Contents Editorial Team Rachael Browne Andrea Rinc贸n Haruna Mayaki Penny Lewis Design Team Erin Durno Euan Davidson Printers J Thomson Colour Printers, Glasgow. Sponsors This publication is kindly supported by Active Office Interiors. Publishers Published by the Scott Sutherland School of Architecture and Built Environment, Robert Gordons University, Aberdeen. All rights reserved, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publisher. 拢xx ISBN xxxxxxxxx
Introduction 000-000 57 10 000-000 Big Crit 000-000 Big Crit poster competition 000-000 Learning from the Bauhaus 000-000 A hundred years of architectural education 000-000 The role of the architect Undergraduates 000-000 Stage 1- Abstract beginnings 000-000 Stage 2- A Place to Make 000-000 Stage 3- 999 Architectural Technology 000-000 Second Year 000-000 Third Year 000-000 Fourth Year 000-000 BIM Debate
Masters 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000 000-000
Year Out Experiences Dissertations China Experience Unit One Unit Two Unit Three An Interview with the Scottish Government Alan Dunlop on China Construction Landscape Product Design Simon Leeman Role of the Architect? Afterward from David MaClean
Foreword head of school Dr david mclean The last year has witnessed some notable examples in which projects aimed at transforming our built environment have been abandoned in the face of economic hardship and an unease over long-term political decision-making. From the symbolically significant project to rejuvenate Aberdeen’s ailing city centre, to the relatively modest redevelopment of Glasgow’s George Square, high quality design has been challenged. The adoption of future vision relating to the public realm, whilst of importance to us all, is proving especially difficult in a climate of austerity that neither welcomes nor sometimes even recalls the importance of vision and strategy for the future. Against the background of the trough of economic depression, it is uplifting and heartening to see a rich abundance of ideas emerge from our students – ideas that are at once courageous, pertinent and, above all, optimistic. The overwhelming sense is of a strength of conviction for making a better world, and of ideas which stand defiantly in the path of negativity. Thank goodness for the next generation! Many of the conditions explored across
the School have both a regional and international relevance. Issues of community, the resilience of regional settlements, urban regeneration and master planning are mixed with investigations into material use, energy consumption, and construction methods. These are real issues that impact on us all, and it is right that our School embraces them. The ordinary and the real have long been the territory that we have occupied, and the work within this publication reinforces the value of such a focus. For the authors of this work, the journey through their education has not always been easy. Opportunities have been less frequent than just a few years ago, and there are more that are hungry to seize them. Yet there is a recognition that the cycle will turn and that brighter days lie ahead. What is particularly impressive, and which makes me immensely proud of all our students, is their evident belief in this and their commitment to preparing themselves for their own futures. I know they will benefit from this and, judging by the skills our graduates display here, in time we all will. Enjoy the work of our students, and thank you for your interest in the School.
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Active Office Interiors was established in 2004, and is based in Aberdeen. Our work encompasses interior design and fit-out, space planning, project management, office relocation management and painting and decorating. As the workplace evolves, it is crucial that we must also adapt to deliver the needs of the client and the environments that they inhabit. They must have flexibility, be aesthetically sufficient whilst remaining practical and stimulating for the people that work there. We focus on effective communication and collaboration with all our clients and contractors from an early stage to ensure we deliver unique workplaces which fulfil client expectations and project briefs. Our work extends beyond office refurbishment and redevelopment, and we undertake projects in a variety of sectors. Our client list continues to grow and spread beyond the North East of Scotland, having recently undertaken project work in Edinburgh, Dublin, London and Frankfurt. Active Office Interiors have employed a number of RGU architecture students in recent years and are delighted to sponsor The Scott Sutherland School yearbook. We wish all students the very best in all their future endeavours. If you care about how your office looks at the end, call Active Office Interiors at the beginning. For further information about the services and products we can offer, please call us on 01224 680111, or visit our website: www.active-interiors.coms
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57 o10 posters
Above The year in posters
A different Year for 57 o10 stage 6 andrea Rincón The purpose of 57’10 when it was set up back in 1988 was to create a direct link between architectural education and practice. The architecture society is considered as one of the most valuable student experiences within the school, with many students taking a break from their creative rut in their studios to attend the lectures for just one hour of inspiration. From the objectives which Andy Thomas and I had set out to achieve an unexpected theme emerged, as this year’s lecture series included the reunion of past alumnus. Andy McVoy, a former student and lecturer at the school, joined us for a lecture on the architectural history that surrounds his practice, and his approach to design which he referred to as ‘distinguishing the ghost of memory’. The lecture provoked a debate on his final thoughts for a new type of commissioning body and practice. He encourages working with artists in order to produce new dialogues that allow the architect to work in a creative way. Anna Gibb and Ross Anderson’s
experiences after graduation proved to be a fascinating, but very different approach for the students seeking practice after graduation. The lecture inspired students to explore different options during this time of recession. The knowledge they shared while travelling through Russia in search of underground architects from the 80’s known as Paper Architects was refreshing. In a time when entering architectural competitions was forbidden, the story of the Paper Architects pushed forward Ross and Anna’s concluding comments, which encouraged students to challenge the current state of architectural competitions in the UK. A different invitation to the architecture series was Felipe Hernandez. Architect and lecturer in architectural design, history and theory in Cambridge University, Felipe’s work is mainly based within the informal cities of Latin America and Africa. The lecture was original and poignant and it led the students to an unfamiliar type of architectural education. In Felipe’s words, a socio anthropological side to architecture which often gets ignored, due in part to its lack of inclusion in the history books.
The 57’10 team are extremely grateful to all the individuals and practices who gave up the time to visit, share their work and experience in practice with the school.
2012/13 Committee Presidents Andrea Rincón and Andrew Thomas Secretary Rachael Browne Treasurer Rachel Findlay Graphics Amy Holmes Events Emma Gibb and Fae Ferguson
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The big crit Top Luigi Snozzi & Daniel Serafimovski Bottom left to right The day unfolds
Photos by Aiden moor
Photos by Alasdair johnstone
Photos by Aiden moor
Photos by Alasdair Johnstone
Reflections on the big crit stage 5 mark lane Now in its 5th year, the Big Crit 2013 is an annual event open to the public where selected students have their work critiqued by a panel of highly respected architects and critics from all over the country and in the case of this year, Europe. This year the school was joined by esteemed professionals from all over the UK and Europe, with Swiss born architect Luigi Snozzi flying in from Italy to attend. Thankfully Daniel Serafimovski played the role of translator as well as being a heavily involved critic himself. Amongst them other critics on the panel included, Amin Taha director of Amin Taha Architects, Eelco Hooftman founder of GROSS MAX, Adam Sharr principal of Adam Sharr Architects and David Kohn director of David Kohn Architects. The guest critics were joined by resident tutors Professor Alan Dunlop, Professor Neil Gillespie, Samuel Penn, Neil Lamb, David Villa Domini and Silvia Bassanese who also served as a helpful translator for Snozzi. The event kicked off with a customary introduction from the Head of School,
David McClean followed by a brief talk from Adam Sharr who expressed his delight at being invited to the event and offered a few kind words to those who were about to be critiqued. The crits began with a selection of stage 1, 2 and 3 students who presented their work and initiatated the day’s discussions. With a variety of feedback and mixed reviews, the crits allowed for detailed debates on specific architectural ideas and the profession as a whole. One student, who when asked to design an architecture school, was criticized for the design being institutional with too much flexibility. This led to a debate on whether architects should have the courage to put in solid fixed walls where they see fit, making definitive design decisions. Additionally, a discussion began about the school itself and how the stairs between the lower and upper years create a physical divide and limit interaction between the years. It was felt by some that this layout minimised the exchange of ideas and assistance that could potentially benefit the students and provide everyone with stronger
architectural principles at the end of their projects. These criticisms are typical of those faced by architecture students throughout their study and are exactly what the Big Crit aims to encourage.
"The big crit provides a fantastic opportunity to discuss student work in relation to broader themes and issues" After lunch attentions turned to the Masters students. Stage 5 began by introducing their projects and intentions that will be carried forward into their final year. This was followed by stage 6 who presented their completed projects as the conclusion to a two year process. Various interesting debates arised from the crits with one student refering to Louis Kahn and his idea of a school having a certain social monumentality about it. This led to a heated discussion on whether monumentality is required in the design of
civic buildings. The Big Crit provides a fantastic opportunity to discuss the students work in relation to broader themes and issues, something which may not always be possible in the individual studio environments. The day could be summed up by an observation by Luigi Snozzi, who stated that architects should know a little bit about everything rather than everything about something. The day ended on a high, with the students and tutors alike reflecting, over a drink, accompanied by a live band on another succesful year at the Scott Sutherland School.
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stage 3 Ryan mcormish
stage 3 Ryan mcormish
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Big crit poster competition
stage 3 Ryan mcormish
stage 3 Ryan mcormish
Big crit poster winner stage 3 Ryan mcormish
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A New Curriculum for Architecture Schools – Learning from the Bauhaus stage 6 andrea rincón Following this year’s theme on architectural education two written pieces from the Stage 2 Architectural History class have been selected. The articles seek to review the current state of architectural education today by focusing on a contemporary version of the Bauhaus curriculum and applying it to the present day. Both articles present a good argument for a new educational doctrine; Mark Hannon’s piece proposes a focus on more ecological ideologies and an education based on adaptation, his style of writing excites emotions similar to that of a political speech agitating the masses. Orjan Jonasson places an emphasis on the teachings of practical and technological skills over art and design, providing a very interesting argument at the other end of the spectrum.
stage 2 Mark hannon The issue with the ever changing society of today is that it does not allow an architectural ideology - the
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time needed to reach its conclusion. An idea taken to fruition through discussion, dissemination and experimentation becomes outdated almost as soon as it reaches its target audience. What is needed is a philosophy of response to the immediate, with as much effort and forethought as possible to plan for what lies ahead. Many of the buildings that the architectural community work with at present are works of the past. While they contain great insight into history, elements of cultural significance or an aesthetic key to the vernacular, many are not fit for purpose in the modern age. These buildings were 'of their time' but are not of ours. As such, we are left with the dilemma of structures that can inspire but not function. As a generation aware of the past rather than emulating it, the current strain of designers must strive to avoid this pitfall. Buildings must be designed with flexibility in mind so that they can be reinvented or re-tasked from their original purpose. This will allow future generations to apply the current ethos with ease: taking the old and responding to the immediate by imposing
Peripheral vision Stage 2
a relevant design to it. This stems from the knowledge that all creations have to respect the limited amount of resources we have to work with. In much the same way as space is annexed from the environment around it (rather than 'created' from nothing), the materials we use to craft such spaces are taken from elsewhere and arranged in their new setting. Design methods teach a respect for the surrounding of a design however, in
While the educational doctrine of 'designing to an ideal scenario' still has the merits that gave it its place in the curriculum, it must be placed within the wider context of reality. Too many designers strive to create the ideal building for today without the forethought of what those decisions leave the future generations. A wider ranging education will allow the future generations to adapt to a changing world faster than the current doctrine allows.
"many designers strive to stage 2 Orjan Jonassen the current educational climate, create the ideal building for Inarchitectural education seems focus mostly on the creative today without thINKING of toaspects of building design and the what those decisions leave atmospheric qualities of space rather than technological knowledge. the future generations" Students become more and more adept a world as interconnected as the one that exists today, the boundaries that define our surroundings grow larger. As such, a review of fabrication methods is required to stop the process of destroying one environment to create another.
at digital models and Photoshop, and less interested in how or indeed if a building works from a structural or practical point, almost to the point of thinking that you don’t need to know how a building functions or stays upright because engineers and architectural
technologists can make those decisions, all architects do is make it look pretty.I believe that there should be a greater emphasis on knowledge of basic structural elements and the material components, especially as environmental issues develop and resources become more and more scarce. Efficient design of buildings through the use of materials and intelligent design will become increasingly important. This is not to say that creativity should be discouraged. However, a more in-depth knowledge of how materials function, how different structures work and how they might affect or influence the path of a design and create students and architects that are more confident in the development and planning of a project. Within the presentation and discussion of design projects and architecture that another issue arises. Current architects are quite fond of using big words and elaborate terminology to explain relatively simple concepts and thoughts. For a discipline that favours simplicity and clarity, it seems ironic that one attempts to hide it behind a cloud of complicated terms. In trying to develop
clarity of thought and clarity of design, it seems beneficial to use clarity of language rather than complicated phrases. Concepts of architectural theory and design can be hard enough to understand on a basic level. In conclusion, to educate architects that are confident in the properties and use of materials and structures, we need to return to the bare basics of architecture. A clear understanding of materials, structures and design theories, developed through understandable terminology, would result in architects who design with a defined purpose and clear intent to achieve great architecture through their work.
"to educate architects that are confident in the properties and use of materials and structures, we must return to THE basics OF architecturE" 025
The Role of the Architect and the Future of the Profession stage 6 Erin durno As students of architecture it is evident that our future is an uncertain one. We really have to ask ourselves, what will I be doing in 20 years time? This is a difficult question at the best of times. However, when we are working within an industry that is increasingly blurring the lines between the duties of the architect and that of the contractors, the understanding or the definition of the specific role of the architect becomes a great deal harder. ‘The Future for architects?’ (2011) published by Building Futures makes for a daunting read. In the text one Project manager from a Global Consultancy says; Architects have shed project management, contract administration and cost and ultimately if they lose design co-ordination then you have to ask what they are there for…” The clearest explanation for one change in the position of the architect appears to be the shifting patterns of the construction industry as a whole. Changes in the profession are not new. In the 1970’s the number of UK architects employed by the public sector was 50%, this has fallen significantly to just
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9%. However, today the traditional role of the architect as the lead member of the design and construction team seems long gone with the ever-increasing use of contractors. In fact over 50% of architect’s work in the UK is for contractor clients. Many architects are no longer supplying services after stage D in the RIBA plan of work. This is not to say that architects are being completely dropped from the equation, their skills are just being used elsewhere. More and more architects are now taking up roles which are not defined by the RIBA plan of work. As the authors of the Future of Architects suggest; “As the demand for conventional skills declines and the architect’s role becomes circumscribed, the opportunity for architects to take roles in the rest of the industry increases, with a number of prominent positions on the client and contractor side already held by architects.” Some have suggested that the title ‘architect’, which is protected so forcefully by the ARB, could be holding professionals back. In fact the traditional role of the architect was cited by numerous practices interviewed by
Peripheral vision Stage 2
Building Futures as the reason that many of them were unable to charge a fee for projects that do not fall within the plan of work. Some practices prefer to view themselves as ‘design agencies’ that still play a significant role within the construction industry, just not in the traditional sense. These businesses go somewhat unrecognized by the profession.
"an industry that is increasingly blurring the lines between the duties of the architect and that of the contractors" It seems that this departure from the traditional title and role of ‘architect’ is what some believe heralds the future. There is a strong belief that architects will take on a consultancy role rather than a leading one when it comes to construction. Some have suggested that this should be embraced and not feared. In the future, architects will take on a broader role which covers more creative Top Luigi Snozzi & Daniel Serafimovski Bottom left to right The day unfolds
and business aspects of architecture whilst still retaining a position of seniority. With such a dramatic transferral of duties taking place within the construction industry can we really say that students are still being taught appropriately to prepare themselves for their chosen career? As our understanding of what these new roles entail develops it raises the question should architectural education shift to match the career ahead? For now It seems clear that architectural education must begin to reflect the broadening of our roles whether that means developing an understanding of business or graphic design, but if the functions of the architect are going to vary so dramatically – what skills and
"there are various options for moving forward, as a profession looking to the future we can attempt to stand up against these changes"
knowledge should remain at the heart of education? It was suggested in the ‘Future for Architects’ that the general consensus from the younger members of the profession was that they wanted to be a part of this broader ranging architectural practice. A looser definition allows more freedom within the practice for personal interests and allows for students to better prepare themselves for what it means to be a practising ‘architect’ in the reality of today’s profession. The argument from the document is clear; “In order to survive, the architect must design beyond buildings – and in turn should be supported to do so by regulatory and membership bodies.” It seems that there are various options for moving forward, as a profession looking to the future we can attempt to stand up against these changes. It has been discussed that if the ARB was to protect the function of the architect rather than the title, as is done in many other countries, then more work would be available to registered architects. The profession fights so fiercely to protect the title
‘architect’ but the reality is that the function behind this title is becoming increasingly more ambiguous. Architectural consultants, architectural technicians, builders, etc who are currently offering similar services (often at a reduced rate) would no longer be legally allowed to do so. In 20 years time many architects may be working under new titles such as ‘creative consultants’. Perhaps protecting the function may allow for more architecture students to practice architecture in the traditional sense. Protecting the function may also mean that we don’t have to fight so profusely to explain our merit in comparison to other services available. The fewer professionals offering similar services at varying rates, the less ambiguity of the quality on offer. Alternatively, we can embrace the changes. Change is inevitable within all walks of life and is a vital component for positive progression. If the younger members of the profession are actively seeking these broader roles within the industry then maybe it’s time the profession caught up with them.
Top Luigi Snozzi & Daniel Serafimovski Bottom left to right The day unfolds
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heral age 2
A Hundred Years of Architectural Education stage 6 Andrea rincón The beginnings of the Scott Sutherland School are found within a detailed Prospectus from as early as 1906, with part time classes for five years in disciplines such as practical geometry and drawing from the antique. Evening classes were also taught at the then Robert Gordon’s Technical College for those in full time apprenticeships within architectural practices. It wasn’t until the involvement of the Aberdeen Society of Architects, established in 1898, that architecture courses in Aberdeen began to be restructured. Full time architectural education did not come into fruition until 1913, with RIBA exemption. The school came to be the third in the UK, after the AA and Liverpool, to receive RIBA recognition.
"the profession is seen as precarious, with those involved ever changing their image and roles" 1824
1885
Gray's School The Aberdeen Mechanics Institution of Art formed. begins with part time classes in architecture and mechanical drawing.
1903 Gray's becomes a Central Institution under theScottish Education Department.
1910 The first full time teacher in architecture T. Harold Hughes appointed at Gray's.
In celebration of a century of accreditation it seems that now is good time to examine our architectural education whose future is currently up for debate within the RIBA and the UK Architecture Education Review Group. Currently the profession is seen as a precarious one, with those involved ever changing their image and significant roles within the industry. What architecture was in 1958 is very different to what it is now, which raises the question… why we are still upholding the same 55 year old model of education? Initially there was a great emphasis on construction and design within the curriculum, as well as a continued effort to allow no segregation between the two. An article in the Architect’s Journal dating 30 July 1924, written by R. Leslie Rollo, then Assistant lecturer in the Architecture department at this school makes a relevant point on the two subjects. He declares that
1912 Curriculum of architecture submitted to the Aberdeen Society of Architects.
1913 Full time architectural education begins and is submitted to RIBA's Board of Architectural Education.
the school had, since its establishment, attempted to bring the two subjects together, design and construction, and admits that the students ultimately fall between the two main classes, especially in the early years where construction was not an integral aspect within the design classes, and the two were taught by different masters. Much of this tradition has not changed, with the segregation between architects and construction students still existing today, although conscious efforts are being made to eradicate this separation. It is perhaps this restricted environment which leaves many a student departing from university with a slight deficiency in their technical knowledge. Tailoring education to coincide with the changes in the industry would ultimately influence what is being taught. Architecture schools could greatly benefit with funding from the building industry. Many art schools already take advantage from this strategy by integrating
1920 Robert Leslie Rollo appointed Assistant Lecturer in Architecture Department at Gray's.
1922 RIBA recognition for Post Diploma course exempting from RIBA exams in all subjects except professional.
1926 First RIBA visit to the school.
students with the industry and introducing a vital link to the profession. Peter Buchanan’s critique of architectural education questions whether students are being equipped with the necessary skills. Where are the courses for managing a business or attracting commission in a ruthless and competitive environment? Should schools teach students more skills in refurbishment and restoration or dealing with real-life briefs? While the hard earned results of many students culminate with shallow graphic exercises, learning the importance of tectonics and the art of building is left behind or out completely with many students falling short on the necessary technical experience. It is time to re-design the education of architects in a post-technological society. RIBA President, Angela Brady has expressed her concerns with the current state of architectural education and recently announced that architecture should be recognised as a STEM subject (science,
1927 Post RIBA visit course becomes 3 years full time followed by 3 years in practice.
1930 RIBA allows final examinations in professional practice to be held in school.
technology, engineering and mathematics). When architectural education starts to lose its technical knowledge, it will lead to a loss in craftsmanship. In opposition to this, there are also those who question the specific purpose of architectural teachings. If the academic community holds a shared responsibility over all the changes that are happening in the world, then surely they have an obligation to raise intellectual and responsibly engaged architects. Luigi Snozzi, during an AE Foundation lecture, shared his teaching philosophy. He believes that architectural teachings should not concentrate so much on producing professionally capable architect, but instead should focus their efforts on generating critical individuals. He advocates that architecture is not a neutral discipline in relation to society, and his thesis upholds a political and ideologically philosophy. In his own words “architecture must contain its disciplinary autonomy� and defend itself
1931 Architecture schools leaves temporary building at Schoolhill and moves to the new Technical .
1937 Rollo retires and E. F. Davies is appointed Head.
1938 First year that school is referred as the School of Architecture.
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Tom Scott Architecture school moves Sutherland gifts to Garthdee House and Garthdee House separates from Gray's. to Architecture school.
1957 Opening of new extension at Garthdee House. Course becomes 5 years full time followed by one year in practice.
1958 The Oxford Conference agrees national changes to education from Beaux-arts to modernism.
against the demands of professionalism in order to retain a certain freedom towards its overall critical function. As the basic principles within the teachings of architecture are questioned, there seems to be a divide on its demands; but are the
"Instead of the difficult and self-effacing task if establishing real needs and appropriate programme, students tend to be encouraged to elaborate the most fanciful even farcial scenarios as impetus to design- Peter buchanan” 1963 Scott Sutherland dies and bequeaths £50,000 to the school course resembles current format
1964 RIBA visits school and threaten closure. E. F. Davies steps down replaced by Stanley Wilkinson.
1965 Work begins on the first phase of the second extension of the school.
1966 Robert Gordon's Technical College becomes Robert Gordon's Institute of Technology (RGIT).
students doing too much? Is there a way in which we can immerse ourselves in our projects and focus on all of the necessary ideas to produce a much more elaborate piece of work? Students will more than likely always prioritize the studio module, and so it seems a logical step to contextualise our education. The studio project could be the centre of one module in which all other subjects are placed in context to the project, thus making the educational experience akin to that in professional practice. The time that students learn the most is not at their final crit when many may feel unsatisfied or disillusioned with their own project, it is the practical learning through one-to-one lessons in the studio where the critical understanding is best gained. The studio environment is where a student learns to integrate the various disciplines of architecture, and so it must remain the vital core within architectural education. To experiment is to scrutinize, to question
1967 Changes to the course are implemented: 5 years full time including a sandwich year.
1968 Gray's modernist icon opened at Garthdee.
and trial a tentative procedure for the purpose of discovering something unknown. Since the 1960’s young teachers and architects (before they ever built anything) have used architecture schools to develop new ideas and practices. Previous to this, the Bauhaus was used as a model in which to radically exercise different approaches to design education by combining various multidisciplinary art subjects. Schools became laboratories that generated innovative designs and influential new styles and movements. The AA is effectively continuing this practice and introducing a new initiative that brings back the legacy of the night schools from the 1920’s. The Night School has been called a speculative project which will deal with an alternative model of education and will be used to engage students with current issues to the profession. The programme dictates how education is not only present in schools, but it evolves as the students start their careers in architecture.
1972
1984
Study trips for staff and students begin with help from Scott Sutherlands bequest
Establishment of Scott Sutherland regular lectures.
The rise of Asian cities is a new pedagogy which schools are falling behind on, and the effect of urbanization and mega-cities is still an overwhelming and non- immediate concern for some students. Despite the major transformations that have taken place with rapid globalisation, the emergence of new technologies, information and media cultures, the development and curriculum of the institutions have hardly changed. Isn’t this the best time for radical experimentation? It is time to strip the apathy from students in order to fight for their own education, for what will undoubtedly be the future of the discipline. Is this too much of a demand? What I am simply asking is for a balance to be reached, the freedom to build on our own skills, and more of a focused set of courses to be introduced to disallow the widening of our roles in society. A sense of experimentation has been felt in the past six years, however I despair that it has not been radical enough. Boldness in the curriculum is slowly
1985 National student led Winter Schools held annually for a week in January.
1988 Robin Webster appointed Head of school
beginning to show in the first years of the course, with a more contextualised form of studio education. There seems to be one voice in agreement and it is one that declares the current model for architecture education to be outdated. What is refreshing to know is that all of the debates currently on-going will ensure that architecture will remain a vital asset to the future of the built environment. As much as the Renaissance man and the master builder are attractive perceptions of the architect, this is no longer the case. Education should be questioned both technically and professionally, as it is only by challenging the norm that innovation can occur.
"It is time to strip the apathy from students in order to fight for their own education" 1992
The Robert Gordon University is awarded university status
2004 Robin Webster becomes Emeritus professor and Jonathan Woolf appointed Professor of Architecture
2005 School now known as the Scott Sutherland School of Architecture and the Built Environment
2006 David Mclean appointed Head of school
2007 Changes to the course are implemented, Visiting Professors appointed
2013 Principal Ferdinand von Prondzynski moves in to Garthdee House. Plans to relocate school
aBSTRACT BEGINNINGS Stage 1 The ambitions that Graham McRobbie, module coordinator for design studio in stage 1 has for the new students are to impart the basic skills they will require to progress onto Stage Two, while at the same time maintaining an enthusiastic environment. A desire for sketching and an appreciation for the built environment are the prerequisites for any new students coming into the school. As they progress through the years, a good sense of communication is a skill that the students will undoubtedly learn themselves as they present their individual design, defend their ideas, and reach out to their peers. Groupwork based education is being introduced quite early on this year and is a prospect that is encouraged, when students get the chance to seek opinions from their peers and gain the basic skills of design which are then applied to their individual projects. One such collaboration can be found in the student’s interpretation projects. Working in groups the students were asked to interpret a building in Aberdeen to investigate the nature and character of the
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place. Whether it is a specific aspect that the student picks up on such as the materiality of the building or whether there is repetition in the nature of the facade, the students are then instructed to create a representation of this particular aspect and recreate it in a creative and visual manner. What results is a series of interpretative models portraying an abstracted representation of their former self.
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“create a representation of this particular aspect and recreate it in a creative and visual manner� In between the gradual process of groupwork based studio and individual projects, students are also taught individual skill tasks, based on lessons of sketching and orthographic drawing, among others. In semester two, the students get a chance to bring together all of the skills they have acquired and focus on individual projects.
Abstract beginnings stage 1
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1 Daniel Whitelaw, Sophie Houston, Michael MacDonald 2 Neil Mair, Stuart Dilley, Julie Neilson, David Milne
Interpretive models
Groupwork
Project 2.1: Working in groups students learn about the role of abstraction in the design and communication process and investigate the methods of contemporary design and representation through a study of the work of contemporary artists. The City of Aberdeen provides the vehicle for study for this project and each group is given a place or space to study which allows students to investigate the nature and character of the place. Students then create an abstract model which demonstrates the atmospheric quality of the place.
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3 Johanna Maier, Kristine Senko 4 Charlie Follet, Alaa Beruwien, Scott Brown 5 Alaa Beruwien, Daniel Whitelaw, Patrick Sim 6 Nathan Noble, Martyna Gruszka, Christie Duff 7 Kirsteen Watson, Gabriel Wyderkiewicz, Murdo MacRae 8 Yevgen Gozhenko, Olivia Johnston, Jennifer Scullion 9 Ross Coleman, Holly Brown, Sophie Perrott 10 Antonia Kati, Bruce Hills, Hannah Spicer 11 Emma Lindblom, Emily Fawdon, Stewart Rees
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House for two professors
Calum Dalgetty
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House for two professors stage 1
Project 2.5 – House for two Professors: The brief is to house two visiting professors to the school, with the inclusion of an area where informal crits could take place. Students work individually to design a simple building in a given context. The design must utilize brick internally and externally and comply with the Scottish Building Regulations.
Top Section down hill Bottom Interior atmospheric drawing
House for two professors
Neil Mair
House for two professors
Patrick Mills
Top left Section of hillside Top centre Model composite image Topright Interior atmospheric drawing
Bottom left Elevation Bottom right Section
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City room
Julija Lebedenic 025
City Room StAge 1
Top left Models showing interior experience of chapel Top left Section through intervention Right Plan of intervention in existing garden
City room
Calum Ward
City room
Emma Lindblom
Project 1.5 - City Room: Students prepare an individual design response to a simple design brief in a given site – a single cell timber room in an Aberdeen garden. Students develop the brief and create a scenario for the owners of the house and the requirements of the ‘room in the garden’. Students are encouraged to personalise the brief by considering their own interests and needs, creating a wide variety of unique projects from a prayer room to a swimming pool.
Left Model pictures investigating lighting properties
City room
johanna maier Top Right Interior atmospheric model Top Left Models showing interior experience of chapel
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A place to make Stage 2 Every year for one weekend the fishing town of Portsoy is awash with festival and energy with the Scottish Traditional Boat Festival taking place in the towns harbour. It is an internationally renowned event being a money spinner for the town economy. What it brings to the town is also a sense of togetherness with a celebration of its traditional history and identity. The festival is an eclectic mix of boating craft, competition, and traditional music and dance showing the power that these traditions have on raising a community spirit. Second year have undertaken a project which is aiming to capture the essence of this community spirit through in single building. Can a new piece of architecture allow a dilapidated harbour to regain its place at the
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A Place to Make Stage 2
heart of community? The client for this project was the Portsoy Organisation for Restoration and Training a charity which teaches young people a craft in boat building with the creation and restoration of traditional ‘skiff’ vessels. Afterwards they are taught how to sail their creations completing their journey.
“The challenge for the students was to make a contemporary piece of architecture in the heart of a strong historic setting”
Top Existing building Bottom Harbour panoramic
Chair for a boat builder
Group Project
For a semester second year followed a learning process that allowed them themselves to gain an intimate knowledge of the art and craft which goes into the wood working process through undertaking a small project to design a chair for a boat builder’s use. These chairs were designed to a scale of 1:2 to allow for a genuine effort of learning the craft. Through this experience the students then had a much more intimate knowledge of who they were designing for and as such have produced schemes which are steeped in the feeling of craft and structural authenticity.
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1 Charred 2 Honoka 3 Cuba 4 Stolav Havet 5 Trebuchet 6 Rapid 7 Anchor 8 Frank O’Chairy 9 Rudi 10 Honti 11 TheWave 12 Massive 13 Reclaimed 14 Pyramid Chair
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Boat builders workshop
jan hajek
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A Place to Make Stage 2
Bottom centre Ground floor plan Bottom right First floor plan
Boat builders workshop
Mihaela popa LONG SECTION A-A 1:50
The specific brief was to provide a workshop and teaching space for a boat builder whilst also providing facilities to encourage further boating festivals and competitions to take place within the community. The intervention is taking place in the footprint of an existing stone building within a strongly historic harbour. A major challenge of this project was to create a piece of exciting contemporary architecture whilst remaining sympathetic to the existing building and the surrounding setting. A decision many of the students took was to retain the existing structure even in its ruinous state and to focus on their connection.
Centre Model Bottom Section through workspace
Boat builders workshop
Ruxandra avram
HARBOUR ELEVATION 1:200
Top left Model Top right Section through workspaces
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A theme of working in a sensitive setting is carried on into the second semester with the brief to design an intervention within the intimate spaces that make up the botanic gardens at Aberdeen University. The students made a decision on the purpose of their interventon allowing for a range of different schemes to be realised. This project allowed for the students to further their ability to make appropriate design choices within a specific environement.
Intervention in botanic gardens
Gabriela POPA
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botanic gardens Stage 2
Top Images of intervention within the garden Bottom left Section Bottom right Floor plan
Intervention in botanic gardens
Ross Robinson
Intervention in botanic gardens
Lija Puncule
Top left Ground floor plan Top right Section
Bottom left Ground and first floor plan Centre Building sitting in the gardens Right Internal view
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The Nature of Craft stage 6 emma gibb
From years of experience a boat builder develops an insight, appreciation and knowledge of the structural behaviour and quality of the materials with which he works. The boat builder understands the way in which a boat will be used, and produces a boat appropriate for the task. Depending on whether the boat is destined for sea or fresh water, work or pleasure, the form, material choice, structure and weight are affected. All design decisions are made on the basis of practical knowledge and experience. Craft appears as an idea with a clear definition, but it has come to mean and relate to so many things. Its meaning has been stretched over time. Craft is usually associated with the past and often forgotten as a value that might have purpose in the present. Many think it is simply an activity that involves skill in making things by hand, but it is more than that. It is how you think, understand, interpret and produce things and this can be broken down into so many levels; by hand, by conception, by labour or by bespoke machines.
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Making is the process of physically producing an object. Not just for the final product but as an advantage to explore how to make, construct and through that develop knowledge. In the making of boats, the boat builder uses materials and a structure that relate closely to the purpose of the thing. In
“The qualities of materiality and craftsmanship give work a timelessness says peter buchanan�
vast topic I developed my understanding by making in 3D and studying the traditional methods of boat building, by producing a timber boat builders toolbox. The process of physically making the toolbox allowed me to stretch my existing knowledge, explore how components came together, their material behaviour and structural qualities, and finally how the materials can be made to work more effectively. Through transferring this knowledge to my design project I explored the structure of my boat building workshop by making models, allowing me to design a form and structure that would reflect the honesty and craft of its users, the craftsmen.
the same way building tectonics can relate closely to a building programme to create honest and appropriate structures. The value of craft is in the success of this process. During my masters I wanted to learn how craftsmen can determine the true nature of a design and think about why their skills seemed so alluring and important for society today. Touching the surface of this
Above Emma’s journey of design through an investigation in craft
Peripheral vision masters Unit 3 stage 6 Seaton Take a walk through the streets of Seaton and admire the vibrancy, the colour and the energy. Individualism and eclecticism are being celebrated and allowed to flourish providing an atmosphere of community missing from the many housing estates within the city and beyond. The ‘backies’ have been cleared of abandoned sofas and untended grass replaced by allotments and gardens. Streets are inhabited by stalls, community gardens and other such folly’s. Seaton’s urban environment has been reclaimed by its inhabitants. The edge of the estate marked by a series of tower blocks once was a ‘green dessert ofh open space harshly exposed and redundant of use. Now people from over the estate come to mix here and interact in a hive of activity with plains of urban farming, This is something which the inhabitants remarked just was not present before. People know their neighbours, respect their environment and most importantly recognise
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Peripheral vision Masters unit 3
Left Seaton masterplan drawing
the contributions they can make within their own neighbourhood. At this edge stand the projects which kicked off this great change, a range of different schemes which have all provided an amenity to the area breaking up the monotony of the existing housing estate. A library provides a place for people to drift into another world through the medium of books. A recycling centre encourages people to upcycle improving their lives with what they already have. The schemes are permanent markers in a sea of change and movement. They investigate an idea of how at the periphery of the city communities can still be vibrant and could act as a blueprint for regenerating other areas of the city.
“We are architects trying to find clues as to how we make things in that particular place”
Pittodrie A long stretch of concrete arrows its way across the landscape connecting the city with its shore and along the way provides a cultural mix of arts, sport and recreation. Aberdeen built its wealth on the North Sea with its fishing and oil industries but as an urban entity it has turned its back on it. Choosing to stop way before it reached the coast it has left vast areas of emptiness. Pittodrie sits on this edge and is the setting for a group of schemes that have reacted to this desolation. The proposed land pier would provide a new walking route from the city to the shore that acts as the connector to the shore, as well as a cultivator of various projects which attach themselves at various points. At the journey’s beginning the the glimmer of the sea in the distance can be seen, the assertive straight execution of the route ensures a visual connection to the pier’s end point, heightening the feeling of connection. The pier raises itself above the streetscape below as it moves forward creating a calm Right Pittodrie masterplan drawing
and serene atmosphere with opportunity to glimpse accross to the wider city. This quiet is broken at various stops along the way with a range of schemes. The first stop feeds into a festival square with a theatre, a film school and a music school. Between them is a plaza where the energy and activity within all the schemes spills out in the form of street performances, outdoor cinema and the various comings and goings as performances and shows start and end. These projects are looking to give a purpose to this area by reviving the cities dying arts and culture movement. A new Pittodrie stadium attaches to the
pier and plaza and a hotel whose height provides a marker to the wider city the final stop. The journey then continues onwards towards the coast until the concrete and sea meet in the form of a series of lidos. This mix of recreationa and culture work together to form a new masterplan for Pittodrie to become the cultural centre of the city
Land pier
Erin durno
“The pier acts as the connector to the shore, as well as a cultivator of various projects”
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Film school and cinema
Matthew tranter
The aim for this brief is to research and develop a strategy for sustaining the “art house� cinema and opposing the recent tread for soulless Cineplex design. This design intends to investigate and develop a proposal that combines the production and performance of film; creating a physical connection between artist and the public.
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Peripheral vision Masters unit 3 stage 6
Top External visualisation Bottom left Floor plan Bottom right Section
Library
Caroline macintosh The aim for this brief is to research and develop a strategy for sustaining the “art house� cinema and opposing the recent tread for soulless Cineplex design. This design intends to investigate and develop a proposal that combines the production and performance of film; creating a physical connection between artist and the public.
Top left Sectional perspective through library Top right Second floor plans
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Music school
Andy thomas
The Music School, as part of the Pittodrie redevelopment aims to provide a focal point within the area for the performance, practice, recording and learning of music. The core principle was to provide a space in which all members of the community can be brought together with music as a catalyst.
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Peripheral vision Masters unit 3 stage 6
Top Left External visualistaion from pier Top Right Section through main space Bottom Floor plans Facing page Section
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Theatre
Sarah Packham A theatre with a connection to both the immdeiate and wider community. This project explores performance as an outreach for education, socialisation and employment. It is an invitation ‘behind the scenes’ to inspire those who wish to explore performance.
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Peripheral vision MAsters unit 3 stage 6
Left External visualisation from plaza Centre Floor plans Right Technical section and elevation
Community Reuse centre
Amy holmes
A community Reuse Centre where surplus products and waste materials sourced from the local and broader community, ranging from furniture and electrical items are repaired, refurbished and processed for adaptive reuse. The centre will benefit the community through the provision of employment and affordable local produce.
Above External visualisation from estate Right Section through one workshop bay
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Botanic Gardens
Groupwork
tHE PAROCHIAL masters unit 3 STAGE 5 The Brief for the Stage 5 major project is concerned with the design of a community facility within the parish of St Machar’s Cathedral, Old Aberdeen. There are two projects, a Primary School and a Health Centre. In line with the emerging ethos of the students will consider the role of small community facilities in the ordinary life of the city. A primary School is at the heart of any community. It is a place where children take their first steps outside of the family home. It is also a place where parents learn to let go and hand over the care of their children to others. What environment would be conducive to learning, to good behaviour, to fun, to quiet, to discipline, to opening eyes, to support, to learning skills, to being part of a group? A vital part of any primary school is how the facilities can be used outside of school hours by the local community. A health centre, like the primary school, is a critical social
facility in any community. It is a place that everyone will visit at some time and for some it will be place that sadly they will know too well. It is a building type that accommodates people from all ages although the elderly particularly is a group that you need to think very carefully about. Could an architect create an environment that might make a visit less stressful, gives an increased sense of support, is legible and clear where to go yet does not feel clinical or institutional?
“consider the role of small community facilities in the Daily life of the city” scHool with leisure pool
Jack Irvine
Left Atmospheric model of interiror Top Right Concept image Bottom right Site plan
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School with leisure pool
Fiona Thaddeus
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The parochial Masters unit 3 stage 5
Bottom right Ground, first and second floor plans
School with leisure pool
Lewis Thomson
Top Site plan Bottom left Atmospheric model of interiror Bottom right Concept image
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