Design Yearbook 2019 by School of APL, Newcastle University

2019

School of Architecture, Planning and Landscape Newcastle University

Contents

Welcome Charrette

BA (Hons) Architecture Stage 1 Stage 2 Stage 3 Fieldwork and Site Visits

BA (Hons) Architecture & Urban Planning (AUP) Stage 1 Stage 2 Stage 3

Thinking-Through-Making Week

MArch 84 Stage 5 Stage 6 Fieldwork and Site Visits Research in Architecture BA Dissertation MArch Dissertation Linked Research Taught Masters Programmes PhD / PhD by Creative Practice Architecture Research Collaborative

140

Contributors

174

Student Initiative NUAS / Signal Praxis Fold

176

Sponsors

178

Welcome Graham Farmer – Director of Architecture

Welcome to the 2019 edition of the School of Architecture, Planning and Landscape’s Design Yearbook. This annual publication showcases the achievements of both students and staff after another successful year. Our programmes continue to evolve and during the course of this academic session we have successfully launched a new integrated postgraduate programme in Advanced Architectural Design which has introduced a number of research-led specialist pathways, and we have also introduced a wide range of new design projects and studios across both our undergraduate and postgraduate programmes. The work contained on the following pages gives a small glimpse of the diversity, sense of invention, experimentation, enthusiasm and relevance that continue to characterise and define the design outputs from our studios and programmes. What is not always obvious from the content of this Yearbook is the wider infrastructure and environment that supports this excellence; this includes the continued development of a well-integrated curriculum with well-designed modules and highquality teaching delivered by our committed staff team. The continued investment in our facilities and the exceptional support staff in the School all contribute to the student and staff outputs that feature on the following pages. Special mention here should go to Sean Mallen who this year won the ‘Professional Services Staff Member of the Year’ award for providing outstanding teaching and support at the University’s Education Awards 2019. We should also not underestimate the role that our students play in creating the right environment and sense of community that allows us all to thrive. This year saw NUAS, the Newcastle University Architecture Society, finish runners up in both the Best Departmental Society and Most Improved Society at the Newcastle University Student Union awards. NUAS has broadened its extra-curricular activities to include a new group, “Signal” who have organised cross programme and interdisciplinary social events, engaged external speakers as part of their Small Talk series, run a series of student debates called Sound Room shared with architecture students at Northumbria University, and arranged student-led skills sharing workshops. Other new student groups include PRAXIS who are developing opportunities for hands-on design-build experience and FOLD, a student-run zine. I would like to take the opportunity to thank all the students who have involved themselves in these voluntary activities because they do make an invaluable contribution to the wider life of the School and help to build and sustain the sense of identity and community that characterises our School. A notable development within the School this year includes a generous donation of £1 million from alumnus Sir Terry Farrell, along with his archive. The archive consists of an extensive collection of thousands of items that span six decades of his career, and includes models, drawings, papers and diaries referencing iconic and award-winning design such as the MI6 Building in London, a project which has famously appeared in James Bond films, Beijing South Station in China and the Embankment Place development above and around Charing Cross station. It also includes pieces from his schooldays growing up in Newcastle and from his five years as a student studying architecture at Newcastle University between 1956 and 1961. Sir Terry, who is originally from Newcastle, was made a Visiting Professor in the School in 2016. He has played a large part in shaping the way his home city looks, including developing the Newcastle Quayside masterplan, designing the International Centre for Life, and refurbishing and extending the Great North Museum - Hancock. Sir Terry’s donation will contribute to the renovation of the Claremont Building in the form of the “Farrell Centre” which will house a major new architectural exhibition space, an urban room where anyone can come to learn and discuss the city of Newcastle, its past as well as proposals for its future, and a start-up space for recent graduates. The Farrell Centre will help us to continue to develop our reputation as one of the leading Schools in the UK. As a member of the UK’s Russell Group of leading research intensive Universities, we engage in research-led education. We want to equip our students not just for their first day in work but to lead in the professions they will retire from. We believe knowledge to be a collective cultural endeavour which is best realised through a dynamic approach to research and education, developed through an ongoing process of research-driven inquiry in which staff and students are both participants. We aim to deeply engage students in their education as critical and creative thinkers, rigorously challenging and empowering them, supporting them to stay ahead of a changing world. This book features work borne from this creative environment, enabling students to take a collaborative and dynamic approach to their learning.

Charrette Charrette week starts the academic year, bringing a host of alumni, artists, architects, engineers designers and thinkers to the university to run a one-week high energy project. Students from all years are mixed into Charrette ‘studios’ for the week, to encourage cross year learning and to break down social barriers within the school. Each Charrette studio will typically involve 45 people, with students from the upper years expected to exercise team and time management skills learnt in practice to ensure the projects are delivered on time and on budget. Each year Charrette leaders are given three thematic words to respond to – this year’s being: SPECTACULAR / FAILURE / HELP Highlights included; ethereal projections, survival camps and terrazzo experiments. Next year we are planning something special to celebrate the 10th year of whole school Charrettes!

Charrette 01: Other Ways of Working Corina Tuna

Charrette 02: Spectacular Terrazzo Albane Duvillier and Elliot Rogosin

Charrette 03: People Watching, Professionally Amy Linford

Charrette 04: Architects of Self-Destruction Andrew Walker

Charrette 05: Apocalypse Now Lyn Hagan

Charrette 06: Making Spectacular 22 Sheds

Charrette 07: Help! A Spectacular Strategy Gareth Hudson and Phil Begg

Charrette 08: Re-Use Is In the Air Tibo Labat, Armelle Tardiveau, Daniel Mallo and Ben Bridgens

Charrette 09: Tipping Point Michael Simpson and Anna Cumberland

Charrette 10: White Space Cynthia Mak and Karl Wong

Charrette 11: Spectacle Hazel McGregor

Charrette 12: Curating APL Kieran Connolly

Text by Matthew Margetts

Top Left - Other Ways of Working

Top Right and Bottom - Tipping Point

Top - Spectacle

Bottom - Spectacular Terrazzo

BA (Hons) Architecture

Samuel Austin – Degree Programme Director

Newcastle’s RIBA Part I accredited BA programme fosters an inclusive, research-led approach to architecture. Alongside a thorough grounding in all the skills required to become an imaginative, culturally informed, socially aware and technically competent design professional, it offers opportunities to engage in developments at the forefront of current research, from computation and material science to architectural history and theory. Emphasising collaboration as well as independent critical enquiry, we encourage students to draw on diverse methods and fields of knowledge, to follow their own interests and to develop their own design approach. We believe that to produce good architecture requires more than rounded abilities and knowledge; it requires judgements about what we value in the buildings and cities we inhabit, what to prioritise in the spaces and structures we propose and what contribution architecture can make. The course doesn’t claim to offer simple – or correct – responses to these challenges. Our diverse community of researchers and practitioners, each with their own interests and expertise, introduce students to a range of issues, ideas, traditions and techniques in architectural design and scholarship. We help students develop fine-grained skills in interpreting spaces and texts, critical thinking to understand the implications of design decisions, and spatial and material imagination to stretch the boundaries of what architecture can achieve. Rather than teach a single way of working, we give students the tools to discover what kind of architect they want to be. A lively design studio is central to this learning process and to the life of the School. Design projects, taught by a mix of in-house tutors and practitioners from across the UK, account for half of all module credits. We promote design as thinking-throughmaking, an integrated process of researching and testing ideas in sketchbook, computer, workshop and on site, of responding to diverse issues and requirements all at once – spatial, material, functional, social, economic etc. This approach is reinforced by collaborative projects involving artists and engineers, and at the beginning of each year by week-long design charrettes where students from all stages of all design programmes work together to respond to diverse design challenges, through installations around the School and beyond. Lectures, seminars and assignments in other modules examine the theoretical, historical, cultural, practical and professional dimensions of architecture, and support students to embed these concerns in studio work. Stages 1 and 2 are structured to guide students through increasingly challenging scales, types and contexts of design projects, alongside a breadth of related constructional and environmental principles and varied themes in architectural history and theory. Briefs invite experimentation with different architectural ideas and representational skills, first through projects set in Newcastle, then incorporating study trips to regional towns and cities. As work increases in depth and complexity – from room to house, community to city, simple enclosure to multi-storey building – students have more opportunities to develop and focus their own interests. A dissertation – an in-depth original study into any architecturally related topic – sets the scene for a year-long Stage 3 final design project. With a choice of diverse thematic studios, each with its own expert contributors and international study trip, students acquire specialist skills and knowledge, allowing them to craft their own distinctive portfolio.

Stage 1 It is tempting to give the impression that everything in Stage 1 has changed this year but, whilst things might outwardly look and feel quite different, the extensive restructuring has taken care to build from the same foundational principles that have supported Stage 1 teaching at Newcastle for many years. The most obvious changes have occurred in the Semester 1 design module. The students now decant from their studios each week to undertake a series of city walks, each with a different tutor and guide, and with a particular Architectural Design skill or theoretical idea as a focus. Additionally, the walks introduce students to their new home, to key buildings within the city, to different members of staff and to one another. The walks each have a defined output and these are then employed in a short end-of-Semester design project, “Smart Small Dwelling”, which offers fledgling student designers the chance to try out their newly acquired skills, gathered during the Semester, and employ them in a context with which they have become very familiar. The students are encouraged to venture slightly further afield in a new Semester 2 project, “Prospect and Refuge”, as they undertake the design of a small contextually responsive outward-bound centre. In another departure for Stage 1, each of the ten tutor groups works on their own site and with a unique outward-bound activity as a focus. The coastal edge sites – strung along the promenade between North Shields fish-quay and the Spanish City in Whitely Bay – offer strong edges, changes in level, distant views, sandy beaches and sea air. Fish and chips anyone? Year Coordinators Kati Blom Simon Hacker

Project Leaders Kati Blom Simon Hacker Shankari Raj

Students

Agata Malinowska Agatha Delilah Barber Aikaterini Passa Aleema Hira Aziz Alexander Jacob Caminero McCall Anastasia Asenova Anna Toft Aurelia Thompson Aya Rose Mordas 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 Ching Yee Jane Li Christian Thomas Davies Christopher James Hegg Chui Lam Yip Chung Hei Mok Colin Rogger Constantinos Chrysanthou Daniel Mijalski Daniel James Andrew Bennett Danielle Marie Quirke Dk Noor ‘Ameerah Pg Kasmirhan Dominika Kowalska Dongpei Yue Ehan Harshal Halimun Eleanor Lindsay Jarah Eleanor Victoria Mettham Ella Lucy Freeman Ella Madeleine Ashworth Eloise Sian Macdonald Littler Emily Tamar Ducker Emma Louise Beale Fanny Lovisa Kronander Gabriel Dominic Saliendra

Text by Simon Hacker

Gloria Sirong Hii Grace Elizabeth Evans Guoyi Huang Haleemah M A M I Khaleel Hana Baraka Hannah Grace Fordon Hannah Maria Batho Harriet Roisin Harrington Allen Harun Kilic Hereward Percival H Leathart Hon Ying Chow Isobel Ann Prosser Jack Martin Callaghan Jehyun Lee Jemma Louise Woods Jenna Goodfellow Jessica Charlotte Dunn Jessica Helena Eve Male Jiahan Ding Jing Hao Jingci Yeong Jingqi Li Jiri Stanislav Goldman Jiwoo Kim Joshua Alexander Jones Joshua Imran Farghaly Joungho So Julian Nyalete K Djopo Julianna Skuz Junhui Lou Karolina Lutterova Katy Hughes Kinga Maria Rybarczyk Lea-Monica Udrescu Lewis Michael Neil Baylin Libby Mae Taylor Liene Greitane Liza Nadeem Lorand Nagy Louis Jacques Duvoisin Louis Oliver Hermawan Luca Edward Philo Madeline Collins Magdalena Katarzyna Mroczkowska Malaika Javed Malak Elwy Marianne Mikhail Matteo Giovanni Amedeo Hunt-Cafarelli Max Aaron Blythe Michael Jun Wang Liu Milly Rose London

Molly Robinson Morgan Elizabeth Cockroft Muhammad Shujaat Afzal Muskan Sethi Natalia Stasik Neli Barzeva Niamh Hannah Kelly Nicholas Andrew Stubbs Nok Fai Nathan Yuen Oliver Denning Buckland Olivia Maria Ewing Oscar Michael Lavington Otto Lucas Jaax Pak Hei Julian Ng Peter Anthony Windle Philip David Russell Polly Ann Chiddicks Quanah Clark Rea Chalastani-Patsioura Reece Mckenzie Minott Robert Brentnall Gowing Rosabella Margaret Reeves Rosemary Charlotte Joyce Rositsa Krasteva Sam Ravahi-Fard Samuel Russell John Hare Samuel Scott Coldicott Samuel William Stokes Sarah Jayne Charlton Sebastian Adam Poole Si Cheng Fong Sophie Hannah Grace Henderson Stella Ogechi Chukwu Supapit Tangsakul Tabitha Victoria Edwards Taddeo Toffanin Tessa Elizabeth Lewes Thomas Charles Peter Henry Adams Tian Fang Trina Andra Zadorojnai Tsz Fung Wong Wing Hei Lo Xiaoqian Zhou Xindi Cheng Xinrui Lin Xixian Wu Xuhan Zhang Yat Hei Asher Hon Yuan Zhang Yuanyuan Chen Yuen Man Cheng

Opposite - Dominika Kowalska

Contributors

Andy Campbell Anna Cumberland Cath Keay Charlotte Powell Cynthia Wong Damien Wootten Dan Kerr David Davies David McKenna Di Leitch Ed Wainwright Elinoah Eitani Ewan Thomson Graham Farmer Henna Asikainen Jack Mutton James Craig Jamie Morton John Kamara Karl Mok Kati Blom Kate Wilson Keri Townsend Martin Beattie Nathaniel Coleman Nick Clark Noemi Lakmaier Olga Gogoleva Patrick Malone Prue Chiles Raymond Verrall Robert Johnson Sam Austin Sana Al-Naimi Sarah Stead Shankari Raj Simon Hacker Sneha Solanki Sophie Cobley Stephen Tomlinson Tara Alisandratos Tony Watson Tracey Tofield Zeynep Kezer

Routes Into Architecture Kati Blom

In this introductory project, students undertake a repeated walking route through Newcastle city centre, foraging for architectural elements and components, and learning about architectural forms, ideas and discourse along the way. They are encouraged to look at the city and its architecture and to represent their adventures â&#x20AC;&#x201C; to sketch, measure, draw, model, map and photograph and to gather sufficient material for their second project.

Top Left - Xinrui Lin

Top Right - Aurelia Thompson

Bottom - Fanny Kronander

Top - Yuen Man Cheng

Middle Left - Samuel Coldicott

Bottom Left and Right - Aleema Aziz

Smart Small Dwelling Shankari Raj

A dwelling comes in many forms depending on the location, site, climate and those residing in it. Heidegger argues that the manner in which we dwell is the manner in which we are, we exist, on the face of the earth – an extension of our identity, of who we are. In this project, students choose their client – each with a strong identity, ranging from an insurance broker who keeps chickens, to a secondary school student looking for a hide-away – and design a tiny experientially rich ‘dwelling’ for them, located within the City along the project 1.1 walking route.

Above - Aurelia Thompson

Top Left - Jiahan Ding

Top Right - Wing Hei Lo

Bottom Left - Muhammad Shujaat Afzal

Bottom Right - Xuhan Zhang

Prospect and Refuge Simon Hacker

This project asks students to design a small Outdoor Activity Centre, located on the coast, north of the River Tyne. In doing so, they consider a variety of different experiential spaces, both internal and external, and carefully consider how these might respond to their particular site, landscape and place. The ‘refuge’ element of the brief encourages thoughtfulness about room scales, materiality and light, whilst level changes, sloping sites and a focus on visual ‘prospect’ promotes sectional, as well as plan-based consideration.

Top Left - Liene Greitane

Top Right - Samuel Coldicott

Middle - Fanny Kronander

Bottom - Karolina Lutterova

Top - Muhammad Shujaat Afzal

Middle - Robert Gowing

Bottom - Julian Djopo

Stage 2 Stage 2 is a transitionary year in which students begin to engage with questions of how architecture is produced by, and productive of, different types of economies, and how we, as architects, designers, researchers and thinkers, have a role to play in shaping the environments of the future. The year is divided into two semester-long projects, addressing two core themes: Housing in the first Semester and Experience in Semester two. Set in two cities, Edinburgh and Durham, and the imagined spaces of film, students are invited to explore increasingly complex spatial projects from collective housing, to public buildings, and work across the boundaries of architecture, art, engineering, craft and making.

Year Coordinators

Emily Ming Orlando Harper Ethan James Medd Felipe Gonzalez Zapata Felix Frank Christopher White Project Tutors Feyzan Sarachoglu Adam Hill Florence Nancy Muwanga Nayiga Amara Roca Iglesias Fu Kwong Franky Choy Christos Kakalis George Salsbury Spendlove Delia Murguia (Semester 1) Georgina Carol-Anne Walker Jack Green Grace Carroll James Perry (Semester 1) Hamed Sabri Musallam Salem Alseyabi John Kinsley (Semester 2) Hannah Constance Carson Justin Moorton (Semester 2) Harry Goacher Luke Rigg Heather Annie Oâ&#x20AC;&#x2122;Mara Maria Mitsoula (Semester 2) Hei Lok Hong Neil Burford Herbert Winata Ng Nick Simpson (Semester 1) Hiu Kit Brian Hui Nikoletta Karastathi (Semester 1) Hizkia Widyanto Prue Chiles Ho Wang Heymans Choy Samuel Penn (Semester 1) Hong Tung Chau Sana Al-Naimi Hope Frances Foster Stella Mygdali Hui Ching Lo Hyelim Lee Artist Tutors/ Isabel Alice Vile Engineering Experience Isabel Teresa Chapman Aaron Guy Isabella Alice Colley Adam Goodwin Iulia Stefancu Craig Hawkes Jacob Oliver Botting Harriett Sutcliffe Jacob Timothy Weetman Grantham Isabel Lima Janet Wolf Rosie Morris Jasmine Sophie Bishop Will Stockwell Jean Nee Chia Jerrica Jou An Liu Jianbo Huang Students Jing Olyvia Tam Abbey McGuire Jonas Varnauskas Abdurakhman Talip Jonathan Barker Abu Borhan Mohammed Jabed Alahi Jonathan James Barnaby Coekin Adam James Blacknell Jordon Johnathaon Anderton Alexander Adam Ollier Joseph James Caden Alexander John Thompson Jurgen Xavier Springer Alexandra Kathryn Heys Bramhall Ka Hei Chan Alice Louise Cann Ka Ho Ng Anastasia Winifred Cockerill Kate Buurman Aruzhan Sagynay Kate Margaret Flower Aysel Imanova Katherine Emma Belch Callum Jacob Harker Katy-Ann Eleanor Claridge Charlie Barratt Kieran Miles Forrest Charlotte Elizabeth Ashford Kushi Lai Cheng Wu Teo Kyohong Min Cheuk Lum Charlie Wong Lanna Jean de Buitlear Che-Yi Lin Latifa Al Nawar Chi Ming Ng Leo Justin Watson Fieldhouse Colin Nils Elkington Linxi Zhao Daneshvaran Narayanasamy Malika Bouabid Daniel Luke Thompson Marc Justin Kabigting Gutierrez Darcy Joy Norgan Marcus William Cornelissen Denisa-Iuliana Calomfirescu Maria Aksenova Edward Harry Salisbury Mariana Andrea Morales Munoz Ella Kate Johnson Matty Carr-Millar Ella Lucy Waite Migle Zabielaite Ellen Marilyn Willis

Milena Ivova Sharkova Mirza Mhuhammod Imtyaz Momoko Kotani Muhammad Eijaz Fiqri Bin Norazim Natasha Alexandra Rice Niamh Mary Lyons Oliver Joseph Gabe Oyinkansola Temilolu Omolayo Omotola Pak Hin Tsang Paola Isabella Jahoda Pei Tung Au Peng Yin Po-Chen Shen Qixing Huang Rachel Elizabeth Ann Sexton Rana Mohammed Ismaile Khan Raphael Logan Barber Ren You Reuben David Jones Rory Kavanagh Rory Patrick Durnin Roxana Andreea Caplan Sarah Popsy Bushnell Sarah Safwan Mohâ&#x20AC;&#x2122;d Hasan Al Hasan Sasha Omid Edward Swannell Shu Zhang Shuk Yi Fung Shuwardi Boon Seen Simran Ravindan Sin Ian Si Tou Siriwardhanalage Navindu Deelaka De Saram Sophie Charlotte Spoor Sophie Grace Collins Talal Osama K Bader Tania-Cristina Farcas Tess Margaret Tollast Tunu Maya N Brown Victoria Aphra Lowsley Peake Wei Hua William Alexander Quealy Harrison William James Bell Xavier Nicholas Chen Xiao Lin Xie Xin Guo Yanchao Sun Yingjin Wang Yu Hua Lee Yu-Chieh Chang Zacharias Yiassoumis Zeyad Saudy Mohammed Hasanin Zeyu Chen Zhi Xuan Yew

Christos Kakalis Stella Mygdali

Text by Christos Kakalis

Guest Reviewers

Andrew Ballantyne Alex Blanchard Cara Lund Chris French Claire Harper Dimitra Ntzani Elizabeth Baldwin Gray

Opposite - Oliver Gabe

Graham Farmer James Craig Jack Roberto Scaffardi Katie Lloyd Thomas Kieran CWonnolly Martyn Dade-Robertson Matthew Ozga-Lawn Pedro Quero Rumen Dimov Samuel Austin Smajo Beso Stephen Parnell Zeynep Kezer

Year Reps

Roxana Caplan Denisa Calomfirescu Kushi Lai

Degree Show Contributors Jonathan Barker Ethan Medd Jurgen Springer Roxana Caplan Migle Zabielaite

At Home in the City Christos Kakalis & Stella Mygdali The first semester project, At Home in the City, asks students to consider housing as a module of the city. Beginning with a disused industrial site in Edinburghâ&#x20AC;&#x2122;s Port of Leith, students were asked to work across scales from the neighbourhood, to the house, to the threshold.

Top - Marc Gutierrez

Bottom - Oliver Gabe

Top - Migle Zabielaite

Bottom Left - Colin Elkington

Bottom Right - Roxana Caplan

Engineering Experience Stella Mygdali Semester 2 begins with a three-week collaborative project between architects, artists and engineers which starts our transition to thinking about the experience of space as a way of leading design projects, by investigating the imagined spaces of film and the construction of spatial installations.

Exploring Experience Christos Kakalis & Stella Mygdali Based in Durham, this project asks students to explore a condenser of experience â&#x20AC;&#x201C; a public building that becomes a site of spatial and material richness and developing programmatic complexity.

Top - Marc Gutierrez

Left - Colin Elkington

Right - Jurgen Springer

Top Left - Roxana Caplan Top Right - Jonathan Barker

Bottom - Oliver Gabe

Stage 3 Stage 3 continues the tradition at Newcastle for year-long ‘studios’ and this year students were given a choice of eight studios. Each studio was taught by a pair of tutors – comprising varied combinations of academics and practitioners – who set themes that broadly reflect their practice and research interests. The studios share a common timetable but are encouraged to pursue and celebrate different methodologies – from close readings of context through systemic design to critical conservation practice. Studio themes this year included contemporary monasteries in the Ouseburn, critiques of commercial masterplans in Manchester, tourist destinations in Northumberland and extensions to Queen’s House in Greenwich. International field trips continue to be a popular aspect of the Stage 3 experience and this year was no exception, with field trips to Venice, Zurich, Turin, Milan, Paris and Coventry. This year there has been an increased focus on representing context in Stage 3 along with a number of refinements including increased integration of Theory into Practice and an expansion of Thinking Through Making Week. Year Coordinators Cara Lund Matthew Margetts Sam Austin

Studio Leaders

Andrew Campbell Cara Lund Christos Kakalis Colin Ross Elizabeth Baldwin Gray Harriet Sutcliffe Iván Márquez Muñoz Jack Mutton James Longfield Josep Maria Garcia-Fuentes Kieran Connolly Luke Rigg Marc Subirana Matthew Margetts Michael Simpson Rachel Armstrong Sam Austin

Other Contributors Adam Sharr Akari Takebayashi Amrita Raja Andrew Ballantyne Anna Cumberland Armelle Tardiveau Graham Farmer Hazel Cowie Lukas Barry Jack Green James Craig John Kinsley Jon McAulay Jonathan Mole Juliet Odgers Manuel Bailo Matt Ozga-Lawn Nick Peters Peter Sharpe Raymond Verrall Rosie Jones Ryan Doran Shaun Young Simon Hacker Stephen Ibbotson Stephen Richardson Steve Kennedy Stuart Hallett Victoria Tinney

Students

Aaron Cheng Abigail Elisabeth Hawkins Akihisa Tomita Aleksandria Bolyarova Alexandra Ellen Duxbury

Text by Matthew Margetts

Alice Katherine Du Fresne Amabelle Corbita Aranas Anastasia Ciorici Angela Savitski Anna Moncarzewska Anna Volkova Anna Christian Moroney Anya Beth Donnelly Assem Saparbekova Atthaphan Sespattanachai Burcu Oglakci Cameron Fraser Reid Chi Shen Chi-Che Lee Chloe May Dalby Christopher David Anderson Christopher Liam Carty Chunyang Song Dohyun Ha Edward Benedict Yaoxiang Yan Elizaveta Streltsova Emily Jane Morrell Emily May Simpson Emily Rachael Pendleton Birch Emma Fernandez Ruiz Erya Zhu Ewan Mark Smith Faith Mary Hamilton Flora Rose Sallis-Chandler George William Cooper Grant Martin Donaldson Harry Charlesworth Groom Harry James Hurst Hassan Mehboob Sharif Haziqah Hafiz Howe Hing Nam Eunice Lau Ho Hang Ryan Fung Hok Yin Au Holly Kate Rich Huyen Anh Do Ioana Buzoianu Irene Dumitrascu-Podogrocki Isabel Lois Fox James Edward David Hall Jianing Lyu Jingyi Zhou Jody-Ann Goodfellow Joseph George Allen Ka Ching Leung Ka Chun Ng Kareemah Muhammad Karishma Dayalji Karolina Smok Kate Asolo Woolley Katie Cottle Kirin Potocka Gallop Kristin Olivia Read Leah Charlotte Harrison Lucy Kay Atwood Luk Chong Leung Luke Tim Jonathan Shiner Madeleine Carroll Maegan Rui Qi Lim

Maharram Mammadzada Man Chi Yeung Martina Dorothy Hansah Matthew Chi Ming Warrenberg Megan Frances Nightingale Michelle Sie Ee Lim Miruna Ilas Mohini Devi Tahalooa Myeongjin Suh Natalia Beata Piorecka Natalie Si Wing Lau Nathan Alan Cooke-Duffy Odaro Ehide Eguavoen Oliver Charles Harrington Patricia Prayogo Peter Thomas Staniforth Philomena Chen Pok Ho Cheung Pui Hin Lam Qian Yi Choi Rachel Emmeline Clark Rachel Sophie Keany Rebecca Sinead Crowley Rodrigo Miguel Pereira Domingos Rongzhen Jiang Rosa Sophia Kenny Ruth Niamh Angele Vidal-Hall Sabrina May Lauder Sally Emir Clapp Samuel Fraquelli Sarah Alexandra Johnsone Sarah May Bradshaw Sean Ryan Bartlem Shaunee Lyn Tan Shivani Umed Patel Shuchi Liu Sienna Poppy Sprong Sofia Binti Mohd Nasir Sofia Kovalenko Sofia Grace Turner Solomon Olufemi Adeyinka Ofoaiye Sophie Tilley Sophie Agnes Wakenshaw Thomas James Grantham Thomas Nathan McFall Tobias Evan Himawan Tongyu Chen Victoria Louise Haslam Vito Benjamin Sugianto Wen Hua Huang Wen Ying Ooi Will Peter Tankard Xueqing Zhang Yahsi Eda Vatan Yeekwan Lam Yi May Emily Chan Yiyun Liang Yun Tak Tam Zhana Hristova Kokeva Zhong Zheng

Opposite - Matthew Warrenberg

Studio 1 – Getting Away From It All Colin Ross & Michael Simpson

The ‘Getting Away From It All’ studio is based on the idea that architectural practice can be broad, diverse, surprising, dynamic and even fun. Our ethos is that architecture can cover multiple creative areas, across scales and disciplines, from regional planning to urban design, landscape to building design and interiors to sculptural installation….and more. Our studio has again focused on tourist destinations along the Northumberland coast. Students have been encouraged to challenge tourism and the role it can play whilst working fluidly between scales, developing a dynamic thought process that at one moment considers strategy, the next detail.

Above - Lucy Atwood (2)

Top - Aleksandria Bolyarova

Middle, Left to Right - Ioana Buzoianu, Sally Clapp

Bottom - Rosa Kenny

Perspective view Drone Arena

Top - Chi Shen

Bottom - Thomas Grantham

Left, Top to Bottom - Thomas Grantham, Natalie Lau, Sabrina Lauder

Right, Top to Bottom - Shuchi Liu, Pok Ho Cheung

Studio 2 - City Assemblage

Jack Mutton, Harriet Sutcliffe & Sam Austin This years studio 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, the studio is looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craft. We are looking to create architecture that is contemporary yet not isolated in time. The studio has studied the city and works of art from artists such as Eduardo Paolozzi, Cy Twombly and Man Ray. These observations have formed the basis of our proposals and working in the spirit of assemblage we have looked to create figurative, characterful city buildings that engage with their surroundings. Working on derelict and former industrial sites the studio has developed proposals for a series of studio spaces for artists alongside a public gallery and events space.

Above - Ewan Smith

op Left to Right - Rachel Keany, Matthew Warrenberg, Ewan Smith T Bottom Left to Right - Amabelle Aranas, Megan Nightingale, Aaron Cheng

Middle Left to Right - Cameron Reid, Rachel Keany, Ruth Vidal-Hall

Top - Rachel Clark

Middle - Matthew Warrenberg

Bottom - Amabelle Aranas

Top Left - Martina Hansah

Top Right and Middle - Katie Cottle

Bottom - Megan Nightingale

Studio 3 - Ghosts in the Machine Cara Lund & Matthew Margetts

This year the ‘Infrastructures’ studio was called ‘Ghosts in the Machine’, and continued to explore themes around tangible and intangible infrastructures at different scales ranging from the city to the individual. Our chosen ‘vehicle’ for this study was the Coventry Ring Road (A4053). An almost perfectly realised 1960’s ring road of 2.25 miles in length constructed between 1962 and 1974. It was conceived to keep cars out of what remained of the heavily bombed and extensively reconstructed urban core, with a network of car parks and high level access bridges at ground and high level. It now has something of a stranglehold on the city, limiting expansion, connectivity and generating high levels of pollution. Inspired by reading Ballard novels, the students were asked to identify their own ‘systems’ (tangible or intangible) situated along the ring road, to either DISRUPT, AUGMENT or PROJECT (into the future).

Top - Samuel Fraquelli

Bottom - Sienna Poppy Sprong

135

floor: a reminder of the process...

...you work your way through the pathways of yews. When you reach the centre, the tallest machines from the lab pop up through the

ref inem ent

Top Left to Right - Wen Hua Huang, Luke Shiner Middle Left to Right - Flora Sallis-Chandler, George William Cooper

Bottom - Atthaphan Sespattanachai

THE LIGHT WELL SECTION MODEL

THE PEOPLES PALACE

118

119

Top - Wen Hua Huang

Middle - Jianing Lyu

Bottom - Shaunee Tan

Top, Left to Right - Harry James Hurst , Shaunee Tan

Middle - Yiyun Liang

Bottom - Flora Sallis-Chandler

Studio 4 - Enclosed Order

Christos Kakalis & Ivan Marquez Munoz The Enclosed Order studio proposed an investigation of monastic architecture, divided into two main stages: In the first stage, the students were asked to define the individual character and the community that would inhabit the suggested complex. It required students to imagine, formally explore and design the unit (monastic cell) that this character would inhabit, emphasising its atmosphere, intangible qualities and character. In the second stage, the students were asked to design a monastic retreat complex based upon the line of enquiry developed in the first stage, introducing specific programmatic requirements to define their own architectural enquiry.

Above - Chi-Che Lee

Left, Top to Bottom - Odaro Ehide Eguavoen, Myeongjin Suh

Right, Top to Bottom - Karishma Dayalji, Rongzhen Jiang, Nathan Cooke-Duffy

Top to Bottom - Grant Martin Donaldson, Tobias Evan Himawan (2)

THE TRAPPIST MONASTERY AND DISTILLERY S T R U C T U R A L S T R AT E G Y

1. PRIMARY In-situ concrete foundations 2. SECONDARY Outer leaf brick walls, inner leaf composite concrete and brick wall, window elements/ frame. with diphram brick walls. 3. PRIMARY INTERIOR Stainless steel frame-I beams within walls and bridge construction. Hollow steel section columns interior, outside of walls. EXTERIOR Arch frame-hollow Cor-ten steel section supports SECONDARY-composite brick and concrete arch.

4. PRIMARY Brick segmental vault. Central ground floor communal area-composite concrete and brick segmental vault-to accommodate stairway openings. 5. SECONDARY Concrete fill over arch.

6. SECONDARY Screed fill. 7. PRIMARY Stainless steel beam stairway and exterior earth supported ramp. SECONDARY- Concrete fill threads with TERTIARY brick tiles on stairway and exterior ramp 8. TERTIARY Brick tile flooring

9. SECONDARY Outer leaf brick walls, inner leaf composite concrete and brick wall dormitory bed elements. 10. PRIMARY INTERIOR

Stainless steel frame-I beams within walls. Hollow steel section columns interior, outside of walls, with TERTIARY brick cladding around columns not within walls.

EXTERIOR

PRIMARY-arch frame-hollow Cor-ten steel section supports SECONDARY-composite brick and concrete arch. 11. SECONDARY Composite concrete and brick vault with TERTIARY roof window frames. Parapet roof guttering system. 12. TERTIARY Composite cement mix with brick slip exterior.

T H E T R A P P I S T M O N A S T E R Y A N D D I S T I L L E R Y . S E C T I O N A A R E F I N E M E N T 1 :2 0 0 .

Top Left to Right - Anna Christian Moroney, Sarah May Bradshaw

Middle Right - Sarah May Bradshaw

Bottom - Anna Christian Moroney

Studio 5 - Future Cities – A Space for Exchange Kieran Connolly & Luke Rigg

Building on the themes that emerged in the Future City studio last year, A Space for Exchange explores the urban and architectural ‘futures’ of inner-city Manchester taking a strong critical stance toward contemporary techniques of urban regeneration that frequently prioritise neoliberal economic agendas. To counter these dominant socio-economic programmes, the studio were asked to develop alternative ‘futures’ for Manchester that prioritised a critical approach to how space is produced and who it is produced for. In response, the studio have proposed carefully constructed ‘exchange’ buildings, embedded with strong social and civic qualities and programmes that are inclusive of existing local communities, businesses, charitable organisations, cultural facilities and social groups frequently marginalised in private real estate development.

Above - Chris Carty

Left - Haziqah Hafiz Howe

Right - Chris Carty

Bottom - Assem Saparbekova

Top, Left to Right - Karolina Smok, Christopher Anderson, Jingyi Zhou

Bottom - Harry Groom

AN ESCAPE WITHIN THE CITY MODERN HEALING TEMPLE

Top - Will Tankard

Middle - Sophie Wakenshaw

Bottom Left - Hok Yin Au

Bottom Right - Mohini Devi Tahalooa

Studio 6 - The Queens House: Building Upon Building Josep-Maria Garcia Fuentes & Marc Subirana 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 a complex cultural, social and political struggle. These ideas are investigated through the design of a major addition to or the transformation of a heritage building. This requires an understanding of the existing construction in all of the ways its architecture and materials express the values it sought to represent and serve at the time, and in the ways that these meanings may, or may not, be extended, enriched or transformed and reshaped by the new addition. This year the studio has focused on The Queenâ&#x20AC;&#x2122;s House by Inigo Jones, and its imaginary transformation into the British Centre for Architecture with the aim of hosting all architectural archives from the UK and becoming an international research centre on architecture linked to the RIBA and the Architectural Foundation.

Above - Chloe Dalby

Top Left - Isabel Fox

Top Right - Miruna Ilas (2)

Bottom - Ka Chun Ng

Top - Pui Hin Lam

Middle - Sofia Kovalenko (2)

Bottom - Solomon Ofoaiye

Top Left - Xueqing Zhang

Top Right - Ka Chun Ng

Middle Right - Shivani Patel

Bottom - Xueqing Zhang

Studio 7 - Palaces of Ecologies

Andy Campbell, Rachel Armstrong and Andrew Ballantyne Experimental Architecture’s ‘palace of ecologies’ explored the concept of ecology and the notion of ‘palace’ as contested centres of communal activity. Based on two field studies, projects emerged through the production of prototypes, models, stories and field studies. The first site, in Rainton Meadows, considered the relationship between space, structure, materials and modes of inhabitation by non-humans, by making ‘creature boxes’ that were installed as a formal visitor attraction. The second site in Sant’Elena, Venice, embodied an interface between complex human and non-human ecosystems, from which a diverse range of ‘palaces’ emerged.

Above - Thomas Nathan McFall

Top - Ho Hang Ryan Fung

Middle, Left to Right- Sarah Alexandra Johnsone, Leah Charlotte Harrison

Bottom - Kirin Potocka Gallop

Top, Left to Right - Angela Savitski, Holly Kate Rich

Middle - Anya Donnelly

Bottom - Man Chi Yeung

Top - Natalia Beata Piรณrecka Left - Emily Rachael Pendleton Birch Right, Middle to Bottom - Zhana Hristova Kokeva (2)

Studio 8 - Legacies of Modernism

Elizabeth Baldwin Gray & James Longfield Our studio asked students to engage with the role of theory and idea as driving forces in the formation and realisation of an architectural project. To ground this endeavour, and catalyse the establishment of theoretical positions, 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, and contend with their legacies through a series of analytical and propositional spatial exercises. In response, students sought to address the contemporary relevance of these (im)possibly linked movements, either through a continuation of their conflicted emergences or by reactionary contrast. By studying and adopting the processes that created them, the studio served to support the development of a spatial awareness of scale, volume, and projection - pushing beyond standard notions of style into an understanding of the modern project.

Top -Kenny Tam

M iddle - Anastasia Ciorici

B ottom - Huyen Anh Do

Top, Left to Right - Yeekwan Lam, Kenny Tam

Bottom, Left to Right - Rodrigo Miguel Pereira Domingos, Anastasia Ciorici

Top, Left to Right- Anna Volkova, Patricia Prayogo

Middle, Left to Right - Abigail Hawkins, Karen Leung

Bottom - Erya Zhu

Left, Top to Bottom - Sophie Tilley, Patricia Prayogo

Top Right - Faith Hamilton

Bottom - Zhong Zheng

Stage 3 - Fieldwork & Site Visits As part of Stage 3, the varied studios undertake a range of field trips in Semester one, travelling to diverse locations around Europe. All eight studios included (at least) one European destination. Studio 1: Getting Away From It All Utrecht Rotterdam Delft Scheveningen

Studio 2: City Assemblage London Basel Zurich Chur

Studio 3: Ghost In The Machine Coventry Turin Milan

Studio 4: Enclosed Order Madrid

Studio 5: Future City Manchester Turin Milan

Studio 6: Building Upon Building London Rome Venice Vicenza

Studio 7: Palace Of Ecologies Venice

Studio 8: Legacies of Modernism Paris Firminy Lyon

Opposite - Field Trip Images: Ghosts in the Machine, Future Cities & Legacies of Modernism

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

The BA (Hons) Architecture and Urban Planning programme is a radically interdisciplinary programme. It offers an integrated and critical approach to both disciplines and promotes an approach to the production of urban space from the perspective of people and communities who live and experience places. It addresses contemporary societal issues through the lens of participation, social justice and co-production of the built environment. As such the programme is dynamic and keeps on evolving for a great part thanks to the invaluable feedback from students, upon which we endeavour to reflect and take action. Whatâ&#x20AC;&#x2122;s new this year? Dr Andy Law, a sociologist and aspiring sinologist who used to lead the programme, is now my co-pilot for this journey and I am now in charge of leading and developing this exciting programme. As a designer and architect, I aim to improve the design provision keeping the focus on different ways of creating architecture, design and shaping our public realm. The programme ethos remains soundly underpinned by modules on alternative practice that fuse design issues with sociological and human geography themes. We offer three key routes alongside design and alternative practice: urban planning and urban development, social and political history and theory, as well as business and social enterprise. This allows students to develop their own interest and carve their own degree based on their interests and strengths. Very few AUP students graduate with the same profile, and this in my view, celebrates the diversity of students and the interdisciplinary nature of the programme. More newsâ&#x20AC;Ś In March 2019, the AUP design route received the RTPI accreditation as part of a pathway including the completion of the BA (Hons) Architecture and Urban Planning programme followed by the Certificate in Planning Practice and the MA Urban Design. This design route is particularly relevant for those students who are keen to pursue such creative practice through a more socially engaged practice including participatory approaches to the built environment. I remain immensely grateful to the committed staff from both Architecture and Planning who contribute meaningfully to this degree. A large part of their motivation lies in the value they place in educating students in thinking across disciplinary boundaries. In addition, their teaching generally emerges from their own research. Equally, a warm thanks to all practitioner tutors who provide an anchorage of the programme in professional practice.

AUP Stage 1 - Reading Into/Drawing From Armelle Tardiveau

The Reading Into/Drawing From project was inspired by Spanish architects Ricardo Flores and Eva Prats, who were regular leaders of the charrette week on the invitation of Professor Michael Tawa about a decade ago. In these charrettes, students were invited to imagine the space and the life beyond a painting. Michael Tawa would argue that they “set up open frameworks for the intricacies and intrigues of [everyday life] to be narrated. They are preludes and invitations to story-telling. They set the scene and deploy the rules that might then be followed, challenged or broken.” (Tawa, M., 2008) And so we start the first year in the Architecture and Urban Planning programme by engaging and scrutinising the life unfolding in a scene set in the city of Siena painted between 1338-39. Its author, Ambrogio Lorenzetti, was a precursor of his time: through his deep observation, he convincingly depicted spatial depth and empirically approximated the one-point perspective developed no less than a century later by maestri such as Brunelleschi, who revolutionised representation techniques in the Renaissance pictorial art. The Effects of Good Government in the City and the Country is part of three paintings including the Allegory of Good Government and the Allegory of Bad Government, all located in the Pallazzo Pubblico, one of the first civic buildings to be built at the end of the 13th century in Siena. The painting is considered one of the first realistic landscapes, filled with vibrant life showing people going about everyday activities (building, trading, learning, dancing, celebrating, hunting, harvesting, etc.) in a regulated, peaceful functioning social life set in an environment structured with streets, squares, buildings, city gates, hills, etc. By observing, sketching and drawing, we can guess, decipher, imagine and read into the painting. The Reading Into/Drawing From project aims to engage students in articulating a coherent visual presentation of ideas through drawing an orthographic plan of the neighbourhood showing the ensemble of buildings lined along a medieval street pattern. This steep learning experience is broadened by modelling the depicted buildings flanked on a hill along the city wall. During these two intense weeks, the students learn to work in a group, gain an insight into the life of a city from another era, and make sense of, and practice, the first fundamental skill that deals with scale, drawing and modelling. Over the last three years, committed Stage 6 students have taught the expertise required to build a three dimensional form out of the painting. Every year, I am fortunate to collaborate with a team of engaged Stage 6 students who have taught AUP Stage 1. Ellie Gair who is about to complete her MArch states that “teaching whilst studying for my master’s degree was invaluable, it allowed a chance for perspective and reflection on the journey through education. Often Stage 1 students asked ‘why’ they are taught non-design modules, I could explain that they helped to rationalise my own practice.”

Tawa, M. (2008). Reading into, Drawing (out) from. Through the Canvas, (pp. 112 - 115). Barcelona, Spain: Actar-D

Text by Armelle Tardiveau

Stage 1 Students

Abin John Aida Aghayeva Alexander Joe Mewis Amy-Rosie Manning Angus John Atkin Chelsea Nicole Petrillo Darcey Lily Morse Declan O’Neil Diana Mihailova Edward James Frederick Bousfield Emma-Maria mItu Gabriella Bryllian Lie George Woodruff George Joseph Avery Hoi Ning Wong Jack Andrew McMunn Jacob Bowell Jacob John David Hughes Jacobus Michael Merkx Jae Eun Cho Jamie Ryan Bone Jeremy Anthony Julian Bidwell Jordan Niels Patrick Shanks Kira Sonal Nitesh Shah Lap Yan Tai Laura Jane Nicholas Luke Dixon Marcelina W Martin Bastien Joly Mary-Anne Catherine Murphy Megan Jane Raw Mindaugas Rybakovas Ngai Chi Fung Olivia Forbes Owen Samuel Thomas Paplito Kitenge-Fuki Quitterie Toscane Elizabeth Marie d’Harcourt Rabi Sultana Sani Duba Rachel Turnbull Ruth Mary Jefferis Samer Alayan Sebastian Ignacio Mena Simon Avishek Lama Simon Benjamin Tarbox Stephen James Payne Sunny Noah Howd Tahnoon Abdulla Mohamed Ali Alshehhi Thomas Coutanche Thomas Carlton Paramor Yuxi Liang Zahra Khademi Zoe Elise Ingram

Contributors

Armelle Tardiveau Nick Simpson Robert Johnson Ellie Gair Freddie Armitage Jack Lewandowski Tom Goodby

Top, Left to Right - Zoe Ingram, Jacob Hughes Middle - Ambrogio Lorenzetti Painting

Bottom - Diana Mihailova, Jacobus Merkx & Abin John

AUP Stage 1 - Architecture Occupied James Longfield

Contributors: James Longfield, Diana Wharton, Joanna Wylie, Alex Proctor, , Luke Leung, Mike Veitch, Tara Alisandratos, Charlotte Powell, Jane Milican, Anna Cumberland, Elinoah Etani, Freddie Armitage, Jack Lewandowski, Ellie Gair, Tom Goodby

Top Left to Right - Owen Thomas, Ngai Chi Fung, Lap Yan Tai Bottom Left to Right - Kit dâ&#x20AC;&#x2122;Harcourt, Edward Bousfield, Ruth Jefferis

Middle Left to Right - Ngai Chi Fung, Hoi Ning Wong, Edward Bousfield

AUP Stage 1 - Taking Measure Kieran Connolly

Site: Newcastle University Contributors: Kieran Connolly, Di Leitch, Robert Johnson, Juliet Odgers, Armelle Tardiveau, Tara Alisandratos, Damien Wootten, Charlotte Powell, Jane Millican, Elinoah Eitani, and Henna Asikainen

Left - Marcelina Debska Top Right - Owen Thomas

B ottom, Left to Right - Ed Bousfield , Helen Wong

AUP Stage 1 - Co-created City Ed Wainwright

Site: The NewBridge Project, Gateshead ARC 1007 | STAGE 1 AUP | 17072492

Contributors: Ed Wainwright, Claire Harper, Daniel Russell, Sarah Stead, John Pendlebury, Loes Veldpaus, Alex Blanchard, Peter Kellett

CO - CREATED CITY Isomatric drawing demonstrating what how the building might be occupied and furnished. This drawing also attempts to show the curtain used for the changing rooms in the art studio. To conserve space, the studio can double up as changing rooms when a fashion show is taking place. This depiction also shows the foldable used in the studio, also with ideas to conserve space.

CO-CREATED CITY

ARC 1007 | STAGE 1 AUP |170283243

075

1:100 ATMOSPHERIC THRESHOLD EXPLORATION Through the use of the 1:100 site model I explored the threshold of the entrance gate. The area I designed is aimed to be spacious and open, to display the sculptures produced there. To understand the focus points of the site I used a blacked out version of the model to show light and dark areas, and the parts of site that would draw your attention. As the lighter area leads from the view of the entrance, it was ideal to have the presentation area within the view of the public passing by. Another point of focus is the raised floor of the building, which displays the balcony, where artists can work from, intriguing passers by.

CO-CREATED CITY

ARC 1007 | STAGE 1 AUP |170283243

075

Top, Left to Right - Rachel Turnbull, Jacob Hughes Middle - Ngai Chi Fung

Botttom - Jack McMunn (2)

073

AUP Stage 1 - Shelter David McKenna

Site: Longsands Beach, Tynemouth Contributors. David McKenna (Project Leader) Claire Harper, Di Leitch, Sarah Stead, Tara Alisandratos, Elinoah Eitani, Robert Johnson, Jane Millican, Damien Wootten

Top, Left to Right - Ngai Chi Fung, Jacob Hughes, Megan Raw, Edward Bousfield Middle - Zoe Ingram

Bottom - Jacob Hughes

AUP Stage 2 - Place of Houses Peter Kellett

Everyone lives somewhere, and our homes are arguably the most important places in our lives. Although ostensibly about housing and home, this module addresses one of the most fundamental aspects of both architecture and planning: the relationships we develop with the spaces and places we inhabit. Indeed the everyday processes of habitation and dwelling are at the core of this module. The module has a long history. It was developed in the 1990s as the theory element for the BA Architecture programme to run alongside a housing design project in second year. Three years ago History and Theory teaching in Architecture was reorganised, and housing was subsumed into a larger module (About Architecture). I continue to deliver a major component, ‘Housing Cultures’, which engages with the key ideas. Simultaneously the new AUP programme was seeking a module to reinforce the housing element, so I reformulated the Place of Houses to match more closely to the dual disciplinary nature of AUP – giving greater emphasis to the characteristics and processes associated with the public realm of the city and the collective spaces within dwelling environments. The module encourages students to draw directly on their personal experiences of housing and to reflect on how different domestic environments help configure lifestyles and identities, as well as influencing the attitudes and decisions of designers and planners. The course has three aims: 1. Inform and strengthen the theoretical basis on which students take design and planning decisions. 2. Raise awareness of the richness and complexity of dwelling environments. 3. Develop a critical understanding of domestic architecture and the interplay between ways of living and built form. Together we explore key theoretical concepts from a range of theorists including Dovey, Pallasmaa, Bourdieu, Rapoport, Oliver, Cooper-Marcus and Turner, to construct a conceptual framework which is then fleshed out using a range of case studies. The course is structured around the key forms of production and varying roles of designer, client and user. Emphasis is given to the relationship between the user and the home environment. The knowledge outcomes include an increased understanding of how housing environments are produced and consumed; a critical awareness of the role of professionals, complemented by an appreciation of every day environments and housing produced by non-professionals. My own background in both Architecture and Social Anthropology inflects the course towards the socio-cultural issues of housing. I draw heavily on my experience of living, working and researching in different parts of the world – particularly my long-term ethnographic experience in Latin America, as well as Indonesia, India and more recently Ethiopia. Most lectures are structured around current and recent research projects. This gives the course a strong cross-cultural focus – which is especially relevant given the international complexion of AUP cohorts and the increasing opportunities for students to work internationally in the future. In addition to lectures and films, small group presentations encourage shared learning within a lively, interactive and stimulating learning environment.

Text and images by Peter Kellett

AUP Stage 2 - Beijing Fieldtrip

Andy Law, Qianqian Qin and Ruth Raynor In the second Semester of this year, along with Planning and Geography and Planning (GAP) students, a number of AUP students took the TCP2035 study visit module and chose to go to Beijing; facilitated by Dr Andy Law, Ms Qianqian Qin and Dr Ruth Raynor. The trip ran between the 24th and the 29th of March, during which they all visited the Yuanmingyuan Gardens; the Forbidden City; the Hutongs, the Nanluoguxiang and Han’s Royal Garden Hotel; the 798 art zone; the Tsinghua Urban Planning and Design institute and the Shichahai area; and the College of Urban and Environmental Sciences, Peking University. Highlights of the trip included the Forbidden City, where, as well as observing the intricate design and layout of the city, some students also managed to meet and interact with Chinese tourists visiting the site.

Students

Sam Davis Deborah Ewenla Emily Hindle Andrew Marshall Cailean McCann Jennifer Mitchell Ashleigh Rossiter Casey Scott Bronwen Thomson Jessica Tiele Ying Mo Sarah Bird

Another highpoint of the trip was a visit to the Hutongs and particularly the Nanluoguxiang, which was built in the Yuan period (1271-1368), but was given its name in the Qing period (1636-1912). The Nanluoguxiang, which is approximately 800 metres in size and is a popular tourist site, also led to some excellent student research; one group of students looked at the touristification and gentrification issues associated with the site and later gave an excellent presentation back in Newcastle. As well as the 800 metre main street which makes up the Nanluoguxiang, we also ventured off into the back alleys or ‘fishbone’ lanes that are connected to the main street; arguably these back alleys or ‘fish-bone lanes’ have their own aesthetic and/or picturesque urban morphological features - see opposite top left. Another memorable event during this visit was a guided tour of Han’s Royal Garden Hotel, which gave students a decent introduction to the traditional Beijing Siheyuan - or Beijing courtyard - housing. As well as receiving a guided tour from Professor Bin Lu of Peking University, Ms Qin also commented on the structure and culture of the traditional courtyard - see opposite middle. Another highlight of the trip involved a lecture delivered to the students by planners and officials at the Tsinghua Planning institute; at length, institute staff discussed the development and regeneration of the Shichahai area in Beijing (near the Hohai lake); Dr Law, Ms Qin and Dr Raynor noted here, that all students from all programmes participated in a lively and respectful discussion with the Tsinghua planners that was both thoughtful and memorable.

Text by Andy Law

Above - Sarah Bird having her photo taken with a Chinese tourist in the Forbidden City

Top, Left to Right - walking in one of the ‘fish-bone’ lanes off the Nanluoguxiang, one of the back lanes or ‘fishbone alleys’ off the Nanluoguxiang Middle - Ms Qin commenting on the courtyard structure of Han’s Royal Garden Hotel. Bottom, Left to Right - engaging in discussion with the Tsinghua Planning Institute, all students and staff with staff at the Tsinghua Institute

AUP Stage 2 - Twentieth Century Architecture, Design and Heritage Rutter Carroll and Sophie Ellis

Contributors: Tim Bailey (XSITE Architects), Will Mawson (MawsonKerr Architects), Ronnie Graham (Ryder Architecture), Prof John Pendlebury, Prof Prue Chiles Students: Akhila Ganesh Shamanur, Amruta Sahebrao Satre, Bethany Ruth Meer, Dominic Michael Payne, Erin Noelle Dent, Henry Philip Gomm, Jingwen Chen, Kaniz Shanzida, Matthew Ellis Howard, Razan Abdul Karim Zahran Al Hinai, Sophia Kathryn Norbury, Yinghe Yi

Top - Sophia Norbury

Bottom - Kaniz Shanzida

Top, Left to Right - Bethany Meer, Matthew Howard

Middle - Henry Gomm

Bottom, Left to Right - Jingwen Chen, Akhila Shamanur

AUP Stage 2 - Relational Mapping, Design and Representation Sarah Stead, Koldo Telleria, Xi Chen, Ziwen Sun

Students: Bethany Meer, Henry Gomm, Kaniz Shanzida, Jake McClay, Matthew Howard, Charlotte Maynard, Razan Al Hinai, Jessica Tiele, Bhumit Mistry, Akhila Ganesh, Amruta Satre, Jingwen Chen, Kelly Andwa, Dominic Payne, Leila Udol, Yinghe Yi, Matthias Bohr, Buddy Vuth, Ying Mo, Erin Dent

Top - Groupwork Middle - Kaniz Shandiza

Bottom, Left to Right - Matthew Howard, Jake McClay

Top - Site Sound Mapping

Middle - Henry Gomm

Bottom - Group Drawing: Henry Gomm, Bethany Meer, Kaniz Shanzida

AUP Stage 3 - A Home For All

Prof. Tim Townshend and Mr Smajo Beso Our surroundings have a profound impact on our health and well-being. Tim Townshend’s research has demonstrated how these impacts can be either positive - allowing people to live rich, fulfilling lives; or negative - constraining healthy lifestyle choices and thereby contributing to poor physical and mental health and so-called ‘lifestyle’ diseases. Public parks provide vital greenspaces for urban residents and when attractive and well maintained, contribute positively to health and well-being by providing space for restoration and relaxation; physical activity; socialisation; and reduced impacts of pollution. Parks attract a heterogeneous range of users, and informal encounters build and expand social networks, an essential element of creating a sense of community with shared values and aspirations. Free to access and providing opportunities for activities that require little, or no, specialist equipment (unlike more formal sports facilities) they are ‘neutral’ settings for community interaction, and so make a positive contribution to reducing health inequalities. Therefore, parks can provide a truly therapeutic platform on which to focus on individuals’ well-being. Some individuals’ needs for such therapeutic settings are greater than others are, however. Across the UK, for example, there is an acute need for facilities for those coping with and/or recovering from addiction and substance abuse. Alcohol and drug problems are prevalent in all areas and occur across all sectors of society, but unfortunately, Newcastle has higher rates than the national average. Harnessing the power of therapeutic landscapes is something taken seriously by health providers and Newcastle City Council is no exception. They currently have a project for a wellness hub for recovered addicts, this would encompass the restoration of a locally listed building, ‘Western Lodge’ which is set within a conservation landscape, ‘Leazes Park’; the first public park in Newcastle, opened in 1873. The student’s brief in this module, closely paralleled that produced by the local authority. They had to grapple with the designing of a ‘home’ for recovered addicts, not in the sense of a residential unit, but somewhere service users and their families could feel safe and secure, where recoverees could learn to reintegrate with civil society at their own pace and could develop new life skills for a brighter future. Essential design elements included space for physical exercise; a community garden for growing food; family activities; holistic therapies; a commercial style kitchen for nutritional advice and cookery instruction, with an associated community café open to the general public; and counselling and associated services. All of this with a historic conservation setting.

Stage 3 Students

Abell Eduard Ene Aimee-Anna Akinola Andrew Fong Andrew Thomas Webb Cherry Au Chloe Savannah Cummings Chun Wing Matthew Li Daniel Robert Carr Dianne Kwene Aku Odede Dongjae Lee Dwayne Joshua Afable De Vera Ella Sophia Spencer Ellis Matthew Salthouse Emma Van Der Welle Fabian Kamran Farah Madiha Binti Ashraf Henry James Oswald Julian Baxter Juliette Louise Smith Karim Mohamed Khairy Shaltout Karl Wood Nam Lam Maisie Jenkins Mohammad Izzat Ali Hassan Nik Amanda Farhana Binti Azman Nur Salymbekov Oliver James Timms Ryan Hancock Salar Butt Samantha Ming Chen Chong Wenjing Deng Zhongqing Gu

Contributors

Sue Scott Sue Downing Claire Harper Kathleen MacKnight Matthew Potter Fred Plater (Tyne Bar) Lisa Tolan (Toffee Factory) Tim Bailey (Xsite Architects) Chris Barnard (Ouseburn Trust) Anna Hedworth (Cook House) Dan Russell James Longfield

As part of the project, students interacted with Andy Hackett and group members at the ‘Roads to Recovery Trust’, in Newcastle; and were advised on their projects by Dr. Annette Payne, Health Improvement Practitioner, Newcastle City Council and Dr. Stephanie Wilkie, Environmental Psychologist, Sunderland University. We are grateful for all their inputs. The projects were presented to members of the council and interested parties at Newcastle City Council on 17.01.19.

Text by Professor Tim Townshend

Above - Team Oak: Andrew Fong, Karim Shaltout, Nik Amanda Farhana Binti Azman, Oliver Timms

op - Team Beech: Andrew Webb, Daniel Carr, Dianne Odede, Samatha Chong T Middle - Team Ash: Ella Spencer, Emma van der Welle, Juliette Smith, Zhongqing Gu Bottom - Team Lime: Chloe Cummings, Ellis Salthouse, Ryan Hancock

AUP Stage 3 - Alternative Practice: Co-producing Space - Jesmond Community Festival Daniel Mallo and Armelle Tardiveau

Site: Temporary interventions deployed as part of Jesmond Community Festival (Jesmond, Newcastle upon Tyne) Teaching contributors: Amy Linford, Sally Watson Community contributors: Fiona Clarke, Chris Clarke, Tony Waterston, Joan Aarvold, Gavin Aarvold, Rachel Gibson, Keith Jewitt Student names (by project group): Play city: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li Active city: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard Ene, (Dereck ) Wenjing Deng, Nur Salymbekov Green city: Dwayne De Vera, Ryan Hancock, Nik Amanda Farhana Binti Azman, Rebeka Petrtylova

Above - Play City: Andrew Fong, Chloe Savannah Cummings, Karl Wood Nam Lam, Gabi Muller, Matthew Li

Top (3) - Green City: Dwayne De Vera, Ryan Hancock, Nik Amanda Farhana Binti Azman, Rebeka Petrtylova

Bottom - Active City: Dongjae Lee, Mohammad Izzat Ali Hassan, Abell Eduard Ene, (Dereck) Wenjing Deng, Nur Salymbekov

Thinking-Through-Making Week Material forms the core of architectureâ&#x20AC;&#x2122;s practice - be it the material of construction or that of the drawing board or digital interface, the way making inflects thinking underlies the production of architecture. Thinking Through Making asks our final year BA students to delve into the possibilities of material; the potentials of technologies; the systems of structures; and modes of exploration of material design through acts of making. From a series of workshops with creative professionals from the fields of art, architecture, design and engineering, to an intensive week of making; our students have engaged with practices of making pertinent to their own design projects, embracing both success and failure as a productive experience.

Workshop Groups & Leaders Pattern Magic Rachel Currie Encoded Material Processes Alex Blanchard Working With Wood Sophie Cobley Transforming Objects Poppy Whatmore Introduction to Stonemasonry Russ Coleman Casting Amy Linford Assemblages Stefanie Blum Working in Virtual Reality David Boyd

Guest Speakers Nick Peters Associate Grimshaw Architects

MArch Stephen Parnell – Degree Programme Director

Architectural practice and education are way more complicated and diverse than they used to be. Architecture continues to be an increasingly popular choice for students at university and more and more courses are still being set up to satisfy this demand: there are now 44 validated schools offering RIBA Part 2 courses (one more than last year with more on the way at Lancaster, Reading and Loughborough) and the total number of students at Parts I and II has increased by 8% from last year to around 16,700. This might seem surprising considering that last year’s AJ student survey put the cost of an architectural education at £24,000 per year after its headline revealing that architects’ average annual salaries trail those of not only other consultants in the design team, but also tradesmen and women on site. The government anticipates demand for architects though: with Brexit looming architects have been put on the ‘Shortage Occupation List’. While most of the public don’t have a clue what architects actually do, and architects have been side-lined in the debate on disasters like Grenfell, we have simultaneously never been more popular in culture – witness Assemble’s 2015 Turner Prize win and Forensic Architecture’s shortlisting last year. As the Programme Director of the MArch, if I consider all this alongside the RIBA’s statistics that only around twothirds of students starting a Part II course will end up qualifying as an architect, I’m forced to ask myself what the role of the degree is in a student’s life. So the RIBA Part II-validated MArch at Newcastle aims to equip students to think critically, creatively, and architecturally, whether or not they end up in practice, or what kind of practice they end up in. Our emphasis for the course is to encourage students to explore and experiment in order to discover what kind of architect they want to be. The programme is relatively small, with currently only around 70 students across both years, which means that students inevitably get a lot of attention from tutors. And we bend over backwards to offer as much variety as we can during the MArch in terms of module options and design studios. This year the MArch was run horizontally, with Stage 5 concentrating on one design project based in Vienna in each Semester. The first Semester concentrated on the urban fabric, and the second on building fabric. The year-long design studio in Stage 6 then allowed students to concentrate on their thesis, building on the research and design skills they’d nurtured in Stage 5. We encourage rigorous research and theoretical underpinnings for design projects as well as thorough technical resolution and innovative representation. Across both years we offer a variety of studios with a mix of approaches by studio leaders from both academia and practice, with tutors from Faulkner Browns running a Stage 5 studio. There are various routes through the MArch, with students this year being able to choose modules from Urban Planning or Urban Design hosted by our colleagues on the Planning side of the School. Linked Research offers a route for students to work closely with a supervisor on one of their architectural research projects. This could be a Live Build in Kielder Forest, or a documentary about Dunelm House, the students’ union at Durham University under threat of demolition. Other students have enjoyed exchanges with other universities across the world, such as Sydney, Singapore or Stockholm to name but three. I hope this gives a flavour of the variety on offer and whether you’re a prospective student looking to come to Newcastle for the MArch, or a current student or graduate, you can be confident that architectural thinking, whether it results in a building or some other form of proposing a better world, is still a valuable and worthwhile endeavour.

Stage 5 Stage 5 is a year for in-depth experimentation: for exploring architecture in all its cultural, social, political, material and historical contexts, for testing new approaches to design, representation and technology. Briefs emphasise critical thinking and require students to engage with current debates in architecture and society at large. The year’s work focuses on a particular international city – this year Vienna – beginning with an intensive week long study visit, including architectural tours, excursions, talks, group urban analysis and social events. Students undertake a critical reimagining of the city through two semester long projects which challenge them to work at two radically different scales – first urban, then detail. Framing design as a rigorous, as well as speculative process, they foster design-research skills and interests in preparation for Stage 6. In semester one, ‘Urban Fabric’ focused on the infrastructures, buildings, spaces and objects of the city, the relations between them and the conditions they produce; but also on how the forms, materials, routes and patterns that make up this urban fabric are inseparable from the diverse peoples, politics, histories, cultures, myths, events, forces, and flows of the city. It asked students to study an urban area in context, to develop a critical approach to that site through a group plan/ strategy, and each to design interventions in dialogue with that plan. Here, the city, a site, and a key urban theme/issue, are the starting point. In semester two, ‘Building Fabric’ switched focus to material and technology: on how architectural details can embody design intentions; and on how material explorations can be generators of design ideas. Beginning with a material, mechanism, process or technology, it asked students to work critically with elements of the city, drawing on the knowledge and experience from semester one, to design a building from the detail up. The project was accompanied by a series of tech studios, which aimed to help the investigation, development and refinement of technical strategies and constructions as part of the project narratives.

Year Coordinators

James Craig Iván J. Márquez Muñoz

Project Leaders

Elizabeth Baldwin Gray Daniel Burn Dr Nathaniel Coleman James A. Craig Iván J. Márquez Muñoz

Students

Agnieszka Patrycja Flis Alexander Jack Ferguson Ameeta Praful Ladwa Balu Suresh Caitlin Elanor Francis Mullard Charlotte Isabella O’Dea Christopher John Johnson Daniel Joseph Cornell Elizabeth Rose Ridland Emma Kate Burles Evgeny Kandinsky Harrison Jack Avery Hugo Alberto Gallucci Jack James Ingham Jack Munro Glasspool Jed Richard Wellington Jenna Catherine Louise Sheehy Josephine Margaret Foster Katie Hannah Longmore Lisa Sophia Schneider Lucy Hartley Lucy May Lundberg Lydia Sarah Elizabeth Mills Matthew Davies Smith Michael Anthony Bautista-Trimming Michael Francis Robinson Muhammad Afolabi Ogunniyi Naomi Ruth Fife White Natasha Heyes

Niamh Eilish Caverhill Nicholas David Green Oliver Patrick Timothy Kearney Philippa Grace Mcleod-Brown Praveena Selvakumar Sivalingam Rebecca Amelia Byren Richard Harry Thomas Mayhew Sarah Anne Hollywell Scott Matthew Doherty Tara Keswick Thomas Adam Reeves Tori Sophie Ellis

James Nelmes Dilan Ozkan Dr Miguel Paredes Maldonado Dr Stephen Parnell Prof Remo Pedreschi Gregorio Santamaria Lubroth Dr Ed Wainwright James Wakeford

Contributors

Carlos Arleo Thora Arnardottir Nathalie Baxter David Boyd Dr Ben Bridgens Dr Neil Burford Kieran Connolly Anna Czigler Dr Martyn Dade-Robertson Niall Durney Chiemeka Ejiochi Yomna Elghazi Prof Graham Farmer Michael Findlater Jack Green Mike Hall Dr Neveen Hamza Imogen Holden Peter Hunt Dr Christos Kakalis Dr Zeynep Kezer Irina Korneychuk Dr Koldo Lus Arana Ana Miret Garcia John Ng Matt Ozga-Lawn Paul Rigby

Text by Iván J. Márquez Muñoz

Opposite - Caitlin Mullard

Transitional Objects and Transitional Phenomena James Craig & Matt Ozga-Lawn (Semester 1)

In architectural terms, we may think most obviously about transition as being a process of moving between two states: from inside to outside. In our site; Vienna’s Ringstrasse, this process of passage is a complex one, owing to the territory’s history as a perpetually layered gap between the historic centre and the suburbs that lie beyond. In his essay: The Potemkin City (1898), Adolf Loos describes The Ring as a clear deception of reality where the disjunction between architecture’s interior qualities and exterior expression is at its most profound. How then can we find a way to bridge the Ring’s divergent interior and exterior conditions? Students engaged with this question by designing transitional spaces that permeated both the inner and external reality of the Ring, creating spaces of encounter to be occupied by the city and its inhabitants.

Above - Group model. Photo taken by Jack Ingham

Top - Hugo Gallucci

Middle, Left to Right - Tara Keswick, Daniel Cornell, Rebecca Byren

Bottom - Michael Robinson, Muhammad Ogunniyi

Transitional Objects and Transitional Phenomena II James Craig & Matt Ozga-Lawn (Semester 2)

Continuing with the theme of transition from semester 1, students started the semester by designing and building a transitional object at an appropriate scale (1:1, 1:5 or 1:10). These objects were inspired by key space(s) taken from the studentsâ&#x20AC;&#x2122; urban proposals in the previous Semester. Objects such as thresholds, passages, windows, walls and atmospheres offered productive starting points for designing objects that mediate between internal and external reality. The work of Frederick Kiesler was a key reference due to the essence of transition that permeates projects such as Endless House; where, like the mobius strip, both internal and external conditions co-exist on the same surface.

Top - Michael Robinson

Bottom - Tara Keswick, Rebecca

SCH

NITZE

L COL

LECT ION

SCH

NITZE

L COL

LECT ION

Axonometric Looking Up from Ground Floor level Top - Daniel Cornell

Middle, Left to Right - Muhammad Ogunniyi, Hugo Gallucci, Jack Ingham

Bottom - Thomas Reeves, Elizabeth Ridland

The Fringe Olympics

Iván J. Márquez Muñoz (Semester 1) In March 2013, Vienna’s citizens resoundingly rejected the city’s grand plans to host the 2028 Olympic and Paralympics Games in a public referendum, where a majority of nearly 72% of its citizens said ‘NO’ to a potential bid. The Olympic Games will be coming to Vienna in 2028; this the studio’s provocation and leap of faith. After the fiasco of the referendum, we’ll work on the hypothesis that the city decided to explore options to revisit the Olympic plans reacting to the public vote, and this is when the work of this studio commences.

‘Play is dangerous, dabbling with risks, creating, destroying, keeping careful balance between both.’ Miguel Sicart 92

Above - Lucy Lundberg

Top Left - Tori Ellis

Top Right - Naomi White

Bottom Left - Alexander Ferguson

Bottom Right - Michael Bautista-Trimming

Minding The Gap

Iván J. Márquez Muñoz (Semester 2) The ‘Minding the Gap’ studio proposes a design-based reflection about the value of gap spaces in cities, in the process of decay in their lifecycle. The task in hand is to create an intervention that provides living accommodation and associated common facilities for a particular protagonist in need of care, implementing a strategy of socially integrated and architecturally sustainable neighbourhood.

Top - Jack Glasspool Middle - Ameeta Ladwa

Bottom - Jenna Sheehy

Top, Left to Right - Naomi White, Nicholas Green

Middle, Left to Right - Emma Burles, Michael Bautista-Trimming

Bottom - Tori Ellis

Memory Against History / Digging up the Dead: Turning over the Repressed Nathaniel Coleman (Semester 1)

Spectres of Vienna challenges students to excavate hidden traces of repressed Vienna; spectral figures inhabiting its architecture (urbanism, and psyche). During Semester 1, students work with a pair of surviving WWII FlaktĂźrme. Although encouraged to develop this work in greater detail during Semester 2, students can choose an alternative building (or complex) to work on, from the 1860s to the near present. Central to the studio is exploration of architecture as manifesting official stories determined by the dominant power (and modes of production) at any given moment.While this is architectureâ&#x20AC;&#x2122;s immemorial vocation, since around the mid-18th century, its implication in structuring national identity has become more pronounced; whether fascist, state socialist, or capitalist realist conceptions of the world that dominate imaginaries.

Above - Caitlin Mullard

Top - Josephine Foster

Bottom - Groupwork

Spectres of Vienna

Nathaniel Coleman (Semester 2) As students develop their individual projects, they are challenged to consider how buildings participate in conserving repression of historical and emotional contents – on individual and cultural levels – just too horrible to remember, confront, or be resigned to. In developing projects, students are challenged to seek out ghosts of modernity and modernist architecture residing alongside spectres of Utopia’s critique of the present, which strikes fear into the hearts of architects. Inevitably, students’ enquiries will raise challenges to their own Utopia-Anxiety.

Top, Left to Right - Josephine Foster, Caitlin Mullard

Bottom - Caitlin Mullard

Top - Richard Mayhew

Bottom - Sarah Hollywell

Performing Vienna: City of Music Elizabeth Baldwin Gray (Semester 1 & 2)

During the first Semester, students in the Performing Vienna studio designed a series of temporary music performance pavilions for a contemporary music festival, enlivening the existing musicians’ walks throughout the historic centre as advertised on the tourist website. The projects incorporated paths and public spaces which connected moments of classical history associated with Mozart, Haydn, Beethoven, and Strauss. The task sought to align a historically-informed sense of music and performance in Vienna with the global contemporary classical music scene as it exists today and as experienced through live performance. The proposed festival routes were designed, not only to draw in visitors from outside Vienna, but also to attract participation from Vienna’s own inhabitants. The festival in this respect could be understood as a means to give the city back to its own residents, in keeping with Henri Lefebvre’s concept of “disalienation.” Public festivals allow long-term residents of a city to reclaim it from forces that seek to control it and redirect its use towards other purposes such as commercialised tourism and high-end retail. The work sought to reach out to the broadest possible demographic, bringing in new audiences for a form of music, “contemporary classical,” more typically limited to a highly-educated, socially-elite coterie. In Semester two of Performing Vienna, students designed a public-facing music centre, which included alternative performance spaces specific to the music typology they had researched in Semester one, Pavilions. These performance venues were combined with spaces for music education and engagement with the aim of presenting the inhabitants of the city of Vienna, tourists and locals alike, with a particular kind of music as well as its history and legacy.

100

Above - Niamh Caverhill

Pavilion Perspective The image above is the internal perspective of the pavilion to the left. In the image the musician can be seen between the two walls with a Beacon (the cathedral) being seen through the roof which is directed through the angling of the walls. 40

Top Left to Right - Matthew Smith, Lydia Mills

Bottom - Lydia Mills

101

102

Top, Left to Right - Lydia Mills, Christopher Johnson

Bottom - Christopher Johnson

ATRIUM FLOOR

CEILING

Left - Niamh Caverhill

Right - Lucy Hartley

103

City of Wellbeing

Faulkner Browns - Dan Burn, Imogen Holden, Irina Korneychuk (Semester 1) In August 2018, the Economist Intelligence Unit (EIU) named Vienna top of their yearly Global Liveability Ranking as the most ‘liveable’ city in the world. The EIU league table ranks 140 cities on a range of factors, including political and social stability, crime, education and access to healthcare. The press release issued alongside the ranking suggests that Vienna’s success can be explained by the quality and affordability of housing, efficient and cheap public transport, and access to green space. We took this report as our stepping off point with a view to developing a strand of analysis which questions the contribution the built environment can make to a city’s ‘liveability’. The studio was based in Ottakring, the 16th district of Vienna. At its eastern edge Ottakring meets the boundary of central Vienna at the busy inner ring road and railway known as the Gurtel. At its western edge it meets the trees of the forest which surrounds Vienna. The studios work began with a mapping exercise to understand the fabric of the area, its infrastructure, landmarks, housing types, environment and open spaces. The studio focused on health and wellbeing, as a vehicle to look at an alternative measure of liveability that is focused on the local, the personal, and an architecture centred on people and place.

104

Top - Evgeny Kandinsky

Bottom - Jed Wellington

Top - Katie Longmore

Middle, Left to Right - Lisa Schnieder, Praveena Sivalingam

Bottom - Oliver Kearney

105

Made:Well

Faulkner Browns - Dan Burn, Imogen Holden, Paul Rigby (Semester 2) The studio’s sSemester 1 brief asked for an intervention at an urban scale that reframed the priorities for the design of cities, placing the health and wellbeing of the population at the heart of the design agenda. The brief develops this theme from the urban scale to the building scale, looking at how the way buildings are constructed and how materials and technologies are used can affect our health and wellbeing. Our challenge for Semester 2 is to create an architecture that is based on people and place and that accepts, and designs, for changes in society and the environment. The brief asked for designs for a health centre for Ottakring which focuses on providing relevant facilities for the residents of Ottakring. The study site was the Yppenplatz in Ottakring, a vibrant public space with a direct link to Vienna’s Brunnenmarket. The existing buildings on the site include an arts base and cultural centre, small storage units, and cafes and restaurants. The Semester began with a study of three key projects; Lubetkins Finsbury Health Centre, Alvar Aalto’s Paimio Sanatorium and the Pioneer Health Centre in Peckham, a pre-NHS experiment in the delivery of community health services. The resultant projects offer a wide ranging approach to architecture and health, from an alternative urban cancer care centre to an abattoir offering a way to read our methods of food production and its effect on our health. Emerging themes are based on the idea of building as backdrop, buildings which open themselves up and integrate services with the surrounding area making physical and mental health services visible and accessible.

106

Top - Harrison Avery

Bottom - Charlotte O’Dea

CIVIC PRESENCE

full scale drawing in portfolio box

Top - Lisa Schnieder

integrated section - 1:50 at A0

MADE:WELL

Middle - Oliver Kearney

Bottom, Left to Right - Philiippa Mcleod-Brown, Natasha Heyes

107

Stage 6 Stage 6 comprises four thematically diverse year-long studios with students developing their own individual briefs and thesis arguments. This year we had an extraordinary array of projects on diverse themes ranging from the future of the university to a critical engagement with our design processes and media. What is particularly striking this year is the range of personal explorations in the work, in which students interrogate things relevant to their own lives and experiences in careful and spatial ways. This mature and self-assured approach to the thesis, and the intertwining of the personal and the architectural, is one of the things that sets our programme apart from many others. Detoxicated Practices, led by Ed Wainwright and Sam Austin, concludes a trio of studios exploring architectural practice over the past three years. The studio encouraged students to identify toxic elements within their own practices, and develop projects that critiqued or otherwise engaged with the systems of architectural production and education. As in the other studios in this thread, students took a trip to the Transmediale festival in Berlin, and worked closely with local artist collectives. Assemblages, led by Zeynep Kezer and Jennie Webb, asks students to develop architectural responses to a wide range of conditions that act as constructive agents in the design process. Projects were situated (as in previous years) across the UK, in each case taking account of wider political forces or ecological pressures to generate architectures that work on a range of scales and with complex elements. In Absentia, led by Stasus (James A. Craig and Matt Ozga-Lawn), encouraged students to take a biographical, or autobiographical, approach to architectural processes. The studio focussed on the idea of an absent or longed for ‘home’ and how this could be interpreted through careful and considered representational practices. Univer(c)ity, led by Prue Chiles and Claire Harper, looked at the future of the university, with a particular focus on Newcastle University and its changing relationship to the city. Students worked on a range of projects, including masterplans of the campus area, to inform their individual thesis ideas. It was particularly helpful that two of the students in the studio work part-time in the University’s Estates office. Year Coordinators Matthew Ozga-Lawn

Project Leaders

Claire Harper Edward Wainwright James A Craig Jennie Webb Laura Harty Matthew Ozga-Lawn Prue Chiles Samuel Austin Zeynep Kezer

Students

Alex Jusupov Alicia Charlotte Beaumont Andrew Alfred Nelson Ciaran James Topping Costello Dominic William Davies Eleanor Margarete Gair Frederick Armitage Harry George Thompson Hayley Lauren Graham Hui May Koay Hun Pu Jack Peter Lewandowski James Morton Joseph Thomas English Joshua Oakley Higginbottom Laura Victoria Davis-Lamarre Lewis David Lovedale

108

Man Chun Ip Men Hin Choi Rachel Earnshaw Reshma Upadhyaya Richard Mark Dunn Ruta Bertauskyte Sarah Elizabeth Rogers Sharifah Safira Albarakbah Simon Angus Quinton Thomas Joseph Goodby Yasmin Kelly

Contributors Aaron Guy Alex Blanchard Anna Czigler Dan Kerr David Boyd Elizabeth Baldwin-Gray Gareth Hudson Holly Hendry Kieran Connolly Laura Harty Leah Millar Nathaniel Coleman Perry Kulper Roberts Evans Tim Bell

Text by Matthew Ozga-Lawn

Opposite - Hun Pu The Sacred Everyday

Studio 1 – Detoxicated Practices Ed Wainwright and Sam Austin

For the past two years, our design studio has been engaged in a process of understanding architecture’s relationship to intoxication. We have built an understanding of intoxication as a process that is shaped by and through space, and explored the idea of practices of architecture as forms of habitual intoxication. Progressively, we have seen through the studio a line of thinking emerge that locates architecture not as something that primarily ‘is’ but as something that is always in a state of being ‘done’. The 2018 studio marked a mid-point in developing critique-through-design as a practice, and helped to expose some of our cultural, material and architectural practices that have come to ‘intoxicate’ us, and in turn have, perhaps, become toxic. This year’s studio builds upon these understandings of intoxication, architectural practice and the politics of space, and seeks to move our critique onto a propositional restructuring of how we practice now, and in the future. It aims to explore the formation of architectural design practices and their impacts on our world, and how we can reshape these practices to become less ‘toxic’ but no less intoxicating. Contributors: Kieran Connolly, Aaron Guy, Laura Harty, Holly Hendry, Gareth Hudson, Leah Millar

110

Men Hin Choi An Architectural Odyssey: A ‘Toon’ In Space

Richard Dunn Overload: An Emotional Drawing Practice

111

112

Harry Thompson Killing Concept: An Object-Oriented Language of Architecture

Rachel Earnshaw Analogue Forensicsâ&#x20AC;&#x2122;: Fyre Festival: Under the Influence

113

I plugged my box into the city.

Order from Draw repea

I never did see Kvinne again; I assume she was in a box somewhere nearby following similar orders.

Another one among many, I was going to make a name for myself.

â&#x20AC;Ś

was

still

I was living My designs sent around

114

Joshua Higginbottom New Praxis Practice

work?

the dream. would be the world.

Sarah Rogers A Post-Illustrative Education

115

Studio 2 â&#x20AC;&#x201C; Assemblages

Zeynep Kezer and Jennie Webb Inspired by Deleuze and Guattari, and, later, de Landa, this studio focused on assemblages, collectivities made up of interactive components comprising some combination of people, places, practices and objects. In an effort to ground theory in tangible materiality, students were initially encouraged to select an assemblage, identify its components and carefully trace the interactions between them at different scales. Following this intensive mapping process, buttressed by a series of seminars on select readings, each student proposed a critical spatial intervention to accelerate, disrupt, or ameliorate the workings of their chosen assemblage.

116

Laura Davis-Lamarre Birds and Balloons

Simon Quinton Reassembling the Native Honey Bee

117

118

Lewis Lovedale Social Datastructures

Joseph English Incubator

119

120

Jack Lewandowski From Trash to Riches

Thomas Goodby Exploited Territories

121

Studio 3 â&#x20AC;&#x201C; Univer(c)ity

Prue Chiles and Claire Harper This studio explores the physicality and spatiality of knowledge creation and transmission, capable of expressing radically different notions of the purpose and future for the University. What kind of institution or organisation can begin to address future global challenges and engage with the world around them, locally, regionally and globally? What are the most likely drivers of change and related uncertainties? What will the spaces of knowledge be like in the future and how can they be more open and accessible to our future generation. Themes around the future of the civic university, the postcolonial university and the knowledge economy were explored. We would like to thank all colleagues involved in the Univer(c)ity international symposium in January. With thanks also to our guest reviewers: Roberts Evans, Laura Harty and Tim Bell.

122

Frederick Armitage A Library by the Sea

9 8 7

12 17

dR ese

arc

Gro

loo

1:2

-M

ari

W ork sh

Long Section - 1:200

Towing Tank

Marine School

Marine Workshop

Pump House

Wave Basin

Graving Docks - 1883

UK National Renewable Energy Centre

Ward Dock - 1910

For testing vessel bow hydrodynamics. Dimensions - 100m long - 2.5m deep

Main academic building and offices

Main design and build workshop

Water pumping building for testing tanks

(Proposed)

Round marine technology testing pool. for testing large scale models. Dimensions - 80mĂ&#x2DC; - 5m deep

Build site for Blyth Tall Ship charity, teaching traditional boat building skills to disadvantaged young people

Specialising in offshore renewable wind technology

(Proposed)

Modernised to carry out wind and wave testing for wind technology

(Proposed)

James Morton Marine University

(Existing)

123

124

Frederick Armitage A Library by the Sea

Dominic Davies Open Making

125

126

Ciaran Costello Footprint A Socially Sustainable Community

Andrew Pitt-Nelson Town Meets Gown

127

128

Sharifah Safira Albarakbah Centre for Local Craft Research and Development

Hui May Koay Maker institute of Sustainable Development

129

Studio 4 – In Absentia

James A. Craig and Matt Ozga-Lawn In Absentia developed personal architectural projects either through close biographical readings of displaced individuals, or through autobiographical work. The thesis projects range from a study of sacred spaces of the everyday, to a study of one student’s Ukrainian grandfather’s life in Bradford, to a ‘what if ’ scenario exploring Lazlo Maholy-Nagy’s brief time in (and rejection from) the UK. Students were asked to install their work, thinking carefully about the arrangement and composition of the various thesis elements.

130

Eleanor Gair In Absence of додому (Home)

Alex Jusopov Refuge in Hampstead - Total Arts Institute

131

132

Alicia Beaumont Theatre of the Repressed

Eleanor Gair In Absence of додому (Home)

133

134

Hun Pu The Sacred Everyday

Ruta Bertauskyte Antisground

135

136

Hayley Graham Retrieving Metropolis

Reshma Upadhyaya Prada

137

Stage 5 & 6 Fieldwork and Site Visits MArch As part of Stage 5 and 6 varied field trips were taken across the year. Stage 5 visited Vienna as a group, which gave the opportunity for students to experience the city and embark on site visits. The Urban Design module visited Milan, where their project site was based. Stage 6 studios visited Berlin and Venice, as well as students taking individual trips related to their thesis projects.

MArch Stage 5 Vienna

Urban Design module Milan

MArch Stage 6 Studio 1 - Detoxicated Practices Berlin

Studio 2 - Assemblages Venice

138

Research in Architecture At Newcastle University, we understand research as central activity to architecture – and as one to which architects bring unique skills from visual methods and forms of analysis to the capacity to synthesize and consider problems holistically. Whilst our staff comprise some of the strongest and most innovative researchers in architecture in the UK and internationally, we also aim to foster an inclusive research environment that involves and supports our large and talented body of external teaching staff, and connects with practitioners in the region and beyond, in particular through our collaborations with the RIBA North East research and innovation group and our editorial work on the international journal Architectural Research Quarterly (Cambridge University Press). Notable achievements this year include Dr Zeynep Kezer winning a prestigious Dumbarton Oaks fellowship in Garden and Landscape Studies to pursue her project ‘Engineering Eastern Turkey: People Place and Power in the Upper Euphrates.’ Professor Rachel Armstrong was one of only six architectural designers to be commissioned for the Whitechapel Gallery’s exhibition Is This Tomorrow? (14 February – 12 May 2019). Dr Ed Wainwright and ARC postdoctoral fellow Dr Julia Heslop installed a room-scale architectural installation ‘Gathering’ at the Hatton Gallery (29 Sept 2018 – 16 February 2019) which hosted events and gathered materials dedicated to artists who have expanded the practice of collage. We particularly pride ourselves on how this research feeds into our teaching, and provides unique opportunities for students to develop research skills with us in BA and MArch degrees as well as at PhD level. For example, in the final year of the Horizon 2020 Future Emerging Technologies Open Award LIAR project (LIving ARchitecture) Professor Rachel Armstrong has also run (with Andrew Campbell and Andrew Ballantyne) a BA design studio ‘Palace of Ecologies’ which explored the themes of her research with final year BA students. Dr Stephen Parnell, who has recently been appointed executive editor of the prestigious Journal of Architecture, gave a group of MArch students the opportunity to work with him on his research into architectural magazines, looking at Civilia - a special issue of Architectural Review (1971) that complied a vision of an urban utopia through buildings featured in previous issues. This was one of a changing offer of year-long ‘linked research’ projects between staff and students that are unique to the School of Architecture, Planning and Landscape at Newcastle. We also offer fourteen BA ‘dissertation electives’ which staff develop around their individual current research interests ranging from topics such as ‘site writing’ to professional practice as a basis for students’ dissertations or dissertation projects. For example, this year lecturer James Craig has just been awarded a Northern Bridge Doctoral Partnership award for his PhD ‘The Autobiographical Hinge’ and this research is the basis for the dissertation elective he runs with Matt Ozga-Lawn on ‘Architecture and Biography’.

Opposite “99 years, 13 sqm (the future belongs to ghosts)” Installation by Rachel Armstrong and Cecile B. Evans for the “Is This Tomorrow Exhibition?” at the Whitechapel Gallery, London, February to May 2019.

140

Text by Katie Lloyd Thomas

BA Dissertations The dissertations produced in this academic year respond to the range of agendas informing the fourteen electives offered by tutors at the School. Some of these were centred in building science, some in history and theory, others in planning and creative practice. The electives provide a starting point and intellectual framework for the students’ work, developed over the course of a year, bridging Stages 2 and 3 of the undergraduate degree.

dE1 : Marginal Spaces Sam Austin and Ed Wainwright There are spaces in the city we see but never look at; spaces we pass through but never explore. There are spaces where we stop but never sit; spaces we use but never inhabit. There are buildings we enter but never know. This elective studio looks closely at these spaces and asks how we can develop methods to better understand how they are produced, consumed and experienced.

dE2 : Emergence of Modernism: The Bauhaus Elizabeth Baldwin Gray The interwar period in Germany, in the early decades of the twentieth century, represents a time of rapid change. Modernism emerged in forms such as Expressionism, Dada, and the Bauhaus. Gropius’s school of architecture, the Bauhaus, is one of Germany’s best-known and most influential contributions to architecture. This elective explores the origins of modernism in Germany as it developed from early art and anti-art movements in Berlin, to the founding of the Bauhaus in Weimar, its move to Dessau, to Berlin, and its eventual emigration to the UK and the US.

dE3 : Architecture of Place Andrew Ballantyne and Josep-Maria Garcia-Fuentes We are interested in the effects that place can have on architecture. This might be because a building responds to features in the surrounding landscape, such as a mountain—either by being placed in a dramatic position, or by incorporating ideas from the mountain’s form—or maybe the building is placed as an incident in an arcadian idyll. Whatever the case: buildings can enhance the places where they are built, by paying attention to the specific spot, its form or its culture, and making a creative response to it. Dissertations in this elective are concerned with buildings of the recent or distant past that make inspired responses to the places where they are to be found. Examples would include: Machu Picchu, Neuschwanstein, the Casa Malaparte, or Falling Water.

142

dE4 : Colonial exchanges: Meetings between “east” and “west” Martin Beattie This elective investigates how (colonial) cultures mix, or not as the case may be, and how that process manifests itself in architecture. In a foreign context, the making of architecture can be seen as a dialogical process, entailing negotiation, domestication, appropriation, the reworking of local symbolic and material resources, and interaction with the surrounding social and physical landscape. How structures designed in a particular geo-political situation may be perceived and used in new ways after disruptions, or crises of the local, or international order, is also an interesting aspect of their meaning and symbolic function. Not only visual and stylistic, but also functional and social hybridity may be a component of the life of these buildings, especially in contexts where the boundaries between “east” and “west” were not yet rigidly established.

dE5 : Architecture’s Unconscious Kati Blom This elective takes some key texts as its starting point, examining ideas in phenomenology, perception psychology and architectural theory related to embodied architectural experience, but also to the drawing process. Our themes are creation and making in general close reading of daily (drawing) rituals of architects; craft / the craft of drawing; direct reading of architecture, which involves close reading of architectural (tangible) elements (doors, windows, floors, roofs, canopies, hearths, lobbies, porches etc.) as architectural affordances; and experience of how buildings represent themselves to us including difficult experiences of environment and diverse tangible factors in architectural creation that remain partly unknown to us.

dE6 : Architecture and Biography James Craig and Matt Ozga-Lawn Architects are often presented – or present themselves – as a brand with a strong and unique identity; creative individuals who have become personalities capable of defining and shaping the zeitgeist. But this presentation often omits the more complex nature of their characters, and it is rare that we draw particularly close to a thorough or intimate understanding of an architect and their methods. This elective explores the lives and practices of a range of architects across history. We analyse the relationship of these individuals through writing on the biography; films such as My Architect on Louis Kahn and REM on Rem Koolhaas; as well as documentaries that attempt to get under the skin of their subjects. We also develop reenactments of particular methods of working in order to creatively reinterpret the approaches these architects took. Some students worked in a ‘creative practice’ dissertation mode in which the amount of writing is reduced, and supplemented instead with substantial creative practice attempts at understanding the individual architect through a drawn/modelled/film biography.

dE7 : Bio-materialism Martyn Dade-Robertson In his article ‘Towards a Novel Material Culture’ Menges (2015) traces the origins of contemporary computational and fabrication techniques in architecture to ‘New Materialism’. Developed by thinkers such as Manuel DeLanda and Jane Bennet, the philosophical school characterises matter as active and “empowered by its own tendencies and capacities”. In architecture, New Materialism has often become associated with biomimetics. However, over the past four years a practice has emerged which aspires to develop demonstrators and technologies which go beyond biomimicry and make direct use of living systems, designing through the manipulation of living cells. These, often very early design explorations require thinking at multiple scales: from the construction of individual molecules through to the assembly of building parts. They highlight potentials, but also the challenges of a research through design engagement with living technologies. Our elective explores the philosophy and practice of this emerging field and may lead to dissertations, which are based on theory, scientific and/or creative practice.

143

dE8 : Tangible Energies Neveen Hamza When we build we create environments that reflect a spirit of place through transfers of unseen energies. Daylight, ventilation, and acoustics of a building all combine to unconsciously inform us of how a building will give us comfort while occupying its various spaces. In this sense enclosures within and how they connect to the outside environment speak to our feelings unreservedly. Energy flows through buildings, then takes a dominant role in how long these buildings will be enjoyed and used. Designing to manage energy flows to improve building enjoyment and delight is the core of performative architecture. This elective considers the meaning of comfort, its perception, and how energy flows through the various building typologies in the form of architectural design. It also considers how building design rating systems can hinder or support the creation of comfortable and enjoyable environments within.

dE9 : Professional Practice in Architecture John Kamara Professional practice in architecture relates to the development and translation of designs into built assets, in response to the needs of clients, society and the wider environment. This elective explores issues relating to the framework within which architects work, and the processes and inputs to the design process in a practice context. Our questions include, but are not limited to, the following: what is professional practice and how does it influence the production of architecture? What is the role of clients and other members of the construction industry in architectural design and how do they contribute to (or hinder) the successful delivery of projects? How do architectural firms recruit staff (especially Part 1 graduates) and what knowledge and skills are they looking for in new graduates? What research methods are appropriate for exploring professional practice issues?

dE10 : Alternative Architectures Peter Kellett Architects have traditionally worked only for elites and affluent groups. There is now increasing interest in how architects can engage effectively with relatively disadvantaged and marginalised groups: low income populations, the homeless, refugees/migrants, disaster victims, etc. At the same time the energy and innovative capacity of those without access to professionalised knowledge is becoming increasingly recognised. The elective explores a range of individuals and organisations who are attempting to bridge this divide and examine theories and promising precedents for alternative architectures.

dE11 : Displaced Practices Zeynep Kezer and Christos Kakalis This dissertation elective explores the spatial dimension of the experience of displacement as a result of natural disasters, wars, genocides, mass-migrations, deportations and population exchanges in the modern world. We are interested in dissertations that explore both how people build new lives elsewhere and what happens in the landscapes they leave behind. Themes pursued by the students may include: (re)creating life in a new land; encounters with new neighbours; representation / reconstruction; abandoned homelands. This dissertation elective was paired up with a new live research project led by Drs Kezer and Kakalis. Students who signed up were invited to partake in a two-day symposium which took place at the School of Architecture Planning and Landscape on March 22-23 2018.

144

dE12 : Befriending a Column: Bodies, difference and space Katie Lloyd Thomas and Noemi Lakmaier All too often architectural design, regulations and discourse have assumed a standard (adult, male) universal body as user of buildings and public space. What if we started instead from the differences between bodies – acknowledging that our diverse ages, genders, sexualities, abilities and dis-abilities can transform our perspectives of space? How might we then rethink our ideas of the relations between bodies, objects and the environment? What kinds of reconfigured spatial experiences might become possible if we abandoned our habitual, normative approaches to bodies and space? Together with internationally renowned artist Noemi Lakmaier, the dissertation explores these questions through readings and examples from architecture, philosophy, fine art, disability and cultural studies, and through hands-on workshops and making. The elective is part of an Arts Council funded project ‘Moving to the Next Level: disabled artists make dis/ordinary spaces’ partnering disabled artists with architectural educators, and students may have the opportunity to contribute to project events

dE13 : Architecture in the media Stephen Parnell This dissertation elective is about understanding architecture through the media. Throughout the twentieth century, the architecture magazine was architecture’s favourite medium and the primary method for architectural ideas and ideologies to be proposed, promoted, argued over, and disseminated across the world. The archive of back issues therefore contains the trace of the debates on what people have argued that architecture should be over the years and the magazines contain phenomenally useful and fascinating evidence about these debates. Having researched magazines for over a decade now, I’m constantly amazed by two types of content: firstly, debates that essentially haven’t changed at all over time (for example, architectural education has NEVER been good enough for practice); and secondly, material that shows how societal attitudes have changed considerably (such as is evident in the adverts). Students choose a topic of interest to research from architectural magazines, from any era or country, developing their ideas whilst considering how to go about understanding architecture, historically and theoretically, through its relationship with the media, from the traditional magazine to the online zine. We are interested in architectural criticism, journalism, photography, or ways that architecture as a field and profession is constructed through the press. The group also works in and with the new MagSpace.

dE14 : Custom Build: Situating the Architect in Mass Produced Housing Dhruv Sookhoo Custom build, a variation of self-build, gives prospective new residents opportunities to work with architects and developers on the detailed specification of their new home and neighbourhood. With early pilots underway, this new mode of development has potential to offer even non-affluent residents unprecedented choice, affordability and design quality within a UK speculative housing sector frequently derided as being uninspired, profit-hungry and substandard. This elective gives students an opportunity to explore the potential for architects to re-enter the speculative housing market through custom build and other design-orientated modes of development. The elective is supported through structured seminars covering topics relating to current and future design and development practice in housing, including: housing standards and regulatory regimes, using consumer preferences to inform architectural briefs, custom build (new practice based examples), manufacture for residential development (e.g. digital technologies and off-site construction), and best practice in residential design. Students can follow either dissertation or project route.

145

AUP Dissertations Uncovering the third place concept and its importance in the neighbourhood: How the Egyptian ahwa could help improve British third places Karim Shaltout The popularity of third places has fluctuated in Britain throughout the years but there is currently a general downward trend. This research looked at how the Oriental Egyptian ahwa, which originally influenced the first British coffeehouse, could help improve modern British third places. This research investigated the ahwa’s place attachment through creative practice methods comprising of Atelier BowWow’s observational study, Jacob Moreno’s sociograms and Nishat Awan’s interviews.

‘An Investigation into the Makings of a Successful Intentional Community: A Case Study of the Isle of Erraid Community, Scotland, UK’ Andrew Webb This research investigated the factors that contribute to the success of an intentional community. This was done in order to address the issues that cause an estimated 80% of these communities to fail within the first few years of their existence. Semi-structured interviews and observation were undertaken during a week spent living and participating with residents from the Isle of Erraid intentional community. Thematic analysis of the residents’ reflections gave an insight into how the community is able to achieve an environmentally conscious way of life without sacrificing the wellbeing of its members. Certain practices, such as the conflict resolution mechanisms, were identified as being fundamental to the communities’ long-term success. It is hoped that this research can give an indication of how other start-up communities might be able to adopt certain practices in order to improve their chances of long-term success.

How public perception influences how skateboarders and traceurs use public space within Newcastle upon Tyne, United Kingdom Ella Spencer This dissertation draws from the concept of public space and what that entails. Within this topic it explores the relationship between skateboarding and parkour in the built environment, in particular it draws upon how public perception can influence this relationship. Through the case study of Newcastle upon Tyne, interviews from 13 people and multiple observations throughout the city centre were carried out. The end result highlighted how perception is key in whether these activities are allowed or prohibited in public space by the council and by the general public.

146

S T R A N G E LY F A M I L I A R

MArch Dissertations The 10,000 word MArch dissertation offers students the opportunity to undertake a sustained enquiry into a topic of particular interest to them and to develop their own modes of writing and presentation. Where appropriate the timing of the dissertation allows for topics explored to inform their final thesis design project. The research has a growing profile in the School, with two public presentations taking place in October and February, and the dissertation is now a feature of the Degree Shows in Newcastle and London.

The Language of Myth-Making: A Reading of the Glucksman Gallery Tom Goodby Tom Goodby’s dissertation examined the power of myth making through the written word and the network of mutually supporting power structures that exist within the field of architecture. By using Pierre Bourdieu’s theoretical framework and applying it to the field of architectural cultural production it sought to demonstrate the power of these networks within the profession and its discourse. Gooby’s dissertation offers a close reading of the Glucksman Gallery in Cork by the Irish architectural practice O’Donnell + Tuomey and its depictions within the professional discourse. By examining both publications by O’Donnell + Tuomey and other publicity and criticism that appeared in a range of venues, he highlighted how several agents within the field of architecture have used their social and cultural capital to construct myths—consciously or unconsciously—around the practice and the building. Notably, these myths have the power to inform the reputation accorded to the architects and position a practice within the architectural canon. The motivation of the dissertation was to expose the “hidden” mechanisms involved in producing the perception of an architectural practice that has acquired significant cultural capital within the field of restricted architectural production. Figures 2.8 - 2.11 Second floor gallery spaces (top left, top middle). Podium level entry foyer (top right, and bottom). Author’s own photographs.

Figures 3.2 - 3.3 3.2 Curved cladding Podium level entry level (right). Author’s photographs. Figures - 3.3timber Curved timber(left). cladding (left). Podium entry (right).own Author’s own photographs.

147

Linked Research Among the most exciting and ambitious modules we offer as a School, the Linked Research module is unique to the Newcastle curriculum and spans the two Stages in the MArch enabling year-long collaborative research projects between staff and students. Linked Research encourages approaches that extend beyond the conventional studio design project or â&#x20AC;&#x2DC;lone researcherâ&#x20AC;&#x2122; dissertation model allowing space for multiple and speculative forms of research. Projects are often open-ended and collaborative and, because they are long term and involve groups working together, they can enable participatory projects and large-scale production with a wide range of partners inside and outside the University.

Analysing Indoor Microclimates Martyn Dade-Robertson Simon Quinton

Dunelm House Claire Harper Hun Pu Eleanor Gair Alex Jusupov

More Than Once

Daniel Mallo & Armelle Tardiveau Hayley Graham Shafirah Safira Albarakbah Ruta Bertauskyte

Simone Ferracina Men Hin Choi

Testing Ground Graham Farmer

Dominic Davies Rachel Earnshaw Joseph English Lewis Lovedale Harry Thompson Reshma Upadhyaya Olivia Ebune

Theo Crosby House Steve Parnell

James Morton Laura Davis-Lamarre

Towards Four Dimensional Engagement Matthew Margetts , Cara Lund Sarah Rogers Frederick Armitage Man Chun Ip

148

Text by Matthew Ozga-Lawn

Opposite - Testing Ground. Photo by Neil Denham

Analysing Indoor Microclimates Martyn Dade-Robertson

This year we extended the work of last year’s Linked Research elective by developing our research on Bacteria Spore based hygromorphs and extending to look at the indoor environment and how humid air moves through spaces such as kitchens and bathrooms. To this end, Simon Quinton developed methods to monitor humidity in indoor domestic spaces. The following text is from Simons report: “I began by looking at a tradition¬al Tyneside flat to use as my test space and thought about possible ways in which I could test the conditions along with the relationship between the spaces. I hypothesised an experiment which mapped the daily movements of a person within the flat and the stimuli they use throughout the day which would affect the humidity in the spaces. These stimuli would include items like the shower and kettle as they emit significant amounts of moisture into the atmosphere (…)”

150

[re]defining Dunelm House Claire Harper

[re]defining Dunelm House was an ethnographic study into the decision making and agencies involved in architectural conservation. The study set out to chart the activities of the ongoing campaign to save Dunelm House, Durham University’s Students’ Union building, from the threat of demolition. The campaign group, SaveDunelmHouse, was formed in December 2016 following an application by Durham University for Immunity from Listing for the building. It comprised of architects, historians, academics and students from Durham and beyond and had been actively organising events: a petition, crowdfunder, conference and design charrette to both raise awareness of the campaign and challenge the technical, economic and strategic reasons cited by Durham University as cause for demolition. Designed in 1967-69 by Richard Raines of Architects Co-Partnership, Dunelm House is regarded by many as an exemplar of post-war university architecture. The study therefore questioned how ‘experts’ viewpoints are articulated by the strategies and tactics deployed within the campaign. The students elected to use documentary film-making to set out a narrative to their inquiry. Interviews were carried out with campaign organisers, vocal advocates for the building, Durham University and Students’ Union representatives, alongside activists from other campaigns around building conservation. The documentary contributes to a growing body of architectural debate that uses the aesthetic potential of film to elaborate a verbal narrative and makes an important addition to the recorded history of this poignant building. Special thanks are owed to Craig Hawkes, a local documentary film-maker who worked with us throughout the project, James Perry from SaveDunelmHouse, Felicity Raines, wife of the architect Richard Raines and a long list of interviewees who gave their time and insight enthusiastically.

151

More than Once

Daniel Mallo & Armelle Tardiveau

Despite the climate emergency, the construction industry appears, for a great part, to remain oblivious to the environmental issues related to waste that the current way of designing and building is leading us into. “More Than Once” Linked Research project exposes the environmental implications of waste and proposes an alternative to landfill by reusing a substantial percentage of salvaged building materials. The reflection invited students to rethink our consumerist culture of ‘take-make-dispose’ and embrace an alternative model based on a circular approach, ‘take- make-consume-reuse and recycle’. In the context of Newcastle University, the refurbishment of Claremont Tower and Daysh Building offered an outstanding opportunity to sample material for reuse through a live project that enabled students to discover, dismantle, salvage, catalogue and reuse part of interior materials and furniture. The exploration culminated in a charrette project led by “More Than Once” MArch students and Tibo Labat where a small structure and furniture was prototyped employing solely material that had been collected from the tower. The pedagogic experience was much enhanced by a Newcastle University travel scholarship that allowed students to take part in two live projects in Europe during the summer (“Hotel Egon” in Germany and “Aldea-Village” in Spain). The practices of reuse, taking action and engaging in a renewed understanding of material cultures, will have a long-lasting influence on the students. Contributors: Tibo Labat

152

Ĺ&#x2019; Case Files (punctum books) Simone Ferracina

Organs Everywhere (Ĺ&#x2019;) is an independent online journal that, since 2010, has been active in promoting conversations that approach architectural design from the edges of the discipline, plunging it into a strange fabric of marginal and experimental practices that fundamentally question its boundaries, technologies, methods and (e)valuation systems through the eyes of architects, designers, philosophers, artists, science fiction writers, activists, poets, and scientists. Ĺ&#x2019; Case Files is a joint imprint of punctum books and Ĺ&#x2019;, publishing anthologies of select articles that are curated/retrofitted into a fresh cartography of associations, gaps, juxtapositions, and thematic clusters. This project focused on the design, curation and production of the first Ĺ&#x2019; Case Files volume; investigating publishing as a platform for original architectural research, and understanding the book as a coherent set of positions, explorations and decisions.

Ĺ&#x2019;

NO.2 Alternate Ecologies Neil Spiller Simone Ferracina www.organseverywhere.com

+ ## " " # "% ++ $ " & &

" " ! + ! ""'

" % + " #$" !ŕŚ§' '>'ÂŁÂŁ + # " " "' "$ "" % + # &

%+ + " " " #$ " ) ,++ $ & + % $% "$ % "

153

Testing Ground Graham Farmer

The Testing Ground programme provides the opportunity for students to collaborate with a range of related disciplines, external organisations and building users through the vehicle of â&#x20AC;&#x2DC;liveâ&#x20AC;&#x2122; projects. This year the Live Build project is based at Blakehope Nick, the highest point along the Forest Drive, between Kielder Village and Byrness. The project is part of the Revitalising Redesdale scheme, which aims to celebrate the environment and culture of the area by highlighting the value and importance of the surrounding natural environment. The brief was to create a structure at Blakehope Nick that would be visually intriguing, to encourage visitors to stop and interact with it whilst being accessible and providing some shelter from the elements. The project aims to draw attention to the beautiful surrounding landscape, presenting it from a newly created perspective. Further, to create a form that allowed the movement of people through the structure with individually orientated viewports to guide the observer towards particular vistas, incorporating the neighbouring ridges in the distance, the local fauna and the night sky.

154

Photos by Neil Denham

Theo Crosby House Steve Parnell

Theo Crosby (1925-1994) is better known today for his behind-the-scenes work promoting others than for his own architecture. For example, he was technical editor of Architectural Design magazine from 1953 to 1962 where he promoted his friends Alison and Peter Smithson and the New Brutalism, and he curated the 1956 This is Tomorrow exhibition at the Whitechapel Gallery, the swansong of the Independent Group. However, his own New Brutalist house in Hammersmith â&#x20AC;&#x201C; one of the earliest and best-preserved examples of the movement, remains unknown. This is no doubt how he preferred it, but 25 years after his death, this project set out to resurrect the house and establish its place in the history of the New Brutalism. Through doing a measured survey, archival and oral history research and interviews, the house was reconstructed in CAD and model form from its 1955 conversion from a coach house, through its iterations over the years as it adapted to the life of the Crosbys. The students built a 1:50 model of the house, based on the Brutalist â&#x20AC;&#x2DC;ethicâ&#x20AC;&#x2122;, with components that could be plugged in and out to configure the iterations of 1955, 1960, 1967, and 1986. This hands-on approach to reconstructing history, rather than simply writing about it, enabled a deeper understanding of the project and the principles of the movement from which it was constructed.

155

Towards Four Dimensional Engagement Matthew Margetts, Cara Lund

“How can architects use their spatial thinking & communication skills to help communities to engage with complex problems?” With thanks to Chris Newell, Wendy Young, Claire Margetts, Sam Brooke, Lieselotte van Leeuwen and everyone in the Bell’s Yard Group. Our linked research project this year looked at applying architects’ spatial thinking and communication skills a little more laterally – exploring how they could be applied to help communities understand and articulate complex problems. Initially we approached the subject from a number of parallel perspectives - Consultation and Architectural Communication, Play Theory, Environmental Psychology, Public Engagement, Systemic Design and Dynamic Diagramming. This resulted in a broad understanding of current communication thinking. After some brief experimentation with board game design, the students were then given the opportunity to test their research on a real-life scenario at Bells Yard Playground, Jesmond. The problem involved multiple users sharing a play space concurrently. This resulted in overspill of activities between ‘territories’ such as footballs flying into toddler play areas and concerns over safety. The presumption was to simply provide more fencing between the different zones. However, our research challenged this and through the construction of an abstracted, dynamic model of the problem, we enabled children and the public to have an informed (and enjoyable) discussion around a variety of ‘grown-up’ themes such as temporal zoning, boundaries and thresholds. The dynamic diagram model was used successfully at a public consultation event and the research outputs, including analysis of a series of questionnaires, assisted the client in a section 106 funding application.

156

Top - [re]defining Dunelm House, Bottom - Testing Ground (Photo by Neil Denham)

157

MA in Urban Design Georgia Giannopoulou

Contributors: Georgia Giannopoulou, Tim Townshend, Ali Madanipour, John Devlin, Stuart Hutchinson, Smajo Beso, Aidan Oswell Guest Contributors: Martin Podevyn, Rose Gilroy, Roger Maier, Dhruv Sookhoo, Sarah Miller, Michele Duggan, Michael Crilly, Anna Brown, Georgiana Varna, Geoff Whitten, Colin Haylock, Michael Cowdy, Cristina Pallini, Derya Erdim, Giacomo Borella The MA in Urban Design is a well-established interdisciplinary programme at Newcastle University that draws on expertise from the disciplines represented in the School, namely Architecture, Planning and Landscape. The programme brings to the foreground a strong agenda of social and ecological engagement, together with a relational approach to the built environment and public life. Three distinct design projects punctuate the year and are supported by theory courses and critical debate around the practice of Urban Design. The projects engage with varying localities and the challenges and themes emerging from the place as well as themes for regeneration and societal challenges. The two major projects are parts of a year-long project on a complex site in the city centre of Newcastle and deal with issues of post-industrial urban renewal; the first part of the project ‘Skills in Urban Regeneration’ engages with contemporary concepts of Digital/Smart Cities, as well as sustainability in the context of a mixed use masterplan for this key site in the city. ‘Housing Alternatives’, forming the latter part of this project, examines new models of neighbourhood design in the context of the housing crisis and housing needs. The project explores concepts of affordability, sustainable living and community led-models as well as new and contemporary models for living addressing issues of resilience, changing patterns of working, and an ageing population centred on the cohousing model, which is increasingly popular in the UK. The European field trip to Milan (Italy) aimed to introduce alternative approaches to Urban Design using concepts of landscape, health and GreenBlue infrastructure. The project was based on a derelict site planned for a railway station on the Milan-Mortara line, including an unfinished railway structure by Aldo Rossi. Students were tasked with producing proposals for developing a salutogenic landscape using theoretical explorations on the theme as well as taking into consideration the city’s history in relation to its water systems and fitting into the context. The year concluded with the Urban Design Thesis, a major research-led design project, on topics selected by the individual students around their interests. The course features a robust engagement with urban design process including issues of financial viability and delivery across the design projects. Students in the course have many opportunities for visiting places within the UK and in Europe in the context of the projects. Stanhope Street

4. Avison Street

2. Pitt Street

1. Douglas Terrace

ell

W t

Str

KEY

Str

Dia

1. Custom Build 2. Intergenerational Co Housing 3. Community Garden 4. International Harvest Church 5. Arthurs Hill Clinic 6. Supported Elderly living 7. Elderly Co Housing

158

1. Allotments

2. Sensory Garden

5. Event Space

6. Smart Furniture

3. Play Space

7. Outdoor Gym

4. Picnic Tables

8. Pop Up Pods

159

MSc Advanced Architectural Design Martin Beattie

Contributors: Raymond Abdulai, Martyn Dade-Robertson, John Devlin, Sir Terry Farrell, Georgia Giannopoulou, Zan Gunn, Neveen Hamza, Sinead Hennessy, Astrid Lund, Patrick Malone, Anna McClean, Jack Mutton, Brian Peel, Christopher Rodgers, Dhruv Sookhoo, Jennifer Stephens, Tony Watson, Duncan Whatmore Our MSc Advanced Architectural Design is a unique degree programme for international designers to enhance their design and research skills. The programme is devised to help students consolidate their own identity as a designer, and develop their own distinctive specialisms through research-led design, in a world where successful architects increasingly have to be specialists as well as generalists. The programme offers a set of innovative, absorbing, research-led pathways in advanced architectural design, from which students can choose one of the following pathways: Architecture & Cities; Sustainable Buildings and Environments; Computation; and, Property Development. There is a balance of shared and specialist teaching across all of the pathways. The Architecture and Cities pathway focuses on the dialogue and interconnection between architecture and the fabric of cities. It helps students appreciate architectural design in the broader social, cultural, and economic contexts of cities. The pathway focuses on how architecture can be derived from detailed studies of particular urban communities, and determine what is appropriate in the strategic and detailed development of specific urban sites. The Computation pathway enables students to learn key skills in programming and computational hardware. Students develop building systems based on responsive and biological based materials, challenging them to think in new ways about computation. The Property Development pathway is unique and specifically set up for designers. Architects bring distinctive skills to property development as they are able to rapidly test plots for their potential and devise innovative solutions for making the most of sites. However, designers rarely lead such development schemes and normally lack the knowledge and skills to do so. This programme addresses this knowledge gap.

160

161

MA in Landscape Architecture Studies Dr Ian Thompson

Contributors: Reader in Landscape Architecture The MA Landscape Architecture is a one-year taught masters-level programme which provides opportunities for students to develop systematic knowledge and understanding of landscape architecture and its interface with planning and architecture. Students develop the capacity for critical thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design and planning in a creative and innovative way. Through studio based design projects, students refine their design skills and develop the ability to critically analyse and discuss landscape projects and styles. The programme has been designed for those who wish to build upon a first qualification in landscape architecture or a cognate qualification in environmental art and design, garden design etc. It has been particularly designed with international students in mind, so it diverges from the (British) Landscape Instituteâ&#x20AC;&#x2122;s recommendations for accredited degrees. The programme, which includes lectures, workshops, seminars and tutorials, alongside studio practice and critical reviews, is intended for those who wish to develop their critical thinking in tandem with their individual practice.

162

163

PhD and PhD by Creative Practice Students PhD Completions: Two Ways of Meaning in Architecture - ‘Conceptual Meaning’ and Pragmatic Meaning’ Dr Xi Ye Architectural Reflections on Housing Older People: Nine Stories of Retirement-Living Dr Sam Clark Towards More Open Citizenship: Exorcising the Colonial Ghost, ReImagining Urban Space, and Critical Spatial Practice in Wenzhou, China Dr Xi Chen Negotiating Space: Women’s Use of Space in Low-Income Urban Households, Surabaya, Indonesia Dr Sarah Cahyadini Returns - Towards a Photographic Criticism. (Or, the Case of the Berliner Bild-Bericht and the North American Grain Elevators) Dr Catalina Mejia Moreno Architecture and Urbanism in Twentieth Century Iraq: The Enduring Legacy of Gertrude Bell Dr Sana Salman Dawood Al-Naimi Incorporating Self-Management: Architectural Production in New Belgrade Dr Tijana Stevanovic A Coincidental Plot: The Potential of Paracontextuality in Spatial Practice Dr Ashley Mason Continuing PhD Students: An Investigation Into the Conservation of Historical Buildings in Mecca, Saudi Arabia Mohanad Alfelali ILLUSORY CONSTRUCTIONS The architectonic of “indeterminacy” in space as scenery for social interaction Carlos Arleo Bacterial Choreography: Designing interactions through biological induced mineralisation Thora Arnardottir Architecture by Default Kieran Connolly

164

Embodiment and computing at the architect’s interface for design Alexander Blanchard Housing Design and Marketing Images Hazel Cowie The Autobiographical Hinge: Revealing the Intermediate Area of Experience in Architectural Representation James Craig Living in Princely cities: Residential extensions, bungalow culture and the production of everyday spaces in Bangalore and Mysore, South India ca.1831 to 1920 Sonali Dhanpal Integrated Design Approach for Responsive Solar-Shadings Yomna Elghazi Reimagining children’s spaces with Seven Stories: The National Centre for Children’s Books Daniel Goodricke Aldo Rossi: Architecture in a Cultural Context Sinead Hennessy Learning from Tokyo Nergis Kalli Frameworks for Ingenuity: Processes of Practice in the London County Council Architects Department (1943-65) Ruth Lang Syn.Emergent Material Sunbin Lee An investigation into the use of Building Energy Performance Simulation as Active Design Method at Conceptual Design Stage in the UK practice Ramy Mahmoud An Investigation Into the Effect of the Thermal Performance of UBEC Classrooms on Learning Charles Makun Vatican II, Modernism and concrete. Meaning and interpretation of the material in post-war Britain Ivan Marquez Munoz

How architects can increase the use of fullculm bamboo to provide adequate urban housing in tropical developing economies John Naylor The Role of Computer-Based Energy Simulation Applications in the Early Stage of Residential Buildings Design in Saudi Arabia Hatem Nojoum The Duke in His Domain: Revealing the Studio Space Matthew Ozga-Lawn Investigating the Properties of Mycelium to Develop Free Form Building Materials Dilan Ozkan Bio-based Pressure Sensing System as a Soil Reinforcement Technique Javier Rodriguez Corral Museums & Landscapes to shape Modernity Aldric Rodriguez Iborra The Enchantment of the Wild Usue Ruiz Arana Comparative Analysis of the Influence of Organic and Gridiron-Urban Morphological Effects on Human Comfort, a Case Study-Erbil, Kurdistan, Iraq Ali Salih Designing Water. A Living Wall between Land and Sea Pierangelo Scravaglieri A Spatial-Based Programme Approach to Water Supply Development in Indonesia Djuang Sodikin Participation, Dwelling and Environment: Re-housing an Indigenous Karen Community in Thailand Sadanu Sukkasame Repositioning the Profession: The 1958 RIBA Oxford Conference and its impact on Architectural Education Raymond Verrall

Smajo Beso David Boyd Emmanuel Odugboye

Participation, Dwelling and Environment: Re-housing an Indigenous Karen Community in Thailand Sadanu Sukkasame

This study aims to understand and evaluate the impact and effectiveness of a re-housing process on the lifestyle and culture of a Karen community and to identify supportive factors and challenges affecting the process. The study investigates the people of a Karen village who were forcibly evicted from their village homes by armed Thai forces and national park officials. They were relocated to new areas further from the Thai-Myanmar border but still within the national park where they constructed initial dwellings in a new village. The study employs a multi-method perspective: architectural, anthropological and sociological. A participatory approach was employed throughout the project, with a focus on design workshops which were a key approach of the study. Furthermore, sub-themes focus on socio-cultural, environmental and economic issues, such as kinship, gender, tradition, income, building materials and construction. The empirical findings enhance our understanding of the roles and responsibilities of parties involved and the process of working in the indigenous environment.

Main Supervisor: Dr Peter Kellett, Second Supervisor: Prof Prue Chiles, Internal Examiner: Dr Cat Button, External Examiner: Prof Nabeel Hamdi, Oxford Brookes University

166

Incorporating Self-management: Architectural Production in New Belgrade Dr Tijana Stevanović

Rapid post-war industrialisation of the building process brought profound change to the built environment and transformed how architects dealt with technical developments. Focusing on the development of New Belgrade in conjunction with the expansion of flexible structural systems and the reform of architectural education, the thesis posits socialist Yugoslavia’s self-management principle (1949-1989) as a potent cultural paradigm that conditioned relations between architects and the building industry. Despite its influence being frequently dismissed by Yugoslav architects, the thesis argues that the ceaselessly debated purview of self-management (through the three federal constitutions of 1953, 1963 and 1974) strongly influenced the organisation of architectural techniques. It does so by interpreting a range of sources – technical and legal documents, educational literature, oral history etc. – that elucidate the transformation of the everyday realm of the work of architects and common processes rather than the products of (individual) design emphasised by other recent studies of Yugoslav architecture. By articulating three critical mediations used to reflect on the conjunction of self-management and architectural production: i) social property; ii) individual vs. collective; and iii) the notion of architect as worker, the study tracks how they shaped the broader field of architectural culture. It explores how the foundations of the practice of self-management were laid by the voluntary youth labour that prepared the New Belgrade construction site. Further, it demonstrates how emergent notions deemed merely technical— such as ‘open prefabrication’ or ‘expanded communication’—reinforced architects’ detachment from the material building process. Lastly, it argues that the criticism of modernist oversights was ineffective for its blindness to social relations and regulations underlying architectural production in self-management. The study contributes to research into the socio-political dimension of building technology in architecture, but also problematises how reducing self-management’s collective capacity to individual self-discipline intensifies the atomisation of responsibilities in architecture. Main Supervisor: Professor Katie Lloyd Thomas, Second Supervisor: Professor Mark Dorrian (The University of Edinburgh), Internal Examiner: Professor Roger Burrows, External Examiner: Dr Christine Wall (University of Westminster, London)

167

ARC – Architecture Research Collaborative

In addition to the promotion and facilitation of outstanding individual research in the school, a key aim of the Architecture Research Collaborative ARC, co-directed by Dr Neil Burford on the practice and building science side, and by Professor Katie Lloyd Thomas on the humanities side, is to engender an inclusive environment that supports seed projects, early career research and collective endeavours across our members. Membership of ARC is open to all, including PhD candidates, part-time and external staff, and is organized around thematic clusters that are distinctive to research in the school and each include diverse methodologies and disciplines from engineering, biology and environmental humanities to history, theory, ethnography, design-led research, participatory art practice and urbanism. This year we have introduced three new overarching themes: Matter + Ecologies is led by Dr Ben Bridgens and seeks to build better understandings of interrelationships between people, matter and energy across a range of scales from the macro (city & region) to the micro within both natural and man-made ecologies and infrastructures. The micro scale is exemplified by our work on ‘Living Architecture’: the design, prototyping and deployment of active and responsive materials and systems, while at the macro scale we analyse flows, processes and energetics of matter in complex spatial networks. Dr Juilet Odgers co-ordinates Histories + Cultures which is concerned both with the forms of landscapes, buildings and places and the political, cultural and conceptual contexts which shape their production and our understanding of them. Newcastle University has one of the largest and strongest groupings of historians and theorists in any UK architecture school, and consequently our work covers a wide range of topics, addressing real and imaginary conditions and diverse geographies and periods - past, present and future, often taking interdisciplinary and collaborative approaches. Daniel Mallo faciliates Processes + Practices which seeks to understand the many ways architecture can be created in the 21st century. Research addressing the diversity of processes that shape our built environment mobilises knowledge to understand the ‘practical’ world of making architecture whilst carving a space in between theory and practice. The theme demands underpinnings in philosophical, political and social theories and histories that have engaged with these problems. It encompasses diverse sites of enquiry including pedagogy, professional practice, industry, informal settlements and the co-production of space. This year we have been really pleased to welcome the design and marketing assistance of Sarah Delap and have focused on extending the outlets for promoting, debating and displaying ARC research. An ARC display wall for the reception area and a space to share research in progress at our regular meetings, is currently being fabricated by Plyable designers. Professor Prue Chiles and Dr Polly Gould have been working with creative practice researchers to prepare portfolios of their work which were brought together in an exhibition in the school in May. We’ve been delighted to welcome Sonali Dhanpal as the first recipient of the prestigious John and Mary Forshaw PhD Scholarship, and to see successful PhD completions from Sana AlNaimi, Tijana Stevanovič and Catalina Mejía Moreno amongst others. In order to build ARC PGR activity Dr Zeynep Kezer has taken on a new ARC role coordinating architecture PGR membership in ARC, and we were delighted in March to welcome the internationally renowned scholar Professor Dell Upton to respond to presentations from PhD candidates and staff.

168

Text - Katie Lloyd-Thomas

Creative Practice Research

We are a group of practitioners in the process of defining our research that is practice-based or practice-led. We are looking at ways to develop and present our practice outcomes through creative and visual methods of knowledge production; using political, cultural and societal processes, to gain new and critical insights in architecture. The projects illustrated below are a collection of academic staffs’ practice that have been collated as creative practice portfolios. We hope to enlarge this collection in the future to other design studio staff and PhD students and create a website of this developing architectural culture at Newcastle.

99 Years, 13 sqm: The Future belongs to Ghosts Rachel Armstrong & Rolf Hughes 99 years, 13 sqm (the future belongs to ghosts) is the first publicly accessible wall-scale prototype of the EU funded Living Architecture project and collaboration with artist Cecile B. Evans. Exhibited at the Whitechapel Art Gallery from 14 February to 12 May 2019, this simplified version (based on only one bioreactor type, MFC) demonstrates a compiled version of the modular system.

Hygromorph: Moisture Sensitive Materials for Responsive Architecture Ben Bridgens, Graham Farmer & Artem Holstov Contemporary “smart” building systems typically aim to reduce building energy use by means of technologically enabled climate-responsiveness; however, these technologies lack the efficiency and elegance of naturally responsive mechanisms which employ the inherent properties of materials, such as the moisture-induced opening and closing of conifer cones. This mechanism can be replicated to produce low-tech low-cost hygromorphs: moisture-sensitive materials that change shape due to shrinkage and swelling of wood.

The Energy Autarkic Living Laboratory Neil Burford The Energy Autarkic Living Laboratory is an integrated technical platform for the ongoing research, technical development, assessment and in-use performance of an experimental energy self-sufficient building. The project develops novel spatial and constructional techniques for the design of a small-scale self-build, Passivhaus prototype and tests the viability of achieving energy autonomy in both regulated and unregulated energy demand. The research also takes into account the use of regionally sourced materials, water conservation and treatment, and the design’s material and formal responses to its landscape context.

169

The Barn in Castleton Prue Chiles The importance of the barn to the very idea of the National Park cannot be understated. This project asks: how do you create a new dwelling within an historic barn that can successfully contribute to the social, human, aesthetic, cultural, economic and environmental sustainability of the National Parks? The challenge with this barn, in particular, is to facilitate change and intervene architecturally in a building that was historically used for husbandry and crop storage; to create an extended home and work place that is sympathetically embedded in the spirit of the landscape, the village of Castleton and contributes to the spirit and memory of place and sustainable future of the Peak Park in Derbyshire. Different perspectives and knowledge from the collaborators allows for insights on the culture of the craftsmen and the relationship between functionality, relevance and beauty for all parties involved. Everest Death Zone James Craig & Matt Ozga-Lawn Everest Death Zone is a site‐specific installation and accompanying set of four drawings and a text, depicting in abstract the landscape of Mount Everest and focussing on the bodies of endeavourers on its surface. The project was presented to the public as part of the AHRC Being Human Festival of the Humanities, within the north tower of Newcastle’s iconic Tyne Bridge. The installation, constructed from fabric, metal and climbing equipment, was suspended in the central void of the tower. The drawings are greyscale collages combining physical and digital models and photographs. The 1924 film The Epic of Everest was presented alongside the project.

Testing Ground 1: Three Rural Villages Graham Farmer Testing Ground is an ongoing constructive design research project established in 2013 in partnership with Kielder Art & Architecture. The programme is working within and across rural communities and landscapes in Northumberland to explore small-scale, locally-generated variants of built environment sustainability. It is aiming to ground design-build research and pedagogy within a concern for the broader ecology of the building process. Testing Ground explores environmental and social sustainability, by working directly with rural organisations and communities in collaborative and participatory ways whilst also seeking to provide direct social and economic benefits to those communities.

Architecture for an Extinct Planet Polly Gould Architecture for an Extinct Planet is a series of speculative art works in watercolour, fabric, glass and paper that relates to past visions of the future in science fiction and architectural design to make comments upon contemporary debates regarding climate change. The research method mixes archival research with practice-based outputs that apply visual assemblages of historical and contemporary imaginaries. How do the histories of ‘paper architecture’ as a mode of architectural design of unbuildable realities that were never meant to leave the page, intersect with the paper-based art works and paper-based writing of speculative fiction and manifestos? The work has been presented in three art fairs in London and New York and has been developed as the content of a solo show at Danielle Arnaud, London and Venice for the Architecture Biennale 2020.

170

Penguin Pool Polly Gould Penguin Pool is a performative lecture that plays on the pun of ‘pool’ as an architectural design for zoological display designed by Lubetkin and gene pool. The work uses forty-six lantern-slides- and the same as the number of chromosomes in the human genome, and the outmoded medium of the lantern-slide. The audience’s participate in a performance of a sequence of projected images with citations from historical and contemporary sources on design, the archive and extinction in the face of climate change.

Protohome: Rethinking Home Through Co-production Julia Heslop Protohome was a collaboratively built architectural installation, 5 metres x 10 metres, designed as a prototype for a self-build house. It was sited in the Ouseburn, Newcastle upon Tyne from May-September 2016 and was a collaboration between Julia Heslop, Crisis, the national charity for single homelessness, xsite architecture and TILT Workshop. Working alongside an architect and a joiner members of Crisis built a timber-frame self-build housing prototype. The ‘house’ hosted events and exhibitions examining the collaborative design-build process and issues regarding housing and homelessness in an austerity context and participatory alternatives. A publication, website and film were also created. Made in Ethiopia: The Changing Material Culture of Everyday Life Peter Kellett Through a series of public exhibitions, this ongoing research is examining the effectiveness of visual methods to communicate complex issues of international development. Installations of everyday objects and images are used to explore the visual and material culture of Ethiopia at a time of rapid change. Drawing on practices and techniques from visual anthropology and contemporary art, the innovative assemblages and projected images present stories of celebration and creativity alongside development dilemmas and challenges. The exhibitions aim to reach audiences beyond academia, particularly young people and ethnic minority groups in different cities (Newcastle, Bath and Bristol).

Fenham Pocket Park: Design Activism in the Co-production of the Urban Space Daniel Mallo & Armelle Tardiveau This research project focuses on intensifying participatory design as the means to stimulate public life in the urban realm. Whilst articulating approaches that overcome the limitations of mainstream stakeholder-led forms of consultation, we explore openended and inspirational participatory engagement with particular attention on the role of design as activism. This process of experimentation, situated within the everyday, ordinary life, engages community actors in a socio-spatial co-production process whose impact goes beyond the delivery of the project. Situated in the west end of Newcastle Upon Tyne, our case study highlights the transformation of an unused urban space into a lively pocket park.

171

Sensory Exploration: A Future Facility at Scotswood Natural Community Garden Daniel Mallo, Abigail Schoneboom & Armelle Tardiveau Mobilising a fusion of participant-led design and sensory ethnography, this socially engaged research project invited users of Scotswood Natural Community Garden to explore the meanings and values attached to a garden nested in one of Newcastle upon Tyne’s most deprived neighbourhoods. This ESRC IAA funded co-production project engaged the diverse aspirations of project participants in articulating a rich and meaningful shared vision for a future expanded facility.

Design Office Adam Sharr, James Longfield, Yasser Megahed, Kieran Connolly, Aldric Iborra, & Assia Stefanova Design Office is an architecture and design research consultancy run by the School of Architecture, Planning and Landscape at Newcastle University. The office focuses on research-led practice, drawing on the accumulated expertise and academic interests of its associates and the distinctive research agendas of the School. Formed in 2010, Design Office has worked on a variety of architectural and research projects, and collaborated with a variety of organisations, community groups and construction industry professionals. Through undertaking architectural work associates of the office also conduct original research, critically reflecting on specific themes and experiences of professional practice they have encountered through their work with Design Office.

Ghosts of The Newbridge: A Haunted Spatial Archive Ed Wainwright Four months prior to the demolition of an active artist studios space in Newcastle city centre, a form of ‘rescue archaeology’ was undertaken to document and record the use and inhabitation of Norham House. Using millimetre-accurate LiDAR scanning technology, a digital model of The NewBridge Project studios has been produced. Through modelling, projection, immersive video and sound, this project aimed to explore the production of affective states through digital representation and spatial installation practices. The project combined high definition, digital video, projection mapping in a basement space in The NewBridge Project’s new home in Carliol House, alongside modified audio recordings of interviews with studio holders and recordings of the now demolished building’s ambient sound.

172

99 years, 13 sqm

hygromorph

The future belongs to ghosts

moisture sensitive materials for responsive architecture

Rachel Armstrong & Rolf Hughes

Ben Bridgens, Graham Farmer & Artem Holstov

The Energy Autarkic Living Laboratory Neil Burford

Design and Creative Practice Research Folios

School of Architecture, Planning and Landscape

The Barn in Castleton

Everest Death Zone

Testing Ground 2

Prue Chiles

James Craig and Matt Ozga-Lawn

Graham Farmer

Three Rural Landscapes

Design and Creative Practice Research Folios

School of Architecture, Planning and Landscape

Penguin Pool Dr Polly Gould

Protohome

Fenham Pocket Park

Rethinking home through co-production

Design activism in the co-production of urban space

Julia Heslop

Daniel Mallo & Armelle Tardiveau

Design and Creative Practice Research Folios

School of Architecture, Planning and Landscape

Made in Ethiopia:

Design Office

Dr Peter Kellett

Design and Creative Practice Research Folios School of Architecture, Planning and Landscape

Ghosts of The Newbridge A Haunted Spatial Archive

the changing material culture of everyday life Adam Sharr, James Longfield, Yasser Megahed, Kieran Connolly, Aldric Iborra, and Assia Stefanova

Design and Creative Practice Research Folios School of Architecture, Planning and Landscape

Dr. Ed Wainwright

Design and Creative Practice Research Folios School of Architecture, Planning and Landscape

173

Contributors Each year, the School draws on a vast and extraordinary array of talented architects, artists, critics and other practitioners who substantially contribute to our studentsâ&#x20AC;&#x2122; learning, and to the culture and status of the School more generally. On this page weâ&#x20AC;&#x2122;ve gathered all (we hope!) of these vital individuals who come week-after-week to teach in our School. Our thanks go to each and every one of them, and we hope they will keep returning, as without their critical input the School would be a very different place. Stage 1

Stage 2 Aaron Guy Adam Goodwin Adam Hill Alex Blanchard Amara Roca Iglesias Andrew Ballantyne Cara Lund Chris French Christos Kakalis Craig Hawkes Claire Harper Delia Murguia Dimitra Ntzani Elizabeth Baldwin Gray Graham Farmer Harriett Sutcliffe Isabel Lima James Craig Jack Green James Perry Jack Roberto Scaffardi

174

John Kinsley Justin Moorton Katie Lloyd Thomas Kieran Connolly Luke Rigg Maria Mitsoula Martyn Dade-Robertson Matthew Ozga-Lawn Neil Burford Nick Simpson Nikoletta Karastathi Pedro Quero Prue Chiles Rosie Morris Rumen Dimov Samuel Austin Samuel Penn Sana Al-Naimi Smajo Beso Stella Mygdali Stephen Parnell Will Stockwell Zeynep Kezer

Stage 3

Adam Sharr Akari Takebayashi Amrita Raja Andrew Ballantyne Andrew Campbell Anna Cumberland Armelle Tardiveau Cara Lund Christos Kakalis Colin Ross Elizabeth Baldwin Gray Graham Farmer Harriet Sutcliffe Hazel Cowie Lukas Barry Ivan Marquez Munoz Jack Green James Craig John Kinsley Jon McAulay Jonathan Mole Jack Mutton James Longfield Josep Maria Garcia-Fuentes Juliet Odgers Kieran Connolly Luke Rigg Manuel Bailo Marc Subirana Matthew Margetts Matt Ozga-Lawn Michael Simpson Nick Peters Peter Sharpe Rachel Armstrong Raymond Verrall Rosie Jones Ryan Doran Sam Austin Shaun Young Simon Hacker Stephen Ibbotson Stephen Richardson

Steve Kennedy Stuart Hallett Victoria Tinney

AUP

James Longfield Kati Blom Laura Harty Ed Wainwright David McKenna Sean Douglas Di Leitch Joanna Wiley Armelle Tardiveau Freddie Armitage Ellie Gair Ruta Bertauskyte Tooka Taheri Sarah Stead Xi Chen Ziwen Sun Nikoletta Karastahi Daniel Mallo Rutter Carroll Sophie Ellis Xi Chen James Longfield

Stage 5

Ana Miret Garcia Anna Czigler Carlos Arleo Chiemeka Ejiochi David Boyd Dr Ben Bridgens Dr Christos Kakalis Dr Ed Wainwright Dr Koldo Lus Arana Dr Martyn Dade-Robertson Dr Miguel Paredes Maldonado Dr Neil Burford Dr Neveen Hamza Dr Steve Parnell Dr Zeynep Kezer Dilan Ozkan Gregorio Santamaria Lubroth Imogen Holden Irina Korneychuk Jack Green James Nelmes James Wakeford John Ng Kieran Connolly Matt Ozga-Lawn Michael Findlater Mike Hall Nathalie Baxter Niall Durney Paul Rigby Peter Hunt Prof Graham Farmer Prof Remo Pedreschi Thora Arnardottir Yomna Elghazi

Stage 6

Aaron Guy Alex Blanchard Anna Szigler Dan Kerr David Boyd Elizabeth Baldwin-Gray Gareth Hudson Holly Hendry Kieran Connolly Laura Harty Leah Millar Nathaniel Coleman Perry Kulper Roberts Evans Tim Bell

Yearbook Contributors Jenna Sheehy Michael Bautista-Trimming Sarah Delap

Sponsors This year our thanks go to Faulkner Browns who have been kind enough to sponsor our end-of-year degree shows and publication. The Newcastle-based practice Faulkner Browns is our principle sponsor and plays a big role in the life of the School.

175

Student Initiative - NUAS / SIGNAL / PRAXIS / Fold NUAS / SIGNAL Newcastle University Architecture Society is the student-run representation body within the School. Representing just under 600 students, we work to provide opportunities that enhance our members’ education through programmes ranging from skills workshops, industry panel talks to one on one support. For many students in APL the society forms the heart of the School, bringing together students from across different stages with staff and practitioners in a casual environment. Every year we work to host a variety of events aimed to break up academic teaching including international trips, socials, and our annual Winter and Summer Balls. NUAS continues to go from strength to strength after winning runners up for ‘Best Departmental Society’ and ‘Most Improved Society’ by reworking how students perceive Architectural education, creating an enjoyable atmosphere outside of lectures to meet, discuss and challenge the industry sector. The society’s growth this year has continued to influence students across the region, working closely with other student architecture societies to host competitions and improve networking opportunities for our members. This year has also seen the introduction of SIGNAL, a collection of students from stage 1 to stage 6 who have paved the way for more student-led initiatives in the future. With the help of NUAS, the team have put on a small talk series, bringing in professionals from differing backgrounds – people like RIBA President-elect Alan Jones, Director of Levitt-Bernstein Architects Jo McAfferty, architectural artist Perry Kulper to name but a few. The movement has brought plenty of conversations into the school, a series of debates and architectural workshops enabled a newfound connection between postgraduate and undergraduate students. The Society wishes to thank all the staff of APL for their endless help and enthusiasm as well as the RIBA and our industry partners for their support. Our thanks also goes to our members, for without whom we simply would not of had the outstanding year we have had. Society 2018/19 President/SIGNAL: Jonathan Barker Secretary/SIGNAL: Ming Harper Treasurer: Ellen Willis Social Secretary(s): Niamh Lyons, Alice Cann Formals Officer: Heather O’mara Publicity Officer: Marc J Gutierrez Sports Secretary: Florence Niaga Lectures and talk/SIGNAL: Sasha Swannell Society 2019/2020 President: Shujaat Afzal Secretary/RIBA NE Rep.: Colin Rogger Treasurer: Quanah Clark Social Secretary(s): Milly London, Sam Coldicott Formals Officer(s): Eleanor Mettham, Emily Ducker Publicity Officer: Julian Djopo

PRAXIS PRAXIS is a student led collective co-ordinated through a collaboration between Signal and About. Design. The ethos of Praxis is to enable a collaborative learning environment between the students of APL and the communities in which we are situated, to facilitate genuine and positive change. The team has developed two key projects since the creation of Praxis in December 2018, engaging APL students with local design studio Plyable and the Star & Shadow Cinema. Our collaboration with Plyable engaged student design thinking with ideas surrounding educational furniture for architecture, providing a student voice within the reimagining of the architectural studio. This resulted in a student organised competition open to the whole school to gather ideas for how the furniture could be created. Our second ongoing collaboration with the Star & Shadow Cinema to develop a new Box Office will be a student-designed and student-constructed project, to be built using funds in collaboration with the GoVolunteer fund of Newcastle University’s Students Union. Praxis has worked alongside volunteers at the Star & Shadow to create a holistic collaboration culture of knowledge and skill sharing that benefits the cinema and wider creative community of Newcastle.

Fold Fold is a student led magazine initiative uniting the whole school under one voice to critique, promote and raise awareness. Through the medium of zine we intend to engage with issues across the school and beyond the walls of the studio, working in collaboration with NUAS and Signal to further participation within such initiatives. We aim to empower each student to speak critically about the bigger picture of architecture. Our aim is to issue Fold regularly, providing a consistent voice throughout the school. To make this a success it is crucial to have writers, photographers and graphic designers in each stage, both inside and out of the University, could this be you? If you wish to contribute in any way, please feel free to get in touch: Foldncl@gmail.com

176

177

faulknerbrowns.com faulknerbrowns.com

180

Newcastle University School of Architecture, Planning and Landscape Yearbook â&#x20AC;&#x2DC;19 Editorial Team Jenna Sheehy Michael Bautista-Trimming Sarah Delap Printing & Binding Statex Colour Print www.statex.co.uk Typography Adobe Garamond Pro Paper GF Smith Colourplan, Lavender, 350gsm First published in June 2019 by: The School of Architecture Planning and Landscape, Newcastle University Newcastle Upon Tyne. NE1 7RU United Kingdom w: www.ncl.ac.uk/apl/ t: +44 (0) 191 222 5831 e: apl@newcastle.ac.uk

Newcastle University School of Architecture, Planning & Landscape

2019