worship of any recognised religion. Analyse the ways in which the Architect has designed the building to respond to the belief system and rituals of the religion. - Sketch and annotate these different features on a drawing or photograph of the building. Result: Structure/ Place of Worship: Chinese or Japanese Pagoda Temple Religion: Buddhism The five-storied pagoda represents the five elements of nature and elements of Buddhism: 1. earth, 2. water, 3. fire, 4. wind and 5. space/void. The Pagoda levels symbolize a journey or pathway to heightened awareness and heightened perception (the final 5th floor). The layered wooden grooves ascending in stages towards the sky evoke a spiritual connection. The metal spire at the top completes the structure and its symbolism. The building held Buddhist artwork, relics, statues, and religious objects filled with wisdom, peace, and harmony. Reflect: We see beliefs and religion evolve from a shared belief system but most of the Places of worship from all religions are centred around the divine and a sequence of spaces forming a journey to the heavens, sky, and gods. Interesting to see there is the same emphasis on the 5 elements of Buddhism and also the five pillars of Islam. Floor 5th Space/void. Floor 4th Wind Floor 3rd: Fire Floor 1st Earth WEEK 5 - MEANING Aesthetics & Taste Gothic Architecture Gothic Architecture was first developed within the early 12th century in northern France which continued to spread across western and central Europe establishing the type Gothic architecture that we know today. The term ‘Gothic’ was first introduced by Italian writers during the late Renaissance period. It was used as a word to imply a ‘barbaric’ undertone, of which, relates to this style of architecture due to it’s rather hard exterior and common use of stone. It served as a new way of design, for its time, that incorporated intricate detail developed through the observation of nature and exploitation of elegance. The architecture that informed the Gothic period drew upon a number of influences, such as the Romanesque, Middle Eastern and Byzantine. All of which point towards a use of vertical emphasis to design through semi circular arches, vaults and columns. Gothic architecture was mostly used as a way of communicating striking power and beauty. The architecture is constructed very practically using ribbed vaults, arches and flying buttresses to hold the structure together and support the loads of these typically very tall buildings. This way of designing enables the exaggeration of height creating an emphasis on the importance of these places, which were often used as places of worship or as a representation of power. Typically seen within ecclesiastical buildings, Gothic architecture is also accompanied and identified by sculpture, textiles and paintings. Places designed using the Gothic style force people (typically spiritual congregations) to appreciate the scale and importance of Holy sites. Brutalist Architecture Brutalism, is characterised by harsh monolithic forms cast from exposed concrete. This style of architecture serves as one of architectures more polarising form of design. As a consequence to the war, brutalism is majorly seen in examples of social housing due to the post war reinstating of the United Kingdom. It began to frequently emerge as a result of its practicality and simplicity in form. It

Brutalism

Gothic Architecture Brutalist Architecture Post-Lecture Observation: THE SPREAD OF IDEAS Architecture is constantly evolving due to new technologies and ideas that are introduced to societies which are then spread across the globe. Although it may be apparent that exciting new technologies discovered in today’s society are quick to be implemented into new designs, it simply reflects the same pattern of ‘the spread of ideas’ that we have seen throughout the course of history. The Roman Empire ruled from circa 31BC - 476AD, and made massive advancements on architecture and infrastructure during this period. They introduced a vast use of columns, domes and arches made from new found materials such as concrete, all of which we know still are in use today. The Roman Empire has had a very profound influence on Architecture, even centuries after it’s fall. Many iconic buildings of status and national monuments since have continued to have been designed to imitate this historic period of Architecture. In 1804, when Napoleon was crowned Emperor of France, he commissioned works to renovate Paris following very similar traits to Rome. The Arc de Triomphe and the Place Vendome are two examples of how French architects have reused certain aspects of Roman design to bring a sense of importance and beauty to the space. Reflection: Although very different in aesthetic, undeniably, both Gothic and Brutalist Architecture will have carried through elements of design from historic influences. For example, the use of concrete is a technology has been used within both Roman and Brutalist Architecture.chitecture/ https://www.architecture.com/knowledge-and-resources/ with%20the%20Middle%20Ages,is%20an%20emphasis%20ture-influenced-modern-architecture# https://www.mpm.edu/research-collections/anthropology/ roman-empire-brief-history#:~:text=Imperial%20Rome%20 Imperial%20Period&text=During%20this%20period%2C%Pre-Lecture Activity: Observation: how have building design alter to overcome different personal experience people have with the building? Cultural Context 02 Journal Technology: 2/2 - Pre-Lecture Activity Modernity Choose one design feature of the modern architectural movement. Explore how it can be seen as a response to the desire to create plentiful, healthy, hygienic housing. Find an image from a built project that shows this design feature. Annotate (or caption) the image with the ways in which this design feature can be understood as a response to the desire to create plentiful, healthy hygienic housing. solarium any room that is exposed to the sun and is an example of Modernist Le Corbusier to design with health giving factors. Roof gardens became fundamental to him bringing nature, sunlight/daylight and fresh air into houses. Le Corbusier believed in to be one mark of modern lifestyle. The Villa Savoye’s integration of indoor and outdoor spaces on all floors allowed the family to spend time outdoors in the most efficient way possible the house was like a machine designed to maximise leisure in the ‘machine age’. A recurring concept of Le Corbusier’s designs was elevating buildings off the ground on slender columns allowing the air to circulate beneath. In Villa Savoye, the sunken first floor courtyard surrounded by sliding glazed screens blurred the distinction between inside and outside spaces, bringing nature indoors. He treated the courtyard terrace as room without walls, reflecting his desire to fully integrate the landscape and architecture. Fully glazed sliding screens integrating inside and outside spaces bringing fresh air and Sunlights and large areas of glazing provide natural light to gloomy Living accommodation elevated on slender stilts allowing air to circulate beneath and the building to hover above the landscape Continuous windows providing panoramic surrounding countryside are left unglazed in the visual connection between the secluded Villa Savoye, Le Corbusier, 1931, Poissy, France Roof Terraces & Solarium South facing suntrap Sunlight reflecting off the Framed views of landscape from roof Extensive glazing and sliding screens Photograph of the framed view of the landscape from the roof Drawing by myself. (2023). Axo sketch of the Villa Savoye [Drawing]. Full height glazing maximising sunlight daylight Panoramic Roof lights providing Some windows left ungalzed linking courtyard with surrounding landscape Natural airflow beneath living 13 06: 10: 08: 11: 09: 07:

became popular and therefore most common during the 1950s following the post-war movement, how

ever, peaked circa 20 years later during the 1970s.

is commonly known to be related to Concrete, which was a popular resource at the time. This was due to the practical character

istics of the material alongside it’s economic efficiency, being cheap to purchase and build. This is what introduced name ‘brutalism’ originating from the French words ‘beton brut’ meaning ‘raw concrete’.

Fig 06: Oliver Langner Fig 07: Basil Anuar Fig 08: Harry Flack Fig 09: Holly Mclean Fig 10: Asher Oxborrow

CULTURAL CONTEXT 02 PARIS Georges-Eugène Haussmann’s transformation of Paris HAUSSMANN’S

Fig 11: Alketa Sadikaj

Haussmann dictated that all buildings should be made from light limestone with zinc mansard roof. This formula creates sense of order and visual harmony, within the capital. Typically, the usage of space is the same in each of these floor and poorer Parisians living on the upper floors. While today’s contemporary attitude would say the upper floors would higher value, in time where lifts and elevators did not exist, living on the was a luxury as you would have less stairs to climb to reach your home. Ground floor: Typically reserved for shops, featuring large windows and tall ceilings. First floor: Also called the entresol or mezzanine, was often used for the storage of goods, for the shops below. Second floor: Called the étage noble, or “noble floor” was reserved for upper-class Parisians. The exterior of the étage noble is Third and Fourth floors: Usually reserved for middle-class Parisians. Windows on the second and third floor are typically less decorative than the étage noble and these floors do not feature balcony. Fifth floor: This floor features balcony, though this is mainly this balcony, the front facade could be seen as too long. Sixth floor: The final floor was typically used to home servants. This floor features the distinctive zinc mansard roof. Earlier Parisian buildings would have had a slate roof; Haussmann opted for zinc as it was cheap, easily workable and recyclable. Ground floor shops First floor shop storage Second floor étage noble Third floor regular homes Fourth floor regular homes Fitfth floor regular homes Sixth floor servants homes Wrought iron balconies Wrought iron balconies Zinc mansard roof 13 Architecture “Architecture is a political act, by nature. It has to do with the relationships between people and how they decide their conditions of living” -Lebbeus Woods Cultural Context 02 –Doshi’s most celebrated design is the Life Insurance Corporation development where the -exist model above. The development offers 324 units over hectares of land. Doshi said ‘Ties tiny balconies, open terraces and the (Mollard, M. 2019) which highlight the leads to an architecturally successful solution which incorporates lifestyles as well as the natural environment. The buildings strengthen ties between physical structure and levels for social activities and privacy India is very socially diverse, so each block accommodates all 3 income groups on different levels groups together below. This project, the most of all Doshi’s previous projects, relates most closely real difference to many families and ings celebrate Indian culture, allow for the lifestyles of those living there and create a strong sense of community which is successful according to Doshi who said not houses but homes where happy matters. ‘(Awasarkar, M. 2019). Figure 24

81 Definition 2 - Stages for Life Point 1 Fitting with context Point 2 Comfort 12: 14: 16:

Fig 12: Jenna Daher Fig 13: Swathee Atputhasigamany Fig 14: Jacob Hughes Fig 15: David Bekiareli

NEO BANKSIDE Cultural Context 03 - Critical Essay Rogers Stirk Harbour + Partners Architecture as an ideological form is complex definition which relates to ideas and narratives that are contained and communicated within built structures. the Barbic p The flats in the Barbican estate were originally leased by the City of London however became privately owned in the 1980s following the introduct flat types in this scheme, where the idea was that residents would be able to work their way up the economic ladder for young professionals, likely to have taste for Mediterranean holidays, French Scandinavian design with intentions to be more than a Low rise blocks consist of and bed flats while the towers comprise of and bed homes creating this idea of built, and perhaps social hierarchy. – primary photo of the courtyard in the architects to achieve utopian feel. on the balconies, the red tiled flooring, and the blue body of water. –columns. utopian feel created through the stark contrast between the brutalist architecture, its repeated as a more nuanced and personal approach to the design, listening to the stories told by the existing architecture and translating them to suit modern context (Littlefield & Lewis, 2007). The resultant architecture can, therefore, be seen as a continuous conversation between the past and the present of the structure; speaking the same architectural ‘language’ but with each being shaped by their historic and societal contexts. The sense of continuity within the building can be seen in the manner in which the old and new interface. The accuracy with which the new materials have been matched to the existing concrete of the power station enables seamless transition between old and new, where is often impossible to determine where one ends and the other begins (Fig. 5,8). As well as linking to the past of the Bankside power station, the use of brick and concrete have further connotations with the wider industrial age of Britain. Throughout the Victorian era, countless industrial buildings were constructed across the country, often sharing the common materiality of brick and con crete. Due to the ubiquity of these structures, particularly when applied at large scale, these materials carry connotations of an historic era that saw Britain as the leading global power, undergoing a vast economic boom (Hall, 2019). The sense of nostalgia for this era of our history remains deep rooted into our society. Today, many right-wing politicians idolise this era through their rhetoric, longing for time in which Britain was the largest political power the world. Conversely, left-wing politics often reveres this era for the economic opportunities afforded many working-class communities, particularly the north of the country. The sense of restorative nostalgia that is created by these rhetorics wilfully ignores the negative impacts of imperialism, class division and the wider societal issues of this age. While for some in Britain, the Victorian era has connotations of manufacturing, innovation, economic boom and power; equally valid are its associations to colonialism, classism, subjugation and control seen dur ing this era. By specifically choosing to reflect the architecture of this time, the architects can be seen to validate the views of the people who idolise Britain’s industrial age. is impossible to separate the negative connotations of this era from the materials used in the extension. As such, to many, the building can be seen as the modern idolisation of an era that saw great societal injustices. This can be viewed as particularly problematic when considering that the building was envisaged as dedicated space to house the artworks produced by artists from marginalised groups. Conversely, the fact that the archi tects adapted their material application, utilising the bricks as semi-permeable façade, could be seen as an attempt to break away from this past. The act of changing the materials rather than directly mir roring them displays that the designers weren’t deifying this historic era. The nuances in the application of materials in the old and new building can be seen to lessen the connotations that the new extension has to our nation’s dark history. (Herzog De Meuron 2015) Stage of life In order provide the project the most adaptability, the architects of the Neo Bankside development adopted the ‘served and servant’ this structure, the interior arrangement and layout are more flexible because internal shear walls and cores are no longer required. This throughout the structure more inexpensive manner to keep costs down and make the scheme financially viable for affordable housing cater for the needs the housing crisis. affordable housing on site with the addition of partition walls to divide the spaces into smaller average sized homes to house families that higher than that of areas like where willow walk is located, would be financially unviable for the council to introduce affordable housing on While comparing the spatial layouts of both the Neo Bankside project with the Willow Walk development, there are many stark differences the designed into the layout of the apartments increase the square footage of the apartments and standard of living, while also driving up the restrictive activities and routines for the inhabitants. large proportion apartments have private elevators opening directly into the apartment Walk development which the apartments only consist of the necessary spaces house needs which include bedrooms, bathrooms, living, dining and kitchen space with little wastage of space with the arrangement of public living spaces interlinked together and private living spaces arranged the development, we see areas which encourage the residents to socialise and develop connections with one another. With shared kitchen spaces and properties opening directly onto an open courtyard green space with seating for the residents to come together and interact with one another. Definition 2 - Stages for Life Fitting context 12: 16:

Fig 16: Carmen Calugar Fig 12: Jenna Daher Fig 13: Swathee Atputhasigamany Fig 14: Jacob Hughes Fig 15: David Bekiareli Fig 16: Carmen Calugar

Life Fitting with context 12: 14: 16:

Definition 2 - Stages for

Fig 12: Jenna Daher Fig 13: Swathee Atputhasigamany Fig 14: Jacob Hughes Fig 15: David Bekiareli

The Development 01 – Existing house 02 – The Cattle Shed 03 – The Ruin 04 - Extension 13: BARBICAN CENTRE Chamberlin, Powell, and Bon 1965-182 Architecture as Ideological Form and the Stage for Life Primary photo taken on an architecture tour of the site CULTURAL CONTEXT 3 Tate Modern Switch House Herzog & De Meuron Critical Case Study NEO BANKSIDE Cultural Context 03 Critical Essay BA (HONS) Architecture 2022-23 Rogers Stirk Harbour + Partners Figure 1: (Sumner, 2015) DE N T ON – A CH T CTU E AS D OLOG CA ORM Architecture as an ideological form is a complex definition which relates to the political cultural an, the building be explored through the links to philosophy, psychology, and art studies The flats in the Barbican estate were originally leased by the City of London however became privately owned in the 1980s following the introduction to the ‘Right to Buy’. There are over 80 flat types in this scheme, where the idea was that residents would be able to work their way up by moving to different apartments within the estate for young professionals, likely to have a taste for Mediterranean holidays, French food, and Scandinavian design (Barbican - Jon Astbury, n.a) the Barbican was development designed typical council housing scheme. Low rise blocks consist of and 2 bed flats while the towers comprise of and 4 bed homes creating this idea of a built, and perhaps social hierarchy. – A primary photo of the courtyard the Centre showingan overview ofthearchitectural features and the design elements adopted by the Mediterranean characteristics are seen in the palm trees – primary photo of the view framed by the architecture, its repeated features, andthesoftcoloursandreflections thewater. Critical Essay // Tate Modern Switch House: Herzog De Mauron as more nuanced and personal approach to the design, listening to the stories told by the existing architecture and translating them to suit a modern context (Littlefield & Lewis, 2007). The resultant architecture can, therefore, be seen as a continuous conversation between the past and the present of the structure; speaking the same architectural ‘language’ but with each being shaped by their historic and societal contexts. The sense of continuity within the building can be seen in the manner in which the old and new interface. The accuracy with which the new materials have been matched to the existing concrete of the power station enables a seamless transition between old and new, where it is often impossible to determine where one ends and the other begins (Fig. 5,8). As well as linking to the past of the Bankside power station, the use of brick and concrete have further connotations with the wider industrial age of Britain. Throughout the Victorian era, countless industrial buildings were constructed across the country, often sharing the common materiality of brick and concrete. Due to the ubiquity of these structures, particularly when applied at a large scale, these materials carry connotations of an historic era that saw Britain as the leading global power, undergoing vast economic boom (Hall, 2019). The sense of nostalgia for this era of our history remains deep rooted into our society. Today, many right-wing politicians idolise this era through their rhetoric, longing for time in which Britain was the largest political power in the world. Conversely, left-wing politics often reveres this era for the economic opportunities afforded many working-class communities, particularly in the north of the country. The sense of restorative nostalgia that created by these rhetorics wilfully ignores the negative impacts of imperialism, class division and the wider societal issues of this age. While for some in Britain, the Victorian era has connotations of manufacturing, innovation, economic boom and power; equally valid are its associations to colonialism, classism, subjugation and control seen during this era. By specifically choosing to reflect the architecture of this time, the architects can be seen to validate the views of the people who idolise Britain’s industrial age. It is impossible to separate the negative connotations of this era from the materials used in the extension. As such, to many, the building can be seen as the modern idolisation of an era that saw great societal injustices. This can be viewed as particularly problematic when considering that the building was envisaged as a dedicated space to house the artworks produced by artists from marginalised groups. Conversely, the fact that the architects adapted their material application, utilising the bricks as a semi-permeable façade, could be seen as an attempt to break away from this past. The act of changing the materials rather than directly mirroring them displays that the designers weren’t deifying this historic era. The nuances in the application of materials the old and new building can be seen to lessen the connotations that the new extension has to our nation’s dark history. Figure (Herzog & De Stage of life In order to provide the project the most adaptability, the architects loads from the wind thanks to external diagrid bracing. Because of this structure, the interior arrangement and layout are more flexible to use conventional columns and cores to help to distribute loads throughout the structure more inexpensive manner to keep costs internal spaces, there wide enough mixture of housing types that cater for the needs of the housing crisis. can be argued that the layout can be easily adapted to facilitate home. However with the average price per square foot significantly the site of an already established and built up area where the price per square foot has reached £12,110 per metre squared, the highest the spatial requirements for the user of the space and the way the spaces have been arranged to suit the different demographic use. Neo Bankside apartments and penthouses have grown out the spaces and included amenities we typically find in common areas or the public domain, these homes eliminate the need for social interaction with the outside world. Even though the spaces layout and spatial arrangement of the Neo Bankside apartments are open plan and easily adaptable, they have been designed to prescribe certain modes living and orchestrate through the design decisions determining the activities and and utilisation of the spaces by the user. This contrasts the spatial layout the Willow Walk development which the apartments only consist of the necessary spaces house needs which include bedrooms, bathrooms, living, dining residents of each apartment have chance to interact, socialise and form connections with their neighbours. In the short stay housing component of the development, we see areas which encourage the residents to socialise and develop connections with one another. With shared kitchen spaces 8 –Architecture as an ideological form is a complex definition which relates to the political ideas and narratives that are contained and communicated within built structures. In terms of the Barbican, the building be explored through the links to philosophy, psychology, and art The flats in the Barbican estate were originally leased by the City of London however became privately owned in the 1980s following the introduction to the ‘Right to Buy’. flat types in this scheme, where the idea was that residents would be able to work their way up the economic ladder by moving to different apartments within the estate Described as “a home for young professionals, likely to have a taste for Mediterranean holidays, French food,with intentions to be more than typical council housing scheme. Low rise blocks consist of and 2 bed flats while the towers comprise of and 4 bed homes creating this idea of built, and perhaps social hierarchy. – primary photo of the courtyard the BarbicanCentre showingan overview thearchitectural features and the design elements adopted by the Mediterranean characteristics are seen in the palm trees –architecture, its repeated features, andthesoftcoloursandreflectionsofthewater.

Fig 16: Carmen Calugar

Professional Practice

Module Lead

Tutors

Professional Practice

Our Professional Practice module is designed and structured to lay the foundation for ‘life-long learning’ in the architectural profession, and its primary purpose is to enable our students and apprentices to show competence in practice.

All students and apprentices are introduced to professional practice through a series of lectures and workshops, some of which have been delivered by external guests as a way of demonstrating a range of in-depth project case study examples which reveal various legal and economic aspects of architectural practice, construction procurement routes, and skills necessary to practice effectively in the architectural profession.

The understanding of the professional practice of architecture, its co-relationships, and the concepts of ethical professionalism together with the roles and responsibilities of the architect have been demonstrated by our students and apprentices by delivering group role-play and independent project case study submissions which demonstrate the content learned through the course of this module.

Monika Jociute Monika Jociute, Asem Al Bunni, Stephen Hadley

02:

Fig 01 & 02: Joseph Olatunbosun, Rob Atkins, Steve Jell, Owen Faunt, Stanislav Brezden. Fig 03: Miroslav Hristov, Carmen Calugar, Jacob Hughes, Kelsey Freire

01: 03: 04: 05:

Fig 04: Sahar Maryal, Christine Ylagan, Jenna Daher, Tasnima Ahmed. Fig 05: Joseph Olatunbosun, Rob Atkins, Steve Jell, Owen Faunt, Stanislav Brezden

08: 09: 10:

Fig 06: Joseph Olatunbosun, Rob Atkins, Steve Jell, Owen Faunt, Stanislav Brezden. Fig 07: Najla Ahmed, Xhesika Rama, Zahra Rana and Rayan Sarafian. Fig 08: Georgina Kidd, Hannah Wallis, Kate Rutland, Rudy Logue, Emily Foster

85 11: 12: 13:

Fig 11: Georgina Kidd, Hannah Wallis, Kate Rutland, Rudy Logue, Emily Foster Fig 12: Jerivn Tiongson, Ted Elliott, James Kernot, Aimie Cheetham, George Rose Fig 13: David Bekiareli, Dorothea Donnelly, Viktoria Petkova, Nazahah Iqbal

Master of Architecture (ARB/RIBA PART II)

MArch:

MArch: Master of Architecture (ARB/RIBA PART II)

Course Directors:

Professor Igea Troiani - MArch: Master of Architecture FT & PT

Kazeem Awotunde - Level 7 Architect Apprenticeship

Year 04 & 05 Design Tutors

MArch Studio 01

Federico Rossi (Lead) Marco Vanucci, Anna Muzychak

MArch Studio 02

Teoman Ayas (Lead), Seda Zirek

MArch Studio 03

Kazeem Awotunde (Lead) Andrea Tiberi, Yianna Moustaka (Sem 1), Adamos Papakonstantinou (Sem 2)

Technology 05 Thesis: Margarita Germanos (Lead), Larry Allison

Technology 05 Lectures:

Kazeem Awotunde (Lead), Stephen Hadley

History and Theory: Critical Thinking

Igea Troiani (Module Lead Sem 1), Hamed Khosravi (Module Lead Sem 2), Valerio Massaro, Ioana Petkova, Hakan Yildiz

Guest speakers: George Jepson, Steve Bowkett, Stephen Lovejoy, Katerina Zacharopolous, Hongxia Pu

Architecture and Theory: Dissertation

Prof. Igea Troiani (Module Lead), Steve Bowkett, Stephen Lovejoy, Valerio Massaro, Ioana Petkova, Federico Rossi

Energy & Resource Efficiency in Design

Eva Sopeoglou

Professional Practice & Design Economics

Stephen Brookhouse

In 2022-2023, the MArch: Master of Architecture (Full-time 2-year course and Part-time 3-year course) and the 3-year apprenticeship route of study, MArch: Master of Architecture Postgraduate Diploma in Professional Practice course are the RIBA Part II courses offered at LSBU. This year, for the first time, the RIBA Part II students had the opportunity of having their own floor on the 8th floor of the Keyworth Centre in which each of the three studios had their own studio spaces.

MArch Studio 01 taught by Federico Rossi, Marco Vanucci, and Anna Muzychak ran a studio entitled ‘Super Structures’. Inspired by Herman Hertzberger’s theories of structure, it studied architecture as a kit of parts where components can be playfully assembled, disassembled, re-used, recycled and up-cycled at will. It focused on architectures of prefab, pre-serviced, off the shelf, reclaimed components and how they can be produced and constructed with non-standard and custom assembly processes. Centering on the growing social inequalities and environmental crises the studio sought net-zero, scalable and circular strategies to produce a more sustainable and inclusive built environment. The site of the project was Pesaro in Marche, Italy. It was visited by the students as their field trip. The studio employed component prototyping and expanded the research into digital fabrication done in the DARLAB (The Digital Architectural and Robotics Laboratory) Group, which is led by Federico.

‘ReMIX’ was the title of the MArch Studio 02 taught by Teoman Ayas and Seda Zirek. The studio responds to the climate emergency as a critical aspect of our era and architecture’s implicit involvement in material use. MArch Studio 02 contend that ongoing attempts to focus solely on technological solutions is insufficient to create the necessary cultural and architectural response. Studio 22 explores the means to go beyond techno-fix approaches by exploring methods of up-cycling which are designed with limited inventories. Like the ever-expanding criteria of sustainability that includes

material, social and economic aspects, the studio expanded the concept of pre-used inventory to include architectural spaces, diagrams, materials and more. The site for the project was the empty Fosters+Partners City Hall building near Tower Bridge. The field trip was to Amsterdam where students were exposed to radical strategies of reuse.

MArch Studio 03 was taught by Kazeem Awotunde, Andrea Tiberi, Yianna Moustaka (Sem 1) and Adamos Papakonstantinou (Sem 2). Described by some as a Lebbeus Woods style studio with a biomimetic focus, the work of the studio was explored through free-hand and digital drawing and model-making. The MArch Studio 03 entitled ‘Structure as Space’ was a place for research and exploration, not only of the current social challenges but also of ourselves, finding our own expression. A key research element of the studio was the examination of specific global communities where social interaction and collective living as the basis for models of urban design. Aesthetics and history of place-making are central to the studio’s focus. The field trip was to Marrakesh, Morocco where students undertook cultural place-making studies to inform their design work.

Professor Igea Troiani Course Director, MArch: Master of Architecture

June 2023

MArch Studio 01

Super Structures

Design Tutors

Federico Rossi (Lead) Marco

Vanucci, Anna Muzychak

Year 01 Students

Dan Alexandru Dunca, Florence Golding

Harris Jeyaputhiran, Ioana Rus

José Matheo Taguiang, Martyna Stolarz, Renee Banks

Delvecchio, Siobhan De Souza

Johnathan Herath, Ege Tarlakazan

Amar Singh Sidhu, Danny Perrier

Joshua Carter, Maisie Coomber

Thomas Blount

Year 02 Students

Javier De Leon Gonzalez

Mohamed Al-Doury, Chloe Tayali

Alexander Warne, Benjamin Booth

Evelina Rodrigues, Jack Cottrell

Jack Taafe, Jake Wilson, James Hickford, Samuel Bailey

Seyhmus Acis, Upinder Bahra

Thanks to:

Andrew Ascroft, Kazeem

Awotunde, Teoman Ayas, Ruben Baiocco, Simone Capra, Tony Hopes, Yianna Moustaka, Manuel Orazi, Matteo Ricci, Marcello Smarrelli, Jack Theobald, Andrea Tiberi, Igea Troiani, Daniele Vimini, Seda Zirek.

“Structure is how things work or fit together. Structure creates freedom, in the way that rules of play enable the game”.

(Herman

Hertzberger)

MArch Studio 01 understands architecture as a kit of parts where components can be playfully assembled, disassembled, re-used, recycled and up-cycled at will. An architecture of generic parts (prefab, pre-serviced, off the shelf, reclaimed components) can be produced and constructed with non-standard and custom assembly processes. Today, the growing social inequalities and environmental crisis demand a radical change in the way we design, procure, and deliver buildings. We need net-zero, scalable and circular strategies as a way to produce a more sustainable and inclusive built environment.

This year, MArch Studio 01 work on the city of Pesaro, a seaside town along the Italian North Adriatic coast. The Adriatic was historically considered the ‘gate to the Levant’ and, today, the terminal of the Belt and Road Initiative, a strategic masterplan of the Chinese government to develop new trade routes between Asia and Europe. This is an opportunity to rethink the cities and ports of the Northern Adriatic. The urbanization along the coasts of Emilia Romagna and Marche region has grown over time following the ‘Emilian model’: the diffusion of small to medium enterprises, often clustered by industrial specialization, has produced the ‘diffuse city’, a territory that is neither urban or rural and where the leisurely coastline coexists with the inland industrial districts. In 1972, Carlo Aymonino elaborated a master plan for Pesaro that introduced large-scale interventions connecting the city and its territory. Manfredo Tafuri described these projects as urbatecture, a rubric that described the turn from architecture as an object to the merging with urban planning. Following in their footsteps, Studio 01 will develop a super block, a large-scale structure acting as an urban node, infrastructural or logistics interchange. How can the super block challenge the sprawl and mitigate the unrestricted growth of the city? How can prefabricated super structures adapt to local conditions and be the catalyst of urban regeneration?

Fig 01: Jake Wilson

MArch Studio 01

Super Structures

Fig 02: Thomas Blount Fig 03: Alexander Warne

02: 03: 04:

Fig 04: Martyna Stolarz

Fig 05: Samuel Bailey Fig 06: Upinder Bahra

05: 06: 07:

Fig 07: Florence Golding

MArch Studio 01

Super Structures

94 08: 09:

Fig 8: Dan Alexandru Dunca Fig 9: Joshua Carter

10:

Fig 10: Thomas Blount

95 11: 12: 13:

Fig 11: Joshua Carter Fig 12: Maisie Coomber Fig 13: Florence Golding

MArch Studio 01

Super Structures

96 14: 15:

17:

Fig 14: Jake Wilson Fig 15: Upinder Bahra Fig 16: Ege Tarlakazan Fig 17: Alexander Warne Fig 18: Danny Perrier 18:

97 19:

Fig 19: Martyna Stolarz

MArch Studio 02

ReMIX Architecture

Urban Upcycling, Material and Fabrication Hacking, Respatialization of Urban Space

Design Tutors

Teoman Ayas (Lead), Seda Zirek

Year 01 Students

Margaret Crick, Nadia Delaimy, Mosbah El Khalil, Rebecca Greenway, Rohan Kalsi, Ibrahim Saeed, Syful Islam, Luke Baggott, Ken Yeung, Thomas Newsom, Luis Ceita, Meabh Minnus, Kamil Perzanowski, Todd Fletcher, Max Rayner

Year 02 Students

Jedidiah Boateng, Parth Damani, Sara Katunaric, Ian Sunjhoreea, Anoop Thilak, Karoline Koch, Thomas Koren, Benjamin Miller, Niks Piliens, Jonathan Stevens, Rafael Teixeira, Zahra Zare, Luis Rodrigues Guedes

Climate emergency as a critical aspect of our era is a highly complex and overwhelming reality that has proved hard to come to terms with.

“Climate change has yet to be conceptualised as a cultural and political reference around which our discourses on architectural imagination can take shape” Neyran Turan

Ongoing attempts to focus solely on technological solutions is insufficient to create the necessary cultural and architectural response. MArch Studio 02 will explore the means to go beyond such techno-fix approaches.

There is no “away”. Most things created and used in our world are here to stay. Almost 10 percent of annual global carbon emission is linked not only to the construction but also to the demolition of buildings. Considerations around the full lifecycle and consequences of the built environment lead to opportunities for new architectural language that optimises, reclaims and reimagines. Engaging with found conditions challenges the top down hierarchies, whilst technological advancements enable us to imagine new bottom-up strategies to organise and build.

This studio is inspired by the methods of up-cycling that promotes design using limited inventories. Similar to the ever-expanding criteria of sustainability that includes material, social and economic aspects, it also expands the concept of pre-used inventory to include architectural spaces, diagrams, materials and more.

Fig 01: Luis Ceita

01: 02 :

Fig 02: Luis Ceita

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Fig 03: Luis Ceita

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Fig 04: Sara Katunaric

MArch Studio 02 ReMIX Architecture

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Fig 05: Luis Ceita Fig 06: Ian Sunjhoreea

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Fig 07: Ian Sunjhoreea

MArch Studio 02

ReMIX Architecture

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Fig 08: Meabh Minnis Fig 09: Nadia Delaimy

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Fig 10: Niks Piliens

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Fig 11: Thomas Newsom Fig 12: Niks Piliens

MArch Studio 02

ReMIX Architecture

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Fig 13: Nadia Delaimy Fig 14: Studo Trip Fig 15: Kamil Perzanowski Fig 16: Rafael Teixeira

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Fig 17: Rafael Teixeira

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Fig 18: Rafael Teixeira Fig 19: Rafael Teixeira

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Fig 20: Rafael Teixeira

MArch Studio 03

Structure As Space

Structure as Space

Design Tutors

Kazeem Awotunde (Lead), Andrea

Tiberi, Yianna Moustaka (Sem 1), Adamos Papakonstantinou (Sem 2)

Year 01 Students

Ashanti Onike Catherine Darby, Ilinca Rusu, Tinca Rusu, Juliana

Mara Presente Gomes, Oliver

Kaye, Reece Harrison, Sofia

Browning, Syed Ali Akbar, Aiya

Khabbush, Ayesha Beazley, Robert

Beer, Chloe Gladden, Russell

George Brown

Year 02 Students

Albert Boborodov, Anthony

Mumagi, Anas Osman, Daniel

Brudkiewicz, Juliana Amorim

Antunes, Jumana Rand Katar, Khaled Salameh, Negin Moradi

Gheisvandi, Nicole Oliveira

Miranda, Nornesto Fernandez, Oluwatobiloba Adeogun, Oumaima

Kabak, Uran Jerlija, Victor Velev, Zakaria Tehami, Zaki Abdelshah

Guest Critics

Tudor Cristescu (ECD Architects)

Ema Benzar (Lees Associates)

Carmelo Loris Campo (Loris Campo)

A Trip to the Moon (French: Le Voyage dans la Lune) - 1902 French adventure short film directed by Georges Méliès. “Magic tricks and illusion became my speciality. The world of imagination” Georges Méliès 1861 - 1938.

MArch Studio 03 is the place for research and exploration, not only of the current social challenges but also of ourselves, finding our own expression. This year, we are focused on the key themes held within our longstanding research area titled “Structure as Space”.

Architecture could be seen as the art of designing buildings and structures for convenient human habitation and utilisation, considering such factors as the variation in norms and social values for attaining social comfort in different societies. (Astrolabe, 2002; Cited in Rikko et al. 2011).

MArch Studio 03 explored design values and their depiction in architecture to promote social interaction and well-being in the built environment, creating improved residential, civic, or community spaces. This initiates discussions on how built environment professionals address issues of social isolation and their impact on human well-being through embracing sustainable design. A key research element focused on examining specific global communities where social interaction and collective living successfully formed the basis for models of urban design; the synthesis of this research demonstrates how these findings may be integrated into design methodology to improve the specific knowledge of architecture in creating environments actively contributing to human well-being through socio-cohesion that promote community and ethical representation in our contemporary cities.

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Fig 01: Albert Boborodov

MArch Studio 03

Structure As Space

108 D esign 403 - Genius Loci Generation - Narrative Drawing

Fig 02: Anas Osman, Aiya Khabbush Fig 03: Tinca Rusu Fig 04: Khaled Salamah Fig 05: Zain Akbar, Oliver Kaye

02: 03: 04: 05: 19 2 4 7 8 3 C D D F B E E Creative Individual Space First Floor Lobby Collaborative Space 1 100 04 - First 4 N JOURNEY OF KNOWLEDGE AND SELF EMPOWERMENT

Fig 06: Daniel Brudkiewicz, Juliana Presente Gomes

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Fig 07: Nornesto Fernandez Fig 08: Brown Russell Fig 09: Robert Beer Fig 10: Nicole Oliveira

07: 08: 09: 10: 11:

Fig 11: Oluwatobiloba Adeogun, Nicole Oliveira

MArch Studio 03

Structure As Space

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Fig 12:Juliana Amorim Antune Fig 13: Zakaria Tehami

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Fig 14: Sofia Browning

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17: Fig 15:Ayesha Beazley Fig 16: Reece Harrison, Oumaima Kabak Fig 17: Oumaima Kabak 15: 16:

MArch Studio 03

Structure As Space

112 MAP 21:

: Victor Velev, Negin Moradi Gheisvandi : Negin Mora,di Gheisvandi ,Zakaria Tehami, Junana Rand Katar

ASHANTI DARBY INDEX Narrative Drawing 1 Site Analysis 2, 3, 4 Precedents Sketches 6 Design Development Plans Sections & Elevations 9 Final Perspectives 10 Case Study: Fes 11 The Mechanism 12, 13 Architectural Film 14 Initial Model D 403 - Pavilion 02 18: 19: 22: 23: 24:

Exploded axonometric of the construction

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Fig 24: Chloe Gladden, Ashanti Onike Darby

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Fig 25: Uran Jerlija, Zaki Abdelshah

Semester 1 Lead

Kazeem Awotunde

Semester 2 Lead

Margarita Germanos

Tutors

Technology 05

High technology is revolutionising architectural design. The shift is altering both the process and end- result of a new breed of innovative architecture that is disrupting the industry and heading in unexpected and exciting directions.

Structure, material, and construction, all form a part of the intellectual process that help to enhance the themes and narratives of architecture. From generative design mimicking nature evolutionary approach to additive design, 3D printing, and robotics.

At postgraduate level, graduates must be able to demonstrate successfully and clearly the ‘ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals.’ (RIBA procedures for validation and validation criteria for UK and international courses and examinations in architecture; September 2011).

This year, the Technology 5 -Technical Thesis, help students develop and express their conceptual and technical skills. It enhances their ability to reflect on different architectural design ideas and its implementation, embracing aesthetics, formal and spatial qualities, and resolution to their final Design 503 project.

Embracing emerging technologies, students will also develop an understanding of the user requirements, safety and comfort when completing their report. Issues associated with professional practice, health and safety and use of space will all be key to their understanding. They will demonstrate their understanding of the theoretical and practical and of the technical requirements for construction of a final year masters design project.

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Margarita Germanos, Larry Allison, Stephen Hadley, Kazeem Awotunde

115 MArch Technology 5: Technical Thesis -- London South Bank University Temple Of Knowledge Albert Boborodov 01: 02: 03:

Fig 01: Albert Bobordov Fig 02: Zakaria Tehami Fig 01: Uran Jerlija

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Fig 07: Seyhmus Acis

05: 06: 07: 08:

Fig 08: Samuel Bailey

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Fig 09: Upinder Bahra Fig 10: Daniel Brudkiewicz Fig 11: Rafael Texieira

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11: 12:

Fig 12: Karoline Koch

Sem 1 Module Lead

Prof. Igea Troiani,

Sem 2 Module Lead

Dr Hamed Khosravi, Tutors

Valerio Massaro, Ioana Petkova, Guest Lecturers

Hakan Yildiz, George Jepson, Steve Bowkett, Stephen Lovejoy, Katerina Zacharopolous, Hongxia Pu

History & Theory: Critical Thinking

History & Theory module develops around thematic lecturers by the tutors and guest lecturers. Core readings and extended bibliography are provided for each theme that is discussed in seminar sessions on a weekly basis. In 2022-23, Semester 1 is structured along the themes of Development & Criticality, Labour & Gender, Conservation & Regeneration, and Critical Practices. Semester 2 is focused on Research Methods that is themed around the notion of drawing as an investigatory tool.

The lecture series undertakes a close reading of artistic and experimental methods and practices as well as precedents that have historically shaped the foundation of architectural representation. It reads architectural drawing as an assembled form; a mode of thinking and design, that reflects the intellectual, cultural, political, and technological ethos of the time. It aims to bring together various experimental and scientific methods, analytical devices, and artistic practices to explore the use of media and representation of space as a form of multi-scalar investigation; one that expands from architecture to the territory and the urban as well as collective and individual imaginaries.

From analogue tools, and modelling techniques, to curatorial projects or publications, the lectures and seminars will address key projects that use architectural media (drawings, paintings, collages, films, and models) beyond the pure representational purposes but instead as a systematic form of enquiry.

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Fig 01: Luke D. Baggott, Villa Harris Fig 02: Thomas Newsom, Petite Maison Fig 03: Tinca Rusu, Villa Meyer Fig 04: Amar Sidhu, Villa Goldenberg

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Fig 05: Ilinca Rusu, Villa Meyer

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Fig 06: Aiya Khabbush, Maison Locative Ponsik Fig 07: Chloe Gladden, Maison Locative Ponsik Fig 08: Margaret Crick, Maison Ribot

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Fig 09: Juliana Presente Gomes, Maison Minimum Fig 10: Rob Beer, Maison Canale Fig 11: Russell Brown, Maison Cook

Module Lead:

Professor Igea Troiani

Dissertation Supervisors:

Steve

Architecture and Theory: Dissertation

‘Architecture and Theory: Dissertation’ is a module that addresses the research, analysis, interpretation, and communication of architecture, in the form of a written dissertation (10,000 words max. in length + or – 5% excluding bibliography) on a topic of the student’s choice, agreed with their dissertation supervisor and the module leader, concerning the histories and theories of architecture.

In 2022-23, students chose topics relating to architecture’s relationship to post-colonial studies, competitions, gender studies, conservation practice, digital technologies, sustainable and environmental responsibility, social housing, religious faiths, media studies etc. The work produced by students was of an impressive standard that showed their genuine engagement with topic and the unconditional support of their supervisors.

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Bowkett, Stephen Lovejoy, Valerio Massaro, Ioana Petkova, Federico Rossi, Prof. Igea Troiani.

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Fig 01: Dominic Sparks Fig 02: Nicole Oliveira Miranda Fig 03: Khaled Salameh

01: 02: 03: 04:

Fig 04: Nour Borghol

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Fig 05: Akram Askaari Fig 06: Oluwatobiloba Adeogun Fig 07: Harry Hayes

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Fig 08: Oumaima Kabak Fig 09: Albert Boborodov Fig 10: Efstratia (Faye) Theodora Rigkou Eva Sopeoglou

Energy and Resource Efficiency in Design

The module addresses contemporary discussions within educational guidance and the current professional frameworks regarding the climate and biodiversity emergency in the built environment. The module is delivered at the intermediate, 1st year for full-time and 2nd year of part-time and apprenticeship studies of the MArch Part 2 stage of the professional qualification for architects.

The students engage with critical terminology introducing climate literacy principles, environmental design, passive solar design and an overview of climate change’s historical account. The lectures and seminars provide a practical basis for MArch students.

To address the challenges posed by climate change, our efforts must be founded on research rigour and the spirit of collaboration. The module sets out a framework for design-based research on climate, environmental and biodiversity studies, preparatory for the 5th and final year of MArch Design Studio and Technical Thesis.

The work consists of a Sustainability Research technical report, a design-based research project that includes written text, diagrams, and drawings. The research draws on key literature, current topical information available via the library, books, and journal articles, and the most up-to-date information in alternative formats to traditional academic resources— such as podcasts, online webinars and nonprofit pressure group documents. The research topics covered four themes: Climate Justice, Biodiversity, Carbon and Retrofit.

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Module Leader

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Fig 01: Antony Miller Fig 02: Margaret Crick

01: 02: 03: Existing Building Elements New Building Elements 37 1. 1. 1. 1. 1. 2. 2. 1. CHART TITLE Existing Building Elements New Building Elements Existing Building Elements New Building Elements Ian Chalk Architects’ Calculation 86% 14% Existing Building Elements New Building Elements New Calculation Including MEP CHART TITLE Existing Building Elements New Building Elements 61% 39% Light 800 20 They are generally found on walls facing the sun, as on ‘pole-facing walls’ would tend to act only as sunshades. On east and west orientations, they may act as an effective means of reducing direct heat gain and glare but will not bounce light as deeply into the space. Single plane of glass leads poor heat reduction, heat escaping quickly through the gass Thermal efficiency is a key concern,reducing heating bills and comfort. Replacing each single plane with a double glazing will: Summer solstice 75 ° Winter solstice Decreased heat loss through the windows meaning reduced energy bills Reduction in outside noise penetrating the property and your comfort Security benefits to the property (The double glazing can also be made using tempered, safety glass) Saves money on the new window joinery and installation. Reduction in waste of disposing of all the window frame material for a modern PVC equivalent unit fig 12. Zone A - Sun reacting to Life shelve fig 13. Section showing sun angles fig 14. Window digram showing measurements Colleague 06 Colleague 07 Colleague 05 Zone A Zone B Zone C E Summer Winter S fig. 09 Axo diagram illustration sun movement and areas 18 FACADE PANEL VERSION 1 FACADE PANEL VERSION 1 A1 A1 B1 C1 D1 D B A A A BRASS BRASS STONE STONE C 19

Fig 03: David Sattaur

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Fig 04: Akramul Askaari Fig 05: Natalia Cieminska

3 6 2 5 3 4 6 5 DECK 04: 06: 05:

Fig 06: Rebecca Greenway

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Fig 07: Harry Horwood

OVERFLOW (DIRECTED TO STREET TREES) (WINDOW FREE) FLAT ROOTING TREES UNTENDED WILD FOREST TREE FIXING STREET TREES IRRIGATION SYSTEM INTENSIVE GROWING MEDIA INSULATION (WARM ROOF) VAPOUR BARRIER GEOTEXTILE FILTER FABRIC DRAINAGE MATS WATERPROOF MEMBRANE (+ ROOT BARRIER) (PERENNIALS, SHRUBS & TREES) FOOTPATH ROOT SPACE STRUCTURE TWINWALL GEONET STREET SUBASE SUPPORTING PILLAR STANDARD STREET TREES HAVE VERY (INSULATED) WATERPROOF LAYER HUMUS TOILET AERATION PIPE CONTEMPORARY INTENSIVE GREEN ROOF DETAIL: TO HUNDERTWASSER TREE TENANT DETAIL: GREENBLUE ROOTSPACE SYSTEM DETAIL: RAINWATER (PUMPED TO TREE TENANT) HUMUS (COMPOST FERTILISER) SPONGED SHEET (STORE WATER) INSULATION (ISOLATE) VAPOUR BARRIER BUILDING STRUCTURE STANDARD STREET TREE PIT: TO THEREFORE, IT WILL TAKE 55 YEARS TO OFFSET THE BUILDINGS CONSTRUCTION CO2 EMISSIONS, FOR OPERATIONAL & MAINTENANCE EMISSIONS (CONCRETE) (TONNE) BY THE VEGETATION PER YEAR (LUXURY APARTMENTS) VOLUME OF WATER REQUIRED 07: Fig

Fig 20

Axonometric 1:100(m) 1:250(m) Steel frame support for Primary building structure Non-structural building facade Balconies and vegetation Concrete planter Summer sun shading Winter solar gain Wind protection Dust protection Release humidity Release oxygen Noise protection Fig 18 - Tower Ecosystem Fig 17 - Tower Axonometric Fig 19 - Role of Vegetation

Fig 08: Dominic Sparks

21 (Above) - Exploded Axonometric

(Below) - Balcony

Professional Practice and Design Economics

This module introduces students to contemporary practice offering lectures outlining the knowledge of the professional, legal, and managerial responsibilities of a practicing architect structured around the four themes of: Professionalism and ethics; Architectural Practice; The legislative framework; and Project delivery. Specific Lectures in the module included: 1) Professionalism and ethics; the practice environment; Planning; Heritage and sustainability; Fire and Life Safety (CDM): The role of the architect; the RIBA Plan of Work 202 and Stakeholders in project delivery; Project appraisal: Cost planning and value; Procurement; and Contracts. The coursework tested bringing the four themes together and involved a piece of reflective writing. The course was led by Prof. Stephen Brookhouse. Stephen’s books include Part 3 Handbook [3rd edition] (2014) and Professional Studies in Architecture: a Primer (2013). Stephen is an expert in dispute resolution in the construction industry and the use of non-adversarial methods such as dispute boards and mediation.

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Module Leader: Stephen Brookhouse

A Critical Review

Thechallengestothedesignanddeliveryofprojects after the GrenfellTowerTragedy (Fire & life safety andwellbeing).

Fire, life safety and wellbeing is an important topic in contemporary architectural practice. With an ever growing population, and our expansion of building, particular larger, multiple occupancy dwellings, means housing more people in one structure. In essence, there are more people, in more dwellings, and the government’s housebuilding target of 300,000 more homes per year has undoubtedly put pressure, particularly on large scale development companies, to produce new homes to meet this demand (BBC, 2022).

At current date, we have more preventative measures than ever before to ensure the safety of those in built spaces.These include (but are not limited to) Building Control requirements and regulations, appliances with preventative features, such as induction hobs and HobSafe devices, firestopping design strategies, which ensure the safe installation and maintenance of electrical and plumbing routes, materials such as fire rated plasterboard, NS putty pads, Stopseal batt, Pyropro sealant, PS Coating and Pipebloc PCP collars. Measures such as addressable fire alarm systems and sprinklers systems also contribute towards minimising risk of fire and maximising wellbeing.

There are also a number of Acts of Parliament and Regulations which have been implemented before and as a direct result of tragedies such as Grenfell Tower and Barking Riverside. These include the Health and Safety at Work Act 1974, which places a legal duty on employers to ensure the health, safety and welfare of employees, and to ensure that employees and others are kept safe (Legal Requirements, no date).

Other encompassing legislation includes the Building Safety Act of 2022 (which focuses on imposing strict duties on not only the design and construction of buildings but also addresses architects’ competence.) (Building Safety Act, no date). Not currently enforced, the Fire Safety Act 2021

“clarifiesthescopeoftheFireSafetyOrder to make clear it applies to the structure,external walls(includingcladdingandbalconies)andindividual flatentrancedoorsbetweendomesticpremisesand the common parts of a multi-occupied residential building.” (Home Office, 2022, 45%)

The themselves being the designing To points having control, important across England, Regulating being implemented, builds to and wellbeing. The Grenfell in the form and attempting existing of Building commissioned the ‘Hackitt government cladding which resulted buildings The result unarguably Looking further measure the prevention and wellbeing that

“ generally the suppliers with the appropriate party accreditation (Construction

The British Standards, (although not only but also within the demands method, defined

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Fig 01: Jake Nelson Fig 02: Rebecca Greenway Fig 03: Florence Golding

01: 02: 03:

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133 Part 3 (ARB/RIBA PART III)

RIBA Professional Practice (ARB/RIBA PART III)

Module Lead:

Peter Wislocki (Sem 1)

Kathy Gal (Sem 2)

Guest Lectures:

Stephen Brookhouse, Greg Dowden, Joseph Emanuele, Gordon Gibb, Alan Johnson, Evan Owen-Powell, Jonathon Wong

Part 3

Our Professional Practice Part 3 course is the third and final stage of architectural education and professional training, and is the culmination of at least seven years’ academic study and professional development. The course builds on the professional knowledge, skill and experience that has been gained over this time.

The course can be completed in 12 to 24 months, depending on the employment circumstances of each student and their individual readiness to progress. Graduates can apply for registration with the Architects Registration Board and for chartered membership of the Royal Institute of British Architects.

The course is offered through a comprehensive lecture series, workshops, group and individual tutorials. These are provided by qualified architects who are experienced at Part 3 level, academics and practitioners, and guest lectures by industry experts from related disciplines. Support for professional experience and development is provided through the year by a Professional Studies Advisor.

Assessment is through a variety of formats comprising records of experience, a case study, a written examination completed offcampus over one week and a professional interview.

Kathy Gal Course Director, RIBA Professional Practice

June 2023

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lecture series

riba. part 3 Context Professional Codes of Conduct

riba. part 3

lecture series

Introduction to Construction Law

riba. part 3 Town Planning: Legislation + Applications

lecture series

riba. part 3 Historic Environment + Planning Appeals

riba. part 3 Building Control: CDM Party Walls

lecture series

riba. part 3 Professional Appointments; Services Fees

lecture series

riba. part 3 Building Control: Regulations Fire

lecture series

riba. part 3 Professional Liability + Risk

lecture series

riba. part 3 Building Procurement Selection + Contracts

riba. part 3

workshops

Interactive role-play: 'The Contract Game'

riba. part 3 Business Management Financial Control

lecture series

riba. part 3 Interactive: 'Mock Professional Interview'

workshops

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137 Architecture Research (DARLAB, The RAID Lab)

Head:

Associate Prof. Federico Rossi

Members:

Finian McCann, Luis Pinho Santos, Shahzada Sultan, Saam Kaviani

DARLAB

The Digital Architectural and Robotics Lab (DARLAB) is an established research group founded and directed by Associate Professor Federico Rossi part of the School of Built Environment and Architecture. Applied research to examine the changes in the requirements for architectural production that result from the introduction of digital manufacturing techniques. Research interest lies in combining data and material and the resulting implications this has on architectural design.

The possibility of directly fabricating building components designed on a computer expands the range of possibilities for construction. Directly implementing material and production logic into the design process; creates a unique architectural expression and a new aesthetic. The objective is to develop integration between new materials and new tools to develop innovative construction fabrication processes. Robotic manufacturing has changed the architectural profession significantly in recent years, and architects, engineers and artists all stand to benefit from industrial robots, like DARLAB, that can be turned into innovative manufacturing tools. In the construction industry, DARLAB breaks typical constraints and solves common problems by implementing digital workflow in manufacturing embedded with the design process itself.

In March 2023 at MSFORCE - Manufacturing Symbiosis Forum for the Circular Economy Conference at Aston University in Birmingham, the results of the UKMSN EPSRC-funded project Sustainable Construction through Robotic Additive Manufacturing were presented.

DARLAB, BSRIA, and London councils were awarded with Innovate UK grant on smart retrofitting for digital workflow processes for building asset management. Saam Kaviani in April 2023 successfully defended his PhD proposal on Biomimetic Building Skin Development: Evolutionary designed building skins with embedded biomimetic adaptation behaviours.

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139 Fig 01

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: SCRAM 3D

truss

The RAID Lab

RAID is a research group within architecture that focuses on design and methodological innovation in architectural design. It studies 1) digital and analogue technologies that enhance architecture’s social purpose 2) innovation in design methodologies for architectural education; and 3) new approaches to architectural aesthetics used to enhance a sustainable society. Members of RAID approach these topics from alternate perspectives. Three RAID events have been organised in 2022-23. The ‘Digital Heritage Symposium -Recording Full Site Value’ which was held on the 23rd of February, 6-9pm in the Westminster Theatre at LSBU HUB. Co-organised by Prof. Igea Troiani (LSBU), Associate Prof. Rikke Munck Petersen (University of Copenhagen) and Prof. Hugh Campbell (University College Dublin). The symposium considered ways of recording undervalued, difficult and recalcitrant sites using a variety of digital media. Guest speakers included Prof. Rosa Tamborrino (Politecnico di Torino, Italy), Jacob Kirkegaard (Denmark), Prof. Richard J. Williams (Edinburgh College of Art, Scotland).

‘Le Corbusier’s Models of Worldmaking’ was a symposium held on the 30th of March, 2023, 5.30-8.30pm in the Keyworth Centre at LSBU. Organised by Dr Hamed Khosravi (LSBU) and Prof. Igea Troiani (LSBU), the symposium celebrated an exhibition of 150+ models of Le Corbusier built and unbuilt projects proposed for 13 countries. Guest speakers including Prof. Alan Powers (London School of Architecture), Prof. Tim Benton (Open University), Rene Tan (Director, RT+Q) and Layton Reid (Visiting Prof. at University of West London) reflected on Le Corbusier’s work not only in terms of its formal modernist preoccupations but instead in relation to contemporary ethical, socially-aware, and ecologically-just practices. The Division of Architecture hosted an exhibition of the models from 21st March to the 6th April 2023.

The ‘Points of Creation Symposium’ ran from 11am to 5pm on the 9th June 2023 and was also held in the Westminster Theatre at LSBU HUB. Co-organised by Steve Bowkett, Yakim Milev, Gosia Starzynska, and Elisavet Hasa from LSBU, the symposium examined the challenges and opportunities emerging from new digital processes and platforms to contemporary design and drawing in the field of architecture. Guest speakers included Prof. Sam Jocoby (Royal College of Art) and Dr Maciej Nisztuk (DBF, Poland).

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Head: Professor Igea Troiani,

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Fig 01: Le Corbusier’s Models of Worldmaking

Architecture Community

This year, the Architecture Society changed its name to the Architecture Community and unveiled our new logo. As a result, we removed student roles, allowing any member of the community to volunteer whenever they could, whether for a specific event or a certain number of hours. This change also made it easier for any member to contribute suggestions for future events they would like to see. Throughout the past year, the community organized informal meet-up sessions and hosted a model making workshop.

For more detailed information, please visit the Architecture Community page on the student union website: https://www. southbanksu.com/opportunities/communitiesandsocieties/ group/14988/

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President Dorothea Donnelly

Model Making Workshop

Calling all Architecture Students! (and anyone else interested in architectural modelmaking)

Join us for a fun workshop

Tuesday 28th March @ 4pm Room K405

Materials and tools will be provided, but feel free to bring your own favourite tools and materials or anything else you would like to try out

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Fig 01:Community Workshops

Course Destination

BA Year 1 Barcelona

BA Studio 01 Athens

BA Studio 02 Berlin

BA Studio 03 Wales

BA Studio 04 Paris

BA Studio 05 Amsterdam

BA Studio 06 Copenhagen

MArch Studio 01 Pesaro

MArch Studio 02 Amsterdam

MArch Studio 03 Morocco

Studio Trips & Events

The Architecture Division at LSBU organises an array of events, site visits, city walks, and studio trips each year for the course, allowing students to explore diverse architectural contexts while gaining practical experience and design inspiration.

This year, BA Studio 01 visited the ancient Greek city of Athens, BA Studio 02 traveled to Berlin, BA Studio 03 explored Wales, BA Studio 04 journeyed to Paris, BA Studio 05 embarked on a trip to Amsterdam, and BA Studio 06 ventured to Copenhagen. Additionally, BA Year 1 students had the chance to explore Barcelona, a city known for its rich architectural heritage.

For the MArch course, MArch Studio 01 visited the picturesque Italian city of Pesaro, MArch Studio 02 went to Amsterdam, and MArch Studio 03 traveled to Morocco. These studio trips not only offer students exposure to diverse architectural styles, historical periods, and cultural contexts but also provide them with the chance to interact with local architectures and engage in design workshops. Such experiences contribute significantly to their architectural education, broadening their perspectives and enriching their creative approaches to design.

This year, LSBU Architecture and LSBU Active have come together in a collaborative effort to create a healthier and more dynamic learning environment for all of our students. As part of this joint initiative, we had the pleasure of offering two complimentary sessions of Dodgeball and basketball. We believe it is crucial to recognise the advantages of stepping away from the confines of the studio and breaking free from the sometimes monotonous routine of staring at screens. Our intention was to encourage students to take a break from their academic work and engage in physical activities that would provide a well-rounded and balanced experience.

By participating in the Dodgeball and basketball sessions, students were able to benefit from holistic support and acknowledged the significance of maintaining a healthy equilibrium between academic commitments and physical well-being. Students’ active involvement not only contributed to their personal well-being but also helped foster a stronger sense of community within our department. As we move forward, we will continue to explore innovative ways to promote a healthier and more dynamic learning environment, where both mental and physical aspects are nurtured.

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Fig 01 & 02: BA Year 1_Barcelona

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Fig 03: BA Studio 01_Athens

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Fig 04 & 05: BA Studio 04_Paris

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Fig 06: MArch Studio 03_Morocco Fig 07 & 08: Technology 05 Lecture Series_Tour of King’s Cross, London. Lead by: Kazeem Awotunde, Stephen Hadley, and Alex Buckland. Fig 09: LSBU: Architecture x Active Event

Studying at LSBU

Creating a Studio Culture and a Thriving Learning Hub

At LSBU, fostering a studio culture is a cornerstone of our approach to architectural education. We believe in creating an environment where students can develop and hone their skills through hands-on learning, collaboration, and experimentation. Our aim is to empower students to become well-rounded architects equipped with the practical skills and creative mindset necessary for success in the field.

In our studio culture, students are encouraged to think critically, challenge conventions, and explore innovative design solutions. Through a combination of workshops, design reviews, and peerto-peer learning, students have the opportunity to refine their technical skills, such as architectural drawing, model-making, and digital design tools. Moreover, we emphasize the importance of communication and presentation skills, enabling students to effectively convey their design ideas to various stakeholders.

Within the studio setting, students work closely with faculty members, who serve as mentors and guides throughout their architectural journey. The faculty provides valuable feedback, encouraging students to push their boundaries and refine their design thinking. This collaborative and supportive environment fosters a sense of community, where students can learn from each other’s strengths and diverse perspectives.

By cultivating a studio culture at LSBU, we strive to create an immersive and dynamic learning experience that prepares our students to tackle real-world architectural challenges. Through the development of technical skills, critical thinking, and collaboration, our students graduate with the confidence and capabilities to thrive in the ever-evolving field of architecture.

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Fig 01: BA Studio Model Making Workshops Fig 02: Design Presentations Fig 03: Studio Talks and Lectures

01: 03: 02: 04:

Fig 04: End of Year Reviews and Pin-ups

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Fig 05: BA Year 1 Studio Space

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Fig 06: BA Year 1 Design Reviews

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Fig 07: LSBU AIA Student Charette, Competition Commendation Fig 08: MArch Design Tutorials

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Fig 09: MArch Studio Space

Architecture Lecture Series, Talks & Exhibitions

On behalf of LSBU, we would like to extend our heartfelt thanks for the support and participation in the range of talks and exhibitions organized by the Architecture Division this year. These events have been instrumental in showcasing diverse perspectives, fostering intellectual engagement, and providing valuable learning opportunities for our students and faculty.

We are grateful to the guest speakers, academics, and leading architects/designers from the industry who generously shared their knowledge and expertise. Your contributions have enriched our educational environment and inspired our students to explore new ideas and approaches within the field of architecture.

The thought-provoking discussions and the visual exploration offered by the accompanying exhibitions have further enhanced the educational experience at LSBU. We appreciate the support of the established architects whose work was showcased and presented, providing our students with a platform for experiential learning and inspiring them to push the boundaries of architectural innovation.

By collaborating with industry leaders and hosting these events, LSBU continues to cultivate a vibrant centre for architectural discourse and innovation. Thank you for being a part of our commitment to excellence in architectural education.

Convened by Dr. Hamed Khosravi and Prof. Igea Troiani

152

Andrew Wilson

Atelier Culture: Japan has a strong architectural culture, built on a teaching laboratory and atelier practice model, evidenced by the global reach of many Japanese architects. This lecture will give an account of modern architecture in Japan in the twentieth century, the persistence of vernacular traditions, and an overview of contemporary Japanese architecture today. The role of architects in the aftermath of the Great Tohoku Earthquake will be discussed, and the consequences of this disaster on approaches adopted by architects today.

Andrew Wilson: School of Architecture, The University of Queensland Andrew Wilson is a registered architect, architectural educator, and researcher with practice experience in Australia and Germany. He teaches architectural and urban design studios and history and theory subjects. He is committed to critical approaches to design learning and an open international cultural exchange with a focus on the Asia Pacific. Wilson is principal of NMBW Queensland Office and has contributed as a Chief Investigator to a competitive external research grant, led by Professor John Macarthur from the Australian Research Council, a Linkage Grant for ‘Architectural Practice in Post-war Queensland (1945-1975): Building and Interpreting an Oral History Archive’. He has presented invited lectures and peer-reviewed conference papers in Japan, New Zealand, the United Kingdom and Australia. He was a JSPS Invitation Visiting Fellow at the University of Tsukuba (2011) and a Visiting Foreign Research Fellow in 2012 and 2013. He was invited as Visiting Scholar to KU Leuven, Belgium in the second half of 2014. He curates architectural exhibitions, and his own work and collaborations have been exhibited at the Venice Biennale (2008) and in Australia. In 2016 he was Head of the Leeds School of Architecture.

Architectural Lecture Series: Location:

London South Bank University 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture

Keyworth Centre, Lecture Room K-119

Architectural Lecture Series:

Skateboarding Terrains – Sixty Years of Design: Over six decades, skateboarding has evolved into a rich set of urban practices, cultures, practitioners and spaces. In this talk, Iain Borden focuses on the diverse range of different architectures designed for – and often by – skateboarders. These terrains have developed from primitive surf-inspired plywood tracks in the 1960s to the first asphalt and

27.10.2022 l 5:307pm

2022 2023

London South Bank University | 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture

to understand how things fit together and change over time. In exploring the way we work, by contrast, we will also look at ‘doing by thinking’ and how learning from past experiences can help shape and influence our workplace conditions.

Sophie McCarthy: Design Director, Atomik Architecture Sophie studied at the Mackintosh School of Architecture at the Glasgow School of Art, graduating with distinction in 2005. She then worked on cultural and heritage projects at practices in Glasgow and Edinburgh, before moving to London in 2008 to lead larger schemes in Europe and the Middle East. Sophie set up her own all-female studio –Kirkwood McCarthy – in

Fig 04:Sophie McCarthy - Design in Analogue

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Fig 01:Andrew Wilson - Atelier Cultures Fig 02:Iain Borden - Skateboarding Terrains Fig 03:Ian Bogle - From Bogota to Beijing

concrete skateparks of the 1970s, through wooden ramps and obstacles in the 1980s and 1990s, and culminating in today’s multiple offerings of skateparks, DIY projects, art installations, skate dots and skateable spaces. Together, they provide an unique and important contribution to the design and vitality of our cities. Iain Borden: Bartlett School of Architecture, UCL Iain Borden is Professor of Architecture & Urban Culture, and Vice-Dean Education, at The Bartlett, University College London. As one of the world’s leading academics for the history and practice of skateboarding, he has worked with numerous local communities, skateparks, city authorities, property developers and other groups on their provision for skateboarding. His two books Skateboarding and the City: a Complete History (Bloomsbury, 2019) and Skateboarding, Space and the City (Berg, 2001) are the key references for the academic study of this activity, along with Design and Development Guidance for Skateboarding (Skateboard GB, 2020). Other publications include Forty Ways to Think About Architecture (Wiley, 2014), Drive: Journeys through Film, Cities and Landscapes (Reaktion, 2012), Bartlett Designs: Speculating With Architecture (Wiley, 2009), Manual: the Architecture and Office of Allford Hall Monaghan Morris (Birkhauser, 2003), The Unknown City: Contesting Architecture and Social Space (MIT, 2001) and InterSections: Architectural Histories and Critical Theories (Routledge, 2000). Poster Image & Description (Top Right) Overview of Venice Beach skatepark. ©Iain Borden (2022) 20.10.2022 l 57pm Keyworth Centre, Lecture

K-505

Room

2022 2023 London South Bank University | 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture

Location: Iain Borden

Analogue Learning by doing and doing by learning: Sketching, drawing and modelmaking are all important tools in the design process, not just in the initial concept design stage but throughout the lifespan of a project, including technical details and working through problems on site. In this lecture we will explore how ‘thinking through doing’ is vital in design development – how an analogue process of making is not only fun; it helps us

Design in

2013, before moving to Atomik Architecture in 2020 as Design Director. Her portfolio covers residential, hospitality, hotels, museums and office projects at many different scales, and in widely varying contexts. While every project demands a different approach, sketching and modelmaking remain central to Sophie’s design process as tools for exploring materiality, light and space. Career highlights range from Lawson Park an artist residence in the Lake District (RIBA Award 2011) to the £300 million Al Bahr office towers in Abu Dhabi, which won the Council for Tall Buildings and Urban Habitats (CTBUH) inaugural innovation award in 2012 and Winkley Workshop, an award-winning new build 2-bed house in East London, celebrating light and space on the site of a derelict upholstery workshop. Poster Image & Description (Top Right) Concept Sketch of Xiling Gateway Pavillion, Xiling National Park, China – Sutherland Hussey Harris Architects 17.11.2022 l 57pm The Hub, Blackfriars Theatre Architectural Lecture

Location: Sophie McCarthy 2022 2023 London South Bank University 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture From Bogota to Beijing A journey in architecture across the globe: Ian Bogle discusses the studio’s exploration of cultural, climatic and environmental differences across the continents. From a residential project in Bogota, via research in Prague, education in Dubai and exhibition space in Beijing the journey continues across varying typologies to finish in Singapore at the world’s largest kinder-garden. Ian Bogle: Creative Director – Bogle Architects Ian founded Bogle Architects in 2012 and the multi award winning practice is now active in over 25 countries in Asia, Africa, Europe, the Middle East and South America across many different building typologies and sectors. Bogle Architects operates from it‘s studios in London and Prague and has gained a reputation for thinking out the box with examples of the studio’s work including the Research facility for most powerful lasers in the world (ELI Beamlines in Prague), the largest kindergarden in the world for over 2100 Early Years aged children (The Early Learning Village in Singapore) and the most significant mixed-use regeneration project in Porto. Ian believes in education through encouragement and opportunity and is frequently invited to lecture on Architecture and Design across the international conference circuit. Beyond the studio he is a Trustee of the Jubilee Gardens Trust in Waterloo, a Governor of More House School in Knightsbridge and a visiting end-point assessor at London South Bank University. www.boglearchitects.com Poster Image & Description (Top Right) The Early Learning Village – Singapore (Image Credit – Infinitude/Bogle Architects) 02.02.2023 l 12pm Keyworth Centre Level 7 K-706 Architectural Lecture Series: Location: Ian Bogle 2022 2023 03: 02: 04:

Series:

154 A2 S aturday 12 November th Architecture Open Day Workshops: How to Prepare a Portfolio 2022 2023 A3 London South Bank University 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture London South Bank University | 103 Borough Road, London, SE1 0AA School of the Built Environment and Architecture Stanton Williams - How We Work Stephen Hadley and Kevin Coello discuss the work and ethos of the Stirling prize winning architectural practice Stanton Williams. Founded by Alan Stanton and Paul Williams in 1985 the studio now has an established team of over 80 people, working on projects across a diverse range of typologies and scales. Stephen will share his tips and knowledge from nearly twenty years in the practice, highlighting what makes a good graduate portfolio, and how best to prepare for an interview. Kevin will share his experience of being a Part 1 and 2 at Stanton Williams and explain the role he has had on a number of key projects over his time at the practice. Stephen Hadley Associate Director – Stanton Williams Stephen joined Stanton Williams in 2004, his work includes the multi-award winning Bourne Hill Offices for Wiltshire Council; the new public square at London King’s Cross; and the Cambridge Judge Business School’s expansion on the Old Addenbrooke’s Hospital site in the centre of Cambridge. Stephen is currently leading the Norton Folgate project for British Land in Shoreditch and is also working on the refurbishment and extension of Rhodes House in Oxford. While varied, Stephen’s work has consistently explored the relationship between old and new, with many of his projects located within sensitive historic settings or involving the transformation and adaptive reuse of existing buildings. Stephen teaches in parallel with his work in practice and, in 2022, he was appointed Technical Studies lecturer at London South Bank University, having previously served as visiting critic, lecturer, and student mentor at a number of London architecture schools. Kevin Coello Architectural Assistant – Stanton Williams Kevin gained his Part at Kingston University in 2018, graduating with first-class honours. He joined Stanton Williams in 2019, working on the Museum of London project. After obtaining his diploma at London Metropolitan University, he re-joined Stanton Williams in 2022 and is currently working on the Merton College Library project for the University of Oxford. www.stantonwilliams.com Poster Image & Description UCL East Marshgate, under construction Image Credit – Stanton Williams 28.02.2023 l 12pm Keyworth Centre Level 7 K-705 Architectural Lecture Series: Location: Stephen Hadley + Kevin Coello 2022 / 2023 05: 07: 06: 08: Fig 05:Stephen

Kevin

Williams (How we Work) Fig 06:Point of Creation Symposium

Hadley &

CoelloStanton

of Worldmaking

Fig 07:LSBU Architecture Open DayHow to Prepare a Portfolio Fig 08:Le Corbusier’s Models

155 11: 09: 10: 12: 04:

Fig 09:Digital Heritage Symposium Fig 10:LGBTQIA + Awareness Fig 11:Le Corbusier’s Models of Worldmaking Fig 12:LSBU International Women’s Day

Student Team:

Emily Kajdi, Lillian Bartella, Steve

Jell, Rhys Riddle, Aimie Cheetham, James Kernot, Dylan Finch, Rory

Ward

CNC Consultant:

Jack Theobald, Design & Modelling

Technician

Partners:

London Festival of Architecture

Loughborough Farm

Collaborators:

Remakery

Funders:

London South Bank University

Landscape Research Fund

Brixton BID

Groundwork

Co-organisers:

Ioana Petkova

Valerio Massaro

London’s Common Gardens

LFA: London Festival of Architecture 2023

London’s Common Gardens aims to upscale and exchange local knowledge on ecological community architecture. The project builds upon the research work of BA Studio 03 which investigates ways to rethink designing as the product of collective and shared forms of knowledge. The students are encouraged to think about architecture as a social and ecological environment. This research project was a collaboration with Loughborough Farm and included two public events within the London Festival of Architecture.

Common Gardens: Dialogues was a panel discussion, connecting farm students, volunteers, academics, activists and architectural practitioners; Common Gardens: Practice was a day of workshops at the farm. The events were staged through a structure which was co-design by farm volunteers and students. The design and build outcome included some outdoor seating and planters, which will remain on the farm after the events to foster future activities. The project was funded by the LSBU Research Impact Fund, Landscape Research Group, Brixton BID Community Fund and Groundwork.

156

157 LFA2023 1–30 June 2023 lfa.london/2023 Image: Loughborough Farm Karen Hooper

Fig 01:LFA Event Poster Fig 02:CNC Workshops

01: 02: 04: 05: 03:

Fig 03, 04 & 05:BA Studio 03 students presenting their reseach projects at the open panel discussion

London South Bank University Architecture Staff

Course Directors / Module Leaders

Dr. Asem Al Bunni

Senior Lecturer in Architecture

BA Studio 01 Tutor

Larry Allison

Senior Lecturer in Architecture

Technology 03 and Technology 05 Tutor

Kazeem Awotunde

Senior Lecturer in Architecture

Course Director, Level 7 Architect Apprenticeship

Technology 5 Lecture Series Module Leader

Design 401, 402 & 403 Module Leader

MArch Studio 03 Tutor

Steve Bowkett

Senior Lecturer in Architecture

Communications 02 - Digital Design Module Leader

BA Year 01 Design Tutor

Carlos Fenick-Sanchez

Senior Lecturer in Architecture

Design 101, 102 & 103 Module Leader

Communications 01 Module Leader

BA Year 01, Year Lead and Tutor

Kathy Gal

Senior Lecturer RIBA Part 3

Course Director, RIBA Professional Practice Part 3 (Sem 2)

Lecture Series Module Leader

Case Study Module Leader

Career Evaluation and Interview Module Leader

EPA Case Study Supported by Design, Challenge Module Leader

Level 7 Progression Module Leader

Margarita Germanos

Senior Lecturer in Architecture

Technology 05 Thesis Module Leader

Monika Jociute

Senior Lecturer in Architecture

Course Director, Level 6 Architect Apprenticeship

End Point Assessment Level 6: Architectural Assistant

Professional Practice (BA) Module Leader

Design 301, 302 & 303 Module Leader

BA Studio 04 Tutor

Spyridon Kaprinis

Senior Lecturer in Architecture

Course Director, BA (Hons) Architecture (Sem 2)

Design 201, 202 & 203 Module Leader

BA Studio 02 Tutor

Dr. Hamed Khosravi

Senior Lecturer in History & Theory

History and Theory Module Leader (Sem 2)

Stephen Lovejoy

Senior Lecturer in Architecture

Architecture & Theory Dissertation Supervisor

Cultural Context 02 & 03 Module Leader

Bandele Olubodun

Senior Lecturer in Architecture

BA Studio 06 Tutor

Communications 02 Tutor

Carlene Prince

Senior Lecturer in Architecture

Cultural Context 01 Module Leader

BA Year 01 Tutor

Federico Rossi

Associate Professor

Director of Digital Architecture and Robotic Lab

MArch Studio 01 Tutor

Eva Sopeoglou

Senior Lecturer In Sustainable Design

Energy and Resource Efficiency in Design Module Leader

Professor Igea Troiani

Head of Division of Architecture

Course Director, Master of ArchitectureFT & PT Courses

History and Theory Module Leader (Sem 1)

Design 501, 502 & 503 Module Leader

Architecture & Theory Module Leader

Angela Vanezi

Senior Lecturer in Architecture

Course Director, BA (Hons) Architecture (Sem 1)

158

Lecturers

Daniel Wing Hang Tang Lecturer in Architecture Digital Representation 02 Tutor BA Studio 02 Tutor

Maria Aceytuno Poch BA Technology 02 Tutor

Kira Ariskina BA Studio 01 Tutor

Teoman Ayas

MArch Studio 02 Tutor BA Technology 02 Tutor

Liam Bedwell BA Studio 04 Tutor

Stephen Brookhouse Professional Practice and Design Economics Module Lead

Jonathan Bush BA Studio 06 Tutor

Vincenzo Caputo BA Technology 01 Module Lead and Tutor

Ruggero Chialastri BA Technology 01 Tutor

Milo Ayden De Luca BA Technology 02

Module Lead and Tutor BA Technology 02 Lecture Series Module Lead

Maria Echeverri Mallarino BA Technology 01Tutor

Elisavet Hasa

BA Year 01 Tutor

BA Studio 05 Tutor

Cultural Context 02 Tutor

Stephen Hadley

Professional Practice (BA) Tutor Technology 05 Tutor

Joao Leal Bravo Da Costa BA Technology 01 Tutor

Valerio Massaro BA Studio 03 Tutor

Cultural Context Tutor

History & Theory Tutor

Architecture & TheoryDissertation Supervisor

Yakim Milev BA Year 01 Tutor

Communications 02 Tutor

Yianna Moustaka

MArch Studio 03 Tutor (Sem 1)

Anna Muzychak MArch Studio 01 Tutor

Anthony Okoluko BA Studio 05 Tutor

Adamos Papakonstantinou BA Studio 01 Tutor

Communications 02 Tutor

MArch Studio 03 Tutor (Sem 2)

Ioana Petkova BA Studio 03 Tutor

Cultural Context Tutor

History & Theory Tutor

Architecture & TheoryDissertation Supervisor

Malgorzata Starzynska-Grzes BA Year 01 Tutor

Calista Stewart BA Year 01 Tutor

Andrea Tiberi

BA Year 01 Tutor

Communications Tutor Technology 03 Module Lead Technology 03 Lecture Series

Module Lead

MArch Studio 03 Tutor

Elham Valikhani

BA Studio 05 Tutor

Poppy Van Dijk

BA Technology 02 Tutor

Marco Vanucci MArch Studio 01 Tutor

Seda Zirek

MArch Studio 02 Tutor

159

Student List

BA (Hons) Architecture (FT1)

Azhaar Ahmed Hussein Abdikadir

Adedoyin Daniel Adeyelu

Basira Ahmadi

Hansan Abukar Ahmed

Syed Ishaq Ahmed

Faisal N Kh M J Alaskar

Friba Ali

Merieme Alimerina

Sami Almond

Keyan Arap

Corin Alicia Bateman

Julia Zuzanna Bednarek

Darian Wladimir Benavides Sarango

Natascha Benitez Villafuerte

Agnesa Bikliqi

Adam Bouaoune

Catalina Butucel

Ian Buzdugan

Jairo Jose Camposano Orihuela

Yi Khang Chiew

Juliana Isabel Congil Goncalves

Katherine Lizeth Correa

Joseph Graham Patrick Cross

Charlie George Dadson

Patricia Emilia David

Matthew William Deely

Ali Diaa Al Din

Spasimira Dimitrova

Shelayne Raeisha Dowman

Ghofran El Marioud

Blerta Elezaj

Charlotte Elliott-Ford

Ilmiye Ergiden

Nikita Fevralovs

Micah Fleary

Michaela-Mae Foster

Myles Leon Kenneth Garrett

Dumitru Ghinda

Manuela Esperanca Gomes Goncalves

Kaaya Bharti Goncalves-Gosai

Mohamed El Mehdi Haddi

Salman Muhammad Hafeez

Peter Horvath

Fahim Ahmed Hussain

Muneera Junaid

Vanessa Kandracova

Ourania Kolila

Uzair Gulam Lacewala

Amal Sabrese Milton Looby

Aleena Mahmood

Jyothirmayee Mannar

Isa Ali Manzoor

Mohamed Nuruden Mohamed

Navidaa Musa

Ramon Larrainzar Nzang Asum

Mikolaj Wladiswav O’Brien

Samuel Oluwapelumi Ademola Olajide

Mahnoor Paracha

Michael Mateusz Pecyna

Daniel Augusto Pinto Rodrigues

Sarun Premachandran

Rustam Rahmatulin

Marjana Akther Ramy

Maleeha Rashid

Zoraiz Raza

Ashley Lloyd Anthony Reid

Ewelina Remiszewska

Mariam Riane

Enkela Sadikaj

Mohammed Samiul Ahmed Sami

Ali Housseni Sangare

Sana Shabir

Aqsa Shahid

Hussain Shamaian

Tasnia Siddique

Ishaq Ssenyonga

Maisha Yasmin Tahid

Rose Mary Thomas

Kamber Tintas

Hamzah Varachhia

Adam James Willard-Spencer

Jolanta Wojtala

Tooba Zahid

BA (Hons) Architecture (FT2)

Andi Abdullahi

Patricia Estella Kemigisha Abeja

Carla Maria Agostinho Da Silva

Ada Esther Bartholomew

Ezra Odin Zed Barwin

Mirza Imran Beig

Cem Bektas

Wasim Bensefia

Shaimae Binani

Zara Bostan

Kimberley Shadai Cornejo Ortiz

Oliver Nathaniel Davies

Manal El Fardi Bakkali

Norran Ahmed El-Attar

Jasmin Hiba Eloubaidi-Saunders

Tselmeg Erdembileg

Daniele Ferrentino

Kimberley France

Camelia Friptu

Thomas Gawdat George

Agon Gjakija

Manuel Alexander Gonzales Tapia

Chelsea Gabriella Goodman

Pedram Hajian Nejad

Reshawn Rudolph Harding

Angela Virginia Hernandez Bonna

Alysha Hussain

Anxhela Jaho

Matilda Jaho

Youssef Jib

Emily Sophia Kajdi

Shanai Kaycee Keddo-Campbell

Elis Asura Klinger

Adrian Konik

Enoch Koomson

Sara Krasniqi

Dejzi Laze

Louis Roman Lefroy-Brooks

Marius Valentin Machis

Tanya Ellen Mcnally

Sara Mihaela Mihaila

Caitlin Abbie Mitchell

Reem Ghassan Mohammed

Aamina Moheuddin

Gerard Elvis Mortimer

Mohamed Mohamoud Musa

Haaris Ubaid Nabibux

Malvern Junior Remekedzai T Nyawiri

Chelsee Owusu Oliveira

Rhys Riddle

Marios Rustemi

Alketa Sadikaj

Xhovana Sejdia

Ellis Jay Smith

Sharad Suman

Allan Terestal

Victoria Hope Walker

Ozlem Yeter

BA (Hons) Architecture (FT3)

Tasnima Ahmed

Najla Ahmed Omar Ahmed

George Nathan Arcino

Swathee Atputhasigamany

David Bekiareli

Houda Ben Hamadi

Alexandra Beatrice Blanaru

Yeliz Bozkurt

Nuha Madihah Chowdhury

Jenna Riad Daher

Thomas Alfie Dickason

Dorothea Christine Donnelly

Ibraheem Farooq

Kelsey De Sousa Freire

Rex Dominick Galanta

Owen Patrick Gosden

Kameron Francis Grant

Kian Peter Hales

Marianne Amelia Hernandez Bonna

Taneen Hossain

Jacob James Byron Hughes

Mirza Mohammad Yaseen Hussain

Nazahah Amina Iqbal

Afif Khairi Khalid

Kai Martin

Sahar Hedah Maryal

Mohammed Atef Armaan Monnan

Mhd Wasef Naji

Misha Naseem

Akay Ozturk

Arika Pal

Drashti Bharatbhai Parsana

Viktoria Petkova

Kirupa Sailakshmi Pulichintala Raja

Xhesika Rama

Zahra Rana

Luke David Sadler

Rayan Aram Sarafian

Karen Daniela Uribe Orozco

Gina Kaur Virdi

Rory Ward

Ilyayda Yaldaram

Christine Rose Mejia Ylagan

BA (Hons) Architecture (PT2)

Holly Alison Carolyn Nash

BA (Hons) Architecture (PT3)

Alex Christopher Webb

BA (Hons) Architecture (PT4)

Carmen Calugar

Miroslav Nikolaev Hristov

BA (Hons) Architecture (PT5)

Tilly Robyn Brown

Emma Jane Sidey

Ellie Marie Spencer

Anthony Thrower

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT1)

Danni Ager

Isha Ahmed

Mark Andrew Austin

Lauren Hazel Stores Day

Amelia Lucy Paula Edwards

Harrison Elliot Forde

Joshua Mark Freeman

Joseph William Farrow

Matthew Julien Hofman

Giles Jost

Amariah Lawal

Louise Le Maire

Maisie Ella Odom

William Alec Perkins

Ashrakur Rahman

Kallie Redgewell

Abigail Alexis Retter

William James Garner Roberts

Alexandra Szal

George Steven Thorpe

Charley Rose Williams

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT2)

Areeb Akhtar

Machrid Angellyca Allan

Basil Anuar

Samuel Robert Martin Barden

Joshua David Bayford

Molly Nichola Brown

Kai Lewis Filbert

Harry Thomas Flack

Jessica Maddie Fuller

Joseph John Garnett

Amy Alexandra Goldthorpe

Joe John Hyder

Natalie Kujawski

Oliver Andrew Langner

Max Graham Peter Martin

Holly Katie Mclean

Zihan Musthafa

Csaba Nemeth

Bethany Rebecca Norris

Asher Lauren Oxborrow

Asma Parker

Olivia Ruby Pickup

Matthew Frederick Ripley

Alison Scott

Jakub Wojcik

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT3)

Zach Baldwin

Lillian Bartella

Sundeep Bhudia

Dylan Albert Henry Finch

Jonah Bernard Howley

Taylor Aaron Locke

Savannah Williams-Duberry

Arthur Lewis Baylis

Maximillian Charles Pole

160

BA (Hons) Architecture

(Architectural Assistant Apprenticeship) (PT4)

Robert William Atkins

Stanislav Brezden

Aimie Jane Cheetham

Ted Elliott

Owen Matthew Faunt

Emily Foster

Joseph George Hannaghan

Stephen Andrew Jell

James Frederick Kernot

Georgina Elizabeth Kidd

Rudy Jack Christian Logue

James Henry Low

Joseph Olawale Olatunbosun

George David Robert Rose

Kate Heather Rutland

Carmel Ellie Kim Simmonds

Louis Percy Fernand Soubeyran

Rory Douglas Thrush

Jervin Alphonse Ferreras Tiongson

Hannah Louise Wallis

MArch: Master of Architecture (FT1)

Renee Elena Crystal Ayomikun

Banks-Delvecchio

Margaret Louise Crick

Siobhan Alvaro Antonio De Souza

Nadia Ethar Delaimy

Luis Edgar Dos Santos Azevedo De Ceita

Dan-Alexandru Dunca

Mosbah El Khalil

Florence Jane Golding

Rebecca Paige Greenway

Reece David Harrison

Johnathan Priyan Herath

Harris Jeyaputhiran

Rohan Singh Kalsi

Oliver Lee Kaye

Juliana Mara Presente Gomes

Ioana Rus

Ilinca Rusu

Tinca Rusu

Muhammad Ibrahim Saeed

Martyna Stolarz

José Matheo Taguiang

MArch: Master of Architecture (FT2)

Anoop Thilak

Zaki Abdelshah

Oluwatobiloba Idowu Adeogun

Mohamed Rasoul Hammoud Al-Doury

Juliana Amorim Antunes

Jedidiah Boateng

Albert Boborodov

Nour Achraf Borghol

Daniel Jan Brudkiewicz

Parth Umesh Damani

Javier De Leon Gonzalez

Nornesto Aguilana Fernandez

Uran Jerlija

Oumaima Kabak

Jumana Rand Katar

Sara Katunaric

Negin Moradi Gheisvandi

Nicole Patricia Oliveira Miranda

Anas Osman

Maria Perikleous

Luis Rodrigues Guedes

Khaled Iyad Salameh

Ian Kirichok Sunjhoreea

Zakaria Tehami

Victor Iliev Velev

MArch: Master of Architecture (PT1)

Syed Zain Ali Akbar

Luke Daniel Baggott

Sofia Anne Browning

Syful Islam

Ege Tarlakazan

MArch: Master of Architecture (PT2)

Daniel Robert Akehurst

Anthony Peter Luis Miller

MArch: Master of Architecture (PT3)

Karoline Koch

Chloe Tayali

Zahra Zare Kamel

MArch: Master of Architecture (Architect Apprenticeship) (PT1)

Ayesha Beazley

Robert James Beer

Thomas Blount

Russell George Brown

Joshua Alexander Carter

Maisie Esther Coomber

Todd Edward John Fletcher

Chloe Louise Gladden

Aiya Khabbush

Meabh Minnis

Thomas Newsom

Danny Martin Perrier

Kamil Krzysztof Perzanowski

Max David Rayner

Amar Singh Sidhu

Ken Yeung

MArch: Master of Architecture (Architect Apprenticeship) (PT2)

Padina Amininavaei

Akramul Azur Askaari

Natalia Cieminska

James Gary Cook

Dorrell Shawn Gayle-Menzie

Harry Gladstone Hayes

Harry Horwood

Jake Francis Nelson

Efstratia Theodora Rigkou

David Samuel Roshan Sattaur

Raluca Bianca Sozanskyj

Dominic Douglas Sparks

Joshua Keiran Taplin

MArch: Master of Architecture (Architect Apprenticeship) (PT3)

Seyhmus Acis

Upinder Kaur Bahra

Samuel Lloyd Bailey

Benjamin Alexander Booth

Jack Wilfred Cottrell

James Philip Hickford

Serin Husseyin

Thomas Stefan Koren

Benjamin Dennistoun Miller

Anthony Dahu Mumagi

Niks Piliens

Evelina Rodrigues

Jonathan James Stevens

Jack Taafe

Rafael Teixeira

Alexander James Warne

Jake Ross Wilson

RIBA Professional Practice

Part 3

David Olaitan Abimbola

Steven Kyle Davidson

Jez Roy Frederick Deville

Justine Karin Elizabeth Duggan

Alexander Miguel Farr

Camelia Ivan

Damian Robert Milton

Sonda Mvula

161

Editor

Liam Bedwell

Cover Graphics & Illustrations

Timothy Percival

For full range of programmes and modules please visit the London South Bank University Architecture subject.

https://www.lsbu.ac.uk/ study/study-at-lsbu/subjects/ architecture

London South Bank University 103 Borough Road London SE1 0AA

Exhibition of Student work held at The LSBU Hub, 100-116 London Road, Elephant & Castle, London, SE1 6LN.

22nd June - 3rd July 2023

162 http://www.lsbu.ac.uk

163

COVER DESIGN & ILLUSTRATIONS BY TIMOTHY PERCIVAL WWW.TIMOTHYPERCIVAL.COM JUNE 2023