Yearbook 2021 by PDF Uploads

2021

School of Architecture, Planning and Landscape Newcastle University

Contents

Welcome BA (Hons) Architecture Stage 1 Stage 2 Stage 3

BA (Hons) Architecture & Urban Planning (AUP) 52 Stage 1 Stage 2 Stage 3 68 Master of Architecture Stage 5 Stage 6 134 Research in Architecture BA Dissertation AUP Dissertation MArch Dissertation Linked Research Taught Masters Programmes PhD / PhD by Creative Practice Architecture Research Collaborative Contributors

180

Sponsors

181

Student Initiative NUAS / Signal Black Initiative NCAN

182

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Welcome Juliet Odgers – Director of Architecture

I took this photograph on the second day of teaching this academic year, Tuesday 20th October 2020. After much anxious deliberation and strenuous shifting of furniture, the studio is prepared to receive students to their Covid-safe, socially distanced allocated space – complete with shelves for models, two-metre distanced desks, sanitation stations equipped with paper towels and disinfectant, and notices (‘don’t sit here’, ‘wash your hands’, ‘up only’, ‘wear a mask’). Eight months later, the usual maelstrom of modelling detritus and abandoned remnants of later night snacking that usually enliven the building at this time of year is entirely missing. Indeed, the image of studio is not much altered. I never thought I would miss abandoned sandwich wrappings. Though we have been able to return to studio to an extent, even providing 7 day a week access in these last few weeks, there has been no continuity and, consequently, no ‘nesting’ this year. And yet, now that the work is in, it is clear that it is just as inspiring, engaged and accomplished as in more ‘usual’ years. This is a testament to how well everyone has confronted the challenges of lockdown and how much we have achieved, both in academic and personal terms. There have been some good developments this year alongside the onerous challenges. We have welcomed our first two students on the Building Futures bursary (supported by the Blueprint for All charity, formerly known as the Stephen Lawrence Trust) . We have also opened the door to our first cohort of students enrolled on the new accredited Master of Landscape Architecture degree. The refurbishment of the Henry Daysh building has progressed to the point where we can move back in and construction work on the Farrell Centre is due to start in a few weeks. The experimental house, the OME, built by our Hub for Biotechnology in the Built Environment is in the final stages of snagging and will shortly be ready to receive experimenters and experiments in highly innovative biologically-underpinned building technologies. There is much to be proud of and to look forward to. We decided that we would mount both a digital and physical exhibition this year. How could we neglect the digital, given that many of our students have perforce worked at a great distance from Newcastle, connected only by the umbilicus of Zoom and Canvas, and how could we resist the temptation of a physical show, given that government restrictions appear to be easing quite considerably? I hope that you enjoy both. You will find work from our RIBA/ARB accredited degrees at BA and MArch; and the Architecture and Urban Planning undergraduate course. At graduate level, there is work from our landscape programmes; the MSc in Advanced Architectural Design and more. Enjoy the imagery and, please, visit our exhibitions. In conclusion, I feel some thanks are due. My first thanks goes to our students. As we know, for the most part younger people who contract COVID-19 emerge relatively unscathed, and yet they have been called on, time and again, to exercise restraint, stay at home, forego a normal social life, and make the most of a distanced university experience. In doing so, they have sacrificed a lot for the wellbeing of older generations, many of whom sit squarely in ‘vulnerable’ or ‘highly vulnerable’ groups. We have noticed and we are grateful. As for the academic staff, I know what you have put into teaching this year - overhauling the presentation of the entire curriculum with great ingenuity and adaptability at almost no notice, and doing so after scarcely any summer break; coping with yet another hour of Zoom teaching whilst your children run amok in the next door room rather than settling down to their home-school tasks; and, like the students, surviving social isolation, sometimes at great physical distances from family and friends. My thanks to you too. Last, and certainly not least, my thanks to the Professional Services staff, those who keep the whole ship afloat with their tireless attention to the administration of the School, those who support our students in pastoral matters, those who run the workshop and the website – where would we be without you? Sunk! That is where we would be. No one could say that this year has been easy and yet look at the success that, together, we have made of it.

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BA (Hons) Architecture

Samuel Austin – Degree Programme Director

What a year it has been! The pandemic has disrupted so much of what we would usually see as essential to our BA architecture degree at Newcastle. New students have joined the course without experiencing the bustle, creative clutter and shared endeavour of studio life. Access to our workshop and highly skilled technicians, so crucial to the School’s energetic culture of making, has been much more limited. Final year students who would typically travel all over Europe on studio trips have had to find inspiration in other ways. Instead of being immersed in the diverse, unfamiliar contexts of projects, we have come to know our own living-working spaces all too well. In the face of these challenges, our students have shown incredible ingenuity and adaptability. Our RIBA Part I accredited programme aims to support students to develop their own interests and approaches to architecture; that self-directed resourcefulness has proved invaluable in every aspect of work this year. Tables have been transformed into DIY drawing boards; those isolating without access to materials have achieved incredible effects drawing with coffee and modelling with soap and spaghetti. The collaborative character of the course has endured through Zoom studios and Miro boards, uniting distant time zones across often unreliable connections. Students in Newcastle have pooled their first-hand analysis of sites, as those studying remotely have shared their research. Deprived of access to archives and often unable to visit key sites, dissertation students have managed to track down a wealth of authoritative resources online, or pursue the same themes closer to home, culminating in an exceptional body of work. Our amazing team of tutors have similarly found new opportunities in pandemic constraints as they’ve been called on to rethink teaching methods at speed. Elaborate rigs of screens, webcams and tablets enabled distanced sharing of ideas through drawing. Remote working has inspired us to take a closer look at spaces nearby. Stage 1 students used their own Zoom room to explore varied recording and representational techniques, while Stage 2 projects have worked with overlooked communities and ecologies around Newcastle. History modules have embraced the chance to diversify the curriculum, inviting students to research and interpret buildings and places close to them, while theory lectures have escaped campus to explore how issues play out in the city itself. The pandemic has brought new focus to our efforts to adapt the course to address the growing environmental, social and political challenges of our time. Our research-led studios in Stage 3 continue to engage with complex and urgent issues in architecture and society, including dementia care, redevelopment of high-rise housing and community regeneration, with the climate crisis an overriding concern. More than ever our students have been eager to take a strong ethical position, to set out their view on what should be built, for whom, and with what priorities. This year’s graduates have had to contend with innumerable personal difficulties, as the pandemic has impacted each of us, our families and communities differently. As we celebrate their incredible achievements against the odds and reflect on new digital skills gained, we are also reminded of the importance of working together in buildings and spaces, and of making and testing out ideas by hand.

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Stage 1 From the outset, Stage 1 Architecture students are taught to observe, record, respond to, and represent, a wide variety of contexts and conditions ranging from small hand-held objects through to city mappings and wide-open sea vistas. Rather than simply teaching theory, the emphasis throughout is on experiencing and communicating architecture in a personal and meaningful way. As well as introducing constructional, environmental and structural design principles, the Technology modules provide an insight into how different architects engage with the making and crafting of architecture. Likewise, the Introduction to Architecture module introduces history and theory but also invites students to tell their own story by planning a personal architectural history walk. The Architectural Representation modules teach a wide spectrum of analogue and digital skills including measuring, drawing, modelling and photography, with a focus on the appropriate use and application of these in different design project contexts. The Architectural Design module builds in complexity through the year, commencing with small modelled explorations of architectural languages that lead quite naturally to a first ‘proper’ design project - the creation of a small single-room space for a human proponent centred on a daily routine or ritual such as bee-keeping, coffee-making or music rehearsal. This then leads to a rather more complex and longer Semester 2 project to design a small outward-bound activity centre located on a sloping coastal edge site and providing opportunities for both prospect and refuge. In addition to preparing them for the remainder of the degree programme, we hope the year encourages students to be outward looking and questioning - more aware of their own surroundings, and those of others, but also better equipped to start imagining opportunities for appropriately engaging with them.

Year Coordinators Kati Blom Simon Hacker

Students

Abdulaziz Alabdulwahed Adam Cameron Rush Ahmed Kooheji Alice Gascoigne Allan Shibu Amber Grace Hastings Amy Bradley Anastasia Edmunds Andrew Watson Angus Robinson Anne - Joke Andrea Dijkstra Anushka Bellur Anya Siddiqui Anzhela Sineva Araminta Mills Arina Khokhlova Aung Swan Htet Benjamin Edward Staveley Parker Bibiana Mireya Shea Callum Hinton Cameron Chun Ho Lai Campbell Carmichael Caspar Constantin Barker Cavan Smith Charlotte Bezant Chee Kit Wong Chen Xu Chi Tung Hui Chun Him Wu Connaire Moorcroft Courtney Thompson Crystal Grimshaw Dahna Castrignano Daniel Doherty Daniel-Iulian Branciog Darcey Louise Naylor Diana Vedmedovska Eirini Tsiakka Eleanor Heisler Eleanor Louise Delaney Elizabeth Jane Esau Ella-Jade Chudleigh-Lyle Emily Priestley Erick Ivan Verduzco Valdes Ethan Seow Ping Chew Euan Francis Ellis

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Text by Simon Hacker

Eva-Maria Radoslavova Dudolenska Gabriel Hodgkins-Webb Gabriel Moore George Bong Georgia Scobell Grace Imogen Haigh Grian Summers Guy Michael Waddilove Hanna Oxana Choi Hannah Innes Harrison Michael Wade Harvey Baines Hector Emery Helena Zofia Bolek Henry Barlow Hiu Sum Leung Hon Lam Yip Hooman Valizadeh Ioana Manoli Irel Dzhan Kirazla Isaac Samal Smith Yahya Isabelle Waha Jasmin Mary Yeung Jasper Luca Weening Jiarui Shi Joseph Kit Rowlinson Josie Hackney-Barber Ka Hei Leung Kar-Yan Phan Kayvee Abdullah Kin Kei Karina Hung Laiba Javed Lara Sinclair-Banks Leon Henry Leticia Rohl Rodrigues Lewis Adam Evans Liam Sephton Libby Madeleine Metherell Louis Gardener Lucy Hutson Luke Rae Maria Lisnic Maria Savva Maria-Dionysia Axioti Martin Chavez Maryam Saleh Salem Yosuf Hanashi Melissa Meizi Streuber Mian Muhammad Arham Min Kiat Shannon Tan Misela Benina Molly Gregory

Muhammad Irsyad Ridho My Emma Olsen Sivertsen Nathan David Metcalfe Navandeep Chahal Nicole Judith Miriamele Pfeifer Nok Ting Sarina Wong Nontanit Panyarachun Odaro Jamali Omonuwa Oliver Clemetson Oliver James Walsh On Yi Lee Oruaroghene Aruoriwo Okeoghene Obi-Egbedi Owen Mark Browning Phoebe Lucia Barnes-Clay Phoo Myat Nay Chi Lwin Poppy Beardsell Rahul Zane Patcha Rhiannon Chloe Williams Rohan Smith Ruixue Wu Said Salim Saif Salim Al Kalbani Samuel Millard Samuel Read Samuel James Rainford Sangmin Lee Shivani Patel Shuntaro Moriyama Sinead Mary Holdsworth Sophie Katrina Newbery Stephen Teale Sumaiya Aziz Supparat Surachit Sze Lok Justina Leung Tamar Sarkissian Thomas William Babington Boulton Tianhao Zhou Toby David Snoswell Tomi Gidzhenov Tsz Ying Hui Ursula Blyth Morter William Tate Wing Tung Cheng Yee Ching Tang Yee Man Pang Yina Gu Youjing Liu Yu-Chieh Kuo Yuxuan Chen Zaki McGarragle

Contributors

Adam Fryett Adam Sharr Alex Blanchard Andrew Ballantyne Anna Cumberland Armelle Tardiveau Assia Stefanova Becky Wise Brandon Few Carlos Calderon Cassie Burgess Chloe Gill Damien Wootten Daniel Mallo David McKenna Ed Wainwright Ewan Thompson Henna Asikainen Jake Williams-Deoraj James Harrington James Morton James Street Jay Hallsworth Jianfei Zhu John Kinsley Juliet Odgers Karl Mok Katie Lloyd-Thomas Marina Kemp Michael Chapman Nathaniel Coleman Neil Burford Neveen Hamza Nick Clark Noor Jan-Mohamed Olga Gogoleva Peter Kellett Peter St Julien Prue Chiles Ruth Sidey Samuel Austin Sana Al-Naimi Sneha Solanki Sonali Dhanpal Sophie Cobley Tara Alisandratos Taz Naseer Tom Parrish Tracey Tofield William Knight Zeynep Kezer

Opposite - Ioana Manoli

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Semester 1

ARC1001: Architectural Design - Projects 1.1 and 1.2 Project 1.1 introduces students to architectural design by first asking them to compose using each of three spatial languages - open frame, planar and volumetric. The application of these to a common shape or form encourages consideration of the limitations and potentials afforded by these distinctly different spatial paradigms. Lock-down resulted in some highly creative exploration using house-hold materials, such as the volumetric soap model - shown below. Project 1.2 sites the students on an imagined plot in a fictional location. They create a small structure to house or amplify a specific daily ritual and are invited to consider how the evocative nature of their new intervention affords, offers, invites and unconsciously provokes a variety of actions, reactions and interactions.

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Top Left - Tsz Ying Hui , Anne Dijkstra

Middle to Right - Harrison Wade, Lara Sinclair-Banks

Bottom - Ioana Manoli, Tamar Sarkissian

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Semester 1

ARC1017: Architectural Representation 1 - ‘Zoom Room’ Elevations & ‘Street View’ City Drawings

Top - Leticia Rohl Rodrigues, Anne Dijkstra

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Middle - Melissa Streuber

Bottom - Melissa Streuber

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Semester 2

ARC1001: Architectural Design - Project 1.3 ‘Prospect and Refuge’ Prospect-refuge theory was first postulated by the British geographer Jay Appleton, an alumnus of Kings College, Durham – now Newcastle University. It sets out to explain why we are often attracted to places that afford us a wide and sweeping view without wanting to be un duly ‘on show’ ourselves. At the outset of the project, students are invited to represent a childhood memory that evokes these twin phenomena (top, below) before exploring how they might apply these conditions to the design of a small outward-bound activity-focused provision, located on a coastal-edge site, with expansive views over the North Sea.

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Top - Anne Dijkstra, Sinead Holdsworth

Middle - Nicole Pfeifer, Maria Lisnic

Bottom - Yee Man Pang

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Semester 2

ARC1014: Architectural Technology 1.2 - Coursework precedent models These large-scale explorations - often assembled without glue - allow students to engage with materials, to encounter the relationship between space and structure, as well as encouraging the exploration of experiential qualities including air-movement and light.

Top Left - Ioana Manoli

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Middle Left to Right - Thomas Boulton, Gabriel Hodgkins-Webb

Bottom - Chloe Leung

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Stage 2 Falling between the first and final year of the BA programme, Stage 2 is a year of transition for many of our students. Building on the learning and skills acquired in Stage 1, the structure of the year provides a firm footing for each student to experiment, explore, and realise a range of socially, ecologically, and critically engaged design propositions. The projects presented on the following pages describe the outcomes from two semester long design projects. Each project expands students’ knowledge of architectural design, encouraging thoughtful inquiry and dialogic learning to aid the development of a meaningful design process that reflects the personal interests, ethics, and values of our diverse cohort.

Year Coordinators Jack Mutton Kieran Connolly Rosie Parnell Toby Blackman

Project Tutors

Anna Czigler Christos Kakalis Dan Sprawson Daniel Mallo Gillian Peskett Harriet Sutcliffe Hazel Cowie Jack Scaffardi John Kinsley Luke Rigg Oliver Chapman Rumen Dimov Sebastian Aedo-Jury Stella Mygdali Stuart Hatcher

Project Contributors Catherine Bertola Dwellbeing Emily Speed Joe Shaw Julia Heslop Leah Millar Paul Merrick Rosie Morris Tess Denman-Cleaver

Students

Adam Bashir Ramadan Hawisa Adam Michael Schell Adel Wahab Afiqah Binti Sulaiman Afopefoluwa Oluwatamilore Carew Aijia Zhang Ailish Niamh Burger Alma Eliza Shiamtani Alyssia Constance Thompson Amy Louise Baynes Anastasia Dombrovskaia Anastasiia Tymkiv Anastassiya Galkina Aris Skenderis Auguste Baranauskaite Augustinas Zaromskis Ayesha Lyn Miraflores Isahac Bertha-Maria Paun Bethany Sprigg Cameron Dryden Straughan Cameron Reiss Clark Chaehyun Cho Charlotte Louise Brooks Chenghao Xu Cheuk Tin Constantine Kwan Chi Wun Rex Cheng Conan Michael Quigley

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Dana Sikman Daniel Hodgson Daniel Maarten Bird Djiesica Carennia Dominique Romero Dylan Charles Young Elena Isabelle Crockett Eliza Grace Creedy Smith Elliot Stirman Elsa Sophie Mills Emily Rose Millward Emma Jane Willis Esmeralda Hysen Fai Mak Fangxu Zhu Fay Harvey Gabija Jasiunaite Gabriel Cheuk Sum Au-Yeung Gabriele Dauksaite Genesis De Los Angeles Bravo Sanchez Genevieve Penelope Clare Sligo-Young George Douglas Bennett George Francis Decker Whipple George Joseph Avery George Oliver Watson Georgia Doireann Minson Georgie Tallulah Richardson Haekal Dzikri Ananta Putra Hakyung Song Hawraa Ali Abdallah Al- Alawiya Hei Ka Tang Ho Man Ng Ho Wing Tam Hoi Ting Chloe Tam Hoi Yan Lam Ian Mellish Iason Bezas Isra Mohammed Osman Hassan-Ibrahim Ivan Malov Jaewon Jeong James Robert Charles Skinner Jedd Howie Manlulu Jemima Tiger Droney Jiahui Yao Jing Hao Jingqi Li Jirong Peng Jonatan Peter Muller Joseph Alexander Kavanagh Josh Gordon Stanton Joshua Simmons Justyna Nowosad Ka Chuen Chan Kacper Roman Brach Kathryn Ann Patterson Kayleigh Louise Metcalf Laurence Beau Bonson Evans Lily Alexandra Kerr Lily Belle Elgood Lixuan Huan Long Ki Wong

Text by Kieran Connolly, Rosie Parnell

Luke Samuel Pearce Magdalena Katarzyna Mroczkowska Maisie Emily Church Marianne Mikhail Maryam Humaira Binti Ahmad Amer Matas Janulionis Max Dexter Friedman Mingyeong Kim Mohamed Moustafa Mohamed Aly Hassan Monserrat Brenes Mata Morgan Elizabeth Cockroft Muhammad Zaki Agung Mustafa Cem Tole Nadia Iskandar Namo Hong Neelam Sangeeta Priyanka Majumder Niamh Hannah Kelly Nicholas Barker Nicole Law Nikolay Tinev Nok Fai Nathan Yuen Noor Khalid H M Al-khayat Oi Yan Li Olivia Emily Roberts Patrikas Areska Paworaprat Phinyo Phoebe Amelia Powers Pooja Lade Prajwal Balija Pradeep Quynh Anh Nguyen Rachel Lauren Baldwin Rafaella Barahona Maldonado Ruby Marie Lovatt Ruoxuan Jiang Salma Hussameldeen Sayed Abdelghany Sam Austin Hudson Samuel Barker Samuel Duncan Hewitson Samuel William Stokes Sandhy Thaddeus Sumadi Sandra Sara Muzykant Sara Fahmi Moh’d Bassam Yaish Serena Kathryn Martineau Walker Sin Yu Soe Chan Sofia Peracha Sophie Caroline Daisy Robson Sophie Stubbs Stephanie Alice Freeland Taichen Jiang Tanisha Jain Thomas Rhys Smith Tiffany Angel Fang Ting Cheung Lam Trina Andra Zadorojnai Troy Vimalasatya Rahardja Tsz Ching Wong Vicente Theobald Baum Xingjiang HU Xiwen Xu Yan Yu Natalie Yau Yaqing Tu

Yat Tung Lam Yi Chun Kuo Youngchan Choi Yuheng Zhang Yuk Ying Ho Yuqing Liu Zainab Fatima Zuzanna Iga Zapart

Special Thanks to Shieldfield Residents Alison Irene Jill Ken Valerie

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A Shieling for Shieldfield Kieran Connolly, Jack Mutton, Rosie Parnell For our first project in Stage 2, students explored housing design and its role in shaping communities. Working outwards from the historical idea of the ‘shieling,’ a shelter for shepherds made from found materials and rooted within its surroundings; projects offer a range of explorations and ideas for a small-scale housing scheme located in Shieldfield, a dense inner-city neighbourhood located just to the east of Newcastle city centre. Thinking carefully about the social and cultural context of the existing community, proposals have been thoughtfully developed to support the rituals and activities of domestic life, whilst also being carefully stitched into the physical, social, and ecological fabric of Shieldfield.

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Above - Neelam Majumder

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Top - Adel Wahab

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Bottom - Sam Barker

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Species & Spaces Toby Blackman, Kieran Connolly, Jack Mutton, Rosie Parnell For the second project of the year, students have explored ways of cultivating ecologically responsive design practices in a direct response to the ever-more urgent global climate emergency. Working on a selection of sites across North Shields, projects offer propositions for a small-to-medium-sized public building, with spatial programmes developed around a sequence of spaces for dissemination and learning. Importantly, each project has been designed for both human and non-human users. From kittiwakes to butterflies, salmon to sea squirts, design propositions seek to cultivate an approach to architecture that promotes reciprocity and co-existence between human and non-human through the adoption of sensitive and more ecologically sustainable approaches to designing and building.

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Above - Beth Sprigg

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Top - Nicole Law

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Bottom - Yuheng Zhang

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Stage 3 Stage 3 this year has been delivered remotely but the year-long studio model has continued from previous years. Whilst there have been inevitable challenges around travel, model-making and material experiments our students and teaching team have shown admirable resourcefulness in adapting to the ‘new normal’. As such our students are emerging with a new skillset which includes the ability to teamwork remotely, and enhanced virtual and digital presentation skills. Much use has been made of digital collaboration platforms such as Miro and all studios have included group outputs. Focus has remained on context – despite the challenges of students not always being able to visit their sites – and innovative ways of exploring and mapping have been developed. This year has also seen an increased focus on sustainability with all studios being asked to take their own perspective on the climate crisis, so studios have included digital environmental modelling, opportunities to refurbish existing buildings, low carbon technologies, design for deconstruction and increased awareness of embodied carbon. We are also pleased to see more projects with a strong social agenda. Studios this year have also typically had a more local or regional focus which has also provided us with new opportunities to reflect on our North Eastern culture, heritage and post-industrial challenges. Year Coordinators Matthew Margetts Cara Lund

Studio Leaders

Andrew Ballantyne Cara Lund Craig Gray Harriet Sutcliffe Hazel Cowie Jack Mutton Jess Davidson Jianfei Zhu Josep-Maria Garcia-Fuentes Kieran Connolly Luke Rigg Matthew Margetts Neil Burford Neveen Hamza Sophie Baldwin Stella Mygdali Steve Ibbotson Stuart Franklin Tom Ardron

Students

Abigail Elisabeth Hawkins Afnan Iman Bin Abdul Halim Agata Malinowska Agatha Delilah Barber Aikaterini Passa Aleema Hira Aziz Alexander Jacob Caminero McCall Alexander John Thompson Anastasia Asenova Anna Toft Aurelia Thompson Aya Rose Mordas Aysen Neslisah Cakmakkaya Banuchichak Imamaliyeva Benjamin Galvin Benjamin Michael Rene Osta Benjamin Timothy Franklin Benoit William Rawlings Bethany Grace Valerie Rungay Brian Ethen Cox Catherine McConnachie Chao Jung Chang Charles William Kay Chi-Jung Lee Ching Yee Jane Li Christian Thomas Davies Christopher James Hegg Chui Lam Yip Chung Hei Mok Colin Rogger Daniel James Andrew Bennett Daniel Mijalski Dawei Zhao Dk Noor ‘Ameerah Pg Kasmirhan Dominika Kowalska Dongpei Yue Edward Harry Salisbury Edward James Frederick Bousfield Ehan Harshal Halimun

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Text by Matthew Margetts

Eleanor Lindsay Jarah Eleanor Victoria Mettham Ella Lucy Freeman Ella Madeleine Ashworth Eloise Sian Macdonald Littler Emily Tamar Ducker Emma Louise Beale Faith Mary Hamilton Fanny Lovisa Kronander Gabriel Dominic Saliendra Gloria Sirong Hii Grace Carroll Guoyi Huang Hana Mahmoud Elfakhr Elrazy Baraka Hannah Grace Fordon Hannah Maria Batho Harriet Roisin Harrington Allen Harun Kilic Hei Lok Hong Hereward Percival H Leathart Hiu Tsun Michelle Mok Hon Ying Chow Hong Tung Chau Isabel Maria Mora Rubio Isobel Ann Prosser Jack Martin Callaghan Jacob Bowell Jacob John David Hughes Jacob Timothy Weetman Grantham Jamie Ryan Bone Jehyun Lee Jemma Louise Woods Jenna Goodfellow Jessica Charlotte Dunn Jessica Helena Eve Male Jiahan Ding Jingci Yeong Jiri Stanislav Goldman Jiwoo Kim Jiyeon Ryu Jordan Niels Patrick Shanks Joshua Alexander Jones Joungho So Julian Nyalete Kobina Djopo Julianna Skuz Karolina Lutterova Katy Hughes Khaled Walid Abdelhamid Abdelkader Kieran Miles Forrest Lea-Monica Udrescu Lewis Michael Neil Baylin Liene Greitane Liza Nadeem Lorand Nagy Louis Jacques Duvoisin Louis Oliver Hermawan Luca Edward Philo Luk Chong Leung Malaika Javed Malak Sharif Mohamed Aly Elwy Marcelina Debska Mary-Anne Catherine Murphy Matteo Giovanni Amedeo HuntCafarelli

Max Aaron Blythe Megan Jane Raw Michelle Sie Ee Lim Miki Jun Wang Liu Milly Rose London Ming Chi Leung Mingxuan Ge Molly Rose Robinson Muhammad Shujaat Afzal Natalia Stasik Neli Barzeva Ngai Chi Fung Nicholas Andrew Stubbs Oliver Denning Buckland Olivia Maria Ewing Oscar Michael Lavington Otto Lucas Jaax Owen Samuel Thomas Pak Hei Julian Ng Peng Yin Peter Anthony Windle Philip David Gerald Russell Polly Ann Chiddicks Rashmi Shashiprabha Jayasinghe Rea Chalastani-Patsioura Reece Mckenzie Minott Ren You Robert Brentnall Gowing Rodrigo Rafael Riofrio Colina Rosabella Margaret Reeves Rosemary Charlotte Joyce Rositsa Krasteva Sam Ravahi-Fard Samer Alayan Samuel Russell John Hare Samuel Scott Coldicott Sebastian Adam Poole Shu Han Janeen Seah Si Cheng Fong Simon Benjamin Tarbox Sophie Hannah Grace Henderson Stella Ogechi Chukwu Supapit Tangsakul Tabitha Victoria Edwards Taddeo Toffanin Tessa Elizabeth Lewes Thomas Charles Peter Henry Adams Tsz Fung Wong Wing Hei Lo Woosang Park Xiao Lin Xie Xiaoqian Zhou Xindi Cheng Xinrui Lin Xixian Wu Xuhan Zhang Yat Hei Asher Hon Yating He Yingjin Wang Yuan Zhang Yuanyuan Chen Yu-Chieh Chang Yuen Man Cheng Zarin Tasneem Mir Zoe Elise Ingram

Opposite - Emily Ducker

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A Manifesto for Housing Hazel Cowie & Jess Davidson

As with all disciplines and practices, architectural practice in 2021 is being reassessed through a series of intersecting and critical lenses - the pandemic, the climate crisis and post-Grenfell analysis are forcing the profession to consider its role in public life. Our studio aims to explore this role in the critical re-examination of an existing residential tower in Newcastle. Taking the position that housing is not only a manifestation of power relations within society, but a vehicle through which an alternative social order can be imagined. We have explored ideas about homogeneity, taste and anonymity, questioning the conformist and compliant role that architecture is often seen to have in the production of housing. This theoretical approach has also extended to material thinking, exploring how these issues intersect with the demands of off-site manufacture. The result is a series of re-imaginings of ways to live in a residential tower and the spaces that surround it.

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Above - Brian Cox

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Phased Retrofit Process

Existing Building

Phase 1 (3 yrs)

Phase 2 (3 yrs)

Phase (10 yrs)

Top - Oscar Lavington, Olivia Ewing

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Middle, Left to Right - Marcelina Debska, Agatha Barber

Bottom - Thomas Adams

10m

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Top Left to Bottom - Samuel Hare, Fanny Kronander, So Joungho

Top Right to Bottom - Liene Greitane, Eleanor Jarah, Dawei Zhao

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Top Left to Right - Samuel Hare, Aysen Cakmakkaya

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Left, Middle to Bottom - Tabitha Edwards, Zarin Tasneem Mir

Bottom Right - Louis Hermawan

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City Ruins

Jack Mutton & Harriet Sutcliffe Studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place, explores the experiential potential of materials and careful re-use of existing structures. This year we have been considering the place of ruins in the contemporary city and investigating how a more sustainable strategy of re-use and adaptation can lead to the creation of rich architecture, layered with history and imbued with a sense of place. Working with derelict, former industrial sites in Newcastle’s Ouseburn valley, the studio has been developing proposals for a series of live-work spaces and shared facilities for a community of artists and craftspeople.

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Top - Hana Baraka

Bottom - Banuchichak Imamaliyeva

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Top Left to Right - Sam Coldicott, Benoit Rawlings

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Bottom Left to Right - Harriet Roisin Hariington Allen, Malak Elwy

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Top Left to Right - Miki Jun Wang Liu, Taddeo Toffain

Middle - Chi Jung Lee

Bottom Left to Right - Bethany Rungay, Philip Russell

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Top, Left to Right - Afnan Iman, Malaika Javed

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Middle - Robert Gowing

Bottom Left to Right - Jiyeon Ryu, Isobel Prosser

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Creative Synergies

Craig Gray & Stella Mygdali Through rigorous testing and analysis, Creative Synergies explores the various functions, processes, skills and materiality involved in the art of hands-on making, architectural craft and a tactile appreciation of space and volume. We explore how compatible they are in a future of cutting edge architectural research, and wider sustainable strategies aimed at reducing the profession’s inexcusable contribution to the ongoing climate crisis. And ask alongside this, if an emphasis on a more performative and process-based approach to the programming, arrangement and inhabitation of space, can positively impact a proposal at an urban scale, whilst producing tangible benefits to the wider community it serves? The central question asked of our students is what role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between transient and established communities. And if, when aligned with the aforementioned considerations, it can be used as an appropriate template for a more contextual and sustainable, contemporary community architecture.

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Above - Mingxuan Ge

07/07/2021 10:13:17

Left, Top to Bottom - Aurelia Thompson, Yeong Jing, Jemma Woods

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Right, Top to Bottom - Nick Stubbs, Yating He, Jack Callaghan

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Top to Bottom - Ella Freeman, Gloria Hii, Xinrui Lin

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Ground Floor Exhibition Space.

GSEducationalVersion

Top Left to Right - Liza Nadeem, Chao Chang

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Middle Right - Rosabella Reeves

Bottom - Ehan Halimum

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Curating the City

Andrew Ballantyne, Neil Burford & Jianfei Zhu This studio explores the ideas of ‘curating’ for a critical engagement with a World Heritage Site, Saltaire in West Yorkshire – a nineteenthcentury model town of textile mills with advanced planning of townscape and landscape. Four themes are used to guide the 19 students’ contextual and reflective studies – tourist gaze; critical conservation; eco-assemblage; and urban form and design. Based on the research, preliminary ideas of an architectural intervention with a project, across a range of 10 sites in and around the heritage town, were proposed by the end of Term 1 (Framing). In Term 2 (Testing) and 3 (Synthesis), a variety of projects, including colleges, labs, sports facilities, and music venues, as well as a columbarium, a railway station and an eco-garden through woods on a hill slope, are being tested and developed, with theory essays and tectonic studies on the way to facilitate the process. In a variety of ways, the 19 projects have each provided a way of ‘curating’ the heritage town and landscape of Saltaire as an argument and a proposal.

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Above - Dominic Saliendra

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Top - Mary Murphy

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Middle Left to Right - Simon Tarbox, Hannah Fordon

Bottom - Jessica Male

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EXPLODED AXONOMETRIC DRAWING

EXHIBITION DOORS

A key element of the ‘Curating the City’ studio is analysing the way Saltaire visually maintains it image in a historic fashion, but fails to update and adjust in line with community needs and opportunities. A particular element of my building which operates to change this is the 3-storey 6m-wide door blocks traffic to create a flexible outdoor exhibition/activities area. The polycarbonate engages with light, so the skin of the exhibition space becomes a part of the exhibition itself, and the material fabric of the building does not remain rigid.

(Door Open)

PEDESTRIAN ACCESS

SUMMER

WINTER

Prevailing Wind DIrection Saltaire

The axonometric drawing is a celebration piece which explored the inhabitation of the building and my personal style of representation, which is more sketchy and watercolour based. The small details of the building such as the ramp through the centre, the difference in the facade materials and the mezzanine levels/double height spaces is something which reflects specifically here.

Fi g u r e 6 0 - A xo n o m e t ric Ce le b ra t io n D raw i n g

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Top, Left to Right - Aleema Aziz, Tessa Lewes, Rosie Joyce

Middle Left to Right - Oliver Buckland, Ching Yee Jane Li

Bottom - Jamie Bo

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Top Left to Right - Lea-Monica Udrescu, Karolina Lutterova

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M iddle - Julian Djopo

Bottom Left to Right - Xiaoqian Zhou, Chi Leung

07/07/2021 10:14:33

Ghost in the Machine

Matthew Margetts, Cara Lund & Steve Ibbotson Our studio is interested in people and their relationship with systems and infrastructures. These can be hidden (intangible – e.g. social networks or local legends) or visible (tangible – e.g. buildings and railways). We are particularly interested in how systems respond to change and how they can be adapted or appropriated. This year we have selected Redcar as our test bed to apply a Systemic Thinking approach to design. Redcar and the stretch of coastline from the high street up to the South Gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions, including, post-industrial steelworks, beaches, ex gun batteries, water sports and fishing huts. The studio challenged our ‘ghosts’ to consider the agency of an architect in augmenting this landscape, in the shadow of its industrial past and in the context of a desire to increase staycations. We used new and experimental tools to view place from the perspective of a chosen protagonist(s), drawing from a variety of sources, including systemic design, storytelling, science-fiction, graphic design, and cartographies. Students were asked situate and augmented or disrupted systems on their chosen site and explore how an architecture could evolve from a series of ‘moments’ where people meet process. Projects ranged from film set recycling centres to seaweed harvesting social condensers.

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Above - Emma Beale

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Top Left - Colin Rogger

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Top Right - Natalia Stasik (2)

Bottom - Aya Mordas

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Top - Muhammad Afzal

Middle Left to Right - Agata Malinowska, Muhammad Afzal

Bottom - Colin Rogger

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Top Left - Colin Rogger

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Top Right - Emily Ducker

Middle Right - Agata Malinowska

Bottom - Emily Ducker

07/07/2021 10:14:56

House of Memories

Neveen Hamza & Stuart Franklin How do we perceive environments we live in? How can architecture design respond to the specifics of its climate-site and users? This question is magnified when thinking of the differences in place perception between a healthy person and a person with Dementia. Not only should the building and its surroundings offer a memorable experience, but even more; a delicate exposure of all the sensory systems, without an information overload. This studio integrates architectural and urban design with environmental psychology theories for dementia specific design criteria. The designed environments are tested using building and urban performance modelling tools to inform architectural design ideas and its integration of renewable energy. This is a live project with medical staff and architectural practitioners involving the students in generating new architectural and urban visions for the University/NHS owned site, the ‘Centre for Ageing and Vitality’, in Fenham-Newcastle upon Tyne.

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Top - Dominika Kowalska

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Middle, Left to Right - Ella Ashworth Bottom - Lewis Baylin

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Top, Left to Right - Hon Ying Chow, Ngai Chi Fung

Middle to Bottom - Chung Hei Mok, Samer Alayan, Molly Robinson

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Top - Dominika Kowalska

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Left Middle to Bottom - Woosang Park, Tsz Fung Wong Right, Middle to Bottom - Matteo Hunt-Cafarelli, Ngai Chi Fung

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Section

Weaving in Wallsend

Sophie Baldwin, Kieran Connolly & Luke Rigg Weaving in Wallsend explores ideas of civic space through the construction of ‘urban commons’: networked sites of shared public resources and community facilities that are carefully woven into the fabric and ecologies of the city. More broadly, the studio considers how architects can operate as advocates, agents that seek proactive social change, questioning the typical roles of power within the construction industry and re-emphasising the importance of citizen empowerment and inclusivity. Members of the studio were asked to consider who they are advocating for, speculate on the ‘right to architecture’ and actively seek methods and design practices formed by social consciousness and activist tendencies.

Long Section

Working within the wider context of Wallsend, the studio developed retrofit strategies for the Forum Shopping Centre reimagining it as an ‘urban commons’ - a site of community, culture and exchange that prioritises inclusivity over exclusivity, public over private and the community over the individual.

Elevations

North

East

South

West

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Top - Daniel Bennett

M iddle - Polly Chiddicks

Bottom - Janeen Shuhan Seah

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Top, Left to Right - Charlie Kay, Chui Lam Yip

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Bottom - Lorand Nagy

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Top, Left to Right - Ben Franklin, Zoe Elise Ingram

Middle, Left to Right - Daniel Bennett, Jehyun Lee

Bottom - Eloise Littler

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Left, Top to Bottom - Julian Ng, Stella Chukwu

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Top Right - Luca Philo

Bottom - Max Blythe

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Building upon Building

Josep-Maria Garcia-Fuentes & Tom Ardron This studio explores experimental preservation in architecture. The brief is grounded upon the idea that architecture and preservation are both placed within a cultural continuum and are the outcome of complex cultural, social, and political struggles. These ideas are investigated through the design of a major addition to or the transformation of a heritage building. This process not only requires an understanding of the existing construction and how its architecture and materials express the values it sought to represent and serve at the time, but also the ways these meanings may be extended, enriched, or transformed and reshaped by a new addition. This year the studio has focused on The Penguin’s Pond by Berthold Lubetkin and its transformation into a new research centre, aiming to rethink the role of zoological parks and how they might begin to address the current ecological challenges.

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Above - Otto Jaax

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Top - Eleanor Mettham

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Middle Left to Right - Reece Minott, Yuanyuan Chen

Bottom - Sam Fard

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Top - Anastasia Asenova

Middle - Julianna Skuz

Bottom - Dongpei Yue

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Legacies of Modernism 2018 - 2019 In this studio, students were required to undertake a close reading of two key movements of 20th Century architecture; early European Modernism, and the later British manifestation of Brutalism, contend with their legacies and propose a design response which sought to address the contemporary relevance of these (im)possibly linked movements.

Top Left to Right - Michelle Mok, Yuan Zhang

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Middle - Daniel Mijalski

Bottom - Faith Hamilton

07/07/2021 10:16:02

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07/07/2021 11:34:42

BA (Hons) Architecture and Urban Planning (AUP) Armelle Tardiveau - Degree Programme Director

What a challenging year! But how amazing and mature the AUP students have been during this unprecedented academic year. My heart goes to all AUP1 students, who joined our School in September and very quickly learnt to keep focused and embrace their learning without social interaction or engagement with their new peers; only lonely struggles with pens, paper, and new (always daunting) skills to acquire and harness. Of course, it has not been easy, almost everyone has experienced a wobbly moment of hesitation when more questions than certainties cross minds and motivation is difficult to maintain. The Taking Measure project (see page: 57) depicts the ever so limiting studying environment students have had to accept in the darkest hours of lockdown. Sketching, measuring and drawing their own everyday space was a task that revealed the limitations and restrictions of what felt like a never-ending situation. Thankfully, as soon as the government allowed, Architecture staff agreed to provide access to design studios once, then twice a week. For many of you in Newcastle, the access to the studio turned into a lifeline, although for those of you who hadn’t even managed to set foot in the city, the routines of studying remotely continued as before. Incredibly so, most first year students, during their end of year portfolio interview in June, stated that they had a good year; this is a tribute to all dedicated academic and support staff who have all gone above and beyond the imaginable to make this year possible and rich despite of the global pandemic. Architecture and Urban Planning students have matured at an unexpected pace, taking in their stride their frustrations, anger, desolation and difficulties. Yet, these struggles prepared students more than ever for professional life, being able to develop projects individually or in groups with colleagues across oceans. They have learned to organise themselves, to reach out in difficult times, to work together remotely. They have been able to reflect constructively on their learning process and succeeded in projecting themselves beyond their degree. The interdisciplinary nature of the BA (Hons) Architecture and Urban Planning programme meant that students had to adjust to a variety of virtual teaching approaches: Design projects included individual site visits for students based in Newcastle, but those studying remotely experienced the approach that many designer practitioners engage with when taking part in international competitions - including learning about a site through maps and data sourced while never setting foot on the actual ground. As part of APL2015 Relational Mapping: Design and Representation (see page: 60), a colleague walked Byker with a go-pro camera sharing live comments and observations. The APL2035 Participation: Theories and Practices (see page: 62) which intends to engage students with community groups turned out to be impossible. Instead colleagues from APL, Geography and Education generously supported the module allowing our students to remotely embrace a diversity of matters of concern faced by people in our city. Humbly accepting that we have all been learning, compassion and understanding have been paramount and essential to complete a year that could never prepare students better for the 21st century professional life. As a team, we have noted sustained academic standards, in some parts even higher achievements, thus demonstrating the level of resilience that was required. The programme has consolidated its socially engaged ethos to architecture and planning which is illustrated in the pages of this yearbook through the ARC1007 Architectural Design with the Co-created City project (see page: 54) that engages students in siting a small studio in dialogue with an artist. AUP2 offers, APL2015 Relational Mapping: Design and Representation (see page: 60), a design project that invites students to ‘explore a site carefully and to understand how architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future’. The socially embedded agenda is strengthened with the AUP2 module APL2035 Participation: Theories and Practices (see page: 62) which introduces students to the research of many colleagues in both Architecture and Planning but also provides them with tools to actively support changes in our city, and ensure all voices are heard. APL3001 Alternative Practice: Urban Prototyping design project “Urban Commons” (see page: 66) concludes a two-year collaboration with the AHRC funded project ‘Waste and Strays, past, present and future of Urban Commons’ focusing on Newcastle’s Town Moor as a space of reflection and engagement on common land. APL3007 Dissertation in Architecture and Urbanism (see page: 14) reflects students’ concerns and future professional endeavours exploring a wide diversity of topics ranging from informal settlements in Cairo and Abuja, biodiversity and wellbeing, the impact of the COVID-19 pandemic, climate emergency and ecological crisis to the pressing matter of women’s safety in the built environment.

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07/07/2021 11:34:43

AUP Stage 1 - Co-created City Dan Russell

I inherited this project from Ed Wainwright, having initially contributed to it when I moved to Newcastle a few years back. The module was previously based at The NewBridge Project in Gateshead, an artist-led organisation where I also work as Artist Development Programmer. When Ed asked if I knew anyone whose interests spanned contemporary art, social practice and the built environment to get involved in teaching, I cheekily said “yes, me”. This was not totally out of the blue as I have a background in architecture and a decade of working on socially engaged art projects. It has been enjoyable seeing the project evolve over the years and witness different students’ reactions to it - especially when being gently nudged out of their comfort zones! Whilst still geared around designing a residency space for an artist, this year we broke with tradition and sited the project away from NewBridge. We were still able to ground it in the realities and difficulties of art in the city: precarious temporary tenancies, the spectre of gentrification, and the misunderstanding and marginalisation of progressive creative practices that hint at better futures. Three real life artists were invited to act as client figures whose needs and specific artforms the students could design around, and the project aimed to help them investigate what it is artists do, and how this connects to bigger societal themes and issues in the context of the city, and why it is important.  Starting with Joseph Beuys’ (1921–1986) “extended deﬁnition of art” where “everything under the sun is art” and “everyone is an artist” the cohort were encouraged to get into the heads of the client artists and draw their own conclusions as to what art might be - perhaps not limited to things like painting or drawing.  This year we took into consideration the fact that people were still primarily working from their kitchen tables, bedrooms and sofas and might not have access to the luxuries of the studio - making preliminary site models out of piles of books, cereal boxes and folded jumpers. In lieu of being together on site, and catering for brains subdued by a year of lockdown, we did imaginative exercises inspired by designer Victor Papanek and futurologist Jerome Glenn to explore either a visionary approach (speculative, not-yet-practical designs) or super detail (pinpoint accurate refinement) angle for the project.

Stage 1 Students

Alexandra-Cristina Gherghe Amelia Rose Stewart Pegrum Andre Hansford Aube Aurelie Marguerite Bailly Bailey Hodgson Ben Joseph Foster Benjamin Hunter Dwyer Hill Benjamin James Johnson Charles James Joseph Connor Humble Daniel Casbolt Daniel Corden Dominic Bowell Douglas Butt Edward Adams Edward Jack Wilson Elif Gulistan Akbas Foivi Maniatopoulou Grace Tregenza James McCutcheon Jeni Larmour Jordan Shaw Josh Kalia Juliette Douin Kwan Kwan Mahamat Younis Miles Louis Thomas Patrick Eamonn Douglas Pollyanna Wagenmann Quanah Clark Samuel Gaisie Sujesh Bernardo Rajendra Kumar Tatiana Eleanor Rachel Addyman Tizzy George Sakala Tomislav Angelov Varun Awasthi Wei Che Chuang Zuzanna Tomasik

Contributors

James Perry Lesley Guy Sarah Stead Sue Loughlin Will Stockwell

The idea with the project is to re-centre art as a vital part of the urban experience - alongside the multiplicity of societal things that make life worth living. The contributing artists all have practices that involved collaboration, other people and the general public and aim for a democratisation of culture rather than perpetuating the outdated idea of the lone genius struggling in their garret. This year’s cohort was expected to think more like actual contemporary artists: get inside their heads via storyboarding a day in their life; add a layer of reality to the design process through incorporating an inventory of each artists effects and personal requirements; and perhaps even make the leap between the social practice techniques of art and their application to community-led regeneration, designing for end users and placing people before profit.

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Top, Left to Right - Miles Thomas, Josh Kalia

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Middle - Q uanah Clark

Bottom - Juliette Douin, Amelia Pegrum

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AUP Stage 1 - MapMe Armelle Tardiveau

Contributors: Elinoah Eitani and Dan Russell

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Top: Quanah Clark

Botttom, Left to Right - Connor Humble, Tatiana Addymann

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AUP Stage 1 - Taking Measure Kieran Connolly

Contributors: Daniel Mallo, Dan Russell, James Perry, Elinoah Eitani and Jane Milican

Top, Left to Right - Eddie Adams, Jordan Shaw

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Bottom - Amelia Pegrum

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AUP Stage 1 - Architecture Occupied James Longfield

Contributors: James Perry, Armelle Tardiveau with the support of Anna Cumberland, Nicholas Honey, Robert Thackeray and Mark Laverty

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Top Left to Right - Amelia Pegrum, Miles Thomas

Middle Left to Right - Ed Wilson, Ben Foster

Bottom - Jay Chuang

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AUP Stage 1 - Shelter David McKenna

Contributors: James Perry, Sarah Stead with the support of photographers Tara Alisandratos and Damien Wootten

Top, Left to Right - Juliette Douin, Josh Kalia

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Middle - Douglas Butt

Bottom - Quanah Clark

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AUP Stage 2 - Relational Mapping, Design and Representation Prue Chiles and Sarah Stead The Relational Mapping studio design project invited students to explore a site carefully and to understand how architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future. We introduced the practice of creative mapping to explore and understand the varied dynamics and uncertainties of urban sites, and to help students find inspiration to create architectural intervention projects within the chosen site. By mapping accurately both the physical qualities of the area as well as non-physical data, experiences and uncertainties, students understood both the Byker Estate and the Byker neighbourhood. These insights informed the next stages of the project. James Corner, the well-known landscape architect, writes that “maps can unfold potential and allow creative thinking, they are a cultural project, creating and building the world as much as measuring and describing it”. He believes that new and speculative forms of mapping may generate new practices of creativity and by showing the world “in new ways, unexpected solutions and effects may emerge”. Whilst there has been no shortage of new ideas and theories in design and planning there has been little advancement and invention of those specific tools and techniques-including mapping – that are so crucial for the “effective construal and construction of new worlds”.1 The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself like an Italian hill-top town rising above it’s neighbours of Ouseburn and Shield road and looks down on the River Tyne. The Byker we see today is the replacement to the demolished area of Victorian working-class area of densely built terraces, designed by the Architect Ralph Erskine. The estate, characterised by it’s huge embracing Byker wall, was seen as an exemplar of architectural and landscape design and public participation. However, despite a vibrant community action group it has complex ongoing problems.

Stage 2 Students

Benjamin Duncan Chak Lam Cleve Yu Cheuk Hin Adrian Yee Danna Mercado David Lok Eisha Malik Ewan Mears Gabriela Serafin Ghaidaa Al Jamali Ieuan Phoenix Jake Anderson James Ross Khadijat Ismail Man Wai Stephanie Chan Matthew Payne Maud Webster Megan Dennison Peiyi Chen Sajid Ali Suksheetha Adulla Toprak Dal William Smith

Contributors

Anna Cumberland Claire Harper Heidi Kajita Nicky Watson (JDDK Architects) Sally Watson

At the beginning of the project we managed a field trip to Byker and Ouseburn before the lockdown, allowing most of us to meet in person and explore through walking, discussing and drawing. The studio was supplemented with talks and seminars from visiting professionals working on and in Byker and by talks on representation and urban design techniques and tactics. The brief for the project used the scenario that groups of students have been commisioned by the Byker Community Trust to anaylse a particular area within Byker and to propose architectural interventions to celebrate and improve the diverse areas of the Estate. The group mapping explorations in the first few weeks informed a manifesto, a narrative written as a group of what is needed and desired and what kind of intervention might enhance, improve and celebrate either the public space, landscape, buildings or a combination of these. The manifesto developed into a proposed site plan where each member of the group designed an element of this, ensuring that their individual final designs were integrated into the overall group proposal. The projects successfully illustrated a knowledge and understanding of mapping as a vehicle of revealing the complexity of socio-spatial networks that make up the urban environment of Byker. The students showed an evolving personal, ethical and sustainable attitude to the project, grounded in civic engagement, as much as was possible this year, and this formed the basis for their designs and decision-making. Students developed their own working practices, online especially, whether working independently or in groups and articulated their ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20). Particularly impressive this year was the way students worked in groups with each other, some members of the studio in far flung countries and others able to visit Byker. This made for a rewarding team working experience.

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Top, Left to Right - Eisha Malik, Will Smith, Group: Ewan Meers, Ghaidaa Al Jamali, Danna Mercado, Sajid Ali

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Bottom - Eisha Malik

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AUP Stage 2 - Participation: Theories and Practices

Armelle Tardiveau, supported by Georgia Giannopoulou and Gabriel Silvestre For their inspiring interventions deep thanks to Prof. Prue Chiles, Dr. Paul Cowie, Gareth Fern, Prof Patsy Healey, Dr Julia Heslop, Daniel Mallo, Owen Hopkins, Prof Rosie Parnell, Sean Peacock, Teresa Strachan, Dr Dave Webb and Dr Sebastian Weise. Also, warm thanks to ‘City Actors’ who engaged with our students in local urban challenges: Sally Watson, Elinoah Eitani, Neil Murphy, Liz Todd, Alison Stenning, Montse Ferres and Ed Wainwright.

Participation: Theories and Practices is a module that emerged last academic year out of sheer desire to acknowledge and foreground the longstanding tradition of participation at the School of Architecture, Planning and Landscape with its wide spectrum of participatory research in the fields of both Architecture and Urban Planning. Inspired by the legacy of Professor Patsy Healey who pioneered research on collaborative planning (Healey, P. 2003), the module intends to introduce students to this expanding body of research within the school. It builds on the work of Teresa Strachan, whose decades of practice and research for Planning Aid allowed young people to have a voice about their neighbourhood and gave them means to shape it; it also draws from the practice-led research on socially engaged design and activism by Daniel Mallo and Armellle Tardiveau in Architecture. Indeed, the school’s website bursts with research on participation, civic engagement and activism by many colleagues, illustrating the depth and breath of the commitment of the school to participation mainly through research but now embedded in our teaching.

Stage 2 Students Adrian Yee Ancha Myburgh Benjamin Duncan Cleve Yu David Lok Eisha Malik Grace Evans Ieuan Phoenix Kaan Mete Matthew Payne Megan Dennison Paul Anderson Sajid Ali Stephanie Chan Suksheetha Adulla William Smith

The module aims to engage our students, the forthcoming generation of citizens and professionals of the built environment, in giving power to people (echoing Patti Smith’s popular song ‘People Have the Power’). Through a combination of seminars, live engagement and reflective writing, students develop an inclusive approach, that promotes all voices to be heard,. The ultimate objective being the Right to the City for all citizens and the creation of spaces that strengthen local democracy and community action. In this regard, students develop a participatory process addressing a local concern, in the context of Newcastle’s Urban Room, a space for debate and democracy, originally envisaged by Sir Terry Farrell in his Review of Architecture and the Built Environment (2014). As part of City Futures, Prof Mark Tewdwr Jones paved the way for an Urban Room (Tewdwr-Jones, 2019) to emerge at the heart of Newcastle University, a forum for expression, participation and engagement of Newcastle’s city actors and communities living and experiencing the city everyday. This exciting new initiative, praised in a national newspaper (Wainright, O. 2021), will open many opportunities to strengthen our role as a Civic University. Participation: Theories and Practices is offered to Stage 2 students from three undergraduates programmes in the school (BA Architecture and Urban Planning, BA Urban Planning, Master of Planning); it brings together colleagues from Architecture and Planning with an interdisciplinary expertise on histories of participation, representative democracy, civic life, analogue and digital participation tools, children and young people in participation, design activism, collaborative planning, the role of fine art and performing art in participation, etc. The course not only disseminates knowledge and the well-established tradition of participation at APL, but also aims to inspire a new generation of thinkers and activists, quench their thirst for action and, ultimately, equip our graduates with a critical framework to act and address the socio-ecological challenges lying ahead of us.

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Text by Armelle Tardiveau

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Top, Left to Right - Team: Hattie Carr, Will Smith, Thomas Gimshaw, Matt Noble Bottom Left - Team: Louis Mc-Lean Steel, Matt Bishop, Megan Dennison, Samantha Lindsay, Zhuoruo Li Bottom Right - Team: Benjamin Duncan, Jake Anderson, Lee Yiu Sing, Rosie Beddows, Will McKenna 4 - 2021 - AUP Section Only - SA.indd 63

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AUP Stage 2 - Living Communally Claire Harper

Contributors: James Perry, Ed Wainwright, Martina Schmuecker, Helen Jarvis, James Longfield, Rosie Parnell, Sarah Bushnell, Charlie Barratt Students: Benjamin Duncan, Chak Lam Cleve Yu, Cheuk Hin Adrian Yee, Danna Mercado, David Lok, Eisha Malik, Ewan Mears, Gabriela Serafin, Ghaidaa Al Jamali, Ieuan Phoenix, Jake Anderson, James Ross, Khadijat Ismail, Man Wai Stephanie Chan, Matthew Payne, Maud Webster, Megan Dennison, Peiyi Chen, Sajid Ali, Suksheetha Adulla, Toprak Dal, William Smith

MAUD WEBSTER | 190104104 | APL2015 PORTFOLIO

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Top, Left to Right - Peiyi Chen, Chak Lam Cleve Yu

Page 35

final itteration 1:200 3D view (reduced)

Bottom - Maud Webster

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AUP Stage 3 - Green Infrastructure for Well-being and Diversity Tim Townshend

Tutor: Smajo Beso Contributors: Mr. Clive Davies, Dr. Stephanie Wilkie – Assoc. Professor of Environmental Psychology, Sunderland University, Ms Erin Robson – Senior Planner, ARUP Stage 3 Students Abin John

Angus Atkin Changrui Li Darcey Morse Diana Mihailova Emma-Maria Itu George Woodruff Jack McMunn Jake Merkx Jeremy Bidwell Laura Nichola Martin Joly Mindaugas Rybakovas Quitterie D’Harcourt Rachel Turnbull Shu Zhang Sunny Howd Tahnoon Alshehhi Thomas Coutanche Thomas Paramor Thomas Tai Yuxi Liang

Contributors

Armelle Tardiveau Siobhan O’Neil Alex Zambelli Abby Schoneboom

Top - Diana Mihailova

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Bottom, Left to Right - Emma Itu, Thomas Coutanche

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AUP Stage 3 - Urban Commons Daniel Mallo

This project concludes a two-year collaboration with the AHRC funded research project on urban commons: Wastes and Strays: The Past, Present and Future of English Urban Commons (1). This contribution to the research set out to explore Newcastle’s unique urban common, the Town Moor, through a variety of lenses. Structured around three inter-related tasks, the project first scrutinized the history of the Town Moor, before investigating its current practices and then envisioning its future. Drawing from the history of the Moor, students designed an imaginary intervention that revealed traces or events of a distant or close past – amongst these, the execution of 14 witches in 1650, the construction of an hospital in 1883 to contain the small pox pandemic, or the ‘Hoppings’, to date, the largest travelling fun fair still coming to the city to celebrate the start of the summer for the joy of people of all ages. Today’s experience of the Town Moor was the focus of the design and making of participatory packs that were sent to anonymous users and lovers of the space. Filled with fun tasks and engaging prompts, coined as ‘cultural probes’ by Bill Gaver (2), the carefully crafted participatory packs helped chart stories, anecdotes, experiences and narratives of the present uses and practices of the Town Moor. Ten participants returned inspirational responses in the form of photographs, field notes, post-cards, drawings, objects collected from field and recordings, all of which informed a field guide or alternative map of the everyday inspired by art collective Art Gene’s rich and witty ‘Seldom Seen’ (3) maps of Morecambe Bay.

Stage 3 Students

Tahnoon Alshehhi Jeremy Bidwell Sarah Bird Thomas Coutanche Quitterie d’Harcourt Cecilia Egidi Sunny Howd Emma-Maria Itu Abin John Martin Joly Changrui Li Yuxi Liang Jack McMunn Jacobus Merkx Diana Mihailova Darcey Morse Laura Nicholas Thomas Paramor Mindaugas Rybakovas Thomas Tai Rachel Turnbull Shu Zhang

Future visions of the Town Moor emerged out of critical reflection of the returned participatory packs. Materialised through temporary installations or performances over the course of one day, the interventions explored scenarios and triggered everyday users in thinking about the future of this cherished Urban Common. These provocative actions brought to the fore issues concerning women’s safety at night in such a poorly lit expanse of land, created opportunities for voicing diverging perspectives on the Town Moor’s governance and practices by locating a letter box at the heart of the space, raised the opportunity for carbon sequestration through tree planting, increasing wildlife and biodiversity, while still retaining the charm of cow grazing in the summer yet protecting those who are scared of them by creating a cow-proof shelter! Despite all the challenges of the current pandemic, this live project granted students the opportunity to work collectively and celebrate individual skills and capacities much valued in collaborative design practices including leading, making, researching, planning and engaging with the public. Such projects bring together the academic skills students develop through the degree including a robust and considered ethical approach to practice and research. Co-producing space concludes in spite of all circumstances, a learning journey that forges active citizens and designers engaged in the real world.

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1 https://research.brighton.ac.uk/en/projects/wastes-and-strays-the-past-present-and-future-of-english-urban-co 2 Gaver, B., Dunne, T., & Pacenti, E., (1999). Cultural probes. Interactions, January-February 6 (1), 21-29. 3 https://www.art-gene.co.uk/project/seldom-seen-mapping-morecambe-bay/ 07/07/2021 11:34:58

Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li

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07/07/2021 11:35:00

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Master of Architecture (MArch) Iván J. Márquez Muñoz – Degree Programme Director

The MArch programme is designed to help students develop their critical and creative thinking and stretch the boundaries of their imagination. It places a strong emphasis on developing an independent approach to design, encouraging students to test and discover what architecture means to them and what they might want to do with their degree. The programme aims to provide students with a supportive and intellectually stimulating environment in which they are encouraged to pursue their own design research agendas. The programme comprises two years of study, first year (Stage 5) and second year (Stage 6). Set around different locations, and approaching design in very different ways, Stage 5 contains two semester-long projects that build on top of one another to form an in-depth critical study and re-imagining of a particular urban context. The first semester project approaches architectural design from the wider scale of the urban context; and the second semester’s project gravitates towards the building scale with a focus on details, tectonics, materials, construction, environmental and atmospheric considerations. Stage 6 builds on this by synthesising knowledge and ideas into a yearlong design thesis, which ultimately sets out the student’s architectural position as a designer at the end of their formal design education. This academic year, the research-led masters vertical studios included: “Archive of the Collective Interior”, a studio which reflected on our bodily actions and interactions in this period of lockdown, intending to offer another perspective of this situation by mapping and imaging how our bodies are transforming in their new-found interiority; “The Big Here and The Long Now”, a studio which focused on the creative use of materials and the geological, ecological, technological and social systems that make up the process from sourcing them to using them; “Edge Conditions”, a studio that proposed investigating architectural responses to border conditions, conceived both literally and figuratively; “Material Change”, a studio that questioned how our cities can reinvent themselves in response to the global climate emergency; “Remapping the Neo-Avant-Garde”, a studio in which built and unbuilt projects were considered as providing models for developing methods for addressing the complexities of intervening in historical contexts, on existing structures and in traditional urban settings; and a studio titled “Unlearning: How to Practice Architecture”, which aimed to rethink what architecture and architects can do, what tools are needed and what practices can be adopted to respond and contribute to an optimistic future, for architecture, for people and for the future of a city. Alongside the design studios, a series of non-design modules complete the programme. Students could choose an elective pathway to be carried out over the two years of the programme, effectively tailoring the programme according to their areas of interest. This year, students were able to either write a research dissertation; to work in small groups to develop a Linked Research project associated with a research area; or to develop a specialism in Urban Planning selecting a series of modules from our School’s MSc in Urban Planning, which could ultimately lead to a dual qualification if that particular route is continued after graduation.

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Stage 5 & 6 Vertical Studios This academic year the design modules of the programme were delivered through six vertical studios across both years of the MArch, all with distinct briefs that posed specific challenges formulated by their respective tutors. Every studio was formed by a mixture of both Stage 5 and Stage 6 students working together throughout the year, creating an integrated studio structure that provided a well-defined intellectual framework for projects. The weekly design tutorials were supported by frequent seminars, lectures, and specialist technical consultancies. These were also completed by critic-led reviews with panels of expert academics and practitioners invited from across the country, as well as cross-year reviews that broadened the range of discussions.

Stage 5 Coordinator Iván J. Márquez Muñoz

Stage 6 Coordinator Matthew Ozga-Lawn

Project Leaders

Anna Czigler Carlos Calderon Christos Kakalis Claire Harper Dan Burn David Boyd Ed Wainwright Graham Farmer Ivan J. Marquez Munoz James A. Craig Jane Redmond John Kinsley Matthew Ozga-Lawn Nathaniel Coleman Paul Rigby Polly Gould Prue Chiles Zeynep Kezer

Stage 5 Students

Abbey Mcguire Anastasia Winifred Cockerill Aysel Imanova Ben Dean Beth Hardy Bohan Qiao Brandon Athol Few Cecilia Egidi Charlie Barratt Chi Ming Ng Dana Raslan Dora Mary Frances Farrelly Erya Zhu Eve Pardoe Feyzan Sarachoglu Frazer Morgan Ellis Watson George Salsbury Spendlove Harry Charlesworth Groom Heather Annie O’Mara Hiu Kit Brian Hui Hizkia Widyanto Ho Hang Ryan Fung Holly Veitch Ibadullah Shigiwol Irene Dumitrascu-Podogrocki Isabel Lois Fox Jacob Oliver Botting Jake Thomas Williams-Deoraj

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Jay Antony Hallsworth Jemima Alice Smith Jing Olyvia Tam Joe Wallbank Jose Figueira Joshua Willem Jago Knight Juan Felipe Lopez Arbelaez Kushi Lai Kwok Tung Constance Tso Liam Kieran Rogers Maria Aksenova Marina Patsia Mireille Patrick Mollie Macdonald Natasha Alexandra Rice Nathan Alan Cooke-Duffy Olga Karchevska Paola Isabella Jahoda Robert Lloyd Rory Patrick Durnin Sarah Popsy Bushnell Sarah Safwan Moh’d Hasan Al Hasan Shaodong Zheng Solomon Olufemi Adeyinka Ofoaiye Sophie Agnes Wakenshaw Sophie Grace Collins Tashanraj Selvanayagam Tunu Maya Nichol Brown Victoria Louise Haslam Xingtong Li Xueqing Zhang Yuan Chen Zacharias Yiassoumis Zhana Hristova Kokeva

Stage 6 Students

Aisha Suleiman Gimba Alexander James Mcculloch Benjamin James Taylor Charlotte Wood Chou Ee Ng Daniel Francis Hill Elle-May Simmonds Emily Charlotte Cowell Emily Reta Spencer Ethan John Archer George Campbell MacKellar Harashadeep Kaur Henry James Cahill Ho Yin Andy Chan Katherine Helen Bluff Katherine Isabel Rhodes Konstantins Briskins Luc James Askew-Vajra Malgorzata Nicoll Szarnecka

Text by Iván J. Márquez Muñoz

Margaret Amy Armstrong Longman Marisa Rachel Bamberg Mark Andrew Laverty Matthew Edward Harrison Matthew Michael Tweedy Nicholas W G Honey Oliver James Church Robert John Thackeray Sami El-Kamha Sarah Elizabeth Bedwell Sarah Marie Askew Sergey Dergachev Stephanie Louise Wilson Thomas Jordan Stanley Toghrul Mammadov Vincent Zeno Macdonald Wing Yung Janet Tam Zara Elizabeth Rawson

Contributors

Adam Hill Alex Blanchard Amy Linford Armelle Tardiveau Ben Bridgens Bill Calder Cathy Dee Craig Gray Daniel Mallo David Manning Duarte Lobo Antunes Henry Pelly Jack Mutton Jennie Webb Jian Kang Josep-Maria Garcia-Fuentes Juliet Odgers Laura Mark Lorens Holm Malcolm Tait Mark Marshall Martin Beattie Martyn Dade-Robertson Neil Burford Neveen Hamza Peter Wilson Rachel Armstrong Ray Verrall Remo Pedreschi Ruth Morrow Steve Webb Toby Blackman

Opposite - Harry Groom

07/07/2021 11:35:33

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Archive of the Collective Interior

James Craig, Matt Ozga-Lawn & Polly Gould Architectural education is in a state of accelerated distance that has been brought on by the COVID-19 lockdown and the subsequent dissolution of our physical teaching spaces. In the emptying-out of our studio environments, we have had little time to think through what it means to sever the spaces of bodily encounter that the studio environment holds. The intention of this studio was to offer another perspective by reflecting on our bodily actions and interactions in this period of lockdown. Through mapping and imaging how our bodies transformed in their new-found interiority, the studio provided provocations on the importance of pausing and reflecting at this time of crisis, and to find ways of holding on to our subjectivity to create distance from the screen-world. In this pursuit, the studio was concerned with framing – not just in how the external world is reduced to a series of framed experiences of life, but to consider what lies beyond those imposed frames so that a realignment with the material world might occur. The architect’s tools were drawn into question in this new reality, ultimately showing how the screen world’s illusory conditions can be subverted, manipulated and sometimes destroyed. Through close attention to objects and their implications- with a reminder that it is healthy and desirable to be caught up in the world, these projects function as spatial testimonies of this time, exposing the realities of life that lie behind screens so as to reverse the displacement incurred by lockdown.

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Above - Mollie Macdonald

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Top - Maria Aksenova

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Middle, Left to Right - Maria Aksenova, Bohan Qiao

Bottom - Bohan Qiao

07/07/2021 11:35:38

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Top - Sophie Collins (2)

Middle - Feyzan Sarachoglu

Bottom - Feyzan Sarachoglu

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Top - Tunu Brown (2)

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Middle - Yuan Chen

Bottom - Yuan Chen

07/07/2021 11:35:50

Number 12 is haunted. Through methods of forensic analysis, interrogation of the gaze, and exploration of the parallax [gap]: we search for meaning within the residues left behind by previous occupation, questioning our sense of place, and uncovering hauntological presences in a time otherwise characterised by absences.

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Alexander James Mcculloch & Mark Laverty The Haunting of Number 12

07/07/2021 11:35:56

Alexander James Mcculloch & Mark Laverty The Haunting of Number 12

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07/07/2021 11:35:59

Unfolding in real-time as the Covid-19 pandemic disrupts our lives, this thesis project has focused on processing thoughts and emotions, both introspectively and projecting outwards to empathise with others. Introspective Objects and Projective Objects are created, and the research culminates in the final object, a film called ‘Objects of Transition’.

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Katherine Isabel Rhodes Objects of Transition

07/07/2021 11:36:01

Konstantins Briskins Archive of the Lost Senses

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07/07/2021 11:36:05

Grounded within the context of the Covid-19 pandemic many professionals have announced long terms plans to adopt home working practices. In recognising static desk culture associated with home working, the ‘kinetic tool-kit’ responsively seeks to extend and augment the domestic environment through a series of analogue interventions.

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Elle-May Simmonds The Architecture of Enrichment

07/07/2021 11:36:08

‘The Zoomscape’ challenges traditional modes of architectural representation through interrogation of a domestic space invaded by cameras. A parallel is drawn between the flaws of the linear perspective in architecture and those of the video-communication tools on which we now heavily rely.

Sarah Elizabeth Bedwell The Zoomscape

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07/07/2021 11:36:17

Edge Conditions

Iván J. Márquez Muñoz, Christos Kakalis, Zeynep Kezer This studio was an exploration of architectural responses to Edge Conditions, conceived literally and figuratively. An edge signifies the boundary between two different spatial conditions—but this boundary can take myriad forms, invoking a wealth of associations and spatial conditions that can find tectonic expression. Edges may be concrete like a wall or imagined like the time zones, they may be solid, porous or fluid. This broad and graduated spectrum finds form in an equally diverse vocabulary of design at different scales with walls, facades, arcades, thresholds, shutters, windows, steps and stairs, gateways and passages which modulate liminality through variations in height, opacity, material palette, and detailing. In this studio, by proposing Edge Conditions as a deliberately loose frame, we wanted to enable a wide range of experimentations and iterations from the most literal and material translations of the notion to the most ephemeral and metaphorical. The projects developed in this studio included attempts at stitching the urban fabric to mend it where it frays and efforts to identify components of abandoned assemblages to reconfigure them for new uses, thereby reducing waste and improving the resilience of communities. In our studio there was also plenty of room for students who chose to define their projects as serious social criticism, intensifying the practices that exacerbated the inequities on both sides of the boundary to render them starkly visible and for projects conceived as social satire, articulated as full-blown parodies of the contemporary society of spectacle.

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Above - Brandon Few

07/07/2021 11:36:20

Top - Liam Rogers

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Middle, Left to Right - Liam Rogers, Nathan Cooke-Duffy

Bottom - Nathan Cooke-Duffy

07/07/2021 11:36:24

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Top - Jake Williams-Deoraj (2)

Middle - Simon Ng

Bottom - Simon Ng

07/07/2021 11:36:49

Top, Left to Right - Marina Patsia, José Figueira

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Middle- Paola Isabella Jahoda

Bottom - Paola Isabella Jahoda

07/07/2021 11:37:01

Rewilding Industries is an architectural and landscape intervention that proposes a research centre to cultivate phytoremediators that heals the contaminated site of Grangemouth in Scotland and allow the phytoremediators to overgrow and rewild the remediated sites into a natural habitat for the species dwelling at the Firth of Forth Estuary.

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Ho Yin Andy Chan Rewilding Industries

07/07/2021 11:37:12

The cycle of capitalistic creation and destruction will determine the fate of brutalist ‘carbuncles’ of the country whose demolition is antithetical to the profession which is increasingly motivated by preservation and sustainability. A scarred memory of the demolished Chandless Estates persists in Gateshead. Reviving and re-imagining the estates aims to provide continuity in a town that has long lacked a community that stands up for it.

Harashadeep Kaur Re-imagining the Chandless Estates

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Sergey Dergachev The Intergenerational Forum of Canongate

07/07/2021 11:37:19

Reclaiming Playtime introduces concepts of play and games into a mixed-use cultural space at the intersection between Edinburgh and Leith, the product of an evolving network of interconnected programmes, facilitated by a method of incremental expansion, consolidation, and shared resources.

Robert Thackeray & Nicholas Honey Reclaiming Playtime

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Robert Thackeray & Nicholas Honey Reclaiming Playtime

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Robert Thackeray & Nicholas Honey Reclaiming Playtime

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07/07/2021 11:37:40

Material Change

Daniel Burn, Jane Redmond, Graham Farmer, Paul Rigby Our discussion this year has focused on the Eldon Square shopping centre in central Newcastle. In light of the challenges faced by our high streets, both pre and post covid, our brief asked the group to consider new opportunities for the high street, and to apply those approaches to our chosen site. How can city centres provide services for a broader demographic and for a wider variety of functions? In approaching the challenge above, we asked each of the students to consider their work within the context of the current climate crisis, and the impact of the built environment on the carbon footprint of our cities. We encouraged the group to consider the material cost in creating buildings and to consider scenarios which seek to retain, adapt, and extend existing structures. Starting with a city scale urban analysis of the site, the group worked together to form a research base upon which to develop their personal approaches. The 6th years developed this work towards their individual thesis submissions, whilst the 5th years created an urban scale design project first before a detailed building intervention. The resultant projects display a broad array of approaches that seek to amend and adapt the existing buildings towards appropriate new uses. The projects engage directly with a process of re-use, identifying appropriate places to adapt and suggest methods of construction which extend and adapt existing structures. The projects suggest new opportunities around some clear themes. The design of new workplaces, focusing on variety and providing more flexible, small scale solutions, which can be adapted for the making and displaying of goods. Another key theme formed around themes of connection and wellbeing, creating spaces at roof level for leisure as well as the production of food. Many of the projects took on the challenge of making better pedestrian links, opening routes between buildings, and making better connections between existing city streets.

Above - Harry Groom

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07/07/2021 11:37:40

Top - Cecilia Egidi

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Middle, Left to Right - Cecilia Egidi, Frazer Watson

Bottom - Frazer Watson

07/07/2021 11:37:49

Top - Beth Hardy (2)

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Middle - Juan Lopez Arbelaez

Bottom - Juan Lopez Arbelaez

07/07/2021 11:38:07

Top - Solomon Ofoaiye

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Middle, Left to Right - Solomon Ofoaiye, Jemima Smith

Bottom, Left to Right - Jing Olyvia Tam, Jemima Smith

07/07/2021 11:38:20

We’ll have to plant some fresh fruit by the weekend Sarah

You should have your tea out here mum.

We could go down to the cafe later

I’m outside

Awesome!

This project is rooted in shifting the conversations which are had in our city centres from one formed around retail and consumer culture to one of community using dwelling as a language format and marginalized groups as the participants.

Aisha Suleiman Gimba Conversations Within Newcastle’s City Centre

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To accommodate and celebrate the daily life of the street, the project utilized the influence of the street life, create a ‘crack’ on the homogeneous shopping mall façade. In an attempt on creating a symbiotic or productive relationship between the order focused shopping mall and the ‘messy’ street.

Chou Ee Ng High Street: De-Gentrification

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07/07/2021 11:38:28

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Theatre ofse the sneSenses S eht fo ertaehT A headonistic, ephemeral .yromemiourney lanoigeofr & transaction noitcasna& rt fregional o yenruomemory. i laremehpe ,citsinodaeh A

SENSORY TYPOLOGIES

CONCEPT AXO ‘Theatre of the Senses’ is an attempt at creating a hyper-charged transnational city centre. This machine/methodology can be recreated in other cities, if approached correctly.

A SENSORY INCUBATOR

A hedonistic, ephemeral journey of transaction & regional memory, with focus for certain groups/users as the journey moves through the arcade loop. The three ‘Sensory Loop’ spaces, aims to create a dialogue with the senses and the everchanging city around it.

Senses Machine

Hetertopian junctures (the arcaida loop)

The City (a network of memories)

BRUNSWICK PLACE PURFUMERY (north elevation axo)

The prestigious Edwardian Fenwick’s, established between 1882-1885, lines the north of the street, with its beauty department opening directly onto the space. Finally, Monument Mall acts as the street’s southern boundary. Incorporating three Grade II listed facades from the 1890s/ early 1900s and facades from various twentieth century building elements. Designed like a 19th century arcade, (a nod to the character of the space & the Central Arcade, a key part of the sensory route), ‘Brunswick Place Perfumery’, provide san Olfactory journey and space for the current Church to host interactions between young and old groups. Set in the city centre, the Perfumery is accessible and open to all, fostering inclusivity and exploring taboos about the ‘stinky city’.

A hedonistic, ephemeral arcade route in Newcastle’s city centre, acknowledging memory and challenging regional cleansing. The project uses existing fabric and local DNA, to create a hyperintense, transactional experience.

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Emily Spencer Theatre of the Senses

07/07/2021 11:38:36

NHS HEALTH NEWCASTLE LEARN

NEWCASTLE EAT

Examining what is ‘health’ and how it is affected by living in a city centre environment. From the research undertaken, ultimately exploring an alternative to city life living to optimise ‘health’.

Oliver Church Unhealthy City - Newcastle Health Centre

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The thesis explores the notion of density within the architectural field and its stigmatisation, as the current health crisis has fuelled the discourse around the future of cities.

100

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Toghrul Mammadov The DEN

07/07/2021 11:38:54

Located on the site of the former town hall, the scheme utilises architectural salvage as a means of fostering connections to place, enabling people to become active in the built and urban environments in which they live.

Zara Rawson Newcastle Urban Room

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101

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Architecture and its Education Redux: Remapping the Neo-Avant-Garde Nathaniel Coleman, David Boyd, Carlos Calderon

In this studio, students explore the historical conditions of the fragmentation of architecture in an effort to respond critically to the situation. Developing their own understandings of present conditions is introduced as prefiguring architectural and urban responses to them. The interrelation of history, form, structure, building systems, building character and function (or use) is presumed as central to such cultural work and for the emergence of designs. Equally, Remapping the Neo-Avant-Garde challenges students to confront the aporia that has long prevented architecture from overcoming internal contradictions between myths of autonomy and entrapment within the building industry, which limits architectural expressions to reproductions of capitalist spatial practises and modes of production. If the neo-avant-garde in architecture amounts to little more than branding, or self-satisfied (self-congratulatory) illusions of autonomy — as if somehow operating on the outside of the building industry – in reality, it is mostly an exercise in careering. It is on the doorstep of this illusion that Punk might offer something of a corrective: its experimental DIY ethos, embrace of failure, and implicit/explicit critique of capitalist spatial practises and modes of production are something the neo-avant-garde in architecture is almost incapable of considering, but which students in this studio are encouraged to explore in their own projects. More directly related to the Italian context of this studio — all sites are set in Italy, the Italian Arte Povera movement provides clues to alternative methodologies that are likely somewhat easier to transpose architecturally than Punk, while sharing a similar ethos. All design investigations in both stages, across the two semesters, of this MArch vertical studio are construed as research, encompassing design research, design practices, technology – in its broadest sense, reflective practices, interpretation and representation.

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Above - Isabel Fox

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Top, Left to Right - Isabel Fox, Dora Farrelly

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Bottom - Dora Farrelly

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Top - Olga Karchevska

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Middle, Left to Right - Olga Karchevska, Ho Hang Ryan Fung

Bottom - Ho Hang Ryan Fung

07/07/2021 11:39:31

Top - Sarah Al Hasan

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Middle - Robert Lloyd

Bottom, Left to Right - Robert Lloyd, Sarah Al Hasan

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106

Top - Erya Zhu

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Middle, Left to Right - Tashanraj Selvanayagam, Erya Zhu

Bottom - Tashanraj Selvanayagam

07/07/2021 11:39:48

George Campbell MacKellar Re-Mapping the Belly of Rome

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Here memory is used as a tool to confront the failure of the Neo-Avant-Garde, whilst simulatenously recollecting the history of fascism at what once was the epicentre of the movement - itself complicit in ‘anti-memory’. The writings of Paul Ricouer offer the beginnings to an alternative spatialisation of memory and a perspective of Lake Como through its repressed history, settling a long overdue debt to that past.

108

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Sami El-Kamha Anti-Memory

07/07/2021 11:39:57

02 003

GA _SECTION_02 1 - KITCHEN 2 - DINING ROOM 3 - LANDING

02 004 0 1:50 @ A3

5 N

Against modern modes of production, how can one traverse a process of design and construction that isn’t inevitably an assertion of power and dominance? This project questions the possibility of architecture in the context of the capitalist machine, proposing artistic practices, and the studio, can lead to architecture’s recovery from its internal crisis.

Thomas Stanley Struggimenti d’architettura

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The Big Here and the Long Now John Kinsley, Anna Czigler

When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or even the town or city where the project is located. But construction in the 21st Century is an international process, using raw materials and fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’? Our studio has focused on the creative use of materials, and the geological, ecological, technological and social systems that make up the process from sourcing them to using them. We have looked at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular, not-yet-existing or recycled. These strategies have been multi-scale throughout the year: regional and urban strategies of sourcing-transporting-manufacturing-building; building scale of selecting, recycling, constructing, adopting, disassembling; and a product scale ranging from joints to furniture. Our projects have aimed at developing a set of urban and architectural moves to create a new infrastructure for mapping, sourcing, transporting, making, using, disassembling or reusing a creative range of materials.

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Above - Victoria Haslam

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07/07/2021 11:40:03

Top - George Spendlove

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Middle, Left to Right - Sophie Wakenshaw, George Spendlove

Bottom - Sophie Wakenshaw

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112

Top - Zhana Kokeva (2)

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Middle - Ben Dean

Bottom - Ben Dean

07/07/2021 11:40:14

Top - Irene Dumitrascu-Podogrocki

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Middle, Left to Right- Xueqing Zhang, Irene Dumitrascu-Podogrocki

Bottom - Xueqing Zhang

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Top - Victoria Haslam

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Middle, Left to Right - Victoria Haslam, Xueqing Zhang

Bottom - George Spendlove

07/07/2021 11:40:38

Henry Cahill Reinvigorating Lancashire Quarrying and Stone Processing

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[Scheme Montage]

[Section 1:100]

Using textiles as a facilitator, the thesis explores the wider relationship between craft and architecture. Additionally, the application of new technological developments within these seek to explore how traditional and digital craft can combine to transform the contemporary building processes at a level suitable for today’s cultural and social challenges.

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Charlotte Wood Made in Huddersfield

07/07/2021 11:41:15

KEY 1 2 3 4 5

Narrowed High Street road

Greenhouse Restaurant Kitchen Restaurant Community Herb Garden Teaching Kitchen

School Programme planters

Culinary School

This thesis project looked at the impact and patterns of food production and waste to propose the implementation of a circular food economy, including the local production of food, into a neglected district of Newcastle, Byker.

Emily Cowell Re-embedding local food systems: An outline for Byker

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There are post-industrial towns all over the UK that are left without strategies for resilience once their industry leaves. This project proposes a community-orientated masterplan for Jarrow on the River Tyne centred around renewable energy production, with a flagship Innovation Hub providing a new destination point on the riverside.

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Katherine Bluff Beyond Resource Extraction

07/07/2021 11:43:28

How can existing food systems and infrastructure be challenged and reimagined, enabling towns to become carbon net zero by 2050 and giving citizens sovereignty over what they eat?

Margaret Longman Common Ground

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This thesis demonstrates that biomaterials could be a viable alternative to traditional construction materials, with potential for the linear waste industry to be circularised. Using the egg as a source of inspiration for ecological, social and industrial analysis.

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Marisa Bamberg Walking on Eggshells

07/07/2021 11:43:33

This thesis reintroduces the traditional material of bamboo in order to challenge perceptions by offering a new tactile experience, demonstrated through the design of a stool. The project investigates the carbon life cycle and footprint of bamboo and challenging the idea by using living bamboo plans directly as a material without harvesting, minimizing excessive processing.

Wing Yung Janet Tam Re-Establishing Bamboo in the Industrial Era

5 - 2021 - MArch Intro + Stage 5 - JK.indd 135

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Unlearning... how to practice architecture? Claire Harper, Ed Wainwright, Prue Chiles

We are in a period of huge change and for all of us, the cultures and practices we had known have been turned inside out, social worlds we had cultivated have migrated to new places of exchange and the economic system with its default modes of operation that have shaped our experience as citizens, students and architects, appear increasingly unviable. The aim of the studio this year is to re-think what architecture and architects can do, what tools we need and what practices we might adopt to respond and contribute to an optimistic future, for architecture, for people and to reshape the future of the city. Architecture is and has always been, contingent; on the investment of finance for the production of buildings, on the cultural norms and hierarchical systems that entrench knowledge and power. It has promoted and encouraged practices that have successively outstripped planetary resources in service of economic growth. It is, and we are all, complicit in perpetuating practices that sustain systems that are no longer ‘sustainable’. We are at a critical point, but one which does not have to be seized by nihilistic claims about the end of architecture. Some key themes will inform our approach; ecological thinking, ethics, care, intersectionality and decolonizing architectural practices, the city, the legacies of late capitalism and degrowth economics. Eldon Square, the partially empty shopping centre was our starting point. With its future uncertain, the scale and bulk of the unwieldy city-centre fortress presents a site in which to rethink not only how we practice, but future scenarios that practice might cultivate. Projects this year have indeed tackled a variety of careful, attentive, sensory studies and close readings and any new-building has been kept to a minimum. Rather, the projects re-use, re-constitute materials and re-inhabit space in new ways, allowing careful thinking about the architect’s role within this. Subjects of scrutiny include the post-war planning legacy of the underpass, the historic city walls, the importance of famous radical characters haunting the city; whilst also including animals, birds and forestation in our plans. We have shown how we can capture carbon, waste less and enjoy what the shopping, living, working, making and free-time experience of Newcastle City centre will be in the future.

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Above - Joshua Knight

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Top - Natasha Rice

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Middle, Left to Right - Heather O’Mara, Natasha Rice

Bottom - Heather O’Mara

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Top - Sarah Bushnell (2)

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Middle - Jay Hallsworth

Bottom - Jay Hallsworth

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Top - Abbey McGuire

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Middle, Left to Right - Abbey McGuire Charlie Barratt

Bottom - Charlie Barratt

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This project reflects on the repetitive nature of commercial practice.

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Benjamin Taylor Unlearning: A practice of co-ercion, subverting the shopping environment and re-thinking the shop window.

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This project explores a deepening of attentiveness towards the existing to slow extractivist architectural cultures.

Daniel Hill Underpassing

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The project sets out to acknowledge, inform and sustainably respond to the declining condition of the Newcastle Town Walls through a series of illustrated guides to safeguard their legacy and ensure a level of preservation, protection and repair is upheld.

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Ethan Archer A Meandering Conversation In Search For Walls

07/07/2021 11:45:20

“We intend to introduce a fasttrack for beauty through changes to national policy and legislation, to incentivise and accelerate high quality development which reflects local character and preferences.”

Classic Style ‘Modern’ Housing. A ‘sustainable, beautiful, safe and useful’ development.

This project looked to understand the changes in planning legislation that are being proposed with regards to automation and how this will be implemented using algorithms and what kind of urban realm it will produce.

Luc Askew-Vajra Networks, Data & the Urban Realm

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This project explores a non-human oriented methodology within architectural practice

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Malgorzata Szarnecka Zoopraxis

07/07/2021 11:45:25

This project explores the nature of technology in architecture and the gap between work and rest. It applies a reflective process, making a haptic map of the School of Architecture.

Matthew Harrison Methods of Slowness and Pathologies of Architectural Pedagogy

5 - 2021 - MArch Intro + Stage 5 - JK.indd 145

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