LSBU Architecture End of Year Catalogue 2022 by lsbuarchitecture

ARCHITECTURE2022

Cover design by T. PERCIVAL www.timothypercival.com 2

INTRODUCTIONCONTENTS 6 Professor Igea Troiani PART 01_Undergraduate courses BA Hons Architecture (ARB/RIBA PART I FT/PT/APP) 9-10 Year 01 12 The Cycle of Life STUDIO 01 22 Obselete Typologies STUDIO 02 30 Autonomous Transpositions STUDIO 03 38 De-Coded:The Hidden Life of Domestic Practices STUDIO 04 46 Infrastructure STUDIO 05 54 Institutions Communications 01|02 60 Technology 01|02|03 64 Cultural Context 01|02|03 70 Professional Practice 74 PART 02_Postgraduate courses MArch: Master of Architecture (ARB/RIBA PART II FT/PT/APP) 79-80 STUDIO 20 82 Programming Architecture STUDIO 21 90 Heterogeneous Landscapes 14

STUDIO 22 98 Microclimatic Morphogenesis STUDIO 23 104 Structure as Space Technology 112 Histories and Theories of Architecture 116 MArch H&T Collaborative Research and Knowledge Exchange 120 PART 03 (ARB/RIBA PART II) 123-124 Architecture Research (DARLAB, The RAID Lab) 127 Architecture Research Statement 128 DARLab 130 The RAID Lab 132 Architecture Society 134 London South Bank University Architecture Staff 136 Student List 138-140 5

INTRODUCTION

Welcome to the LSBU Architecture 2022 Catalogue!

While I’m a newcomer to the LSBU Architecture team, it is clear to me that I am joining a group of talented and committed academic staff, professional support colleagues and students. After a challenging few pandemic years, universities are now returning, in part, to a shape we recognise pre-pandemic – back on campus, in the studio and lecture halls – although online hybrid teach ing has been added to our portfolio of how we teach and communicate architectural education. As the new Head of Division for Architecture I see my role as one of helping support my team and students not only to reacquaint themselves with life pre-pandemic but also to increase, in every way possible, the quality of what we deliver in higher education. Our already strong Part 1 and Part 2 studio portfolios will continue to educate students to be creative, ethical and sustainable designers of the built environment, meeting the new expectations of our accrediting bodies, the ARB (Archi tects Registration Board) and RIBA (Royal Institute of British Architects) in the coming years. The ways in which technology, communications, history and theory, and studies in professional practice inform and enhance design, and their individual speculations, is an area we want to build upon in design research in architecture. Our success in the REF (Research Excellence Framework) 2022, in which we submitted our research for the first time, is something we want to grow quickly. This will happen not only through the established excellence in research by the DARLAB (Digital Architec ture and Robotics Lab) but will also include expanding the work of RAID (Research into Architec tural Innovation and Design) and include new research groups that we will form over the coming years who can welcome more PGR (Post Graduate Research) students undertaking PhDs with us.

Our End of Year Show held at the Bargehouse warehouse from the 23-27th June, 2022 celebrates the excellence of our students and staff. I want to thank each and everyone one of our students who has fallen in love with their project and developed expertise as future architects. I also want to thank our industry partners and Apprenticeship team in the university who have supported the learning of our apprenticeship students, to Course Directors, Bandele Olubodun (MArch-Part 2), Angela Vanezi (BA (Hons)- Part 1), Monika Jociute (Level 7 Architect Apprenticeships- Part 2), Kazeem Awotunde (Level 6 Architect Apprenticeships- Part 1), our professional examiners, guest speakers and reviewers, External Examiners and the Built Environment and Architecture (BEA) fac ulty leadership team including outgoing Dean, Professor George Ofori, Professor Mahmood Datoo (Teaching and Learning), Professor Issa Chaer (Research), John (Obas) Ebohon (International), the professional services including HR, librarians etc. and Technical support teams led by Tony Roberts. 2021-2022 has been a year in which we’ve regained our balance after challenging times. 2022-2023 will be one where we improve our offer and expertise of architectural higher education to our students. Our priority in the Division of Architecture at LSBU is produce architectural graduates whose design erly, ethical, environmental and social sensitivity improves our built environment, locally, nationally and globally for people of all backgrounds, class, age, race/ethnicity, gender and socio-economic level. Thank you to all the students whose work we present here for what you have already done so far. Graduating architects, I wish you the very best in your careers. May you have long and fulfilling work lives in architecture and produce buildings and landscapes that improve life for everyone. Professor Igea Troiani Head of Division for ArchitectureJuneLSBU20227

ARCHITECTURE2022 8

BA Hons(ARB/RIBAArchitecturePARTI) 9

Design remains our core activity and our new undergraduate stu dio system now offers students greater choice in developing their particular interests in architecture, as well as the chance to learn in groups that combine full time and part time students. The range of topics reflects a new dynamism to our teaching and learning of architecture, and acknowledges the diversity of our students that has always been a distinctive dimension of our course.

Year 01 Design Tutors

Course Director: Angela ArchitectsVanezi

have a unique conceptual and integrative role in the mak ing of buildings and places, working in co-operation with clients, communities, and other co-professionals. The defining skill of the architect is design in the broadest sense – the ability to conceive of and elaborate on, functionally useful and culturally relevant physical artefacts that meet a range of human needs and evoke a posi tive aesthetic response. The course offers a design-focused ar chitectural education that engages with both the contemporary world, material, social, technological, and environmental issues.

Okoluko Anthony, Mohammad Kasim, Calastri Daniela, Awotunde Kazeem, Prince Carlene, Tang Sui-Wan, Fenick-Sanchez Carlos, Luke Jones Year 02 & 03 Design Tutors Design Studio 01 Vanezi Angela, Papakonstantinou Adamos Design Studio 02 Kaprinis Spyros, Wang Tang Daniel Design Studio 03 Massaro Valerio, Petkova Ioanna Design Studio 04 Jociute Monika, Bedwell Liam Design Studio 05 Allison Larry Cultural Context Tutors Lovejoy Stephen, Prince Carlene Technology 01-02-03 Tutors Rossi Federico, Allison Larry Communication 01-02 Tutors Mohammad Kasim, Fen ick-Sanchez Carlos, Olubodun Bandele, Vanezi Angels, Papa konstantinou Adamos, Wang Tang Daniel, Bowkett Steve Professional Practice Tutor Margarita Germanos 10

A pedagogic model is offered that emphasises studio and workshop activities, and engagement with the design process through criti cal analysis, drawing, and model making through both analogue and digital means. The acquisition of design knowledge and understand ing is developed through studio design teaching and learning, and the delivery of other core elements through lectures, seminars, and skills workshops. Integration between coursework and studio pro jects may be implicit or explicit depending on the subject being taught.

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 practi tioners, specialists, visiting architects and critics, public talks and events, field trips and the RIBA Mentoring Programme. These allow us to benefit from our schools’ strong links with the industry, professional bodies, and the wider architectural community. Build ing on the successes of our previous years, we invite all students to respond to these new opportunities with creativity and ambition.

The course consists of 5 Design studios with a focus on environ mental, technological sustainable, economical and political themes affecting todays society. Our Year 01 programme is taught in a year structure focusing on the fundamental’s of architecture and design.

BA Hons Architecture (ARB/RIBA PART I)

BA[Hons]Architecture programme is one of a suite of courses run by the university which are professionally validated by the Royal Institute of British Architects and prescribed by the Architects Registration Board 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 recognise the global nature of architecture and offer a course that emphasises design underpinned by studies in core subject areas such as Technology, Communications, Cultural Context, and Professional Practice. Our aim is to educate resilient and reflective graduates who can respond to the challenges of the future.

The Cycle of Life

Year 01

Bektas, Chelsea Goodman, Humairah Adia, Kimberley Cornejo Ortiz, Foster,Machis,GonzalesMalvernFribaDanieleBonna,VirginiaAllanAdaAaminaLangner,Bayford,McLean,Nemeth,Sejdia,ShaimaeRiseldYeter,NorranJaho,Lefroy-Brooks,LouisMatildamMohamedMusa,El-Attar,OzlemReshawnHarding,Amali,SaraMihaila,Binani,XhovanaHollyNash,CsabaHarryFlack,HollyJoeHyder,JoshKaiFilbert,OliverOliviaPickup,Moheuddin,Bartholomew,Terestal,AngelaHernandezCatalinaButucel,,Ferrentino,Ali,IbrahimAhmed,Nyawiri,ManuelTapia,MariusMichaela-MaeOliverDavies, Safiya Abdalla, Tanya Mcnally, Wasim Bensefia, Amy Goldthorpe, Areeb Akhtar, Matthew Ripley, Max Martin, Molly Brown, Natalie Kujawski, Samuel Barden. Abdel Dabboussi, Anxhela Jaho, Caitlin Mitchell, Chelsee Oliveira, Emily Kajdi, Ewelina Remiszewska , Ghada Alziada, Haaris Nabibux, Eloubaidi-Saunders,Jasmin Jason Pucci, Jonell BlakeYoung, Juliana Congil Goncalves, Katherine Correa, Kimberley France, Laze Dejzi, Manal El Fardi Bakkali, Manuela Gonclaves, Maria Garcia Freijeiro, Marios Rustemi, Mirza Beig, Mohammed Sami, Rachel Mcquade, Sami Almond, ShaniKeddo-Campbell,ShanaiDakin,Tselmeg

Bringing back to the initial question of what the aim and purpose of architecture may be, enabling us to navigate the next paths of our own individual architectural journey, no matter what platform one may end up standing on, contemplating the next steps in the future

Year 01

Design Tutors

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, which constantly unravels new challenges. For the academic year 21/22, the design studio operated under the theme of ‘The Cycle of Life’ which served as the main lens to study and understand the different forms of architecture around us, ranging from its very inception from an idea to form and construction and eventually to its demise or re-birth. It is intended that the individual design briefs gradually introduced the students to what an architectural design process entails over the different course of time and stages of the project, whilst also allowing a critical observation of the seemingly endless and dynamic interactions of the various cycles of both Life & Buildings found within our Built Environment.

The first year design studio aims to provide the primary platform for the architectural journeys ahead, introducing the fundamental skills and knowledge relevant to the discipline. Programmatically, it consists of three design projects developed over the course of the year; two short, warm-up design exercises in the first semester, followed by the main, final project in the second semester.

Carlene Prince, Carlos Sanchez, Luke Jones, Kazeem Awotunde, Daniela Calastri, Anthony Okoluko, Sui-Wan Tang

Students: Agon Gjakija, Alysha Hussain, Andi Abdullahi, AgostinhoCameliaKonik,AzhaarMachrid,Garnett,JessicaNorris,AlisonGeorge,SharadKrasniqi,ReemPedramDavid,OliwiaGarrett,SoriaManzoor,GerardKoomsan,EllisBenavidesDarianSarango,Smith,EnochEzraBarwin,Mortimer,IsaJoseKevinValle,Myles,NikitaFevralovs,Nafalska,PatriciaPaulCandengue,HajianNejad,Mohammed,SarahSarahZaidi,Suman,ThomasVictoriaWalker,Scott,BethanyJakubWojcik,Fuller,JosephAngellycaZihanMusthafa,AbdikadirAdrianAlketaSadikaj,Friptu,CarlaDaSilva,Cem

harmonious elements are proportionately arranged throughout the proposal based on the site grid, combined with chord progression of several chosen musical genres and their distinguishing beats per minute (bpm), each zone connecting and stimulating the senses.

Central to the core is an instrumental level which mimics a grand pianos soundboard; reverberating and reflecting the sound collected through the core, creating a cymatics display to be viewed throughout the building

1.5: LIBRARY MEZZANINE2.5::STUDY AAREA WALKING PACE IR75BPMEGGAEII NORTH EAST SECTION ECTIONOSS SECRO CALE 1:100OSROUGH ROAD69 BO SE1 1DN ALE 1:200SECTIONAAL MODEL SCAINTERNAL VISUALISATION

Fig 01 & 03: Ellis J Smith’s design celebrates with the local community our senses in her proposal to stimulate our perception through acoustic awareness and the consciousness of cognitive space. The proposal ‘Sonic Nature’ has the potential to benefit all members of the community, with consideration to those who are sensory cognitive or physically and autistically impaired. With music being a connecting factor between the users and the structure, she has recognised the potential of human reaction and created a sequential journey through a series of distinct Musicalspaces.

Fig 02: Daniele Ferrentino

Year 01 The Cycle of Life 14

Fig 01: Ellis J Smith _ SE1 Site Analysis Fig 02/03: Daniele Ferrentino _ Community Garden 15

Year 01 The Cycle of Life Fig 01: Daniele Ferrentino _ The Active Archive Fig 02: Amy Goldthorpe _ Community Garden 16

Fig 08: Mirza Beig Fig 09: Place Making - Active Archive. Bethany Norris created a place to store and display your utensils. Unlocking the exhibit/s potential by designing a dual crafting nature to the building’s possibilities. While celebrating the collection in the community inspired urban setting, the essence of the archived17

Inception _ Students began by choosing a ‘place’ that was meaningful to them, and to record and study the qualities that adds to its significance. Out of these, 2-3 specific qualities were chosen to be developed and transposed into the studio space in the form of a small scale installation that can express and instil another sense of place and significance in the studio space

DESIGN 103: PLACE MAKING

Photographiclocation:BorelliWalk,FarnhamStudy

The aim was not to literally recreate the initial place but to transpose and express the specific qualities of the chosen place through the use of geometry, form and material. The notion of Form here is used in its abstract sense, meaning that it is not something bound and expressed by any physical properties but rather something malleable that can be freely transformed and manipulated.

Fig 01: Oliver Davies Fig 02/03: Daniele Ferrentino Fig 04/05: Jose Kevin Soria Valle Fig 06/07: Jessica Fuller

Photographic Study Plan View 1 Photographic Study View 2

Inception-APlaceInspace

Photographic Study Plan View 1

Year 01 The Cycle of Life SKETCH MODEL & ANNOTATIONS SKETCH MODEL & ANNOTATIONS CARDBOARD MODEL 4. ? developed mechanics within these elements to respond to light. formation specified. ? Modelled Formation & Elements 18

The site, located within a residential zone adjacent to the campus, north-east to the Passmore Centre building is currently used as a small community garden which comprises two pergola and a number of planters and allotments, accommodating various events and activities for the nearby Urbanisationresidents. and the imminent climate change is catalysing Urban Farming which is expected to proliferate within our built environment in the future, Holly’s project explored an alternative and sustainable source of food production with the potential of providing central platforms for the growth of a healthy community

A Place In Space _ Fig 01-03: Holly Nash has designed a place for gathering & gardening that fosters the interaction of its residents and hence the growth of a healthy and resilient community. The project is part of the Bankside Open Spaces Trust which is a charity dedicated to the protection and management of parks and gardens in SE1.

Fig : Alison Scott Fig 02: Gerard Mortimer Fig 03: Bethany NorrisPROPOSED GROUND FLOOR PLAN B 0m 24 8 136 10 1:200 n KEY 1. Atrium - the atrium consists of knives, forks, spoons and chopsticks suspended from the ceiling of the second floor continuing to ground floor level. 2. Lift shaft the lift shaft allows the second floor to be accessible for those unable to use stairs, it also allows for materials to be transported from storage on the ground floor to the first floor. 3. Store - the store will mainly function as storage of materials, it can also be used a fire escape route, access to the basement and delivery 4. W/C 5. Display area display cases for cutlery from different time periods. 6. Cafe seating area 7. Shop selling cutlery made from recycled materials on site 8. Kitchen 9. Outside seating area - floor made up of recycled bricks from existing boundary wall. Bike racks for staff/visitors. 10. Recycling centre deliveries - bins for recycling of scrap metal, wood, knives etc to be reused in building in making cutlery. Materials which cannot be recycled on site to be recycled off site. Area for material and food deliveries etc.

6. Cafe seating area 7. Shop - selling cutlery made from recycled materials on site 8. Kitchen 9. Outside seating area - floor made up of recycled bricks from existing boundary wall. Bike racks for staff/visitors. 10. Recycling centre / deliveries - bins for recycling of scrap metal, wood, knives etc to be reused in building in making cutlery. Materials which cannot be recycled on site to be recycled off site. Area for material and food deliveries etc.

PROPOSED GROUND FLOOR PLAN E 1 6 3 8 4 A B 0m 24 8 136 10 1:200 n

KEY 1. Atrium the atrium consists of knives, forks, spoons and chopsticks suspended from the ceiling of the second floor continuing to ground floor level. 2. Lift shaft - the lift shaft allows the second floor to be accessible for those unable to use stairs, it also allows for materials to be transported from storage on the ground floor to the first floor. 3. Store the store will mainly function as storage of materials, it can also be used a fire escape route, access to the basement and delivery area. 4. W/C 5. Display area display cases for cutlery from different time periods. 6. Cafe seating area 7. Shop selling cutlery made from recycled materials on site 8. Kitchen 9. Outside seating area floor made up of recycled bricks from existing boundary wall. Bike racks for staff/visitors. 10. Recycling centre deliveries - bins for recycling of scrap metal, wood, knives etc to be reused in building in making cutlery. Materials which cannot be recycled on site to be recycled off site. Area for material and food deliveries etc. PLAN 1:200 n KEY 1. Atrium - the atrium consists of knives, forks, spoons and chopsticks suspended from the ceiling of the second floor continuing to ground floor level. 2. Lift shaft - the lift shaft allows the second floor to be accessible for those unable to use stairs, it also allows for materials to be transported from storage on the ground floor to the first floor. 3. Store the store will mainly function as storage of materials, it can also be used a fire escape route, access to the basement and delivery area. 4. W/C 5. Display area display cases for cutlery from different time periods. 6. Cafe seating area 7. Shop selling cutlery made from recycled materials on site 8. Kitchen 9. Outside seating area floor made up of recycled bricks from existing boundary wall. Bike racks for staff/visitors. 10. Recycling centre / deliveries - bins for recycling of scrap metal, wood, knives etc to be reused in building in making cutlery. Materials which cannot be recycled on site to be recycled off site. Area for material and food deliveries etc.

4. W/C 5. Display area - display cases for cutlery from different time periods.

8 B 0m 24 8 136 10 1:200 n

PROPOSED GROUND FLOOR PLAN 9 0m 24 8 136 10 1:200 n KEY 1. Atrium - the atrium consists of knives, forks, spoons and chopsticks suspended from the ceiling of the second floor continuing to ground floor level. 2. Lift shaft - the lift shaft allows the second floor to be accessible for those unable to use stairs, it also allows for materials to be transported from storage on the ground floor to the first floor.

3. Store - the store will mainly function as storage of materials, it can also be used a fire escape route, access to the basement and delivery area.

4. W/C 5. Display area - display cases for cutlery from different time periods.

FloorGroundFloor Raising the Bar

KEY 1. Atrium - the atrium consists of knives, forks, spoons and chopsticks suspended from the ceiling of the second floor continuing to ground floor level. 2. Lift shaft - the lift shaft allows the second floor to be accessible for those unable to use stairs, it also allows for materials to be transported from storage on the ground floor to the first floor.

PROPOSED GROUND FLOOR

3. Store - the store will mainly function as storage of materials, it can also be used a fire escape route, access to the basement and delivery area.

6. Cafe seating area 7. Shop - selling cutlery made from recycled materials on site 8. Kitchen 9. Outside seating area - floor made up of recycled bricks from existing boundary wall. Bike racks for staff/visitors. 10. Recycling centre deliveries - bins for recycling of scrap metal, wood, knives etc to be reused in building in making cutlery. Materials which cannot be recycled on site to be recycled off site. Area for material and food deliveries etc.

SECTION A-A Proposed Design The Site Archive space enclosed to protect items stored inside from sunlight. This space is located the at the top of the structure as the other areas are more public-oriented. Steel arches add support to the balcony levels and create a link back to a well know architectural element of the Victorian Era. 1 2 3456 Presentation Space Shop and Cafe Exterior Seating Fig 01: Kimberly France Fig 02: Alysha Hussain Fig 03: Matthew Ripley Fig 04: Tanya Mcnally Fig 05: Reshawn Harding 21

22Samuel

Obselete Typologies

Incoming year will focused its research and design development, on the community by analysing and identifying the crisis of the HIGH STREET into one visually symbolic composition of architecture, with aim on raising local and global issues that has affected the world of retail. If shopping can no longer be the motor for the activation of public space in the city centres, or leads to exclusion and segregation, then the motor must be replaced. Department stores must be reprogrammed into new types of public buildings. A solution for the crisis is unforeseeable as the concept of department stores in general seems no longer appropriate…

Design Tutors Vanezi Angela, Papakonstantinou Adamos Year 02 Bekiareli David, Ahmed Tasnima, Kalonzo Sebastien, Atputhasiga many Swathee, Hossain Taneen, Donnelly Dorothea, Riddle Rhys, Pulichintala Raja Kirupa, Shahid Shaheen Year 03 Trasnea, Alexandra, Bampali Christina, Cardoso Yavuz Ekin, Aybakar Gizem, Mudhaffer Batool, Patel Dhwani, Parsana Drashti, Naseem Misha, Spencer Bradley, Kortsa Korca Eleni, Moffat Jas mine, De Almeida Eleazar, Naidu Narissa Sara, Atik Elfim, Mammedo va Aylar, Smith Jordan, Jackson

Studio 01 continues its interest in the community and urban context; we study the impact of local and global issues through civic spaces. We are interested in analysing and speculating on the social, economic, and spa tial consequences of the new relation between users and the highly technological environment we live in. This year we will focus our attention on Reprogramming Obsolete Typologies, typologies in the verge of becom ing obsolete by the consequence of the COVID-19 coronavirus pandemic.

STUDIO 01

Both Year 2 and 3 aims to investigate various aspects of design ap proaches that focus on the spatial atmospheres of the poetic and demonstrate social empathy while considering change and ad aptation. While our methodologies vary from, geometrical, tech nological, and theoretical approaches to design development, we aim at practical solutions in the execution of a design proposal. We focus our attentions on contemporary means of architectur al design and space production and study the experience of the user and the journey, but remain interested to designing architec ture, that embraces all aspects of London’s historic, social, and cultural compositions. We aim to propose design solutions which celebrate activities in relation to the civic theme taking in consideration the cultural experience on retail and temporary accommodation.

Final year students investigated the transition of lodging and its use in today’s society, and began to re-image the notion of CIVIC LIVING. They studied architecture that celebrates the community and analysed spatial orientations in regard to the environment in support of programs and basic groups that operate within a broader urban sector. Students were invited to reimagine and propose interventions for temporary ac commodation with a civic function, questioning whether we still need large physical spaces to accommodate temporary living experience. A hotel is a place where you stay temporarily. If the stay is temporary, should the hotel be permanent ?

Fig. 01 23

Fig 01: Alexandra Trasnea, Fig 02: David Bekiareli, Fig 03: Ekin Cardoso, Fig 04: Alexandra Trasnea, Fig 05: Bradley Spencer, Fig 06: Alexandra Trasnea, Fig 07: Swathee Atputhasigamany, Fig 16: Bradley Spencer, Fig 17: Aylar Mammedova , Fig 18: Ekin Cardoso, Fig 19: Samuel Jack son, Fig 20: Jordan Smith, Fig 21: Bradley Spencer, Fig 08 & 09: David Bekiareli, Fig 10: Gizem Aybakar, Fig 11: Ekin Cardoso, Fig 12: Christina Bampali, Fig 13: Batool Mudhaf fer, Fig 14: Dorothea Donnelly, Fig 15: Bradley Spencer Fig. 02 Fig. 04 Fig. 03 24

STUDIO 01 Obselete Typologies

Fig. 05 Fig. 07 Fig. 06 25

STUDIO 01 Obselete Typologies Fig. 08 Fig. 09 Fig. 10 Fig. 11 26

Fig. 14 Fig. 15 Fig. 13Fig. 12 27

STUDIO 01 Obselete Typologies Fig. 16 Fig.Fig.1719 Fig. 18 28

Fig. 21 Fig. 20 29

Transpositional architectural practices make use of post-or neomod ernist operations, celebrating customs and considerations of form giving, whilst creatively and sometimes disruptively placing forms into new contexts.Architectural examples of transposition can be perceived within styles or typologies, as hues of materiality, as concepts and nar ratives, or even as articulating techniques during the design process. As the contemporary city continues to be defined as a plethora of ex panding sites, tactical and strategic interventions, confrontations be tween architectonic and urbanistic spaces, flows, networks, transfers, transits, it is increasingly difficult to imagine how one can manage to carve out a space of habitation within this. As cities are being perceived as spaces of atomisation and estrange ment, especially with the current ongoing public health crisis, it is also increasingly difficult to imagine how one can “dwell” in them. BAS2 ad dresses the question of how one can bring the concept of “autonomous transpositions” into confrontation with the city, how to bring historical precedents into confrontation with the flows and networks of the con temporary city.

The notion of autonomy and transposition in architecture is highly per tinent in the context of contemporary architectural discourse, as it ad dresses the various conceptual differences between the post-modern and neo-modern formal languages in architecture, and how they are connected to the use of precedents,as well as to history and typology.

TranspositionsAutonomous

Design Tutors Spyros Kaprinis, Daniel Wing Tang Year 02 Khalid Afif, Hughes Jacob, Blanaru Alexandra, Boumecid Samira, Bozkurt Yeliz, Klinger Elis, Velicaria Dheks, Danquah Gerald, Rana Zahra, Miroslav Hristov, Jell Stephen, Simmonds Carmel, Pole Maximillian Year 03 Lama Dipen, Shati Loema, Mastrac ci Giuseppe, Presente Gomes Juliana ,Ali Nuralein, Gereis Nathalie, Amir Heidar, Iman O’Curry Cian, Mcginty Karly-Ann, Dedman Bradley 30

STUDIO 02

Fig.01 31

Studio 02 Autonomous Transpositions Fig.06 Fig.04 Fig.05 Fig.02 Fig.03 32

Fig.09Fig.08Fig.07 Fig.10 Fig.11 33

Studio 02 Autonomous Transpositions Fig.15 Fig.14Fig.16 Fig.12Fig.13 34

Fig.18 Fig.19 Fig.20 Fig.21 Fig.17 35

Fig. 01-06: Bradley Dedman, “Dryden Street Inclusive Community”, Fig. 07, 11-15: Stephen Jell, “Claremont Square Faith Centre”, Fig. 08: Carmel Simmonds, “The Serpentine Rowing Club”, Fig. 09,10,16: Carmel Simmonds,“Claremont Square Faith Centre”, Fig. 17-19: Juliana Gomes, “Dryden Street Inclusive Community”, London, Fig. 20-21: Cian O’Curry, “Dryden Street Inclusive Community”, Fig. 22: Miroslav Hristov, “The Serpentine Rowing Club”, Fig. 23: Bradley Dedman, “Nourishment Pavilion”, Fig. 24: Stephen Jell, “The Serpentine Rowing Club”, Fig. 25-26: Nathalie Gereis, “Nourishment Pavilion”, Fig. 27: Nora Ali, “Lisson Grove Wellbeing Centre” Fig.24

Studio 02 Autonomous Transpositions

Fig.22Fig.23

Fig.26Fig.25 Fig.27 37

TheDe-Coded:Hidden Life of Domestic Practices

Design Tutors

For architects, anthropological thinking is a powerful tool to challenge universalistic assumptions in design. We aimed to develop the skills for a sensitive, analytical and nuanced understanding of domestic prac tices and to use them to design buildings that make us reflect on what a home is. By understanding the complexity of domestic ecologies we explored a design sensitivity that is rooted in consideration for other ness and encourages the coexistence of different ways of being. Our ambition was to imagine new ways of thinking, living, owning, sharing and building homes. We challenged familiar routines by researching and visualising the meanings and relationships of what we do at home and their wider consequences.

STUDIO 03

Codes are all around us. They are analytical glimpses of a complex reality. The word code is used by ethnographers and anthropologists to describe how objects, spaces, rules and habits shape our thoughts, practices and feelings. Codes secretly dictate every aspect of our life. They reveal patterns, contradictions and meaning in mutual practices. Through the concept of de-coding, we set out to challenge our under standing of domestic space and explore different ways of living together.

The notion of home is not confined to the house. It is rather a collection of relationships between people, objects, and practices: an ecology de fined as the household. Commonly used to conceive of assemblages of people within a quantifiable territory, households are a spatial concept defined by enclosures, codes and accessibility. We aimed to challenge these material and spatial conditions and foreground the multitude of entangled, ever-changing collections of emotional, physical, biological and cognitive ecologies that we call home.

Ioana Petkova, Valerio Massaro Year 02 Carmen Calugarc, Emily Foster, Gina Virdi, James Low, James Kernot, Jervin Tiongson, Joseph Hannaghan, Kate Rutland, Nazahah Iqbal, Nuha Chowdhury, Owen Faunt, Owen Gosden, Rory Thrush, Rory Ward, Rudy Logue, Ted Elliott, Viktoria Petkova Year 03 Anas Javid, Brisildo Bejti, Emily Schlatter, James (Jamie) Griffin, Kerim Dogus, Lewis Dodds, Lucile Bertolaso-Scarlett, Max Rayner, Suna Kim Ozankan, Syful Islam, Teddy Sharpe, Timothy Percival, Todd Fletcher 38

Fig 01: Carmen Calugarc, Rory Ward, Viktoria Petkova Fig 02: Rory Thrush Fig 03: Rory Thrush Fig.01 Fig.02 Fig.03 39

Studio 03 De-Coded: The Hidden Life of Domestic Practices Fig 04: James (Jamie) Griffin Fig 05: Ted Elliott Fig 06: Jervin Tiongson, Ted Elliott Fig 07: Lucile Bertolaso-Scarlett Fig 08: Lucile Bertolaso-Scarlett, Timothy Percival Fig 09: Timothy Percival Fig 10: Timothy Percival Fig.04 Fig.06Fig.05 40

7. In the late summer apartment vacated. The resident was exhaiusted of the city, and their health suffered.

THE (EVOLVING) HOME

8. By the following spring, the dividing wall had been removed and renovations had been completed to add dedicated office and extend again the kitchen. The living room gained more space and often hosted casual work meetings as well as evening parties. 9. A small library corner is setup next to the dining table. The morning light provides idyllic backdrop for morning coffee. The second bedroom often hosts guests and colleagues, the couple are already imagining the possibility of adding sauna to the second bathroom.

4. Both residents begin to spend more time in their apartments. Apartment 6 extends their dining table to double as workspace. Apartment 7 makes plans to extend the kitchen, and installs shower cubicle at the request of their new partner. 5. The partner is spending more time at the apartment and the new kitchen island provides a new space for socialising. 6. With the double income of the (now) couple in apartment 7, more time is spent socialising at the apartment. The living room is upgraded with new seating. and they put couple of chairs in the bedroom to enjoy the morning light. Mapping the layout of two apartments over time, the social spaces appear in flux and the private spaces static. Adaptations such as adding showers, home offices, reading rooms, and larger kitchens occur, culminating in the two apartments joining to become one. Personal circumstances such as moving in with a partner, working from home, and the growth of small business are reflected in the evolution of the space.

Fig.10Fig.09Fig.07 Fig.08 41

2. In the first couple of years the residents take the time to learn the space. Apartment spends more time bathing, deciding to bring sofa into the room. 3. Few changes occur. The apartments do not demand evolution, but are ready to evolve as the residents’ requirements change.

1. Apartments 6 (top) and (bottom) run parallel to each other on the east side of the complex. A single professional lives in each, both first-time buyers.

DESIGN 203 - MAY 2022 EXHIBITION IN THE WORKSHOP ROADSUMNERWATEROFDOMESTICATIONTHE WATEROFDOMESTICATIONTHE RUDY LOGUE - DESIGN 203 - MAY 2022 MODEL Studio 03 De-Coded: The Hidden Life of Domestic Practices Fig.11 Fig.12 Fig.13 Fig.15 Fig.14 42

_,J �� E ! FinalUtilizingCosmographtheCosmograph we wanted to form a illustrative approach to Best describe what care means. We were aware that we chose a very Comprehensive subject so trying to cover as many aspects of care were important. We created a hierarchy/Levelling system to be the best approach in showing these everyday responsibilities that not only have a enormous impact on our life’s, but also to the many others. This showed us that Care goes beyond what we think of it reaches out universally all over the world. Fig 11: Rudy Logue Fig 12: James (Jamie) Griffin, Syful Islam Fig 13: Rudy Logue Fig 14: Rudy Logue Fig 15: Rudy Logue Fig 16: Nazahah Iqbal, Nuha Chowdhury Fig 17: Nuha Chowdhury Fig 18: Brisildo Bejti Fig 19: Anas Javid, Teddy Sharpe, Todd FletcherFig.17Fig.16 Fig.19Fig.18 43

Studio 03 De-Coded: The Hidden Life of Domestic Practices Fig 20: Jervin Tiongson Fig 21: James (Jamie) Griffin Fig 22: Owen Faunt Fig 23: Owen Faunt Fig 24: Owen Faunt Fig 25: Rory Ward Fig 26: Emily Foster Fig 27: Rory Ward Fig 28: Rory Ward Fig 29: Owen Faunt Fig.21Fig.20Fig.22 Fig.23 Fig.24 44

Fig.28 Fig.29 Fig.26 Fig.27 Fig.25 45

Infrastructure

Studio 4 explored creative and innovative forms of infrastructure as an architectural tool to unlock or reimage a sites true potential and there fore be fully integrated into the holistic approach of a project.

Our underlining theme of this year’s brief has been closely linked with infrastructure, and more specifically, how the design of a site’s imme diate context, be it access, public realm or general facilities forms an integral part of the architectural discussion. Very rarely do we design buildings in isolation, even when we do these projects are not confined to a building’s footprint and as such schemes typically react, enhance, or themselves become extended elements that form the fabric of a site.

Year 02 Daher Jenna Naji Mohammed (Mo), Ahmed Najla, Hussain Yaseen (Mirza), Ylagan Christine Freire Kelsey, Maryal Sahar, Hales Kian, Dickason Thomas, Arcino George, Monnan Mohammed (Atef), Galanta Rex ,Sadler Luke, Uribe Orozco Karen, Ozturk Akay, Aldariz Ramirez Christian, Pal Arika, Yaldaram llyayda, Collins-Asabere, Lois Anougou Obono Ness Abeja, Patricia, PTR Francisco , Stamp Megan, Cheetham Aimie, Atkins Robert Kidd, Georgina Wallis Hannah Year 03 Jarboua Anas, Musthafa Hibban 46

Design Tutors Monika Jociute , Liam Bedwell

With this in mind, the site and area of focus was set within Twickenham Riverside, situated on the banks of the River Thames in the London Borough of Richmond upon Thames. Twickenham Riverside has already been earmarked by the local authority as an important location in Richmond for future development which has the potential to be a new node within the South-West London towns built environment. It’s on this basis that the council hopes investment here will be a catalyst for both local and wider economic uplift and regeneration. Our theme for has been set a singular project across the entire academ ic year which was broken into three key phases. This approach has allowed us to follow the natural progression of a project, starting with site analysis through to both technical and visual resolution. During the year our students explore several infrastructure and architectural inves tigations that address various sets of environmental and cultural needs whilst responding to the site’s constraints and opportunities. This has allowed our students to take their own position and build upon individual site analysis in order to develop an architectural proposal that will share the local ambition for a transformative development in the town, which is appropriate in scale, and which stands the test of time as this genera tion’s positive contribution to Twickenham’s proud heritage.

STUDIO 04

In Studio 4 our aim has been to investigate how architecture plays a role in bringing people together in a socially, economically, and environmentally sustainable manner.

Central London London City Airport Access to North SeaGeographicTwickenhamCenter LondonTransport + Social Hub Final Geographical London Focii Increased River Traffic Sustainable transport and focus for sport and tourism Key transport lane Thames runs centrally to the geographic area of London and gives access to many popular areas and venues Community A space to attract many various demographics from nearby or distant communities - including tourists. Work Play Networking Bringing people together to create a supportive together social and economic community Festival Bringing people together to celebrate and understand the environmental conditions when flooded Returning the Riverside to being a key focus within society Isolation As existing the island is isolated from the mainland, with the river creating a moat around a very community.private Feasible Island 2050 Social and NetworkingBusinessHow? New Transport Hub FestivalFloodingCelebrating Fig.01: Robert Atkins, ‘‘ Institution of Congregation’’ 47

Studio 04 Infrastructure Ground Floor Plan Scale 1:120 N MusicToiletsDressingMatchmakingEntranceRoomRoom0403020100 00 0102 03 04 0100 02 03 04 Both genders have their own entrances to avoid meeting before the programme. Then individuals go through questionnaires to get matched with their type. After matchmaking, people go through the dressing room to get ready for their date. Thus experiencing different dating hubs,they may ﬁnd a friend or a lover. Fig.03 & 04: Robert Atkins, ‘‘Institution of Congregation’’ Fig.02: Christine Ylagan ,’’The Institute of Love’’ 48

3D VISUALISATION 49

Final 3D MOdel 1. Open interactive space 2. Raised seating 3. Cafe 4. Toilets 5. Cafe storage room 6. Bike storage and walkway 7. Garden walk through 8. Riverside gardens 9. Animal nesting islands Ground Floor Plan Studio 04 Infrastructure Fig.05: Atef Monnan Fig.06: Atef Monnan 50

The TW1 HUB 51

Studio 04 Infrastructure Internal View 3D Model 52

Natures Play ground Exploded Axo 53

This year Studio 05 will investigate the underlying notions behind the institutions of the city, turning our eye towards Brixton for the second years and Waterloo for the third years, we will seek to deconstruct the processes behind institutional architecture, its concepts and agency to question how the post-Covid-19 digitalisation of our city life will change the future of the institution’s role within the city. Is the large-scale insti tutional building still relevant in the city? How can our digital lives begin broaching the boundary between physical and virtual realms? Both years will begin by investigating existing buildings, their architec ture, structure and abstract forces that have led to their development. We will then take these learnings to develop architectural proposals that consider the city, and its communities, as key. We will seek to pro pose poetic and practical insertions that provide new programs to urban spaces derived from context, art, power and symbolism.

Design Tutors Larry Allison, Elham Valikhani Year 02

Sarafian Rayan, Rama Xhesi ka, Soubeyran Louis, Brezden, Stanislav, Olatunbosun Joseph Year 03 Ben Hamadi Houda, Chowdury Rastifa, Grant Kameron, Mensa-Ku ma Divine Institutions

Second years will work in the Brixton area, questioning how the vibrant community will react to institutional proposals derived from direct analysis instead of utopian vision. Final years will engage in Waterloo, stud ying London’s institutions and focusing on their digital identities to see how the digital can begin influencing the physical whilst maintaining an symbolic importance within society.

STUDIO 05

Fig.01Fig.02 55

Studio 05 Institutions Fig.04Fig.03 56

Fig.06Fig.05 57

Fig.10 Fig 01 + 02: James Sheldrake, Fig 03 + 04: Danny Treherne, Fig 05 + 06: Joseph Olutambosun, Fig 08: Xhesika Rama, Fig 09: Danny Treherne, Fig 10: Xhesika Rama, Fig 11: Xhesika Rama, Fig 12: Ryana Sarafian, Fig 13: Xhesika Rama

Studio 05 Institutions Fig.08Fig.09

Fig.11 Fig.12 Fig.13 59

Fenick-Sanchez Carlos Communication 02

Communications 01|02

The teaching of advanced digital drawing software is an essential part of the course if employment is to be gained in an architect’s office during the course or in the year out between degree and Masters. Students are required to supplement all taught workshops with extensive, self-managed practice in all digital technologies. These modules are taught over the space of two years to allow students time to develop their skill-set alongside their own design portfolios. Some of the short courses deliv ered within this module include, 2D-3D Cad, Model Making, Observa tional Drawing, BIM, Introduction to Robotics, Advance 2D-3D Cad and programming Communicationssoftware.involves both analogue drawing and modeling, and the acquisition of advanced digital design skills. Communication 1 comprises of an introduction to the techniques of two- and three-dimen sional visual communication, including drawing, model making and dig ital expression, in order to allow the exploration of experimental media via the facilities provided within the university. The aim of the module to provide you with skills of representation, visual communication and encourage modelling creativity in both the physical and digital world of architecture.; Communications 2/Digital Media covers the basics of 3D computer modeling and fabrication, and is connected to development of a design project. The course aims to deliver the fundamentals of 2D drafting and 3D modeling techniques, the basic control over Rhino 3D, the techniques to generate 2D drawings from 3D models and vice versa. The impor tance of photographic composition and the knowledge to utilize online resources to further develop one’s CAD skills. Lead Lead Olubodun Bandele Tutors Mohammad Kasim, Fenick-Sanchez Carlos, Olubodun Bandele, Vanezi Angels, Papakonstantinou Adamos, Wang Tang Daniel, Bowkett Steve

Communication 01-02

Communication 01

10 SITE + ROOF PLAN 5m15m 0m30m 1:500 10m30m 0m60m 1:1000 12.5m37.5m 0m75m 1:1250 25m75m 0m150m 1:2500 100m300m 0m600m 1:10000 500m1500m 0m3000m 1:50000 2.5m7.5m 0m15m 1:250 ViaPietane Fig. 24 Site Plan 62

However as I took a look at the internal support structure after the testing I realised that the MDF has absorbed some moisture from the plaster of Paris making it a little Consequentlydamp. feel like it would of preformed better if we let the plaster it for longer until its completely dry

When we took our model to the testing site we weighed and then crushed it, our wall had preformed the best with a strength to weight ratio of approximately 10:1.

DESTRUCTIVE TESTING Final MDF Model 13 Final MDF Model Architectural Model Making FINAL MODEL Architectural Model Making FINAL MODEL FINAL Wall:102.4 x100 63

Student Number: 4021016 Physical Model Weight (g): 332 Break Force (N) 719 Ultimate Force (N): 802.69 Break Distance(mm) 7.37 MDF (fromcolumnsLaserCut)Mock-up of the inner structure (Made of ASA circular rods) PLA main geometry (from 3d print) MDF (frombaseLaser Cut) Physical Model Student Number 4021016 Physical Model Weight (g) 332 Break Force (N) 719 Ultimate Force (N) 802.69 Break Distance(mm) 7.37 MDF (fromcolumnsLaserCut)Mock-up of the inner structure (Made of ASA circular rods) PLA main geometry (from 3d print) MDF (frombaseLaser Cut) Physical Model 16

Construction and environmental technologies are integral parts of the design process from conceptual idea to final proposal. At under graduate level, the principles of these technologies are learnt and this knowledge then developed and applied to key design projects in the programme. The technology and environment syllabus is delivered in lectures, and then assessed by means of coursework as an integral but discreet part of design studio work. Students can use their knowledge of these technologies as a driver in their architectural thinking, or sub sumed by other design influences. Technology is an essential element of the architectural design process. Without construction technology, it is impossible to understand and properly critique the performance of a building. Technology cannot be separated from the design process; it both informs and responds to all other parameters of the design. The careful yet inventive integration of technological elements will not al ways ensure that good architecture emerges from a design, but without it, good architecture is not possible at all.

Technology

Technology 01|02|03

Technology 01 module aims to introduce to the student the necessary integrative processes between design and technology and, within this, understand fundamental principles of structure, environmental systems and their performance, and the many approaches to consideration and construction of building fabric. Technology 02 module investigates building technology from small to large buildings through precedent studies and lectures dedicated to tra ditional, contemporary, and emergent construction techniques, helping students identify and formulate sustainable technological principles supporting their design proposals. This module aims to communicate to students the relationships between design conceptualisation, decision making regarding technological alternatives, and application of con structional knowledge - and the impact of these on design outcomes.

Technology 03 module includes a series of lectures compiled by aca demics to promote the critical role of technology in underpinning de sign decisions in architecture. The lecture series explored specific case studies to highlight the technological issues involved, with a focus on both normative and innovative solutions in architecture. The lectures are a precursor to the Technology report, providing them with knowl edge that informs the design and construction of the proposals of for their degree projects. This module aims to assist student’s creative ex pression of technology to support tectonic, material and environmental requirements of a design, enabling students to establish an informed position on technology in the design process. 01 Lead Rossi Federico Technology 02 Lead Rossi Federico Technology 03 Lead Allison Larry 64

Student Number: 4021016 27. 16HOMES FOR RE GENERATION(S) EXPLODED STRUCTURAL SYSTEMS The portal frame provides a framework for temporal spaces to exist. Individuals requirements change frequently, therefore a building should be able to meet these changing needs through flexible accommodation TERTIARY ELEMENTS Internal walls and doors SECONDARYCladding ELEMENTS CladdingWalkwayssupport system Infill structurally insulated panels (SIPs) PRIMARY ELEMENTS Steel columns and beams FoundationsBracing 65

21Environmental Analysis: External Context Sun WindBuildingShadowPathPathOrientationPath

1. 06:00 09:00 3. 12:00 4. 15:00 5. 18:00 6. 21:00

environmental forces present on Holly Grove Shrubbery. Undertaking an analysis of the sun path indicates the level of solar access represented by shadows in uenced by the form of the building. The Future of Civic Cyber Space displays a unique structural form and given the large scale of the project is heavily in uenced by solar impact, as displayed, shadows begin to form at 06:00 and are manipulated through to 21:00. This response is to the period between sunrise and sunset where the site is exposed along the sun's path. Based on the sun's placement along the path the direction in uences the scale, density, and form as shown, shadows developed at 12:00 vary from shadows developed at 18:00. Another factor to consider is the orientation of the building, this should be determined by the site forces and constraints calculated. The Future of Civic CyberSpace is south facing to ensure maximum solar impact from the sun path, south-facing orientation exposes the building to the longest duration of sunlight hours and the external facade consists of glass panels and relies on solar gain for energy purposes. However, the scale of the building casts a negative impact on the external surrounding context through shadow paths. In order to enhance user experience a certain amount of sun exposure and solar gain is required for vegetation and human interaction.

DESTRUCTIVE TESTING TECHNOLOGY 1: THE HORIZONTAL BRIDGE – RSPB ENVIRONMENT AND EDUCATION CENTRE IN RAINHAM

2. Buoyancy driven ventilation from low air vents is made more efficient by the tall chimneys. Wind passes around and over the chimneys creating a sort of siphon for the air inside to be recycled quickly.

3. Natural heat from the ground is used to heat the building via a ‘Ground Source Heat Pump’ or ‘GSHP’. This is significantly more efficient than gas or electric heating. The heat is absorbed by the thermally conductive materials used in the building’s construction. This retains heat in winter and cool temperatures in the summer.

1. Brise-soleil screens controls solar gain by managing the amount of incoming sunlight. This means less solar heat in the hottest times of the day in the summer and more solar heat on summer evenings and winter days.

Heating and cooling through a centralised heat recovery system, in addition to rainwater harvesting

The design encompasses passive and active strategies as an interconnected system to create an optimum living environment for the well being its Theoccupantsbuilding's orientation and massing has been developed to allow take advantage of natural ventilation, daylighting and passive energy - lower storey heights towards the south of the site allows sunlight into the set back residences

Structurally insulated panels provides continuous thermal line

HOMES FOR RE GENERATION(S)

SUSTAINABILITY

The building is largely vented naturally, however the mechanical ventilation systems regulates the greater extremers of heat gains and external temperature flucuations which are difficult to handle with natural ventilation alone - this ensures internal conditions are comfortable are all times

STRATEGIES

Areas of flat roof accommodates built in photovoltaic panels to generate renewable energy Rainwater chains provides water to flower Openablebedsbrisedirectlyprojectingfacadeto

10 Green roof reduces water run off and provides additional bio diversity Natural throughventilationglazedopenings providesbedsbrisesoleil prevents sun projecting on glazed mitigate solarOpenablegains brise soleil prevents direct solar gains within peak summer periods, whilst allowing heats gains within the winter to utilise passive energy and reduce energy consumption Photovoltaic panels are placed on roofs facing south and generates electricity for use within the building Rainwater harvesting is incorporated into the building and used for watering flower beds and flushing toilets 69

Cultural Context 03 explores different ways in which we could define the role of architecture. By doing so, it explores many of the critical debates currently taking place in architecture as well as examining architecture’s relationship with adjacent disciplines, from planning, urban design and heritage to psychology, economics, and politics. The unit aims to teach students to consider, respect, and engage in the intellectual depth of architecture, to appreciate the meaning and intellectual origins of con cepts deployed in architectural discourse, to position design practice within a cultural context that acknowledges philosophical, political, and social problems and to enhance critical skills that inform design processes, in particular the transformation of concepts into designs

Cultural Context 01 Lead Carlene Prince, Lovejoy Stephen Cultural Context 02 Lead Lovejoy Stephen Cultural Context 03 Lead Lovejoy Stephen 70

The three-year cultural context course comprises four Histo ry and Theory courses. The history and theory courses posi tion the individual student experience within the wider subject area of architecture, establishing views regarding the role of architecture within culture, the ethical and rational critique of architecture, and the application of philosophical thought to architecture.

Cultural Context 1 is an introductory course in Architectural History & Theory.Providing an outline review of key components within, cities, buildings, civic movements and personalities in the World of Architecture.The aim of this module is to provide the student with a grounding in the western tradition and practises; to familiarise them with the defining characteristics of the architecture of each period; to elucidate the relation of architecture to culture; to allow the student to critically appreciate the value of historical architectural studies; to introduce the topic and issues of nominated cities around the world.

As well as establishing rigour in thinking, critical investigation, the ap plication and organisation of research, writing skills, and referencing, studies in the history and theory of architecture encourage students to be aware of precedent. Precedent refers to the analysis of previ ous works of architecture, and how diverse design methodologies inform your own proposals in the studio. Historical and theoretical understanding allows students to judge the relative success of var ious design approaches against criteria including building perfor mance, scale, form, social consequence, and historical significance.

Cultural Context 02 module, aims to broader students understand ing of the relationship between architecture and wider society, and enable them to contextualise specific architectural movements, ideas, and buildings in their wider historical and social context.

Cultural Context 01|02|03

Both the converted pedestrian streets and the purpose-built public spaces, such as the Superkilen park in Copenhagen, follow these principles with a focus on interpersonal interactions either directly or on a shallower level. Ledges, benches and shopfronts encourage people to linger, increasing repeat interactions and allowing for a more communal feel when compared to a road open to traffic. The creation of these public spaces has, however, been limited almost exclusively to the central ‘palm’ of the city. The radial neighbourhoods have remained largely dead spaces from which people mostly travel into the centre of the city to work and shop and return to their own neighbourhoods only to sleep.

Kenzo Tange’s Work in Tokyo

Designing to Enable Public Life

By the start of the 1960’s many of Copenhagen’s streets were becoming overwhelmed by vehicular traffic and parked cars. Nowhere was this more prominent than on Strøget, the main street of the city (Steiner, 2016). In 1962, the city made the controversial decision to close the road to traffic, creating one of the first examples of a willingness from a government to reduce the pressure from cars in a city centre (Svarre and Gehl, 2013). At the time Gehl and his wife, psychologist Ingrid Gehl, had researched how Italians used public squares and spaces; research that Jan Gehl applied to looking in to how the newly pedestrianised Strøget was being used and how future roads could follow suit. Gehl described how the increase in footfall was similar to what you see in automotive traffic planning when he said ‘if you make more roads, you will have more traffic… if you have more space for people, you have more public life’ – Jan Gehl (Dalsgaard, 2012). This showed that devoting space to the public will draw people to that space and create footfall, even if, like Strøget, the road was once rarely accessed by foot. His Copenhagen studies of 1966 became the basis for a wave of newly pedestrianised streets in the city, with swathes of once overcrowded vehicular passages being converted to allow for public life. Gehl’s research on Italian cities showed that good public spaces meet our ‘need for contact’ (Gehl and Koch, 2011). He explains this by comparing people in public spaces to children in playgrounds. A child comes to a playground and does what they want to do even though other children are surrounding them. They may not play together but they are still in the same space, similarly people in public spaces may not interact but they share the same space. Gehl suggests that people interact on a deeper level when they encounter them more regularly, suggesting that public spaces should have more shared spaces and places to linger to encourage this.

Incorporation of Town Planning Elements into Architectural Design Tange’s first notable work for Tokyo was the City Hall, which was completed in 1957. Originally a winning entry for a competition to design a municipal administration centre for the city, the brief required the entire administration of the metropolis of Tokyo to be housed in one complex. Kenzo Tange’s key aim for the building was to ‘create a city hall that would be a real focus of the life of the community.’ (Tange, 1970) To achieve this, he ‘provided for free pedestrian zones, so that every inhabitant of the city should be able to establish a personal relationship with the building.’ (Tange, 1970). Only part of the original design was actually built, the second, twenty-storey tower with linking assembly hall not being realised. However, a decade later, Kenzo Tange was asked to design a second, larger city hall complex, the new Tokyo City Hall. Completed in 1991, this complex also featured many public spaces, including a publicly accessible observation gallery on the 45th floor, as well as using a civic plaza and central mall to link the two city hall towers together. (Tange,

The1987)work of Kenzo Tange is notable for its incorporation of town planning, combination of western modernism with traditional Japanese architecture, and design for the new age of information as well as its celebration of modern technology and manufacturing. These themes can be seen throughout projects he worked on for Tokyo, most notably the City Hall, Olympic Arenas, Tokyo Metropolitan Building, and Cathedral of St Mary. His 1960 and 1986 plans for Tokyo, while not realised on a grand scale also introduce many key planning ideas that shaped the development of the city.

Figure 4: Mapping of expansion of pedestiran routes 71

Kenzo Tange’s Influence on Tokyo

Cultural Context 2 Essay

CULTURAL CONTEXT 2 Jan Gehl & CriticalCopenhagenEssay 6 / Critical Essay //

Fig. 5 Old Tokyo City Hall Fig. 4 New Tokyo City Hall Site Plan Fig. 6 New Tokyo City Hall Complex Jan Gehl and Copenhagen

Fig.4 - Hintze Hall before the SkelatonFig.5- Hintze Hall with Blue whale

The initial design Fig.2 had circular amphitheatre like display in main hallway but the main gallery of the existing the building is following the symmetry throughout the design. The main gallery named as ‘Hintze Hall’ is right when you enter the building. Gallery display has been changed and renovate many times since 1881. In 2017, The main gallery space was redesigned and 25.2 m blue whale skeleton was installed. In 2018, The gal lery has won the d[Arc]award for its verity of lights source across the all floors. Fig.4 and Fig.5 shows the comparison the different display with light.

Natural History Museum Cultural Context 3 2021/22

The new design was a step towards modern ideologies against its previous Victorian style, the aesthetics and programme position the BAC as an act of creativity. An act towards establishing a diverse culture and open civic space available to everyone. The structure has always been a civic centre designed to host different events varying from political gatherings to theatre production. However in the late 1890’s it was market for a specic audience, those of a higher education and the right to vote or have a say in the upcoming politics, which can be viewed as elitist at the time to those who looked up to those ideologies. The 1980 conversion of the BAC tried to remove many of its Victorian features to t more modernist ideal such as the Vitruvius proposed triad: durability, usefulness, and beauty. The core programme changed from being a political construct to a creative administrative holding for the community. Making its previous design Haworthobsolete.Tompkins saw an opportunity to rediscover and celebrate key elements, claiming that ‘people understand what a building like this is about, and they accept the invitation of the building just to go and explore, get lost in it’ (Flucher, 2018) The roof of the Grand Hall was destroyed in the re exposing the structural masonry walls, with a charred and scorched surface of exposed brick and plaster. Juxtaposing with the patterned ceiling panels, which was constructed in the same prole as the original roof but features an open plywood lattice, referencing the memory of pattern celebrating the traditionalism of the building’s history. The new designed ceiling allows for greater ventilation and theatrical acoustics, maintaining its purpose for the user. It is shown through these decisions how theatre production broke free from the connes of the traditional auditorium, joining the boundaries of the acting and audience Thespaces.BAC continue to draw inspiration from its user, to establish a better experience through programmatic interventions. In 2021 it introduced itself as the worlds rst relaxed Venue, committing itself to be accessible to everyone creating equal experiences. The programme was created along with Tourette hero ‘using the Social Model, which says disability isn’t caused by people’s bodies or minds, but by how society is structured.’ (Anon., n.d.) For the interventions to be successful the building and programme had to be functional at the same time of construction. Just as Haworth Tompkins took the scratch approach they also chose to take a theatrical production approach. Creating a schedule of rehearsals where architectural construction or experiments were timetabled. Resulting in the restoration becoming its own show on the stage it is being used as. ‘Haworth Tompkins is challenging industry norms, ideas about authorship in architecture and the behavioural codes of theatre as they are promoted through architecture’s tendency to channel and contain us.’ (Rufford, 2015) Clients of the BAC have stated how “Haworth Tompkins did not just offer architectural solutions” but in turn allowed the “community of artists and local residents to become part of the design team”. (Anon., n.d.)Portraying how this buildings civic duty has evolved to welcome all community’s without restrictions. Prior to the completion of the building Photographer Fred Haworth took a series of photographs displaying the structures stripped down aesthetic. Capturing its historic manner in which the buildings Victorian features were shown. He presents the interior shell of the structure displaying its vast amount of windows that allow a light illuminative atmosphere alongside the pendant lamps along the corridors highlighting the pathways through the centre. However, none of these photos include the user, these photos give a sense of emptiness, that although the building is aesthetically pleasing it can not function without its user. This furthers the argument of the balancing act for designing for use vs preserving the historical fabric. To restore and keep the buildings heritage the designers took aspects from the user and there needs to create a space for them. In doing so Haworth Tompkins made it obsolete for any other use, the only evolution now is the programme not the building itself. In order to develop the design further more changes would need to be made which can result in the demolish of its Victorian aspects such as its masonry walls. The Battersea Town Hall was designed and built from the point of political agenda in 1893 by Edward W. Mountford. Mountford is viewed as one of the ‘initiators of the Wrenaissance style of Baroque Revival architecture’ (Anon., 2021). The structure contained 70 rooms, the grand hall being the main space. It has been developed over the years to accommodate expansion and its new uses, however not always regarding the value of the building. Concerned with the improvement of public spaces Bernheimer suggests that ‘beloved environments require a degree of complexity, depth, and variety that takes time to grow’ (Bernheimer, 2017) this is reected in the plywood lattice, referencing the memory of fractals and symmetry from the previous plaster mouldings, in the restoration. Thereby preserving its historical heritage. However, one wing of an existing attic was transformed into a light and airy space for the staff which opens onto a new rooftop garden. The atmosphere is represented in the lower rooms of the structure, but it is juxtaposed by its modern materials and aesthetic. In classic Victorian architecture ‘we see ordered complexity in the layout and the weaving together of materials’ (Bernheimer, 2017). Haworth Tompkins has not represented this here, and has solely focused on the user and its needs for a business hub. The designers have not stuck to the traditional materials that were used on the original structure, creating a whole new identity for part of the building.

FIGURE 3 FIGURE 5 FIGURE 8 72

For over 130 years, The natural History museum has evolved ar chitecturally with his collection as well. The collection was flooding into the galleries as New specimens and knowledge were coming to collection.

The permanent home of the collection has been weave architecturally with four different style such as Romanesque, Victorian, Gothic revival, Roman esque revival with nature inspired decorative elements. He was highly influenced by German Romanesque design from his German trips and also his decorative elements are inspiration from fea ture of German civic buildings, where they used wide range of terracotta in decorative elements. In Mid 19th century London was very polluted city and the detail of the architecture was at risk as to clean carved surface was hard at that moment. Intensive labour work and time consuming stone carving was over budget. They used terracotta because it was quick and easy to manufacture and needed low maintenance. Also, terracotta was not also heavy on pocket as well. That’s how terracotta was resistance to the grime of Victorian architecture and new culture came to London.

CULTURAL CONTEXT BATTERSEA ARTS CENTRE

Professional Practice Lead Germanos Margarita 74

The module introduces students to an understanding of the pro fessional practice of architecture, its history and co-relationships, and the concepts of ethical professionalism together with the roles and responsibilities of the architect. Prepares students for their time in practice, and manage the transition from independent working to their new role within a team structure as well as make students aware of the parameters within which practicing architects work and the opportunities this offers, while introducing a methodology for dealing with the variety of practices and project types, and maximise their opportunity to contribute within the professional environment.

This module introduces students to the requirements for knowl edge of the responsibilities of the architect in relation to cli ents, society, and the construction industry, discusses the princi ples of professionalism and ethical practice, and the role of the architect in relation to the members of professional design team.

All third year students are introduced to professional practice through a series of lectures and case studies. The views of practitioners, and of representatives from the professional and statutory bodies are both represented in the lecture series. Students are required to man age and appraise their own working practices with regard to their fi nal year’s work. They are taught how to prepare a CV, and to search for work. Students are also encouraged to visit an architect’s office in preparation for working in practice, and to participate in the RIBA Mentor ing Scheme which will again be offered to FT3 and PT5 students this year.

Professional Practice

Likely Wet Riser Locations During the design of the mosque a fire specialist would have been consulted. It is also likely that the local fire station would also be consulted at planning stage and for building control approval. This strategy would most likely consist of wet risers being located through the mosque. Wet risers are a charged pressurised water system in which a hose can be attached to allow water to be easily pumped through. Wet riser outlets should be located with a maximum hose distance of 45 meters to the furtherest potential location of a fire. The wet riser locations are likely to be at the entrance of mosque to allow the fire service quick access. They will also located in the stair core, figure 13, in the even that the fire too place on the mezzanine levels or in the basement. The use of wet risers allow for buildings which can’t be easily accessed via vehicles to still comply with part B approved documents.

Another advantage of green walls is that they help reduce UV damage to surfaces and can protect a building from wind, weather, and temperature fluctuations, prolonging the life of the structure. The 75

VEHICLE ACCESS

AN ANALYSIS OF HOW THE ‘CAMBRIDGE CENTRAL MOSQUE’ COMPLIES WITH THE FIRE GUIDANCE OUTLINED IN APPROVED DOCUMENT ‘PART B’ PROFESSIONAL PRACTICE TILLY ROBYN3726832BROWN REQUIREMENTS

natural ventilation to all residential units and mixed mode ventilation for the office and retail accommodationreuseofbasement

The Cambridge Central Mosque has one main vehicular entrance point, located to the west, which gives access to the basement. This vehicular access wouldn’t be a suitable place for a fire truck to stop incase of a fire. This is because the entrances immediately begin to ramp down to access the basement with a retaining wall located between the ramp and the mosque. So despite a fire truck being able to park in this space it would make access a fire hard. This basement entrance appears to be the only direct access onto the site. If a fire were to occur towards the east of the mosque a fire truck would have to gain access via the car park to the hospital. This would not be an ideal strategy to attend a fire as there is a substantial hedgerow and fence between the car park and the mosque itself. Given these observations and that the mosque is a public building the mosque is likely to have measures in place.

Figure 12. - Location Of Fire Truck And Wet Risers Fire Truck

Figure 13. - Wet Riser in Core from PartWetBRisers

28 SOUTH MOLTON STREET SUSTAINABILITY REPORT Alexandra Professional2021/2022TrasneaPractice

concrete structure to avoid unnecessary demolition or material use. considered specification of low energy/low water consumption appliances throughout. selection of environmentally friendly materials where appropriate.

B5: ACCESS FOR FIRE SERVICE

The first visually recognised sustainable implementation is the accents of a green wall. Adding green elevation and green walls can result in many benefits to the environment, buildings, and human welfare.During the day plants extract carbon dioxide, carbon monoxide and many other toxins from the air during photosynthesis, resulting in lower CO2 levels in abundant vegetated urban areas in response to the Approved Document L. Urbanised areas have a higher average temperature than surrounding countryside Increasing vegetation in city hot spots, or urban canyons, provides canopy cooling of trapped air and reduces reflected heat. Tests have shown temperature differences of up to 17⁰C between hard and vegetated surfaces in the same location2, although the given site and proposal does not cover a large area or development therefore a minimum amount of greenery is proposed, mostly for aesthetic purposes.

LocationBasementEntrance

The reason they took this approach was to establish the contemporary materials and design for the loft extension part, which already complied with the permitted development rights, so it would set the precedent for the modern approach to the design of the rest of the property. Permitted development rights are outlined by the government and are works which you can undertake on your property without requiring planning permission. In some areas they are restricted and sometimes a planning permission can result in the removal of permitted development rights from a property however, in this case the house had no planning history therefore it retained its permitted development rights. A certificate of lawfulness application is a short application running for 4 weeks generally and it seeks confirmation from the council that the works fall under permitted development. It is always recommended that this process is followed to ensure the works are lawful and prevent any enforcement if the works carried out do not comply. As this is a short application, it doesn't go through the formal consultation process like a full application and so doesn't have as many restrictions on appearance and materials so by choosing this approach first, the modern materials would have been approved prior to the full applications so this couldn't be a reason for refusal. Due to the application not being essential, this could have saved the project some time at planning stage if the works were just carried out however, it was necessary to have this approved by the council to help with the full application and it makes more sense to have all building work done on the property together to save time during construction so it was essential to establish this first in order to assist with the rest of the works.

Professional Practise Fire Safety – Means of Escape Talbot Gateway – Blackpool Offices Lift Faith roomReflection& Bridge Evac lift Office floor FemaleCourtyardWC’s Executive office Male WC’s Mtg room CoreOffice1 floor Office floor Core 1 ServeriCT room Mtg room MtgroomMtgLargeroom officeExecutive Mtg room Mtg FemaleroomWC’sMaleStaffWC’sbreakout Mtg roomMtg room MtgMtgroomroom Mtg room Professional Practice - Elfort Road House, London Max Rayner - 3706547 Word count - 1543

Figure 09. - Compartmented Fire Protected Wall Detail

INTRODUCTION

Criterion four; “...the performance of the building, as built, should be consistent with the BER...” (HM Government. (2010).) Construction of the building was completed to a high standard and is necessary equipped to achieve compliance with this criterion, ensuring the performance is consistent with the calculated BER. Insulation is continuous throughout the building envelope with extra emphasis on the south-western double skinned façade. No building remedial works were required to be carried out following completion and a successful pressure test demonstrated great air permeability throughout the building. Energy consumption is also reduced through a variety of other strategies in the project to satisfy the calculated BER, these include a PIR lighting system, rainwater harvesting, waterless urinals and low flush WCs. These combined create an effective strategy to reduce the strain on the water services and that no excessive energy usage is wasted for when areas are not in use and/or that when is used minimal amount are consumed.

PROFESSIONAL PRACTICE natural light. Additionally, implemented across each elevation are undulating fins to act as solar shading, again limiting solar gains and also adding interest to the aesthetics of the building. Lastly, on the Southwestern face a double skinned façade is used (Dominic Manfredi. (2014).). This is a very effective method to both prevent heat gains and heat losses and helps provide a constant temperature in the building.

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PROFESSIONAL PRACTICE ESSAY NUMBER ONE BICKERSTAFFE SQUARE JAMES3729667SHELDRAKE

Figure 08. - Ground Floor Plan Illustrating Compartmented Fire Protected Walls Compartmented Fire Protected Walls Wood Structural Panels Where Required For Shear Wood Stud Walls On Either Side Of Fire Wall Insulation Interior Finish Layers of Gypson Board On Each Die of Metal Studs Metal Studs

The purpose-built Cambridge Mosque was required due to existing local mosques within Cambridge struggling to accommodate the growing population of Muslims in the city and congregations. (Fig 1.)The site was purchased in 2008, the land previously was occupied by a warehouse. The site’s area is 97 meters deep by 44 meters wide, located on Mill Road, which is a main link road between the A603 and A1134 (Fig 2.). In 2009 Mark Barfield Architects won a competition for their design concept, creating a calm oasis that could hold up to 1000 people. The proposed Mosque covers approximately 4,690 sqm of this land and is orientated north-south along the axis. The City of Cambridge required the Mosque to be part of its historical skyline, whilst becoming its own landmark. Fig 1. Existing Cambridge mosque Fig 2. Existing Site Location Plan NTS Existing site 77

NUMBER 1, BICKERSTAFFE SQUARE

Criterion five; “...the necessary provisions for enabling energy-efficient operation of the building should be put in place...” (HM Government. (2010).) Upon completion of the project, together with ARUP, AHR comprised a building log book that would be provided to Blackpool Council. This can then be used by the building management company to find all the required information about the building to successfully maintain and operate the building ensuring that no more fuel and power is used than what is reasonable in the circumstances. This includes extracts from the Building Modelling Information (BIM), controls and maintenance requirements for the building services and the calculations for the TER and BER. From comparing the sustainability and energy conservation strategies implemented in this design we can see that it meets all criterions for compliance in Part L, also achieving an EPC A rating and a BREEAM Excellent score as mentioned before. From an outside perspective, it is worth exploring possible design improvements that could have been implemented while keeping the same constraints in mind. As the project already maximised the budget with sustainable systems incorporating additional strategies wouldn’t be feasible. However, looking at the building design itself the main feature that could add a lot of value to the building overall is; rather than having an open courtyard in the centre of the building, have this as a closed atrium space instead. With a glazed roof and louvre system it would still allow light to flow into the centre to the surrounding office space but by having this as an atrium means that you have less envelope perimeter to meet such demanding wall build ups therefore, reducing costs. It also means you have the design flexibility to open some of the atrium facing walls, through the use of half height walls for example. This reduced cost could then be spent on extending the double skinned façade to more surface area of the external elevations. The central atrium combined with the double skinned façade create a very powerful natural ventilation system throughout the building that could result in the VRF Cooling system no longer being required, reducing costs further. The once stagnant space as a result would no longer be fixed as a courtyard. It would become a much more versatile space, a place for presentations or remain as a breakout area for the occupants of the building to utilise but this time with the potential to turn the project into an energy plus building.

REQUIREMENTS B2: INTERNAL FIRE SPREAD

Compartmented walls or floors are defined under Part B as elements which have fire resisting qualities, allowing a fire in one compartment to be separate from another. In the floor plan in figure 08. the walls separating the prayer hall, lobby and atrium are all much thicker than the walls between the smaller ancillary spaces. The reason the walls are thicker between the main space within the mosque are partly down to where the structure is to allow for columns to hold the mosque up. However, this also accounts for the fire protected linings which need to be added to create the compartmented fire protected wall. This also has the added benefit of improved COMPARTMENTATIONacoustics./SPRINKLERS

In conclusion, AHR have surpassed the compliance regulations from Part L and formed a building that is thriving with sustainability and energy conservation strategies. There has been rapid growth throughout the population of the country, from both the general public and governmental bodies in terms of their attention to carbon reduction due to the emerging climate crises. So much so that the government have declared targets for the UK to have net zero carbon emissions by 2050 (RIBA. (2019)). The Blackpool council have been even more ambitious than these targets, committing to achieve the aims of net zero carbon

ARCHITECTURE2022 78

MArch: Master of (ARB/RIBAArchitecturePARTII) 79

Year 04 & 05 Design Tutors Design Studio 20 Dele Olubodun, Andrea Tiberi, Calista Stewart Design Studio 21 Onur Ozkaya, Jonathan Bush Design Studio 22 Todor Demirov, Teoman Ayas Design Studio 23 Piotr Smiechowicz, Yianna Moustaka History and Theory: Critical Thinking Tutor Maria Theodorou & Resource Efficiency Design Tutor Todor Demirov Practice & Economics Tutor Monika Jociute Technical Thesis Tutor Kazeem Awotunde

Course Director: Bandele Olubodun

Professional

Technology 5:

Energy

Design

MArch: Master of Architecture (ARB/RIBA

The Master of Architecture course would like to offer you all the warmest welcome from the team and me. As a brief introduction we have four design studios, each with their own academic agendas and positions that hopefully appeal to your interests. Our Design studio is underpinned by our taught modules in: History and Theory; Energy and Resource Efficiency in Architecture; Professional Practice and Technology. We are and have always been highly support ive of our students throughout our academic years. The past years have been one of great turbulence; from the ongoing climate emergency de bates, the COVID-19 pandemic, political and racial activisms sweeping across major hotspots to the current threat of global conflict. As architects, we cannot stand on the peripheries and although we are unable to resolve all issues at once, our efforts are necessary in realis ing a better future for us all. LSBU architecture aims to engage critical thinking through design, developing your problem[1]solving skills on prescient issues of environment, politics, society, economics, and culture. This plethora of challenges that we face in the 21st century, from morality, inadequate housing, clean air and water, digital cultures, the question of community, future transport systems, aesthetics and inno vative technologies, all form our studio conversations.

In the Master of Architecture at lsbu, we have a well-established culture of carrying out research and investigative measures in order to develop a critical eye and understand the world around us, only then are we able to apply this knowledge to complex architectural proposals for positive social purpose. As a vital part of the course, we spend time understanding how mate rials are produced and reused and explore major shifts in energy poli cies, for example, to accommodate the goals of the Paris agreement of limiting global temperature rise to within 1.5 degrees Celsius, as well as a 2030 goal, setting new buildings the enormous task of operating at net zero carbon and achieving a 40% reduction in embodied carbon, not to mention the significant upfront carbon reduction.

The early 21st century have seen novel ideas setting off relentlessly across the world, our buildings and cities are bustling with these inno vations. The widely held believe is that we are just at the beginning of a rapid technological revolution. This is a period of concentrated pro gress, giant technological leaps, usually driven by new discoveries with in other disciplines, completely outside architecture and design. And yet they drive our design thinking away from what we know as our cus tomary paths. This is why postgraduate architecture is a cornerstone in your career as young architects. attitude, relevant to your architecture.

PART II)

You must be able to position yourselves within this quagmire and be able to hold a purposeful and impactful .This inherent speed of change is also a reason that architecture can no longer be mono[1] functional. Instead, it must have the ability to reinvent itself and be open to new forms of technology and modes of thinking.With more than half of the global population already living in urban centres, and with a forecast rise to 70% by 2050, greening our cities into sustainable ones may be the only way Extensiveforward.part of our research activities is centred on our cities becoming more self-reliant, as well as creating healthier ecosystems more than reversing urbanisation from the known threat it poses. The testing of ideas is what we are all about at postgraduate level, yet, always remembering that design is not an esoteric activity and must be sympathetic to their context and be a part of wider society in a beneficial way. So, by way of conclusion, I will reiterate that postgraduate education is a champion of critical and complex thinking through design exploration and experimentation. Our dedicated studio spaces and digital workshops are designed to support peer group conversation and we see diversity as a key opportunity to learn from each other, whilst respective differences. Collaboration and action are our agenda for change in the late 21st century and the supposition that architecture really does matter is paramount to our course and your future in the profession.

It has long been prophesied that the role of humans in altering the bio sphere is not insignificant, and the awareness that we are ruining our environment brings pressure for a radical change in our way of living. As argued in The Stack, Benjamin Bratton states : “the time has come to create new models for all these multi-level interactions that have never intersected before”.

Design Tutors Dele Olubodun, Andrea Tiberi, Calista Stewart Year 04 Siobhan De Souza, Daniel Brudkie wicz, Nicole Oliveira Miranda, Nornesto Fernandez, Anoop Thilak, Daniel Akehurst, Anthony Miller, Dominic Sparks, Harry Horwood, James Cook, Dorrell Gayle-Menzie, Joshua Taplin, Jake Nelson Year 05 Rebecca Kemm, Al Shaan Annut, Zoe-Chelea Okungbowa, Zlatina Nedeva, Oliver Edwards, Erin Dalry mple-Rockett, John Okaga.

ArchitectureProgramming 82

STUDIO 20

Observation through history shows that from time to time in architecture there are periods of concentrated progress. These are massive leaps forward into uncharted territory, usually driven by new discoveries within other disciplines, seemingly unrelated to architecture and design, but pushing design thinking away from the usual paths.

These shifts are innovation and have been ongoing for centuries, but not at the accelerated pace of today. At the beginning of the 21st centu ry, innovative ideas have made their way relentlessly, and our buildings and cities are full of these innovations. The widespread belief is that we are only at the beginning of a rapid technological revolution.

Studio 20’s design thinking is that architecture finds a need and designs a building, a structure and a community to fulfil it.

Fig.01: Al Shaan Annut, London’s Spine

Fig.02: Al Shaan Annut, London’s Spine

through, resulting in saving space that in a usual proposal would be used for wires, cables and pipes.The programme comprehends Drone Manufacture, Prosthetics and Bionics, Structural Cyborgisation; a flexible robotics facility that outputs drones, prosthetics and temporary structures that enhance the home and disseminates objects via rail/road and air delivery.

The student’s proposal involved a deep knowledge of the emergent technologies in the building sector and a refined research on new ways of conceiving a new typology of space.

New frontiers of computatonal art have been explored, using a definition of morphogenetic algorithmic generation to build the graphene pillars and network. Its function is not only structural, but it serves as a frame for the electricity to pass Fig.04: Al Shaan Annut, London’s Spine Fig.05: Al Shaan Annut, London’s Spine Fig.03: Al Shaan Annut, London’s Spine 84

34 Programming Architecture: Design Phase PORTFOLIO 2021/2022 Dalrymple-RockettErin SECTION WITH DETAILS 1:50 Short Section C 1 2 3 465 27 ErinDalrymple-Rockett 1.Shop 4.Exercisefacilities 5.Childcare 6.Cafe 1 2 3 4 5 6 purpose for the scheme with highlight activities and a general understanding of the structures TECHNOLOGIES & SUSTAINABLE CONSTRUCTION METHODS TO DEVELOP THE PROPOSAL Fig.05: Erin Dalrymple-Rockett, Baron’s Village Fig.06: Erin Dalrymple-Rockett, Baron’s Village Fig.07: Erin Dalrymple-Rockett, Baron’s Village Fig.08: Erin Dalrymple-Rockett, Baron’s Village Fig.09: Anthony Miller, Limmo Peninsula Covid 19 Treatment Centre85

STUDIO 20 Programming Architecture CONSTRUCTION DETAIL Precast Bee Brick Precast Bird Brick Width and Height Variations Green Roof Drainage Layer Attenuation Cells Timber Moisture Resistant Board CLT Joists & Rigid Insulation Zinc Upstand Mechanical Fixing Timber Facade Depth200mm Design 403 Daniel Akehurst SITE LAYOUT Fig.10: Erin Dalrymple-Rockett, Baron’s Village Fig.11: Daniel Akerhust,Leamouth Rehabilitation Centre Fig.12: Daniel Akerhust, Leamouth Rehabilitation Fig.14: James Cook, Menthal Health Sports TherapyFig.13: Anthony Miller, Limmo Peninsula Covid 19 Treatment Centre 86

Helical Pile Foundation System Ring Beam Waterprooﬁng System High Water Level Timber NaturallyDeckingWeathered Sweet Chestnut/Oak Vertical Cladding Rigid Insulation with joints taped to create VCL and moisture barrier Underﬂoor Heating System Ground Floor Slab Z2. Opening 15 Detailed section view 16 Internal space 23 3D model Fig.16: John Okaga, Outdoor lLearning and Play Fig.15: John Okaga, Outdoor lLearning and Play Fig.18: Zlatina Nedeva, Algae Park Fig.19: Harry Horwood, Riverside Oasis for Holistic Wellness 87

STUDIO 20 Programming Architecture JOURNEY THROUGH BUILDING COURTYARD 1 GENERAL PLANTS AND TREES EMOTIONAL HEALTH HEALTH SPECIFIC MEDITATIONINTRODUCTIONLIBRARYROOMSLEEPPODS(SMELL)ROOM(SOUND)LIBRARY(TOUCH)YOGAROOMS(SIGHT) PHYSICAL HEALTH HEALTH SPECIFIC SPASAUNA/INTRODUCTIONLIBRARYROOMSTEAMROOM(SMELL)TREATMENTROOMS(SOUND)POOLS(TOUCH)GYM(SIGHT) MENTAL HEALTH HEALTH SPECIFIC ROOFTOPINTRODUCTIONLIBRARYROOMGAMESROOM(SIGHT)RESTAURANT(TASTE)KITCHEN(SMELL)GARDEN(TOUCH)RESTAURANT/BAR(TASTE) SOCIAL HEALTH HEALTH SPECIFIC OUTDOORINTRODUCTIONLIBRARYROOMSOCIALSPACE(TOUCH)INDOORSOCIALSPACE(SIGHT) SPIRITUAL HEALTH HEALTH SPECIFIC OUTDOORINTRODUCTIONLIBRARYROOMINDOORPODS(SIGHT)PODS(SOUND)COURTYARD 2 PALMS COURTYARD 3 FLOWERS COURTYARD 4 SUCCULENTS AND CACTI COURTYARD 5 MEDITERRANEAN PLANTS AND TREES GROUND FLOOR PLAN 1:250 RECEPTION COURTYARDPLANTGENERAL ROOMINTRODUCTIONHEALTHEMOTIONAL RECEPTIONPODSSLEEP ROOMSCHANGING ROOMSMONITORINGPODSLEEPDEPRIVATIONSENSORIAL PODSSLEEPDEPRIVATIONSENSORIAL PODSSLEEP LIBRARYTOENTRANCE GYMTOENTRANCE ROOMSCHANGINGROOMMEDITATION ROOMSMEDITATION COURTYARDTREEPALM ROOMINTRODUCTIONHEALTHPHYSICAL ROOMSCHANGING&RECEPTIONROOMSSPA ROOMSPA ROOMSPA ROOMSCHANGINGGYMANDPOOL GYMTOENTRANCE POOLSTEMPERATUREVARYINGANDPOOLSWIMMING ROOMSTEAM ROOMSTEAM SAUNA SAUNA COURTYARDFLOWER ROOMINTRODUCTIONHEALTHMENTAL ROOMGAMES CENTRELEARNINGGARDENING GARDENINDOOR OUTDOOR KITCHEN CENTRELEARNINGKITCHENDOWNSTAIRS RESTAURANT COURTYARDCACTI&SUCCULENT ROOMINTRODUCTIONHEALTHSOCIAL AREASOCIALINDOOR JACUZZISFORROOMSCHANGING AREASOCIALOUTDOOR COURTYARDMEDITERRANEAN ROOMINTRODUCTIONHEALTHSPIRITUAL PODSINDOOR PODSOUTDOOR PARKCARTOACCESSPEDESTRIAN PARKCARTOACCESSCAR 1ENTRANCEOUTDOORGROUNDBELOW 2ENTRANCEOUTDOORGROUNDBELOW 15 24 Fig.21: Daniel Brudkiewicz, The Floating Unity Fig.22: Daniel Brudkiewicz, The Floating Unity Fig.19: Harry Horwood, Riverside Oasis for Holistic Wellness Fig.20: Harry Horwood, Riverside Oasis for Holistic Wellness 88

A T M O S P H E R E | F O R E S T - B A T H I N G A T M O S P H E R E | F O R E S T - B A T H I N G

Landscape Buffer Solar Panels

Short Section A-A Studio 20_Design 403 Dominic Sparks 0m0.25m0.75m1.5m 2.5m Cafe This section provides a view into the cafe, the ﬁrst building visitors reach when approaching from the north. In addition to the standard function of a small cafe, this space is also used for growing and drying herbs, boosting the mood of those interacting with or passing through the room. These herbs are also used by the tea making staff. The herbs are grown in a series of small scale, vertical hydroponic systems, using harvested rainwater whenever possible.

1. External Walkways A view looking north, standing between the yoga studio (left) and the treatment hub (right). This view shows the external walkway on the ﬁrst ﬂoor, connecting the treatment hub to the library, seminar spaces, and cafe.

Fig.22: Dominic Sparks, Herbal Therapy Fig.23: Dominic Sparks, Herbal Therapy

Site Axonometric Studio 20_Design 403 Dominic Sparks

Fig.24: Dominic Sparks, Herbal Therapy

Perspectives_Walkways & Seating Studio 20_Design 403 Dominic Sparks

Fig.25: Nicole Oliveira Miranda, Bow Creek Wetlands Fig.26: Nicole Oliveira Miranda, Bow Creek Wetlands Fig.27: Nicole Oliveira Miranda, Bow Creek Wetlands 89

LandscapesHeterogeneous

STUDIO 21

Studio 21 will be exploring on-going technological, soci-economic and finally cultural transformations within our chosen sites to produce new forms of infrastructural proposals. The studio has two main operational concerns. Firstly, we use environmental challenges such as climate and geology as natural given param eters to integrate into our architectural transformations. Secondly, we approach a highly analytical process on programmatic developments to integrate emerging fields of contemporary life patterns and activities. This year, the studio will continue its critical exploration of space as “heterogeneous” order that includes various fields of differentials that are always in motion and in flux rather than homogeneous and passive imposition of forms, activities or strict boundaries that cause unproduc tive spaces. Our focus this year will be looking at two specific sites in Kent as “Quarries” and their future roles in the development of new architectural futures that would unravel new opportunities of social, cul tural and finally occupational forces.

Design Tutors Onur Ozkaya, Jonathan Bush, Yoav Caspi Year 04 Javier De Leon Gonzalez, Victor Velev, Parth Damani, Harry Hayes Year 05 Natasha Ani, Andreas Kyriakou, Elizabeth Kuforiji, Luis Rodrigues Guedes, Ben Webb O’Brien, David Noymul Nohon, Derek Dzemeki, Dara Paunova, Karoline Koch, Matthew Tong, Michael Crook, Sarah Nottet-Madsen, Katrina Barritt-Cunningham, Delaram Nabi doost, Calum Bluck, Pavneet Lally, Deren Mustafa, Vesal Tebyanian, Gregory Howes, William Gains, Connor Smith, James Radford, Ted Thrower, Anna Horczyk, Shafqat Choudry, Emily Tunnacliffe, Diren dra Selvanayagam

Fig 02: Shafqat ChoudryFig 01: Katrina Barritt-Cunningham Fig 03: Harry Hayes Fig 04: Shafqat Choudry 91

STUDIO 21 Heterogeneous Landscapes Fig 05: Michael Crook Fig 06: Michael Crook 92

Fig 07: Michael Crook Fig 08: Michael Crook Fig 09: Michael Crook Fig 10: Michael Crook 93

STUDIO 21 Heterogeneous Landscapes Fig 11: Sarah Nottet-Madsen Fig 14: Sarah Nottet-Madsen Fig 12: William Gains Fig 13: Dara Paunova 94

Fig 15: Sarah Nottet-Madsen Fig 17: Sarah Nottet-Madsen Fig 16: Emily Tunnacliffe Fig 18: Emily Tunnacliffe 95

STUDIO 21 Heterogeneous Landscapes Fig 19: Calum Bluck Fig 20: Calum Bluck 96

Todor Demirov, Teoman Ayas

Year 05

Mohamed Al-Doury, Canberk Kara, Edward Biegel, Liana Luzina, Tamunoibi Darego, Alison Edwards, Priyanka Shah, Ricky Cheung, Donjeta Sejdiu, Ivan Ignatov, Elisa Rhodes Neurauter, Nelton Bordonhos Barbosa, Prospero Rosales, Kishan Kumar, Oliver Howard, Serin Husseyin

STUDIO 22 Design Tutors

MorphogenesisMicroclimatic

The climate is an ever-changing constant. It is a seemingly fickle constant involving a complex set of environmental elements, which are ever evolving in a manner prone to manipulation. In Studio 22, we will embrace such uncertainty observed within the environment and explore its principles as the catalyst for sustainable architecture. Our design approach will follow experimentation towards a symbiotic relationship between technology driven sustainable design principles and their sociopolitical conceptualizations around architectural discourse for a sustainable architecture that truly befit the 21st century. Our studio will focus on sustainability and explore a balanced approach to low and high-tech solutions through model making. We expect all students to produce physical models as fabrication will be an integral part of our design process. It will be important for everyone to communicate their ideas utilizing the most appropriate medium; therefore, we will encourage experimentation with various design tools in order develop one’s own unique style and unique architecture. We want to trigger your imagination in response to the description of the term ‘sustainability’ in the 21st century. Your interpretation should question what the most important aspect of building design is, which makes it sustainable. We will investigate the way natural elements can be embedded into the city fabric in a meaningful way, forming a symbiosis between the fabricated and the natural. Furthermore, Studio 22 will research structural efficiency within the framework of creating beautiful and meaningful spaces customized to the specificities of a program that responds to the site context. 98

Year 04 Ian Sunjhoreea, Jedidiah Boateng, Amy Sharp, Raluca Bianca Sozanskyj, Natalia Cieminska, Samuel Simonyan, Rachel Sexton, Padina Amininavaei, Anda DetlavaGasmi

Fig 01 Fig 02 Fig 03 99

Fig 01: Elisa Rhodes Neurauter, Fig 02: Ivan Ignatov, Fig 03: Nelton Bordonhos Barbosa, Fig 04: Natalia Cieminska, Fig 05: Elisa Rhodes Neurauter, Fig 06: Elisa Rhodes Neurauter, Fig 07: Ivan Ignatov, Fig 08: Ian Sunjhoreea, Fig 09: Ian Sunjho reea, Fig 10: Serin Husseyin, Fig 11: Padina Amininavaei, Fig 12: Tamunoibi Dareg, Fig 13: Alison Edwards Fig 14: Tamunoibi Darego Fig 04 Fig 05 Fig 06 100

22 Microclimatic

STUDIO Morphogenesis

Fig 07 Fig 08 Fig 09 101

STUDIO 22 Microclimatic Morphogenesis Fig 10 Fig 12 Fig 14 Fig 11 Fig 13 102

103

“It is a civilizational wake-up call. A powerful message—spoken in the language of fires, floods, droughts, and extinctions—telling us that we need an entirely new economic model and a new way of sharing this planet.”

Studio 23 is the space for research and exploration linked to future social, political, and economic agendas, but also a place for introspection: structuring one’s own position in our profession through creative expression. We continue our interests in geometry, proportion, hierarchy, and order, and these remain inherent to our design process, through thinking and making, all underpinned by our pursuit for beau ty. We are keen to pursue innovations through design and question all norms. This year we were focused on two key design themes, nestled within our longstanding research agenda of “Structure as Space”

Design Tutors

The 5th year students studied the principles of balance and harmony in the micro and macro scale, and searched not only for architectural order, but also for social justice. By examining the concepts of power and law not only in the classical sense - governments, courts, or church, but also in nature and digital form, where media has a huge power of manipulation, we were trying to propose an architectural response that will create a place for future generations, allowing them to develop freely and improve social welfare. Given the current global challenge and technological development, where the concept of metaverse is placed in line with the real world, the question arises how the new “order” will look like and how architects will respond to that change.

STUDIO 23

*Engram - a presumed encoding in neural tissue that provides a physical basis for the persistence of memory; a memory trace.

Piotr YiannaSmiechowiczMoustaka

Naomi Klein, 2014, This Changes Everything

The House of Government – the second chance

104

Year 04 Akramul Azur Askaari, Zaki Abdelshah, Oluwatobiloba Adeogun, Juliana Antunes, Albert Boborodov, Negin Moradi Gheisvandi, Luke Holden, Faria Hossain, Uran Jerlija, Oumaima Kabak, Anas Osman, Efstratia Theodora Rigkou, Khaled Salameh, David Sattaur, José Taguiang, Zakaria Tehami Year 05 Sodiq Akinbade, Margarita Andreeva, May

Engram* of Fading Structures

Structure Space

MariaAnastasijaBorghol,Vanessa-GabrielaAshton-Jones,Barsan,NourThomasHayhurst,Kostileva,MandyKwok,Perikleous,FelixRothermel

The 4th year students’ aim was to create a survival kit for the human of the 21st century and transform it into an “extension of landscape” that will allows us to mint the roots of our existence. Critical was to understand our necessities and respond to their greatest issues (be it physical or existential) by designing habitable temporary, light-touch, kinetic or foldable structures in the context of The Middleham Castle and the Jervaulx Abbey ruins in North Yorkshire. By capturing frozen memories of the past, we tried to present the prediction of future for local communities and allow them to strengthen their social collective by maintaining their history.

Fig.01: Margarita Andreeva, The Temple of New Enlightenment 105

Fig.03: Anastasija Kostileva, The House of Government

Fig.04: Felix Rothermel, Laws of synthesis

106

Fig.02: Margarita Andreeva, The Temple of New Enlightenment

STUDIO 23 Structure as Space

Fig.05: Nour Borghol, Laws of synthesis Fig.07: Thomas Hayhurst, Laws of synthesis Fig.06: Maria Perikleous, The House of Government Fig.08: May Ashton-Jones, The people’s palace 107

STUDIO 23 Structure as Space SKETCHES AND PROCESS MATERIAL WOODEN STRIPS TERRACE ROOF FOUNDATION PILES /PRIMARY 2 A A B C D C D E WATER ROOF WATERHARVESTING TOILET SHOWER SHOWER SHUTTER To shelter those outside from looking and also providing views for the individual in and natural sunlight RELAXINGSLEEPING 1 2 3 Fig.09: Juliana Antunes, Engram of Fading Structures Fig.10: Efstratia Theodora Rigkou, Engram of Fading Structures Fig.11: David Sattaur, Hikers Hills Fig.12: Anas Osman , Survival: Agenda for Change108

Fig.13: Luke Holden, Stressed Skins

Fig.17: Negin Moradi Gheisvandi, Frozen Stars

109

Fig.15: Oluwatobiloba Adeogun, Stressed Skins

Fig.14: Albert Boborodov, Engram of Fading Structures

Fig.16: Uran Jerlija, Handcrafts

STUDIO 23 Structure as Space

Fig.18: Zakaria Tehami, Survival: Agenda

Fig.19: Khaled Salameh, Engram of

Fading Structures

110

climate change awareness

Fig.22: Vanessa-Gabriela Barsan, London Institute for

Fig.21: Zaki Abdelshah, Numenius

for Change

Fig.20: Oumaima Kabak, the Biodiversity Abbey

Fig.25:

Fig.26: Final Moderation, 2021 - 2022 111

Fig.23: Margarita Andreeva, The Temple of New Enlightenmentyear Fig.24: Anastasija Kostileva, The House of Government Site visit, Middleham Castle

Technology

•is based on students’ final MArch design research and project/s

112

The element demonstrating MArch graduation year students’ understanding of technology is Technology 5: Technical Thesis developed through seminars and tutorials, and:

The attitude to environment and technology is inclusive, with individual studios promoting a range of views.

•includes a detailed report supporting the award project •veryand desirably, a physical construction, or series of constructions

• a tectonic proposal that can be tested using real materials and tech Eachniquesyear the module contains a number of lectures with project work set in parallel to studio projects; technical tutorials are available for stu dents in each studio and progress should be discussed during studio tutorials. Students are expected to develop a critical and coherent approach to technology, appropriate to their specialised design interests and relevance to professional activity and Resource Efficiency in Design Lead Todor Demirov Technology 5: Technical Thesis Lead Kazeem Awotunde Technology 5: Technical Thesis Co-Lead Piotr Smiechowicz

Technology runs as a core subject in both years of the Masters course.

Energy

AREA 2 Green roof system CLT floaor slabs 200mm insulation to underside of floor to reduce sound transmission and heat loss. RHS Truss Acoustic panels SOLAR FACADE & ROOF Having adapable solar faces on the south facing facades can reduce detrimental summer sun when angled correctly and can allow winter sun to pentrate to help warm the internal spaces. Making each panel a solar panel allows electricity to be generated.Steelchannel fixed back to UB frame to support window ssytem EPDM structureSteelGlazingcladdingframeprimarySiPSpanelpositioned at 73 degrees secured to angled metal Membranechannel RHS Truss Steel channel fixed back to UB frame to support window ssytem RHS Large support RHS being repurposed for th emain atrium entrance sspace and being the primary structure. Timber panel with high levels of insulation fixed to steel channel STEEL FRAME STEEL FRAME STEEL FRAME RHSRHS 65mm screen 113

AREASYSSOLAR 2 Angled facade panels to face the sun more. Panels will be angled to the most eficient angle to maximise sun usage. The solar will then feed into the energy storage system

FRAME MODEL Model of the typical framed would be utilised in the student facade.

UsingGLAZINGCLTas a framing for the glazing system can provide structural support to the proposal. This can be secured back to the primary structure. Glazing provided will be low-e glass and potentially triple glazed.

REPURPOSED STEEL Recycling the standard steels from decomissioned oilrigs and other energy infrastructure can lead to a large amount of steel being taken out of use. There is an opportunty to use the steel in the proposal, making use of a material that already exists. Standard I beams and tubular steel could be repurposed.

SIPS + EPDM Where there are areas with no glazing there could be opportunity to utilise SiPs panels. The panels consist of an insulating foam core sandwiched between two structural facings, typically oriented strand board (OSB). SIPs are manufactured under factory controlled conditions and can be fabricated to fit nearly any building design. The result is a building system that is extremely strong, energy-efficient and cost-effective. These can be clad with EPDM (ethylene propylene diene monomer) rubber waterproofing, which is water resistant and can withstand extreme cold and hot temperatures. The material is resistant to ozone and UV, is fireproof and does not pollute rainwater runoff. In the winters the material soaks up the heat and helps warm the spaces with minimal extra energy.

CLT FLOOR PANELS Floor spans will use CLT panels, which are a revolutionary product. It can be used for floors, walls and roofs. CLT is a direct replacement for concrete but is significantly lighter. It spans two directions with precision accuracy, is carbon negative and uses wood from only sustainably managed forests. CLT opens the door to a new, ecological way to construct the buildings of the twenty-first century

surfaceSolar Solarpanelsurface Solarpanelsurface 114

SOLAR elementsAngledFACADEPANELfacadeto provide surface area to capture sun energy. These double up as solar shading for internal spaces during the summer electricityandpowerisDetrimentalmonths.sunblockedbutitsiscapturedturnedinto

115

A series of ten lectures offered by Maria Theodorou discuss instances of architecture histories, and current and past design concepts and practices.

Lecture topics indicate the multiplicity of thinking modalities available to architects and cover a wide range of knowledge areas such as: ar chitecture education, political economies, gender, philosophy, heritage conservation, utopias, activism, new materialisms, climate change, post-humanism, AI, etc. The lectures invite students to acknowledge architecture’s inter-disciplinarity and set up a framework that challenges given assumptions and the canonical approach to architecture design, histories, and knowledge. Five Lectures/Seminars on Academic Writ ing and Research Methods introduce students to primary research re quirements and assist them to assemble conceptual toolkits for thinking and discussing architectural issues in their 10.000-word dissertation.

Histories and Theories of Architecture

The two MArch modules H&T teaching focuses on educating ‘archi tects to be’, who would be able to critically assess and articulate oral ly and in writing the complex financial / political / cultural / historical / social / legal / technical / technological issues interwoven with the production of architecture. By attending a series of lectures and working on writing assignments, students become interested to engage differently in design studio; they are enticed to incorporate architec ture Histories and Theories knowledge into their design projects and seek to re-shape the conditions of contemporary cities and territories.

History/Theory: Critical Thinking Lead Maria Theodorou

Architecture/Theory: Dissertation Lead Maria Theodorou 116

The Labouring of Dawson’s Heights: is Kate Macintosh a ‘Feminine’ Architect? Towards an Integrated Lockdown: Zoning Es Socialsentialsand Environmental impacts of the Cov id-19 Pandemic on the Cityscape: Kensington & Chelsea Green Spaces Urban Transport Interchange: Kings Cross Lon don Data Technology: Surveillance in Tower Amazon’sHamlets Warehouse: Technology and Cus tomers Obsession A monument to Live in: Conservation and Ad aptability of the Diocletian’s Palace in Split, Architecture,Croatia the Tourist, and the Believer: The Abbey’s Pilgrimage Route Changing Attitudes Towards Historic Monu ments and Buildings: the Role of the Victorian Society in the Statutory Listing of St Pancras Railway NicholasStationHawksmoor’s

Christian Architectural Style in St Anne’s Church, Limehouse

The Future of Social Housing: The Goldsmith Street, Norwich The Crossing: Ledra Street, Nicosia, Cyprus

Assemblages and Technology: Mapping a UK WhoseElectionAgency in Community-led Architecture Projects? The Somerleyton Road in Brixton Symbiosis of Architecture with Permaculture Architectural Means of Helping the Homeless ness Crisis in the UK Adaptability of the Segal Self-built Method: Wal ters Way, Lewisham House Design, Domesticity and Gender: A Vic torian House at Park Terrace in London Home, Gender, and Diaspora: Women in Mout allos, Cyprus

Do Architects Dream of Eclectic Béton Brut?

Transdisciplinary Assemblage of Embodied Dis/ Enchantment: A Diffractive Analysis of Hampton Court Palace The Thames Assemblage: A Common Goods Resource in London Physical and Virtual Working Environments: The Wincer Kievenaar Architects Office and COVID Working Platforms An Architecture of Support for Breastfeeding in the Actors,UK

Dissertations Topics

Southhall’s Urban Realm: Architecture and the Socio-cultural Needs of the 21st Century Indian Punjabi Second Generation Diaspora Architecture and West African Politics -The Three Arms Zones: The Change of Capital from Lagos to Abuja, Nigeria 117

Perceptions of Modular Construction Design with Engineered Timber/CLT glulam

118

119

MArch H&T Collaborative Research and Knowledge Exchange

A 20min paper was presented at the LSBU Learning and Teaching Con ference on 19/01/2022. A former and current MArch student discussed together with the module leader the innovative learning approach of the A&T dissertation module which aims at decolonising architecture thinking.

H&T teaching promotes collaborative research and knowledge ex change to generate research (including students research) with impact outside the university. Collaborations in 2021-22 include:

The HAZ collaboration agreement with Southwark Council

The LSBU H&T module signed a pilot collaboration of knowledge ex change agreement with Southwark Council. Support and access to resources of Southwark council and Historic England were secured for a student-led group to conduct primary research on dissertation topics relevant to the Walworth Heritage Action Zone (HAZ). Students’ dissertation research will be included in the final project eval uation report; this will be nationally circulated and will inform future heritage approaches and Historic England’s nationwide HAZ strat egy. In the context of the agreement, the council offered students a research lecture/seminar and related material on The HAZ case study and Historical Research methodology on 14/02/2022 with Mi chael Tsoukaris, Head of Design and Conservation, Southwark Bor ough, Susie Barson, architectural investigator Historic England, Diane Cohraine /Neil Crossfield, Walworth Stories research project Walworth Society and Maria Theodorou LSBU MArch H&T module Leader).

Knowledge exchange with students at conference presentation

120

Initiative for collaboration with the Cyprus Institute (CyI) on Climate Change and Heritage LSBU MArch H&T collaboration with the Cyprus Institute (CyI) on Climate Change and Heritage was initiated with a joint research seminar offered to all students of both institutions on 21/02/2022, with Georgios Artopou los, Assist. Professor CyI, Fabio Maria Montagnino, Head of Innovation, CyI, M. Theodorou LSBU MArch H&T module Leader, CyI, MSc in Digital Cultural Heritage (DCH) students and LSBU MArch students.

MArch H&T Collaborative Lead Maria Theodorou

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ARCHITECTURE2022 122

PART 03 (ARB/RIBA PART II) 123

The practice of architecture is unique in that it is one which informs and is informed by the context within which it operates. As architects, we are required not only to provide competent and professional services to our clients and to the wider society, but also to be able to challenge and propose new social, cultural, political, and technological ways of thinking and innovations.

In many respects, our abilities to propose solutions that lie outside con temporary norms are attributes which are the most highly valued. At the same time, we need to be able to tailor and manage these processes in ways which are professional, ethical, and appropriate for the circum stances, and, importantly, to be able to navigate a professional route through conflicting requirements and de Themands.course and examination are designed to provide and assess the knowledge, skill and maturity of thought which fit architects for our role and enables us to fulfil our professional duties with a comprehensive understanding of the management of a professional business together with an awareness of the responsibilities and liabilities which arise from our Theobligations.abilitytoprepare a design that meets or exceeds expectations is of the greatest value when it is achievable, and when it is produced within a context which is commercially sustainable. While Part 3 is not an assessment of design abilities, its processes need to be integral to the design services that architects provide. Design and professionalism are not separate: one informs the other, and success, however this may be measured, is a result of both.

PART (ARB/RIBA03 PART II) Course Lead:

The objectives of this course are to provide students with the skills, knowledge and judgement to assist them to realise their design ambitions. Peter Wislocki

124

125

ARB/RIBA Part 2 Still in Edinburgh University and at a time of change for the school as it merged with the Edinburgh College of Art. This change brought new challenges and new friends, and it also got choices in the type of course brief for the March course. With the range of options, I opted for a conservation project in Rome and then a project in Spain Cordoba, which was influenced by the city and the river. The project in Cordoba was my 6th year project. It served as the acumination of my learning through part 1 and part 2 at that time. The report's subject was a Fishing Ecology Centre which served as an analysis of the river and the city. During part two, my growth was visible. I had a stronger emphasis on expression in my work. My most significant achievement during that time was some very positive comments from the Part One course director, who commented on my ideas and project delivery growth. This gave me great confidence leading up to the end of part 2. Along with my projects, I also completed a dissertation where the subject was An Analysis of Organic Architecture at Saynatsalo Town Hall." I found a project by Alvar Aalto interesting regarding its design concept and how it came to be using organic Architecture as a medium.

4.3 Marketing fee calculation, bidding, and negotiation

First impressions on entering our website is key which shows our flagship project and the emphasis on booking in a free consultation. The idea is to draw them into the booking page. This increases our exposure (word of mouth) even if no instruction happens

Build Team Website Home Page

Following the initial inquiry with the administration team a staff member carries out a design consultation. As you can see from the table, there are three types of design consultations, and each proposes its benefits. See Figure B. These are our standard feasibility consultation services. However, we focus on advertising the Standard Call in our marketing; since this is the first step most clients see when enquiring. Designers do not often get involved here as it's dealt with by the marketing team responsible for the company's image and driving the flow of new instruction. In some ways, the consultation approach is similar compared to typical practice. However, most Architects would get involved and offer one off consultation free of charge with the hope that, if instructed, they can account for the time used in the fee proposal. The approach is consistent with the Standard Consultation that we proposed. However, a fee is requested when a client wishes to have a more detailed discussion on site (premium site visit) to cover the allotted time, which can skip the Standard consultation.

The booking page allows for meetings to be scheduled in. Even when a meeting happens with a member of the team but is unsuccessful, we have found multiple cases where recommendations have happened that resulted in a design instruction

The premium and pre purchase site meetings require more experience on questions relating to planning and building control. A Designer would go to the site to carry out the site visit and go into more detail on the clients aims and objectives and even explore some concept proposals. In the case of Valance Road the client opted for a Paid Premium site visit. I was assigned to carry out the Premium site visit as part of my duties.

2.1 Types of clients, their priorities, and the management of the relationship Managing their initial requirements and the level of detail at the start is an important first step which is why we propose different consultation services.

This consultation service is offered to the client following request to go to site and the requirement to for a detail discussion. This meeting was offered and accepted for a fee to provide a face to face meeting on site that way we can begin to understand the clients site and aims for the project.

Build Team Booking Page Step 1 Step 2a Step 2b Step 3 Optional ARB Criteria

The marketing team continue to explore different innovations to drive new projects. The website is the and google AdWords is the biggest which attracted Vallance Road. Other would-be targeted flyer dops. This would assess by the director based on the marketing budget and company performance per yearly quarter.

6 Year Project Fishing Ecology in Cordoba 5 Feasibility Assessment Prior to Clients Enquiry Design Consultation Types: Figure B

ARCHITECTURE2022 126

Architecture Research (DARLAB, The RAID Lab) 127

The DARLab Director Associate Professor Federico Rossi The RAID Lab Lead Bandele Olubodun

Our recent REF submission represents the multi-disciplinary research approach done within the School of Built Environment and Architecture between 2014 and 2020. The submission was a strategic opportunity to bring together all research and subject areas concerning the design, development, and operation of the built environment with a focus in Architecture and digital fabrication, Civil, building services engineering and acoustics, Construction management, economics and integrated delivery and Sustainability and resilient infrastructure and communi Theties.

For the next REF submission, the Division of Architecture will look to develop a research platform to convey the visual and textual narrative of specific design studio projects, methods and experimentation, and the work developed by designers, practitioners, and academics from the Division teaching body. We will continue to expand links between fundamental research, applied research, knowledge transfer and architectural design through high-impact research relating to net-zero carbon buildings, social and cultural changes within the built environ LSBUment.

Architecture Division look forward to bring creative innovations of its student and staff community as we embrace this transformation in the education to become architect.

128

Architecture Research Statement

Digital Architecture and Robotic Lab as research group from the Division of Architecture developed an intensive research and inves tigation of digital technologies and physical building processes with strategic collaborations with industry, partners including Volkswagen, Titan Reality, Sound Display, HAL Robotics, Dyson and a key project for the European Space Agency for a Planetary Space Habitat unit.

129

Team Associate Member : Associate Professor Finian AssociateMcCann Member : Senior Lecturer Luis

Associate

DARLab The

Applied research to examine the changes in the requirements for archi tectural production that result from the introduction of digital manufactur ing techniques. Research interest lies in combining data and material, and the resulting implications this has on architectural design. The pos sibility of directly fabricating building components designed on a com puter expands not only the range of possibilities for construction, but, by the direct implementation of material and production logic into the design process, it creates a unique form of 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 profes sion 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 tool. In the con struction industry, DARLAB breaks typical constraints and solves common problems, for instance by implementing digital work flow in manufacturing embedded with the design process itself. DARLab Director Professor Federico Rossi DARLab Santos Mitsubishi ESA

Chem icals, nlayers3D, Hiteco,

The

130Automation

The Digital Architectural and Robotics Lab (DARLAB) is an established research group founded and directed by Associate Professor Feder ico Rossi part of the School of Built Environment and Architecture. DARLAB uses industrial grade robotic setup to develop advanced manufacturing solutions for research and academic purposes. The DARLAB is equipped with a multifunctional robotic platform for ad vanced manufacturing architectural applications; a robotic platform able to process different materials with custom equipment and tools. A combination with quick-change plates is allowing the robot to achieve different configuration accordingly with the task to be performed.

Associate Member : Senior Lecturer Onur Ozkaya PhDMember:Student Shahzada Sultan Industry Partners SCMGroup,

131

Andrea Tiberi

The RAID

Todor Demirov

Yianna Moustaka Piotr Smiechowicz 132

The main aim of Research Architecture Innovation Design (RAID) is to propel our division from being research active to a research intensive one. RAID aims to boost research and development within the division, and to enable increased collaboration with industry and other external research bodies, through measurable goals designed to involve segments of the wider society, the local authorities and oth ers, in a series of innovative and commercially viable initiatives.

With particular focus on three different strands of thinking: social scienc es, technology / engineering and arts, our research supports the de velopment of liveable, productive, and sustainable cities, based on the user experience and underpinned by innovation in architectural design.

The undertaking of our group is to fortify design as a fundamen tal aspect of architecture in the 21st century city, with an aspi ration to engender design in architecture through experimen tation and pedagogy, and for our group to be recognised on an international level for its distinct approach to design methodologies. With the RAID lab in place, the Architecture division is assured of not be ing left out of the current debates on new developments in technology and the application of those technologies in achieving a sustainable future.. Lab RAID Lab Lead Bandele RAID Lab Team

The

Angela Vanezi

Olubodun The

133

The Architecture Society provides the opportunity for all students stud ying architecture a sense of community within their academic platform. They create several social and networking events aswell as tutorial sessions both in person and virtually. Through the tutorials students learn how to use different software, model making and drafting. As external activities the society organises visits all around London and behind keeping the inspiration through the academic experience. Society Architecture Commitee:

Architecture

President Dorothea Donnelly Vice President Mohamed Musa Social Media and AdvertisingDavid Bekiareli Events Planner Kirupa Pulichintala Treasurer Taneen Hossai 134

The

135

Design

02 Lead

Cultural Context Leader

Carlene Prince Senior Lecturer, UG Design Year 01Co-

Context 3 Module Leader

The

3 Module Leader

Steve Bowkett Senior Lecturer

Masters in Architecture Course SeniorDirectorLecturer, PG Studio 20 Lead Design 501 Module Leader Design 502 Module Leader Design 503 Module Leader Communications 02 Introduction

Stephen Lovejoy

Senior ProfessionalLecturerPractice Module Leader

Associate Technologyprofessor01Module Leader Technology 02 Module

Kazeem Awotunde BA (Hons) Director Senior Lecturer, UG Year 01CoThesis

22 Lead Energy & Resource Efficiency in Design Module Leader

Design Year 01CoDesignLead 101 Module Leader Design 102 Module Leader Communications 02 Module Leader Maria Theodorou Senior Lecturer History & Theory: Critical Thinking Module ArchitectureLeader & Theory: Dissertation Module Leader Angela Vanezi BA (Hons) Architecture Course Director Senior Lecturer, UG Design Studio 01 Lead Design 301 Module Leader Design 302 Module Leader Design 303 Module Leader Communications 02 Introduction to BIM Hourly Paid Lecturers Teoman Ayas PG Studio 22 Co-Lead Support Liam Bendwell UG Studio 04 Co-Lead Support Jonathan Bush PG Studio 21 Co-Lead Support Communication 01 Photography Yoav Caspi PG Studio 21 Co-Lead Support Daniela Calastri UG Year 01 Co-Lead Support Luke Jones UG Year 01 Co-Lead Support Vallerio Massaro UG Studio 03 Co-Lead Support Yianna Moustaka PG Studio 23 Co-Lead Support Anthony Okoluko UG Year 01 Co-Lead Support Adamos Papakonstantinou UG Studio 01 Co-Lead Support Communication 01 Rendering Ioanna Petkova UG Studio 03 Co-Lead Support Calista Stewart PG Studio 20 Co-Lead Support Piotr Smiechowicz PG Studio 23 Co-Lead Support Daniel Wing Tang UG Studio 02 Co-Lead Support Communication 01 Digital Representation Sui-Wan Tang UG Year 01 Co-Lead Support Andrea Tiberi PG Studio 20 Co-Lead Support Elham Valikhani UG Studio 05 Co-Lead Support 136

DesignLead 103 Module Leader

05 Lead

Spyridon Kaprinis Senior Lecturer, UG Studio

DesignLead 401 Module Leader Design 402 Module Leader Design 403 Module Leader Technology 5: Technical

Carlos Fenick Sanchez Senior Lecturer, UG

Masters in Architecture L7 Appren tice Course Director

Monika Jociute MArch: Senior Lecturer, UG

Margarita Germanons

London South Bank University Architecture Staff Course Directors/Module Leaders

Cultural

Design 201 Module Leader Design 202 Module Leader Design 203 Module Leader Communications 02 Observational Draw ing/Drawing Mediums

Studio 04 Lead Professional Practice & Design Economics Module Leader

Cultural

Context 01 Module Leader

2 Module

Federico Rossi Leader DARLab Director

Larry Allison Senior Lecturer, UG Design Studio Technology

Todor Demirov Senior Lecturer, PG Studio

Architecture L6 Apprentice Course

21 Lead Technology 5:Lecture Series Module Leader

Bandele Olubodun MArch: to BIM Onur Ozkaya Senior Lecturer, PG Studio

Module Leader

137

BA (Hons) Archictecture (FT1) Safiya Taha Shariff Abdalla Azhaar Ahmed Hussein Abdikadir Andi CarlaHumairahAbdullahiAdiaMariaAgostinho Da Silva Ibrahim Ahmed Sami GhadaAlmondAhmed Musa Alziada Riseld DarianLiliaCemMirzaEzraAdaRogersaAmaliBallaEstherBartholomewOdinZedBarwinImranBeigBektasBelleWladimirBenavides Sarango Wasim Bensefia Yenny Pamela Berrocal Perez Arica SaraEnochAdrianShanaiMariettaEmilyMatildaAnxhelaAlyshaPeterAngelaReshawnMohammadPedramChelseaManuelManuelaAgonThomasMylesMariaCameliaKimberleyMichaela-MaeNikitaDanieleTselmegJasminNorranManalOliverPatriciaShaniAbdelKatherineKimberleyJulianaNoahPaulCatalinaNameerAlexanderZaraJonellShaimaeBhuiyanBinaniGregoryBlake-YoungBostanBradfordHassanButtButucelEricssonFortunatoCandengueSashaChambersIsabelCongilGoncalvesShadaiCornejoOrtizLizethCorreaRahmanDabboussiSuzanneDakinEmiliaDavidNathanielDaviesElFardiBakkaliAhmedEl-AttarHibaEloubaidi-SaundersErdembilegFerrentinoFevralovsFosterFranceFriptuMeiGarciaFreijeiroLeonKennethGarrettGawdatGeorgeGjakijaEsperancaGomesGoncalvesAlexanderGonzalesTapiaGabriellaGoodmanHajianNejadHamedMahmoudHarbRudolphHardingVirginiaHernandezBonnaHorvathHussainJahoJahoSophiaKajdiKannKayceeKeddo-CampbellKonikKoomsonKrasniqi Student List Dejzi Laze Louis Roman Lefroy-Brooks Julisa MariusLulajValentin Machis Isa Ali Manzoor Nafia Marican Tanya Ellen Mcnally Rachel Elizabeth Mcquade Sara Mihaela Mihaila Caitlin Abbie Mitchell Reem Ghassan Mohammed Aamina Moheuddin Gerard Elvis Mortimer Mohamed Mohamoud Musa Haaris Ubaid Nabibux Oliwia Jolanta Nafalska Kornelija Nalivaikaite Gabrielle Kadijah Namiko Eden Neil Malvern Junior Remekedzai T Nyawiri Chelsee Owusu Oliveira Daliya Abdalla Osman Midley Amath Paquete Monteiro Jason MohammedAlketaMariosEwelinaPucciRemiszewskaRustemiSadikajSamiulAhmed Sami Xhovana Sejdia Ellis Jay Smith Kevin Jose Soria Valle Sharad Suman Allan Terestal Ryan George Joseph Thompson Victoria Hope Walker Ozlem Yeter Sarah Zaidi BA (Hons) Archictecture (FT2) Patricia Estella Kemigisha Abeja Tasnima Ahmed Najla Ahmed Omar Ahmed Cristian Aldariz Ramirez Ness Lea Amougou Obono George Nathan Arcino Swathee Atputhasigamany David AlexandraBekiareliBeatrice Blanaru Yeliz NuhaBozkurtMadihah Chowdhury Lois JennaCollins-AsabereRiadDaher Thomas Alfie Dickason Dorothea Christine Donnelly Jacob Alan Eason Kelsey De Sousa Freire Rex Dominick Galanta Owen Patrick Gosden Kian Peter Hales Taneen Hossain Jacob James Byron Hughes Mirza Mohammad Yaseen Hussain Nazahah Amina Iqbal Sebastien Kalonzo Afif Khairi Khalid Elis Asura Klinger Krisztina Kristan-Pednekar Sahar Hedah Maryal Mohammed Atef Armaan Monnan Mhd Wasef Naji Ion FranciscoViktoriaArikaAkayOzarenschiOzturkPalPetkovaRafael Portugal Tavares Rodrigues Kirupa Sailakshmi Pulichintala Raja Xhesika Rama Zahra Rana Rhys Riddle Luke David Sadler Rayan Aram Sarafian Shaheen Shahid Karen Daniela Uribe Orozco Dheks Velicaria Gina Kaur Virdi Rory ChristineIlyaydaWardYaldaramRoseMejia Ylagan BA (Hons) Archictecture (FT3) Nuralein Abdulkadir Ali Iman Amir Heidar Elfim Atik Gizem ChristinaAybakarMaria Bampali Mohammed Bedran Brisildo Bejti Houda Ben Hamadi Ekin Ricardo Cardoso Yavuz Rastifa Tenza Chowdury Eleazar Manuel De Almeida Kerim KameronNathalieFiammaIbraheemDogusFarooqFazioGereisFrancis Grant James Griffin Anas Javid Eleni Kortsa Or Korca Dipen Lama Aylar DivineGiuseppeMammedovaMastracciKokuAkwetey Mensa-Kuma Jasmine Moffat Batool Ali Jasim Mudhaffer Sara-Narissa Naidu Misha Naseem Cian DrashtiO’CurryBharatbhai Parsana Dhwani Ganesh Patel Axle Keith Potente Juliana Mara Presente Gomes Faraz AlexandraMeganBradleyLoemaRabbaniShatiSpencerStampTrasnea 138

BA (Hons) Archictecture (PT1)

Joe John Hyder

Hannaghan

Louis Percy Fernand Soubeyran

Carmen Calugar Miroslav Nikolaev Hristov BA (Hons) Archictecture (PT4)

Matthew Frederick Ripley Alison Scott Owen

Stanislav Brezden

Robert William Atkins

Rory Douglas Thrush Jervin Alphonse Ferreras Tiongson Hannah Louise Wallis BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT4) Lewis Bradley Dodds Todd SamuelFletcherClaude Jackson Hibban Musthafa Max David Rayner

Nathaniel Goldwin Leonce Holly Alison Carolyn Nash BA (Hons) Archictecture (PT2) Alex Christopher Webb BA (Hons) Archictecture (PT3)

Basil SamuelAnuarRobert

Norris Asher

Derek Ward Jakub Wojcik BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT2) Zach DylanSundeepLillianBaldwinBartellaBhudiaAlbertHenry

Kai Lewis Filbert

Maximillian Charles Pole George David Robert Rose Kate Heather Rutland Carmel Ellie Kim Simmonds

Parth Umesh Damani Javier De Leon Gonzalez Siobhan Alvaro Antonio De Souza

Asma Parker

DavidTimothyKarly-AnnJarbouaMcgintyPercivalOlaitanAbimbola

Martin Barden

Harry Thomas Flack

Arthur Lewis Wood BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT3)

Nornesto Aguilana Fernandez 139

Cameron John Bell

Joseph Olawale Olatunbosun

Lauren Oxborrow

Tilly Robyn Brown

Oliver Andrew Langner

Olivia Ruby Pickup

Joseph John Garnett

Finch Jonah Bernard Howley

MArch: Master of Architecture (FT1) Zaki OluwatobilobaAbdelshahIdowu Adeogun Naffisa Ahmed Juliana Amorim Antunes Lyndsey Asare-Bediako Jedidiah Boateng Albert Boborodov

Machrid Angellyca Max Graham Peter Martin Holly Katie Mclean Zihan BethanyCsabaMusthafaNemethRebecca

Anthony Thrower BA (Hons) Archictecture (PT5) Lucile Aisha Bertolaso-Scarlett Bradley Darrell Dedman Syful Islam Anas

Taylor Aaron Locke Jessica Grace Scott Savannah Nyrah Gloria Williams-Duberry

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

Ted OwenElliottMatthew Faunt

Molly Nichola Brown

Amy Alexandra Goldthorpe

Stephen Andrew Jell James Frederick Kernot

Teddy DannyJordanJamesSharpeSheldrakeSmithTreherne

Natalie Kujawski

Georgina Elizabeth Kidd Rudy Jack Christian Logue James Henry Low

Daniel Jan Brudkiewicz

Jessica Maddie Fuller

Joshua David Bayford

Emma Jane Sidey Ellie Marie Spencer

Emily JosephFosterGeorge

Aimie Jane Cheetham

Mohamed Rasoul Hammoud Al-Doury Margarita Andreeva Andreeva Al Shaan Issa Annut May Elizabeth Ashton-Jones Edward Biegel Nour Achraf Borghol Sofiya Vladimirova Bozhinova Erin TamunoibiDalrymple-RockettIkiaboDarego Derek Mawuko Kofi Dzemeki Oliver John Andrew Edwards Canberk Kara Jumana Rand Katar Sara ElizabethTuranKatunaricAsilKoseItunuoluwa

Faria AnthonyHossainPeter

Student List Nornesto Aguilana Fernandez Uran GonzaloOumaimaJerlijaKabakLizarribar Suarez Negin Moradi Gheisvandi Nicole Patricia Oliveira Miranda Anas SahbaVictorJoshuaZakariaJoséIanKhaledOsmanIyadSalamehKirichokSunjhoreeaMatheoTaguiangTehamiTuyindiVedienaIlievVelevZargari

Luis Miller

Anna Katarzyna Zysk MArch: Master of Architecture (PT2) Seyhmus Acis MArch: Master of Architecture (PT3) Sodiq NatashaAkinbadeOhunene Ani Michael Jon Crook Anda ManKarolineDetlava-GasmiKochKwok Dara Romanova Paunova Matthew Tong Zahra Zare Kamel MArch: Master of Architecture (Architect Apprenticeship) (PT1) Padina BenDirendraJoshuaDominicRalucaSamvelAmyRachelDavidEfstratiaJakeHarryLukeHarryVincentDorrellOwenJamesNataliaAkramulAmininavaeiAzurAskaariCieminskaGaryCookErnstDollShawnGayle-MenzieLeonardGoyenGladstoneHayesThomasHoldenHorwoodFrancisNelsonTheodoraRigkouSamuelRoshanSattaurElizabethAnnSextonRebeccaSharpSimonyanBiancaSozanskyjDouglasSparksKeiranTaplinSelvanayagamEdwardWebbO’Brien

Master of Architecture (Architect Apprenticeship) (PT2) Upinder Kaur Bahra Samuel Lloyd Bailey Benjamin Alexander Booth Jack Wilfred Cottrell Sharon Bernadine Gallagher James Philip Hickford Thomas Stefan Koren Benjamin Dennistoun Miller Anthony Dahu Mumagi Niks JonathanPiliensJames Stevens Jack JakeAlexanderWilliamRafaelTaafeTeixeiraCraigTurnerJamesWarneRossWilson MArch: Master of Architecture (Architect Apprenticeship) (PT3) Katrina Mary AnnaThomasWilliamAlisonRickyShafqatNeltonCalumVanessa-GabrielaBarritt-CunninghamBarsanMarkBluckPauloBordonhosBarbosaHussainChaudryFuKitCheungElizabethEdwardsPeterGainsHayhurstHorczyk Oliver Rod Howard Gregory David Howes Serin Husseyin Ivan Bozhidarov Ignatov Rebecca EmilyTedVesalChloeConnorPriyankaDonjetaFelixProsperoElisaJamesSarahDelaramDerenPavneetKishanAnastasijaKemmKostilevaKumarKaurLallyMustafaNabidoostNottet-MadsenLewisRadfordRhodesNeurauterGinoCantosRosalesRothermelSejdiuMukeshShahJamesAxelSmithTayaliTebyanianThrowerGraceTunnacliffe RIBA Professional Practice Part 3 David Olaitan Abimbola Steven Kyle Davidson Damian Robert Milton Joshua Ronan Hall Murphy Paul Anthony Waller Matthew Carl Williams 140

Daniel

MArch: Master of Architecture (FT2)

Andreas

MArch: Master of Architecture (PT1) Robert Akehurst

MArch:

Liana TakudzwaLuzinaChristina Mazengera Zlatina Ivanova Nedeva Noymul Haque Nohon John Remi Martins Okaga Zoe-Chelsea Okungbowa Maria Perikleous Luis Rodrigues Guedes Direndra Selvanayagam Ben

Kuforiji Kyriakou Edward Webb O’Brien

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https://www.lsbu.ac.uk Editor Angela Vanezi Editorial Coordination Bandele Olubodun, Professor Igea Troiani, Adamos Papakon stantinou, Spyros Kaprinis,Daniel Wing Tang, Ioanna Petkova, Vallerio Massaro, Monika Jociute, Liam Bendwell, Larry Allison, Elham Valikhani, Carlos Fenick Sanchez, Andrea Tiberi, Calista Stewart, Onur Ozkaya, Jonathan Bush, Todor Demirov Teoman Ayas, Piotr Smiechowicz, Yianna Moustaka, Kazeem Awotunde Cover Graphics Timothy Percival For full range of programmes and modules please visit the London South Bank University Architecture London103Londontecturestudy-at-lsbu/subjects/archi-https://www.lsbu.ac.uk/study/subjects.SouthBankUniversityBoroughRoadSE10AAExhibitionofStudentworkheld at Bargehouse, OXO Tower Wharf 22nd-26th June 2022 Bargehouse,OxoTowerWharf,BargehouseStreet,SouthBank,London SE1 Bargehouse9PHisownedandmanagedby CoinStreetCommunityBuilders www.coinstreet.orgfacebook.com/OxoTowerWharf| @ OxoTowerWharf 142

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2022

LSBU Architecture End of Year Catalogue 2022

Articles inside

DARLab

The RAID Lab

Architecture Research Statement

Student List

MArch H&T Collaborative Research and Knowledge Exchange

Histories and Theories of Architecture

STUDIO 22

STUDIO 05

STUDIO 03

INTRODUCTION

Communications 01|02

STUDIO 02

Technology 01|02|03

STUDIO 01

Cultural Context 01|02|03