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BA (HONS) INTERIOR ARCHITECTURE AND DESIGN
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Image: Douglas Alves Moreira SECTION A - A
SCALE - 1 : 5
PRIMARY STRUCTURE
SECONDARY STRUCTURE
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Galvernised Scaffolding Steel Tube Copper Plated Scaffolding Clamp Load Bearing Base Plate Aluminium Open Grill Floor Decking Telescopic Ladder
Copper Pipe Cast Iron Pipe Connector G - Clamps Inflatable Enclosure Nylon Net Spring Supported Chair Rolled Steel Writting Surface Steel Bar Teak Plank Telescopic Lamp Suspended Power Supply
MISCELLANEOUS
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Caged Light Bulb 18th Century Meat Hook Douglas Fir Timber Hangers Steel Cable Copper Crimps Teak Shelving Surface Douglas Fir Drawer
A B C D E F G H I J K
Books Hand Bag Corkscrew Sherry Bottle Sherry Glass Quill Note Book Paper Plane Orders Blanket Pillow Smoked Horse Meat
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Watch Meat Slicer Clutery Cup Plates Bowls Spices Olive Oil Salt / Pepper Grinder Water Decanter Knife Set
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Shoes Clothes Umbrella Magnetic Strip
‘‘ a place to think a place to make a place to do... CSA // UCA The Canterbury School of Architecture (CSA) is situated within the University for the Creative Arts (UCA), a leading specialist university that offers courses from pre-degree Art Foundation to PhD research in its Art, Design & Media disciplines. Our founding colleges and campuses at Canterbury, Epsom, Farnham, Maidstone and Rochester have a history dating back to 1866. Our courses in Architecture, Interiors and Design for Performance, Theatre & Film are located at our campuses in Canterbury, Farnham Rochester where students benefit from generous and dedicated purpose-built studios and a range of specialist technical workshops, library collections and exhibition spaces. Our School has developed a distinctive approach to architectural and spatial design education and research that is informed by its rich Art School heritage. In particular we emphasise activist models of teaching, learning and research; cultures of thinking and making that synthesise traditional techniques with advanced digital media and workflows: and a pedagogic culture that situates imaginative futures in clearly articulated critical understandings of the present. All of our activities consciously face outwards to the world and engage diverse audiences through exhibitions, publications, collaborations and a strong public programme of lectures and events. Our School is a laboratory for architecture and spatial design. We explore the potentials of our disciplines through individual and collective actions and agency. This requires a commitment on the part of our students and staff to take positions in relation to the contemporary condition of the city and society, to take responsibility for its transformation and ultimately to take action. This activist approach informs all of the design projects that we set for our students, demanding that they take responsibility for aspects of the projects objectives and aims, their development and trajectory and ultimately their dissemination and use. We share this mind-set with the wider community of artists, designers and designer-makers at UCA where there is a strong tradition of valuing professional and creative practice and agency. This Art School tradition makes the Canterbury School of Architecture an ideal place for the exploration and production of ideas as things.
Image: Stage One Studio
University for the Creative Arts Canterbury
Interior Architecture and Design Approach
02
Course life
//
... we create ’’
Contemporary interior practice demands designers who are versatile, with innovative and technically-advanced design skills that enable them to work with challenging locations, programmatic requirements and multiple media. To prepare you for this demanding marketplace, we focus on creative design practice that is critical, ambitious and interdisciplinary. Our course explores the design and construction of interior space in relation to an existing architectural and urban framework. Students undertake projects in a dynamic and collaborative studio environment that promotes the conceptual, experimental and practical skills that are required of a professional interior designer. You study complex architectural spaces and environments and are encouraged to explore critical issues in contemporary design, gaining the ability to not only react to design opportunities, but to become responsible for creating them.
S1
In Stage One students are introduced to some fundamental skills, processes and issues that are relevant throughout their professional lives. The structure of the course consists of three Design Studio Projects, which are supported by specialist units: Cultural Context, Technology and Communication. In the first term the focus is on design in relation to the human body.
01 Projects 01 / Bodyscape_a / Wearable Architecture Bodyscape A introduces ways of understanding the relationships between the human body and the built environment. The project culminates in the design of a piece of full-scale wearable architecture influenced by site and body, which the students test in Canterbury City Centre. Projects 01 / Bodyscape_b / Architectural Graft With horticulture as a point of departure, Canterbury Cathedral became the ‘host’, onto which the students proposed the design of a graft that had to function as a mediator between the visitor and the Cathedral, and drawing their attentions to, as Viollet-Le-Duc suggests, the ‘anatomy’, ‘idiosyncrasies’ and ‘temperament’ of the Cathedral.
// 02 In terms two and three the major design project, Synoptic, considers the relationships between architectural space, time and programme. Projects 2 / Synoptic / All Gone Margate This project required students to investigate the complex issues associated with coastal town regeneration, in an effort to develop a design proposal that could contribute to the long-term regeneration of Margate. Either through the ‘adaptive reuse’ of an existing building on Margate High Street for the Interior Architecture and Design students, or a new building on the Harbour Arm for the Architecture students; this project focuses on the development of a design that can accommodate a live/work space for a skilled professional (long-term occupant), temporary accommodation for an apprentice (local resident) and a public space for both the professional and apprentice to interact with other members of the local community and tourists.
Image: Chantelle Gadd
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 01
04
Image: Connie Latham
// DESPITE EFFICIENCY A live build project in collaboration with Aberrant Architecture. This brief challenged the students as a year group to design and build a 1:1 installation functioning as an interactive exhibition space to augment the experience of the programmed exhibition in the Herbert Read Gallery on site at UCA. The Despite Efficiency exhibition explored the theme of contemporary labour through film and performance and the installation followed suit by offering a response to the typical interior building type of the open plan office. The installation comprised an off the shelf suspended ceiling system installed at a lowered height of 1.5 metres, interrupted at points by modular wooden viewing rooms installed above the ceiling level. Because of the low level of the ceiling the user was encouraged to make use of one of several office chairs made available in the room, so the user could use the chair to move to the location of a viewing room and then stand to view the film housed in the space. There were also gaps in the ceiling to offer opportunities to view the outside of the wooden rooms on which were mounted laser cut relief panels, designed by each student to show aspects of the development of the workplace from the Industrial Revolution, to the contemporary period and into the future.
S2
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 02
Image: Lauren Gray
06
// ADAPTIVE RE-USE
The Adaptive Reuse project explores the opportunities and challenges of designing a transformative space that combines the dual programming of a labour and a leisure activity through the interior remodelling of an existing building in East London. The project offered an opportunity to explore the challenges of making extensive change to the interior arrangement and programming of an existing building whilst having to take a position on the extent of retention of the existing fabric, structure and heritage items to implement a light touch scheme, or extensive interior remodelling. The reprogramming of the sites allowed the proposal of contrasting types of human praxis to be co-exist and different aspects of labour and leisure, front of house/back of house, time-based programming and spatial flexibility to be explored.
Image: Andrew Button
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 02
08
Image: Helena Martin
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
10
S3 // GENERATIVE FOLLY Stage Three began with a student collaboration with Hanif Kara of AKT2 Engineers in the construction of a full scale pavilion on the lawn outside CSA. As part of an extended workshop students competitively prepared design proposals for the assembly of a series of geometric building blocks into a novel structure. These were reviewed and critiqued and a final proposal selected and constructed over a three day period.
Eleanor Musgrove Eleanor’s module was designed for Rolling Stones drummer Charlie Watts and actress Dame Judi Dench to fit in the heart of the Soane Museum, the dome area, where below the sarcophagus was installed. Through researching the two guests and finding out their similarities and interests a gambling den was designed for them to sleep and live in throughout the duration of the three day party.
University for the Creative Arts Canterbury
// THE SOANE INTERVENTIONS
Interior Architecture and Design Stage 03
The Soane interventions were a series of student responses to the brief of a hypothetical three day party held in the Soane Museum to celebrate the 190th anniversary of the arrival of the sarcophagus. Numerous luminaries from contemporary arts, politics and media culture were ‘invited’. Students designed a minimal living spatial intervention to accommodate two of these individuals at a specific location within the building. A secondary element of the proposal was refined into a portable device that could be deployed to multiple locations elsewhere in the museum. 12
Samantha She Wei Chan Samantha proposed an extraordinary puppet fashion show in two levels of spatial intervention at the Library of Soane’s Museum. The show was produced to utilise Charlie Watts’ drumming skill and Vivienne Westwood’s fashion designer talent. It was attached with a portable puppet booth for Charlie to perform throughout the museum. Performance & working occurred on the bottom level while changing of clothes and resting took place on the upper level.
Samantha She Wei Chan Samantha proposed the idea of traditional trading market idea with stalls for digital technology designers for product launched & startup businesses. Liftable digital market stalls were designed to create multi-functional space for workshop & seminar use. A trading market was arranged across the first floor and flexible workspaces on the second floor.
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SPACES
FURNITURE
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Pedestrian walkway Display window with BL-NK signage & information panels Entrance/ exit with stairs & ramp Walkway to digital market Disabled toilet Digital market Event equipment store room Digital library (computers) Digital library (tablets) Library reading seats Toilets Indoor dining area Exit to outdoor foods & drinks market Outdoor foods & drinks market & seating area Meeting room/ shared workspace Private workspace (single, 2 people & 4 people) Toilets Office (CREATE)
Display window 2mm thk. yellow arcylic panel with alphebert Metal framed BL-NK wooden logo 200mm width red PVC strip 200mm width red & yellow PVC strip with BL-NK pattern Leaflet/ brochure/ name card with clip Bi-fold wooden pallet partition suspended with overhead track Digital market stall with 100mm width yellow & red PVC strips Television Wooden pallet box (display/storage/working surface) Poster Pulley Liftable benches hanging rack Liftable tables hanging rack 12mm thk. wooden pallet table with 6mm thk. clear glass top Reused beer bottle Polyester rollable chair with pulley system Hook for beer bottle
STRUCTURE 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.
Rolled up polyester chair Disabled toilet door Metal chain Hanging wooden pallet table surface 100mm width red & white PVC strip Stainless steel stall working surface Aluminium framed glass panel Liftable stall's lid with pulley system Signage & menu panel on stall's lid Key claim pole with hoks (control stall's lid) 100mm width tyellow PVC strip 100mm width yellow PVC strips for workspace Wooden books/ display shelf Unisex toilet door Wooden file rack Manager's office door Metal frame Liftable 18mm thk. wooden notice board/ partition Wooden pallet office table with 6mm thk. clear glass top
A. UNISTRUT metal framing system B. Fluorescent light tube C. 40mm metal railing D. 100mm thk. plaster wall E. 15mm thk. plaster suspended ceiling F. Recessed modular light fitting G. 300x300mm grey & white tiling floor H. Grey seamless floor screed I. Track light J. Seamless metal framed clear glass Bi-fold door K. Skylight with 24mm thk. clear tempered glass floor L. 24mm thk. wooden decking M. 100x100mm metal column N. 100x100mm eye beam O. UNISTRUT beam clamp P. Polycarbonate rubber gasket Q. 24mm thk. polycarbonate roof top R. 100mm PVC drain pipe S. Railing with 50mm key claim pole T. Metal framed fixed glass panel U. Sliding door with 100mm width red PVC strips V. Existing skylight with frosted glass blocks
University for the Creative Arts Canterbury
// THE BL-NK PROJECT
Interior Architecture and Design Stage 03
For Stage Three’s major project, students teamed up with Waugh Thistleton Architects to propose designs for and shadow a live project. This was the BL-NK space refurbishment project for the London Borough of Hackney. ‘BL-NK_1’ was a temporary ‘urban-space’ venue at the heart of Shoreditch, East London. It provided a ‘hub’ for showcasing and encouraging inward investment for Hackney and East London businesses and other local initiatives. 14
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SECTION a-a SCALE 1:25
Left: Amy Richards Right: Fiona Chan
Gemma Willis Gemma’s proposals for the BL-NK space re-envisioned Hackney’s spatial brief to facilitate a bar, a furniture rehabilitation workshop and flexible meeting/working spaces. An adaptable industrial approach was used to inform and drive the branding and identity of the scheme, with a public gallery display area ramping up from street level.
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
16
Left: Eleanor Musgrove Right: Xzen Hung Lee
Left to right per line: Sara Ogbonna Godfrey, Jocelyn Leechprey Asea, Xzen Hung Lee, Kehan Dong Sara Ogbonna Godfrey, Xzen Hung Lee, Christie Leong, Kehan Dong Samantha She Wei Chan, Molly Walden, Lily-Ella Buras Rees, Bethia Thompson Sophia Clunes-Ross, Sophia Clunes-Ross, Eliot Jauregui, Jocelyn Leechprey Asea P
BL-NK-2 Project 3D Views
White Collar Graffiti Club Interior Views
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Bethia Thompson Stage 3 Interior Architecture and Design P BL-NK Proposals Bethia Thompson Stage 3 Project CIAD6011 14/15
Interior Architecture and Design BL-NK Proposals Project CIAD6011 14/15
BL-NK is a Shoreditch initiative to showcase local talent and try to push the growth of finance in the Area. It is an urban hub where they host different types of events trying to help boost the businesses perspective with the public. They try to help with business plans and provide a place for their business to be carried out. One of their key policies is to try bring the local community together in supporting the wide variety of businesses in the area. This proposal tries to do just that, in trying to bring local businesses together to provide for a
BL-NK isluxury a Shoreditch initiative showcase local and try to push the growth finance herbalist gallery forto everyone in the community. This interested meof because This proposal tries to bring local businesses together totalent provide for aprogram luxury herbalist gallery for ev-ofinthe history with interested herbalists thebecause Shoreditch area. In 1845, 168to Herbalists were registhe It is unknown an urban hub where they hostindifferent types of events trying help boost the eryone inArea. thewidely community. This program me of the widely unknown history with tered on the Shoreditch high street. This istry antoextremely large amount compared to the 3athat curbusinesses perspective withInthe public. help with business and provide place herbalists in the Shoreditch area. 1855, 168They Herbalists were registered on plans the Shoreditch high rently standto in be thecarried area now. This proposal aims topolicies bring this trend but with a more refined their out. One their key to try back bring local community street.for This is abusiness huge amount to the three that of currently stand. Thisisproposal aimsthe to bring this trend twist.supporting The Curate community wouldof represent the business owner, who would be someone skilled together wide businesses in the benefits area. back but withinain more refinedthe twist andvariety teach people the cosmetic as well as the health the field of herbs and aromatherapy. The Create community would be local herbalists and benefits of herbal oils. Oneshops of theinmain features in my will becommunity large copper smell pipes aromatherapy the area, teaching theproposal Communicate the cosmetic andthat health tries to The do just that, in trying to bring local businesses together to provide for a will beThis on proposal theproperties roof terrace. pipes the different smells being the and benefits of contain herbs and teaching them how of to the mix oils the oils fordistilled differentinpurposes. luxury herbalist gallery for everyone in the community. This interested me because of the distillery below, people to smell the oilsbealong the liveprogram planttypes growing beside the pipe, Theallowing Communicate community would split side into two different of people who visit the site. unknown history with herbalists in thethe Shoreditch area. In 1845,and 168learn Herbalists regisbeforewidely they buy Thethem. first would be those looking to enjoy health benefits of herbs how towere mix them tered on Shoreditch high street. This is an from extremely largetoamount the 3commuthat curforthe a variety of different remedies ranging back ache a cough compared or cold. Theto second rently stand in thebearea now. to bring this benefits trend back butforwith a more nity would those whoThis are proposal looking toaims reap the cosmetic of oils luxury hand refined mixed twist. The Curateand community represent owner, whotowould skilled Third perfumes bath soakswould and hand creams.the Thebusiness public would be able enter be thesomeone building and be easily directed where they need be for the activity they are looking experience. There in the field of herbs andto aromatherapy. ThetoCreate community would be localtoherbalists and will also shops be an outside roof terrace with a bar and copper smell pipes that move inand the wind. aromatherapy in the area, teaching the Communicate community thecan cosmetic health These pipes contain different smells of them the oilshow being thefor distillery below, allowing properties and benefits ofthe herbs and teaching to distilled mix theinoils different purposes. people to smell the oils along sidebe the liveinto planttwo growing beside the pipe, beforewho theyvisit buy the them. The Communicate community would split different types of people site. The first would be those looking to enjoy the health benefits of herbs and learn how to mix them for a variety of different remedies ranging from back ache to a cough or cold. The second community would be those who are looking to reap the cosmetic benefits of oils for luxury hand mixed perfumes and bath soaks and hand creams. The public would be able to enter the building and be easily directed to where they need to be for the activity they are looking to experience. There will also be an outside roof terrace with a bar and copper smell pipes that can move in the wind. These pipes contain the different smells of the oils being distilled in the distillery below, allowing people to smell the oils along side the live plant growing beside the pipe, before they buy them.
Eliot Jauregui 1100405 BL-NK portfolio year interior architecture and design
The clandestine bar
White Collar Graffiti Club Interior Views
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The clandestine bar is a proposal derived from public participation in current projects in Shoreditch the proposal is that a interior architecture and design firm positioned on the top floor of the three storey site are by materials in their designs and have specialties in creating interior spaces out of concrete and timber. The reasoning behind the choice of interiors in the site is the large pub and architecture culture in the Shor that the interiors cater to a large clientele that may be able to relate elements of the design to there own interiors. The third floor is a conventional architectural office that has deliberately chosen to stay as simple that the main attention and funding behind the project can go to the bottom two floors.
The purpose of a secret bar is publicity, in the idea that if the bar is exclusive and you only know were it is if you are told of its location through word of mouth it creates this feeling of being exclusive and would at ing architects and public to the location the building is designed so that there is a separate entrance to all floors dividing the create, curate and communicate communities however all interlinked through a collect The secret bar has an entrance that goes around the back of the building so that there is no interruption to the ground floor, only giving indication to the location of the bar through BL-NK branding on the facade
A Lecture theatre and gallery spaces created purely out of timber on the ground floor acts as a attraction for the surrounding public and inform them of the current projects being created within their community a as an event space. it is designed to hold lecture series also for the architecture firm to hold events or critiques to visiting architects and designers.
The entire building also acts as an exhibition space for the architecture firm being able to show clients what kind of interiors they can produce from these materials and the atmosphere that it creates within a roo this it acts as a testing ground for the firm to develop certain design elements and the technology behind the proposals.
Nearly every design element on the ground and first floor are bespoke, designed specifically for the location and response to the existing building moreover driving the use of the materials to create the proposed and desired effect to the communities.
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
18
Samantha She Wei Chan Exploded axonometric showing layers of mobile and suspended working infrastructure, branding and adaptability
Christie Leong A retail + office space is proposed for the BL-NK project located in Shoreditch, an inner city district in the historic East End of London. The building is split into two visible zones, with the ground floor retail opened for public access, first and second floor online retailer studio for occasional guests and private staff. The concept of the retail space is to showcase various independent fashion labels. Individual pop-up booths were designed to house respective labels for a period of time. The void from the first floor created an impression of a double volume space and strongly established the relationship of studio and offices.
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34. Stage Proprietary System 35. 5369mm X 50mm Stage Cover 36. African Fabric Mounted Director Seats 37. Show Lights 38. Fabric Installation (African Fabric) 39. Fabric Installation (Denim Fabric) 40. Scaffold System 41. Scaffold Clamp (ceiling) 42. Signage
45. African Fabric Eating Booths 46. Eating Tables 47. Serving Tables 48. Serving pots 49. Pot/Bowls Storage 50. Cooking Area
57. Dressing Room Tables (for models) 58. Fabric Director Tables (for models) 59. Base Plate 60. Base Plate Bolts 61. Metal Chain 62. Clothing Rail 63. Show Clothes 64. Waste Bins 65. Fabric Meshed Door Panels 66. Nut and Bolts 67. Base Plate 68. Photoshoot Lights 69. Curtain Rod (bolted onto wall behind) 70. Curtain Rings 71. Curtains (African Fabric) 72. Timber Studs (podium) 73. Podium for fittings 74. Lights 75.Platster Board (drop ceiling) 76. Plaster Board Clamp 78. Plaster Board Drop Hanger
Terrace Floor Construction
Floor Construction
51. 70mm Screed 52. Adhesive 53. 100mm x 50mm Timber Bearers 54. 100mm x 19mm Wooden Decking Boards
79. 50mm Screed 80. 150mm x 9mm Carpet Tiles
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Ground Floor 1.Ramp 2. Ramp Studs 3. Ramp Balustrade 4. African Fabric (mounterd onto balustrade) 5. Denim Fabric (mounted onto African fabric) 6. Colourful Entrance Lights 7. Drinks (for guests upon arrival) 8. Platster Board (drop ceiling) 9. Plaster Board Clamp 10. Plaster Board Drop Hanger 11. Existing Concrete Slab (floor above) 12. Existing Concrete Slab (ground floor) 13. Freight Elevator 14. Freight Elevator Side Gate 15. Elevator Construction 16. Ladder 17. Sewing Tables 18. Sewing machines 19. Platster Board (drop ceiling) 20. Plaster Board Clamp 21. Plaster Board Drop Hanger 22. Curtain Rail 23. Curtain Rail Clamp 24. Curtain Rings 25. African Fabric 26. Cross Braced Hanging Structure 27. Cross Braced Hanging Bolt 28. Wire 29. Curved Clothes Railing 30. Waste Bins
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Floor Construction 43. 50mm Screed 44. 150mm x 9mm Carpet Tiles
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31. 70mm Screed 32. 20mm Tiles Adhesive 33. 80mm x 20mm Vinyl Tiles
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Proposed Longitudinal Section, Curtain Road Scale 1:25
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University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
20
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Left: Rebecca Onafuye Right: Xinzhou Jiang
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Sophia Clunes-Ross Sophia’s design proposal includes a herb shop on the ground floor which opens up onto the street. The large barn like door includes plant shelves, which when open, form a street display. As well as this a herb plant shelving stand can be pulled out onto the pavement in-order to attract passers by. The herbs will be dried and prepared on the second floor where they will be brewed into herbal tea. The tea will be connected to copper pipes, which will send the tea on a journey to the first floor where people can help themselves and enjoy the aromatics.
Section AA Scale 1:25
Ground Floor 0a 0b 0c 0d 0e 0f 0g 0h 0i 0j 0k 0l 0m 0n 0o 0p 0q
Copper Smell Diffusing Pipes at Facade Extractor Fan Reading and Research Area Cubby Hole Seating Area Light Rail Acoustic Pannels Triple Height Atrium Space Copper Cladding Movable Rotating Walls Reception Area Gallery Space Oil Distillery Area Copper Suspended Extractor Concrete Cast Work Tables With Specific Indents Copper Finish Metal Grate Private Access to Outdoor Terrace
First Floor 1a 1b 1c 1d 1e 1f 1g 1h 1i
Conference Room Frosted Glass Partitions Copper Handrail Painted Steel Railing Tutorial and Shop Area Outdoor Terrace and Bar Wooden Decking Copper Smell Diffusing Pipes Concrete Plant Pots for Herbs
Second Floor 2a 2b 2c 2d 2e 2d
Suspended Wooden Tressel Office Area Hanging Fluorescent Plant Lights Skylight Additional Planting Space
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Reception Area Gallery Space Private Entrance to Distillery Distillery Conference Room Shop and Mixing Area Herb Terrace Herb Terrace
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University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
22
Left: Bethia Thompson Right: Molly Walden KN-LB A noitceS 52:1
Christie Leong The axonometric diagram demonstrates the entirety of the proposals for the BL-NK project. It clearly defined the materiality and design language such as colour and way finding throughout the building. Notable key design elements of the proposal were ‘detached’ away from the building to help narrate functions of the space
University for the Creative Arts Canterbury
Interior Architecture and Design Stage 03
24
Gemma Willis Schematic axonometric and detail element (inset)
Sara Ogbonna Godfrey Sara took advantage of the site’s unique location in her design for a ‘white collar graffiti club’. She proposed an open gallery space in which stressed and frustrated city workers could let their hair down and play with spray paint. The facility was watched over by a rotating community of street artists. A system of removable wall tiles was developed to allow for rapid removal and change of the art produced.
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Interior Architecture and Design Stage 03
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Left: Lydia Yohannes Right: Douglas Alves Moreira
a. Gallery gift shop b. Atrium Gallery c. Reception d. Auction Hall e. Curate studios f. Roof terrace g. DDA toilet h. Interactive library i. Cafe// Bar j. Lounge area k. Conference room l. Create office m. Create Bosses office n. DDA toilet
1. Roller shutter 2.Gallery Gift shop till 3. Curate scissors crane 4. Drawing table 5. Walk on sun roof 6. Printer Section7.AA Roof terrace balcony //railing 1:25 8. Un-auctioned graffiti art 9. Inition Ltd 10. Fire exit 11. Suspended lighting 12. Clamped spot light 13. In-built table & TV screen 14. Glazed partition wall// door 15. Glazed handrail// balcony 16. Create office desk & chairs 17. Sun roof
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2nd Year Cake Companies Competition The Second Year students were challenged to design, develop, deliver + sell a cake over a 12 week period. They formed micro companies, presenting business strategies and final products in a grand ‘fete’ environment. The highest profit came in at over £200! 3rd Year Placement List All of our 3rd year completed placements in industry during the academic year. We would like to thank their mentors: Alexander Waterworth and Charlie North - Alexander Waterworth Interiors Peter Allen - Platform 5 Sam Bompass/Harry Parr - Bompass and Parr Guy Woodhouse - Piercy and Co Pippa Nissen and Tetsuro Nagata - Levit Bernstein Irene Craik and Jo Sherratt - Levit Bernstein Richard Harvey and Kiever John - Harvey and John Kevin Kelly - Pringle Richards Sharrat Andrew Usher - Grimshaw Gavin Hutchison - HK Architects Morag Morrison and Massimo Tepedino - Hawkins Brown Jason Bruges - Jason Bruges Studio Julia Hamson and Ben Watson - Ben Adams Shelly Hanks and Rosie Haslem - Space Lab
// PROFESSIONAL PRACTICE
innsbruck venice students 2014-15 Year One Carla Cabrera Fernandez Alexandra Ciobanu William Dellner Florangys Fuentes Paul Chantelle Gadd Ruku Gurung Nazifa Hussain Munise Koc Connie Latham Samuel Mbugua Nicholas Campbell-Mhlope Louis Mousset Jade Priddis Anish Rai April Ross Nelshea Simons-Bean Naomi Talling Nassali Tamale Kanchanaporn Theeprawat Kayleigh Wallington Libby Yarrow Poppy Younger
Year Two Daniel Achong Lauren Bason Ellen Bradley Andrew Button Ertil Dedushi Lauren Gray Helena Martin Kiron Muhammad Derya Muratli Gunda Senberga Min Son Kevin Yip
Year Three Douglas Alves Moreira Lily-Ella Buras-Rees Felix Carter-Shaw Sin Ping Chan She Wei Chan Sophia Clunies-Ross Kehan Dong Eliot Jauregui Xinzhou Jiang Xzen Lee Jocelyn Leechprey-Asea Pui Yan Christie Leong Eleanor Musgrove Sara Ogbonna-Godfrey Rebecca Onafuye Sara Ramos Amy Richards Bethia Thompson Molly Walden Ella Ward Gemma Willis Lydia Yohannes
// FIELD TRIPS!
Course Staff Head of School: Allan Atlee Course Leader & Year 3 Convenor: Sam McElhinney Year 1 Convenor: Rob Nice Year 2 Convenor: Lucy Jones Year 1 Technology Tutor: Tabatha Harris-Mills Media & Communications: JJ Brophy Creative & Professional Practice: Ruth Lang Cultural Context: Allan Atlee, Lucy Jones, Brian Stater & Parnian A Tabib Year 1 Design Studio Tutors: John Brown - Charabanc John Edwards - AOC/Self Employed Ruth Cuenca - Estudio SPN Helen Leask - Leask Architecture Marina Mitchell-Heggs - Jestico + Whiles Tim O’Callaghan - Nimtim Year 2 Design & Technology Workshops: Kevin Kelly Alice Cartledge : AOC Kim Walker: Warmbaby Matthew Walker - Zac Monro Architects Nina Shen-Poblete Eddie Blake Kevin Haley – Aberrant Architecture Emma Brasso – Programme Curator, UCA David Chambers - Aberrant Architecture Josephine Neill - Aberrant Architecture Year 3 Design Studio Tutor: Dave Di Duca - BAT Studio Technical Support: Chris Settle & Ben Westacott Course Administrator: Tracie Money With thanks to: Year 1 Nimi Attanayake - Nimtim Michelle Barlow - Useful Studio Ralph Heckmann - Heckmann Design Melanie Martin - ORMS Sam Potter - MAKE Heather Newton, Head of Stonemasonry and Conservation at Canterbury Cathedral Year 2 Dan Stilwell Amrit Seera Declan Harvey Tetsuro Nagata - Nissen Richards Studio Ruth Lang - Studio ARG Year 3 Jonty Craig - BAT Studio Gem Barton - University of Brighton Jon Hodges - Bare Conductive Guy Woodhouse - Piercy & Co. Charlotte Bocci - Ian Chalk Architects David Lomax - Waugh Thistleton Architects Fiona Zisch - University of Westminster Clemens Plank - University of Innsbruck James Whitaker - Whitaker Studio Kevin Kelly - Pringle Richards Sharrat Tetsuro Nagata - Nissen Richards Studio Elizabeth Upham - MUD Architecture Ruth Lang - Studio ARG Shumi Bose - Blueprint Verity Jane Keefe - The Mobile Museum
Multistory Guest Lecturers 2014/15 Will Alsop - All Design David Bickle - Design Director, V&A Jason Bruges - Jason Bruges Studio Alice Dietsch - Amanda Levete Architects Fergus Feilden & Edmund Fowles - Feilden Fowles Architects Joao Gameiro Neves // ATELIER CHAN CHAN + SOM Usman Haque - Umbrellium Design & Research Thomas Heatherwick - Heatherwick Studio Jan Kattein - Jan Kattein Architects Verity-Jane Keefe - Visual Artist Judith Loesing - East Architecture & Landscape Stephanie MacDonald - 6A Architects Henry Beech Mole - DSDHA Sarah Miller // HOK Thomas Parker // SCANLAB Harry Parr - Bompass & Parr Minall O’Cleirigh - Noct Design Space Jane Rendell - The Bartlett, UCL Richard Wilson - Sculptor