Yearbook 2018 by School of APL, Newcastle University

2018

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

Thinking-Through-Making Week

MArch 93 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

148

Contributors

184

NUAS

186

Sponsors

188

Welcome Graham Farmer – Director of Architecture

This book celebrates the achievements of students and staff whose hard work contributes to the innovative culture and inclusive atmosphere of this School. We have always promoted a broad range of interdisciplinary practices and specialisms within the study of architecture and this increasing diversity has fostered the wide variety of design and research included in this publication. Once again this year we have welcomed new full and part-time colleagues and collaborators and we have introduced numerous new teaching and research initiatives and integrated a wide range of new design projects and studios which have delivered some outstanding work at both undergraduate and postgraduate levels. The work presented here is founded on a wider infrastructure and environment that supports excellence; the development of a well-integrated curriculum with well-designed modules, high quality teaching, good facilities, a state-of-the-art workshop and exceptional support staff all contribute to the student and staff outputs that feature on the following pages. Notable curriculum developments this year include a major review and restructuring of our undergraduate technology curriculum led by Neil Burford. The changes we have introduced have sought to build both the confidence and competence of our students in this subject area and have resulted in an even deeper engagement with technological integration within our design studios. These positive changes sit alongside a major evolution in our History and Theory curriculum and this year, following proposals developed by Katie Lloyd-Thomas we introduced two initiatives to further strengthen research-led teaching in the BA. A new ‘dissertation project’ route allows students to engage with research through modes such as lab work and experiments, prototyping, film-making and creative practice, supported by a written report - a mini version of the creative practice PhDs we supervise in the School. And for the first time, students began their dissertation studies by choosing a dissertation elective – a series of weekly seminars that provide thematic, intellectual and methodological frameworks for their study. A wide range of colleagues from across the school offered a rich and varied range of electives based on their own research interests and disciplines. In their recent visit to the School our BA external examiners commended both of these developments as “exemplary” practices that were further adding to the distinctive learning environment at Newcastle. At postgraduate level our external examiners also described the quality, breadth and scope of work that our students produce through the dissertation and linked research modules as “exceptional.” These modules are indicative of the close connections between our teaching and the work of the Architecture Research Collaborative (ARC), the School’s established research group. Successful collaborations between researchers and students populate the pages of this yearbook from mapping studies of mega basements in London, to live build projects at Kielder, through to the development of renewal strategies for a small Italian town, or the careful recording of the spaces of the Newbridge Arts building prior to demolition. This has also been the first full year of use for our redeveloped workshop and those facilities have been fully exploited by this year’s cohort through a wide range of models and representational studies. Moreover, investments in new digital fabrication technologies have allowed students to explore a wider range of media, representation and production techniques which have further expanded the possibilities of their architectural imaginations. This spirit of experimentation has been superbly supported by our excellent professional support staff and special mention should go to Sean Mallen, who was shortlisted, and to Mark Halpin who won the ‘Professional Services Staff Member of the Year’ at the university’s Teaching Excellence Awards. These awards are organised by the Student’s Union and based on student nominations and it has been fantastic to see both of their efforts being so highly valued by our students. Our key mission is to equip graduates not just with the skills they need to enter the profession but also with skills to help them to stay ahead of a changing professional landscape during a long career. This ambition is founded on the recognition that design is a collective cultural endeavour that is best realised through a collaborative and dynamic approach to education in which all of our staff and students are active participants. We are privileged to be able to attract the highest quality staff and students, who in turn contribute a wide diversity of expertise, experience, interests and backgrounds and this helps to create an incredibly rich learning, teaching and research context. The work presented in this book is testament to this environment.

Charrette Charrette week starts the academic year, bringing a host of artists, architects, engineers designers and thinkers to the University to run a oneweek 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: FLUX / FLEX / FLUFF Highlights included; wearable devices which augment reality, plaster casts of architectural landmarks, a city light show and a giant lactating cow.

Charrette 01: Paper City, Flowing Light Gareth Hudson and Steve Dales

Charrette 02: Monuments to the Utopian Vision of Pets Archie Bell

Charrette 03: The Loop Sheds 22

Charrette 04: Parabolic Visions Matt Rowe

Charrette 05: F**** It Up Cara Lund and Michael Simpson

Charrette 06: Flex and Recover Yatwan Hui

Charrette 07: Charged Space Andrew Walker and Anan Hasam

Charrette 08: ReTyne TIbo Labat and Jane Lawson

Charrette 09: The Writing’s on the Wall Libby Makinson and Will Hartzog

Charrette 10: Liquid Vision James Longfield

Charrette 11: Don’t Fluff your Lins Andy Campbell and Dave Sherry

Charrette 12: Exhibit the Alphabet / Design the Street Ali Pritchard, Becky Wise and Ed Wainwright

Charrette 13: Curating APL Kieran Connolly

Charrette 14: MagSpace Stephen Parnell and Yasser Megahed

Text by Cara Lund

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 Whilst we naturally try and take some of the credit for the success of our students – the provision of well-integrated modules, excellent teaching, generous studios and a state-of-the-art workshop provision inevitably all help – arguably, it has more to do with Architecture being inherently a tremendously creative, varied and interesting subject. If we play one key role it is in actively seeking to attract students with a diversity of expertise, experience, interests and backgrounds. The combination of subject and students ultimately makes for a hugely rich learning and teaching environment. This year has seen some fundamental changes to the delivery of various non-design modules. The Architectural Representation module was largely undertaken at Beamish Open Air Museum, with input from photographers, artists, practitioners and the museum’s architectural staff. In addition, both the Architectural Technology modules have been completely revised and connections with the Design module strengthened with the introduction of ‘Hut’ - a new off-grid timber-constructed ‘bothy’ project located in Kielder Forest. Building on the experience of the last 18 months with Stage 1, plans are now afoot to undertake a more radical overhaul of the Design module for next year which we hope will prove to be suitably challenging and inspiring for all concerned.

Year Coordinators Martin Beattie Simon Hacker

Project Leaders

Elizabeth Baldwin Gray James Longfield Laura Harty Simon Hacker Neil Burford

Students

Hamza Ahmed Maria Aksenova Amir Ali Al Asadi Latifa Al Nawar Abu Borhan Mohammed Alahi Jordon Johnathaon Anderton Charlotte Elizabeth Ashford Pei Tung Au Talal Bader Raphael Logan Barber Jonathan Barker Charlie Barratt Katherine Emma Belch Samuel Mackenzie Bell Muhammad Eijaz Bin Norazim Jasmine Sophie Bishop Shuwardi Boon Seen Jacob Oliver Botting Malika Bouabid Alexandra Kathryn Heys Bramhall Tunu Maya N Brown Sarah Popsy Bushnell Kate Buurman Joseph James Caden Denisa-Iuliana Calomfirescu Alice Louise Cann Roxana Andreea Caplan Matty Carr-Millar Grace Carroll Hannah Constance Carson Celine Carucci Ka Hei Chan Yu-Chieh Chang Isabel Teresa Chapman Hong Tung Chau Zeyu Chen Jean Nee Chia Fu Kwong Franky Choy Katy-Ann Eleanor Claridge Anastasia Winifred Cockerill Jonathan James Barnaby Coekin Isabella Alice Colley Sophie Grace Collins Marcus William Cornelissen

Text by Simon Hacker

Jane Davies Lanna Jean de Buitlear Siriwardhanalage Navindu Deelaka De Saram Rory Patrick Durnin Colin Nils Elkington Tania-Cristina Farcas Leo Justin Watson Fieldhouse Kate Margaret Flower Kieran Miles Forrest Hope Frances Foster Shuk Yi Fung Oliver Joseph Gabe Mengyuan Gao Harry Goacher Jacob Timothy Weetman Grantham Jessica Carol Gregory Marc Justin Kabigting Gutierrez Junghee Han Callum Jacob Harker Emily Ming Orlando Harper William Alexander Quealy Harrison Hei Lok Hong Wei Hua Qixing Huang Hiu Kit Brian Hui Aysel Imanova Mirza Mhuhammod Imtyaz Paola Isabella Jahoda Ella Kate Johnson Rory Alexander Kavanagh Rana Mohammed Ismaile Khan Hyeonuk Kim Taein Kim Momoko Kotani Iliyan Kukutsov Hyelim Lee Yu Hua Lee Che-Yi Lin Jerrica Jou An Liu Niamh Mary Lyons Abbey McGuire Ethan James Medd Mariana Andrea Morales Munoz Daneshvaran Narayanasamy Florence Nancy Muwanga Nayiga Ka Ho Ng Sophia Kathryn Norbury Darcy Joy Norgan Alexander Adam Ollier Heather Annie O’Mara Victoria Aphra Lowsley Peake Danielle Marie Quirke Simran Ravindan Natasha Alexandra Rice Rhydian Ieuan Richards Aruzhan Sagynay Edward Harry Salisbury

Feyzan Sarachoglu Rachel Elizabeth Ann Sexton Po-Chen Shen Sin Ian Si Tou Alec David Smith George Salsbury Spendlove Sophie Charlotte Spoor Jurgen Xavier Springer Iulia Stefancu Yanchao Sun Sasha Omid Edward Swannell Jing Olyvia Tam Stephen Teale Cheng Wu Teo Alexander John Thompson Daniel Luke Thompson Tess Margaret Tollast Pak Hin Tsang Jonas Varnauskas Pascalle Veen Isabel Alice Vile Ella Lucy Waite Georgina Carol-Anne Walker Yingjin Wang Felix Frank Christopher White Hizkia Widyanto Ellen Marilyn Willis Xiao Lin Xie Zhi Xuan Yew Zacharias Yiassoumis Migle Zabielaite Linxi Zhao

Contributors See pg.184

Opposite - Kim Hyeonuk

Come On In Laura Harty

Precedent. Precision. Particularity. â&#x20AC;&#x2DC;Come On Inâ&#x20AC;&#x2122; invites you to inhabit, through studious discovery, seminal domestic buildings. This project promotes an understanding of a building through your hands precisely. The project asks that each student makes a model as a portion of a building. Working as a team, its particularities are addressed through co-ordinating dimensions and model making techniques. Sharing ideas, knowledge and skills both with the precedent architect and with colleagues, it celebrates a work of architecture as a group endeavour, invoking insights reached through communication and collaboration.

Top - Grace Carroll

Bottom - Charlotte Ashford

Top - Po Chen Shen Middle - Oliver Gabe Bottom - Yew Zhi Xuan

Inhabiting Interiority

Elizabeth Baldwin Gray and Laura Harty In this project, students analyse and develop their 1:50 plan, section, and elevation pen and ink drawing from their “Come On In” house into a conceptual spatial collage or composite drawing, inhabiting them with their own unique modularity. “The magic possibility of framing a certain space and time . . . the process of recording elements of three dimensions in the flow of time, and fixing them in a two-dimensional image, creates a new context. . .” – Lazlo Moholy-Nagy.

Top, left to right - Yew ZhiXuan, Denisa Calomfirescu

Bottom - Alvin Tsang

Top left to Bottom right - Georgina Walker, Franky Choy Fu Kwong, Roxana Caplan, Latifa AlNawar

The Chair and the Figure Elizabeth Baldwin Gray

In this project, students examine and draw a particular chair, relating it to the proportions of the human body. The project combines observational drawing of a static design element, with the study of human proportion in movement, looking in particular at the module of the human form and how it serves as a basis for architectural design. “A chair is only finished when someone sits in it” – Hans J. Wegner.

Top left to Bottom right - Wassily Chair: Aysel Imanova, EllaJohnson, Hyeonuk Kim, Muhammad Norazi, Wassily Chair: Shuwardi Boon Seen, Grace Carroll, Colin Elkington, Breuer Long Chair: Tania Farcas, Mengyuan Gao, Callum Harker, Yu Hua Lee, Raskl Bench: Roxana Caplan, Eames Chair: Sasha Swannell, Olyvia Tam, Pak Hin Tsang, Maria Aksenova

op left to Bottom right - Durham Cathedral Bishops Throne: Paola Isabella Jahoda, Durham Cathedral: Pascalle Veen, Durham Cathedral: Mariana Morales T Munoz, Breuer Wassily: Matty Carr-Millar, Celine Carucci, Shuk Yi Fung, Jessica Gregory, Durham Castle: Katherine Belch, Hannah Carson, Jonathan Coekin, Leo Fieldhouse

Hut

James Longfield and Neil Burford The first project of semester two examined the design in detail of a small, autonomous hut at Kielder Village situated to the northern end of Kielder Water. The hut was to be designed as an off-the-grid prototype shelter to support future recreational development of the park. The project was a vehicle to test different formal, spatial and aesthetic preoccupations and their technical resolution. Working in design teams, students were asked to consider alternative socio-economic occupation scenarios for recreational shelters as well as having to exemplify sustainable resource use, low impact construction, energy delivery, waste and recycling. As small-scale â&#x20AC;&#x2DC;micro architectureâ&#x20AC;&#x2122; the resulting designs occupy territory between the scale of furniture and architecture.

Group Exhibition

Group Work

Market Placed Simon Hacker

In this final project of the year, students are asked to design a small market and enterprise building for the university campus. The project takes the previously designed stalls which, together with a larger indoor hall, are then clustered and housed within a new longer-span structure to provide a more defined and permanent covered marketplace.

Top - Che-Yi Lin

Middle - Pascalle Veen

Bottom - Che-Yi Lin

Top - Jonathan Barker

Middle, left to right - Po-Chen Shen, Hyeonuk Kim

Bottom - Hyeonuk Kim

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

Katie Lara Cottle Demi-Jo Crawford Rebecca Sinead Crowley Chloe May Dalby Karishma Dayalji Project Tutors Erin Noelle Dent Dan Kerr Huyen Anh Do Amara Roca Iglesias Rodrigo Miguel Pereira Amy Butt Domingos Ceri Williams Grant Martin Donaldson Christos Kakalis Anya Beth Donnelly Gillian Peskett Alice Katherine Du Fresne Stella Mygdali Irene Dumitrascu-Podogrocki Amy Linford (semester 1) Alexandra Ellen Duxbury Oliver Chapman (semester 2) Odaro Ehide Eguavoen James Perry Amna Ahmad I M Fakhro Nita Kidd (semester 1) Emma Fernandez Ruiz Maria Mitsoula (semester 2) Isabel Lois Fox Andrew Stoane Samuel Fraquelli Nikoletta Karastathi Pak Lun Fung Claire Harper Ho Hang Ryan Fung Jess Davidson Kirin Gallop Jody-Ann Goodfellow Fine Art Tutors Thomas James Grantham Craig Hawkes Harry Charlesworth Groom Oliver Perry Xin Guo Isabel Lima Dohyun Ha Rosie Morris James Edward David Hall Harriett Sutcliffe Faith Mary Hamilton Will Stockwell Martina Dorothy Hansah Archie Bell Oliver Charles Harrington Gareth Hudson Leah Charlotte Harrison Adam Goodwin Victoria Louise Haslam Abigail Elisabeth Hawkins Tobias Evan Himawan Students Haziqah Hafiz Howe Joseph George Allen Wen Hua Huang Christopher David Anderson Harry James Hurst Amabelle Aranas Miruna Ilas Lucy Kay Atwood Rongzhen Jiang Hok Yin Au Sarah Alexandra Johnsone Sean Ryan Bartlem Seo Ruong Kang Sofia Binti Mohd Nasir Rachel Sophie Keany Afiqah Binti Sulaiman Rosa Sophia Kenny Emily Rachael Pendleton Birch Zhana Hristova Kokeva Aleksandria Bolyarova Sofia Kovalenko Sarah May Bradshaw Pui Hin Lam Madeleine Carroll Yeekwan Lam Milo Carroll Hing Nam Eunice Lau Liam Christopher Natalie Si Wing Lau EmilyCarty Sabrina May Lauder Yi May Chan Chi-Che Lee Philomena Chen Luk Chong Leung Tongyu Chen Ka Ching Leung Aaron Cheng Yiyun Liang Pok Ho Cheung Maegan Rui Qi Lim Qian Yi Choi Michelle Sie Ee Lim Anastasia Ciorici Shuchi Liu Sally Emir Clapp Junwen Luo Rachel Emmeline Clark Jianing Lyu Nathan Alan Cooke-Duffy Maharram Mammadzada George William Cooper Christos Kakalis Claire Harper Jennie Webb

Text by Claire Harper

Thomas McFall Cristina Alicia Gonzalez Mitcalf Yingyeung Mo Anna Moncarzewska Anna Moroney Emily Jane Morrell Kareemah Muhammad Ka Chun Ng Megan Frances Nightingale Solomon Olufemi Adeyinka Ofoaiye Burcu Oglakci Oyinkansola Omotola Wen Ying Ooi Shivani Umed Patel Natalie Beata Piorecka Patricia Prayogo Kristin Olivia Read Cameron Reid Holly Kate Rich Flora Rose Sallis-Chandler Assem Saparbekova Angela Savistki Atthaphan Sespattanachai Hassan Mehboob Sharif Chi Shen Luke Tim Jonathan Shiner Emily May Simpson Ewan Mark Smith Karolina Smok Chunyang Song Sienna Poppy Sprong Peter Thomas Staniforth James Michael Stokoe Elizaveta Streltsova Vito Benjamin Sugianto Mohini Devi Tahalooa Yun Tak Tam Shaunee Lyn Tan Will Peter Tankard William Harry Taylor Sophie Tilley Akihisa Tomita Sofia Grace Turner Yahsi Eda Vatan Ruth Niamh Angele Vidal-Hall Anna Volkova Sophie Agnes Wakenshaw Matthew Chi Ming Warrenberg Kate Asolo Woolley Shuli Wu Edward Benedict Yaoxiang Yan Man Chi Yeung Xueqing Zhang Zhong Zheng Jingyi Zhou Xingyu Zhou Erya Zhu

Contributors

Neil Gillespie Sam Boyle Nicholas Taggart Jamie Anderson Ed Wainwright Katie Lloyd Thomas Prue Chiles Neil Burford

Opposite - Matthew Chi Ming Warrenberg

At Home in the City Claire Harper The first semester project, ‘At Home in the City’, asked students to consider housing as a module of the city. Beginning with a disused industrial site in Edinburgh’s Port of Leith, students were asked to work across scales from the neighbourhood to the house to the threshold.

Top - Ka Ching Leung

Bottom - Ewan Smith

Top - Sally Clapp

Middle - Sally Clapp

Bottom - Kate Wooley

Engineering Experience Edward Wainwright Semester two began with a three-week collaborative project between architects, artists and engineers which started students 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 Based in Durham, ‘Materiality and Experience’, in semester two took a site within Durham, and asked students to explore spatially a condenser of experience – a public building that becomes a site of spatial richness and developing programmatic complexity.

Top Left to Right - Edward Yan

Middle - Matthew Chi Ming Warrenberg

B ottom - Tobias Evan Himawan, Atthaphan Sespattanachai

Top Left to Bottom Right- Matthew Chi Ming Warrenberg, Atthaphan Sespattanachai, Yun Tak Tam, Irene Dumitrascu, Yun Tak Tam

Stage 3 Stage 3 continues the recent tradition at Newcastle for year-long studios and students were again given a choice of nine studios. Each studio was taught by a pair of tutors – comprising varied combinations of academics, practitioners and guest specialists – who set themes that broadly reflect their practice and research interests. Whilst the studios were quite different in emphasis and methodology, they all follow a similar programme and all students are expected to produce a complex building which synthesizes theory, representation and technology. The studios followed the now established pattern of a five-week primer, followed by ‘staging’, ‘realization’ and ‘refinement’ stages. The primer typically sets the broader studio themes and then during the staging phase (which includes field trips) the students develop their own individual briefs. Studios this year ranged from temporary cultural facilities in Sunderland to ecological palaces in Venice, traditional and contemporary craft centres in Newcastle to reimagined town halls in Elephant and Castle. International field trips have become an increasingly popular aspect of the Stage 3 experience and this year was particularly successful, with field trips to Porto, Venice, Rotterdam, Berlin, Venice and Utrecht. This year Stage 3 benefitted from a continued focus on technology with a number of new initiatives including collective field trip case studies, a larger technical symposium and new technology reports. Year Coordinators Matthew Margetts Cara Lund

Project Leaders

Amy Butt Anna Czigler Andrew Ballantyne Andy Campbell Cara Lund Christos Kakalis Colin Ross David McKenna Ivan Marquez Munos Josep Maria Garcia Fuentes James Longfield Juliet Odgers Kati Blom Kieran Connolly Luke Rigg Matthew Margetts Michael Simpson Rachel Armstrong

Students

Aaron Gustav Swaffer Abigail May Smart Alesia Berahavaya Alysia Lara Arnold Arran James Noble Bahram Yaradanguliyev Benedict Wigmore boris larico villagomez Brandon Athol Few Callum Robert Campbell Calum James Luke Charlie William Donaldson Cheng Wan Mak Chi Lam Cheng Ching Wah Hong Chou Ee Ng Chow ka chun rico Ciara McClelland Cooper Taylor Danielle Berg Darcy Eleanor Arnold-Jones David Michael Gray David Richard Osorno Göz Dora Farrelly Eleanor Waugh Elliot Dolphin Elliot Hawrot Elliott Crowe Eloise Coleman Emily Catherine Child Emily Spencer Emma Kemp

Text by Matthew Margetts

Emma Moxon Ethan John Archer Euan McGregor Eve Kindon Farrah Colilles Finlay Lohoar Self Freya Emerson Gemma Louise Duma Grace Charlotte Ward Hannah McAvoy Harry Cameron Tindale Harry Robert Henderson Hazel Ruth Cozens Helena Taylor Henry Cahill Ho Sze Jose Cheng Hoi Yuet Chau Huiyu Zhou Ibadullah Shigiwol Ioana Buzoianu Irvano Irvian Jack Sweet Jake Williams-Deoraj James Edward Bacon James Gillis Jamie Schwarz Jay Hallsworth Jemima Alice Smith Jerome Sripetchvandee Jhon Sebastian Valencia Cortes Jia Lun Chang Jiewen Tan Joanne Lois May Cain Joel Pacini Jonathan Pilosof Jordan Paige Ince Jose Diogo Marques Figueira Joseph H N Elbourn Joshua Willem Jago Knight Jun Tao, Gerald Ser junyi chen Ka Hei Chan Kai Lok Cheng Katie Ann Elizabeth Campbell Katy Rose Barnes Kieran Harrison Kiran Basi Konstantins Briskins Kotryna Navickaite Leung King Chi Levente Mate Borenich Liam Davi Liam Kieran Rogers Lilian Winifred Davies Luc James Askew-Vajra Malgorzata Nicoll Szarnecka Man Cheong Gabriel Leung Mathilda Durkin Matilda Barratt

Matthew Edward Harrison Matthew Oliver Ward meina zhang Mengxian He Monica Said Nadia Young Nancy Marrs Natasha Trayner Ng Chun Yin Nicholas Juan Tatang Nikshith Reddy nitichot setachanadana Nophill Damaniya Olga Barkova Pablo Wheldon Phoebe Shepherd Polina Morova qian wang Qian Zhao Rachael Helena Jeanette Burleigh Rachel Marie Cummings Rachel Spencer Rebecca Glancey Rebecca Jean Maw Reece Oliver Robert Ashworth Rowena Covarr Rufus Wilkinson Sam Hawkins Sam McDonough Samuel George Brooke Semi Han Shien Min Gooi Shihao Quan Siriwardhanalage De Saram Siroun Elise Button Sophie Graham Steven Lennox Susanna Emily Jane smith Tam Wing Yung Janet Tanya Naresh Haldipur Tashanraj Selvanayagam Tian Hong Kevin Wong Tian Yee Lim Toghrul Mammadov Wong Wing Kin, Martin Xi Lin Xuanzhi Huang Yien Ling Yuan Xu (Kraus) Yue Ching Nam Yuehua Wang Yuze Tian Zehua Wei Zhidong Liu

Contributors See pg.184

Opposite - Ho Sze Jose Cheng

Studio 1 - Getting Away From It All Colin Ross and Michael Simpson

The studio is led by Colin Ross and Michael Simpson. Both practicing architects, they have a shared interest in cross disciplinary design which encourages students to develop an expanded creative practice beyond building focussed architectural outcomes. Studio ambitions were to a) explore design across scales and disciplines with â&#x20AC;&#x2DC;buildingâ&#x20AC;&#x2122; as a centre of a layered design response, b) discover coast and community through a process of immersive, collaborative study with peers and c) create a tourist destination to boost local economy - a tool for regeneration with local, regional or national focus.

Top - James Bacon

Middle - Callum Campbell

Bottom - Olga Barkova

Top - Yien Ling

Middle - Jonathan Pilosof

Bottom - Jonathan Pilosof

Top - Nicholas Juan Tatang

Middle - Yien Ling

Bottom - Brandon Few

Left - Callum Campbell

Right, top to bottom - Brandon Few (2), Jonathan Pilosof

Studio 2 â&#x20AC;&#x201C; Rituals and the Unconscious Kati Blom, David McKenna and Hugh Miller

In Rituals and the Unconscious students designed a small tea ceremony room in a site in Tynemouth. After developing spatial themes and landscape strategies from this intervention, they continued to design a craft or an architecture school using the same site. A Japanese joinery workshop helped with concept development.

Harry Robert Henderson

Top - Ho Sze Jose Cheng

Middle - Emily Spencer

Bottom - Henry Cahill

Top - Darcy Eleanor Arnold-Jones

Bottom - Rachel Marie Cummings

Left, top to bottom - Henry Cahill (2), Emily Spencer

Right, top to bottom - Darcy Ekeanor Arnold-Jones, Rachel Marie Cummings

Studio 3 - Culture and Legacy - Stoke vs Sunderland Matthew Margetts and Cara Lund

This year the studio explored the notion of ‘intangible infrastructures’ – i.e. background societal systems and processes – through the ‘Cities of Culture’ initiative. Rival bidding cities of Sunderland and Stoke were selected with approximately half the students located in each city. Neither city was ultimately successful (unlike the studio!) – but this was beneficial in testing the studio’s central theme of designing for change. Influenced by Cedric Price’s Fun Palace the students have been challenged to explore themes around permanence, change, adaption and engagement. Projects were encouraged to consider change over time – whether day to night, long term legacies, and ultimately what might happen if neither city was considered a ‘city of culture’.

Top - Ka Hei Chan Bottom - Polina Morova

Top - Finlay Lohoar Self

Middle - Sam Brooke

Bottom - Arran James Noble

Top - Polina Morova

Bottom - Freya Emerson

Top - Freya Emerson

Left, top to bottom - Freya Emerson, Emma Moxon, Kiran Basi

Right - Harry Cameron Tindale

Studio 4 - Enclosed Order

Ivan Marquez Munoz and Christos Kakalis The Enclosed Order studio proposed an investigation of monastic architecture, divided into two main stages: In the first stage, students were asked to define the individual character and the community that will inhabit the suggested complex, being required to imagine, formally explore and design the unit/monastic cell that this character is going to inhabit, emphasising its atmosphere and intangible qualities. In the second stage, students were asked to design a monastic/retreat complex based upon the line of enquiry developed in the first stage, refining their own briefs and narratives.

Liam Rogers

op left to Bottom right - Jose Diogo Marques Figueria(1), Irvano Irvian(2), Aaron Swaffer(1), Liam Rogers(2), Nitichot Setachanadana(2), Calum James T Luke(1)

Top - Calum James Luke

Middle - Calum James Luke

Bottom - Irvano Irvian

Top - Jose Diogo Marques Figueria

Middle, left to right - Nitichot Setachanadana, Aaron Swaffer

Bottom - Jose Diogo Marques Figueria

Studio 5 - Future City

Kieran Connolly and Luke Rigg Future City takes a critical stance against current attempts to regenerate Newcastle, which we see as being generic in their architectural ambition, lacking social agendas and seemingly benefitting only private investors. Taking the East Pilgrim Street (EPS) development zone as our site, studio contributors have developed and proposed a variety of alternative â&#x20AC;&#x2DC;futuresâ&#x20AC;&#x2122; for the city. The proposals incorporate mixed-use programmes, inclusive of local businesses, cultural organisations and social groups that are frequently marginalised in private real estate development. The projects documented over the following pages demonstrate creative, effective and rich architectural proposals that critique and challenge prevalent attitudes to contemporary city planning and architectural design.

Mathilda Durkin

Left, top to bottom - Gemma Duma, Matthew Ward, Jack Sweet

Right - Huiyu Zhou

Top to Bottom - Junyi Chen, Matthew Ward, Jack Sweet

1:50 Section Atmospheric technical section showing materiality and inhabitation

View of retail units

View from studio within flat

el structure 86

Top - David Gray

Middle - Emma Kemp

Bottom - Toghrul Mammadov

Studio 6 - The New Outlook Tower: Building Upon Building Josep Maria Garcia-Fuentes and Andrew Ballantyne

This studio explores experimental preservation. It understands architecture and preservation are both placed within a cultural continuum and are the outcome of a complex cultural, social and political struggle, and investigates these ideas through the design of a major addition to or the transformation of a heritage building, Patrick Gedderâ&#x20AC;&#x2122;s Outlook Tower in Edinburgh. 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 might or might not be extended, enriched or transformed and reshaped by the new addition.

Pablo Wheldon

Left, top to bottom - The Outlook Tower, Chou Ee Ng

Right, top to bottom - Chou Ee Ng, Joseph Elbourne, Jemima Alice Smith

Top - Jhon Sebastian Valencia

Middle - Jemima Alice Smith

Bottom - Liam Davi

Left, top to bottom - Pablo Wheldon (2), Malgorzata Nicoll Szarnecka

Right, top to bottom - Levente Mate Borenich, Malgorzata Nicoll Szarnecka

Studio 7 - Palaces of Ecologies

Andy Campbell and Rachel Armstrong ‘Palace of Ecologies’ explored the concept of ecology and the notion of ‘palace’ as contested centres of communal activity. Based on two field trips, projects emerged through the production of prototypes, models, stories and field studies. The first site, in Washington Wetland Centre, 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 was the Sant’Elena football stadium in Venice, which embodied an interface between complex human and non-human ecosystems, from which a diverse range of ‘palaces’ emerged.

Top - Benedict Wigmore

Bottom - Abigail Smart

Top - Hannah McAvoy Left, top to bottom - Dora Farrelly, Abigail Smart

Right, top to bottom - Cheng Wan Mak, Danielle Berg

Top left to Bottom right - Hannah McAvoy, Benedict Wigmore(2), Dora Farrelly

Top left to Bottom right - Hannah McAvoy, Cooper Taylor, Cheng Wan Mak, Tanya Naresh Haldipur

Studio 8 - The Space of Fictions Amy Butt & Anna Czigler This studio is a celebration of the utopian potential of architectural design; not as a vehicle to propose totalizing visions but as a means to create sites of possibility. In this spirit, these projects set out to uncover utopian fragments within the everyday to develop design proposals that celebrate the possible. Our site in Elephant and Castle is an area of rapid and radical change, necessitating projects which develop a position towards processes of urban transformation. In response, we engaged with local communities using on-site installations to unpick social histories embedded in the material of the city and identify existing spatial experiences to celebrate or cherish. Our focus is the re-provision of the displaced public functions of the partially destroyed Walworth Town Hall, which formerly hosted a library, local history museum and an anthropological museum. These displaced public functions are re-provisioned and re-imagined in these projects in proposals which engage with the construction and curation of social narratives.

Nancy Marrs

: 08

: 04

jakub geltner ‘nest’ installation series Jakub Geltner is an artist who is renwoened for adding his ‘nest’ of CCTV cameras to contemporary buildings and pubic spaces. This installation series responds to the context of our site in Elephant and Castle as a place of heavy camera surveillance. I was struck particularly by the idea of translating this work into a series of camera obscuras, where residents are afforded the opportunity to look through the lens of the camera, as opposed to being on the other side of the lens.

(right) showing how the incident light diffracts light around the exhibition room in section view.

(below) a selection of glass artefacts tak archive

fig. 5

fig. 4

glass exhibition diffracting light The glass exhibition room is angled in such a way to capture the incident sunlight into and around the space. Positioning the glass exhibition room on the south-westerly facade of the building is a deliberate move as it requires sunlight to soak the space, in reference to the opacity and trasparency of glass. The model photo above shows how the sunlight could diffract through the glass objects around to the back of the room, fragmenting the colours that make up both the light and the object.

camera obscura A camera obscura is a device that can be designed in a variety of sizes based on the desired magnification or focus to be achieved. We liked the idea of enabling residents to construct new experiences of their area, so set about making a series of obscura that people could interact with to view their surroundings in new ways.

138 / 200

This utilises the same framing methodology as our previous site observations, as the obscura, in the same way as tin foil, acts as a medium between peoples vision and the physical environment. Diagram of obscura converging lens

fig. 6

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op - Group work: KonstantinsBriskins, Katie Campbell, BahramYaradanguliyev Middle, left - Group work: Eve Kindon, Reece Oliver, Yuehua Wang, T Middle, right - Reece Oliver B ottom - Katie Campbell

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Concept Collage

Merging two gems of cultural significance to create a landmark, a statement and bring different communities of Elephant & Castle together.

Elephant & Castle imagined in a regressive futuristic scenario

Top - BahramYaradanguliyev

Elephant & Castle imagined in a progressive futuristic scenario

Middle - Group Work: Eloise Coleman, Ciara McClelland, Elliot Crowe

Bottom, left to right - Lilian Davis, Konstantins Briskins

1. Roof 6mm polycarbonat system) recessed gutter 150mm timber louv 300mm glulam bea

2. Inner wall parap 1.5 mm single-ply r 60â&#x20AC;&#x201C;307 mm PIR rig vapour retarding la 2 mm anodized-alu Rain water channe - Outer wall parape anodised aluminium 2 mm anodized-alu anodized-aluminium 60/60/4 mm timber

3. 40mm transluce with clear caps on 90mm/150mm glul 70mm/90mm glula 70mm/70mm glula spray insulated bra

9645

Top - Katie Campbell

Bottom, left to right - Kevin Wong, Natasha Trayner

Studio 9 - Incubate/Iterate

James Longfield and Juliet Odgers Engaging with a dynamic site in the centre of Newcastle, our studio asked students to engage with themes of craft, making and socio-economic relationships between spaces of creative production and the wider city. Through a close reading of spaces of creative production and making, students were required to develop an â&#x20AC;&#x2DC;incubatorâ&#x20AC;&#x2122; scheme - offering low cost space and facilities to start-up enterprises working in creative industries. The studio foregrounded making practices as a methodology, aiding students to develop both a material empathy as well as a familiarity with the issues of inhabitation that they were designing for.

Ethan Archer

Top - Hazel Ruth Cozens

Bottom - Charlie William Donaldson

Janet Tam Wing Yung

Top - Ethan Archer

Middle - Luc James Askew-Vajra (3), Ethan Archer

Bottom, left to right - Joel Pancini (2), Janet Tam Wing Yung

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 nine studios included (at least) one European destination. Studio 1: Getting Away From It All Northumberland Rotterdam Utrecht Amsterdam

Studio 2: Rituals and the Unconscious Helsinki JyvĂ¤skylĂ¤ Turku

Studio 3: Culture and Legacy Hull Rotterdam Delft Stoke Sunderland

Studio 4: Enclosed Order Athens

Studio 5: Future City London Hamburg

Studio 6: New Outlook Tower Rome Venice Edinburgh

Studio 7: Palace of Ecologies Venice

Studio 8: Space of Fictions London Berlin

Studio 9: Incubate, Iterate Lisbon Porto

BA Architecture & Urban Planning (AUP)

Andrew Law & Armelle Tardiveau â&#x20AC;&#x201C; Degree Programme Directors

The BA (Hons) Architecture and Urban Planning programme is radically interdisciplinary and offers an integrated approach to both Architecture and Urban Planning. This dynamic course has evolved since its inception in September 2013 and has benefited from the meaningful feedback and reflections of past and current students, as well as the commitment of an invaluable team of design and planning staff. Underpinned by histories and theories of alternative practice, the design and planning programme focuses on alternative approaches to the built environment which have included ideas relating to co-operative planning and architecture, co-operative communities and self-build. The degree has also explored issues relating to social design, relational approaches to place, creative practice as a form of enquiry, twentieth century heritage and healthy living. Key to our programme is the breadth of modules on offer so that students can fashion their own BA, which relate to alternative approaches in wider fields such as social enterprise, film studies, cultural studies, sociology and anthropology. The programme has been praised for pushing the boundaries of the subject of architecture and urban planning. We are determined to push these further so that students become active and critical agents of the built environment in their future careers.

AUP Stage 1 The design projects together with the ‘Introduction to Architectural History’ and ‘Architectural Technology’ modules are shared with Stage 1 BA Architecture ensuring that AUP students are familiar with existing architectural practice, discourse and culture. As such, the artists and design contributors from Architecture provide an invaluable input and grounding into the first year programme. Stage 1 AUP runs its own specific set of design projects, giving us the opportunity to frame briefs at the intersections of architectural design and urban thinking. Four projects were designed to build students’ skills and techniques in anticipation of their first foray into design with a project bringing all skills together with a focus on simple environmental and landscape considerations. The new technology modules in semester one and two innovatively engages the students in a conceptual and physical understanding of technology through essays and models of existing practices and precedents. To complement this experience, students were taken to Dilston Woods in Northumberland to build a lean-to as part of the Histories of Alternative Practice module.

Project Leaders

Armelle Tardiveau David McKenna Elizabeth Baldwin Grey James Longfield Kati Blom Sean Douglas

Stage 1

Sarah Al Hasan Razan Al Hinai Richard Allen Kelly Andwa Sam Bell Will Bell Norliyana Norfadelizan Sarah Bird Adam Blacknell Matthias Bohr Nicholas Casey Jingwen Chen Sam Elliott Ruby Ellis Peiyun Fu Akhila Shamanur Henry Gomm Matthew Howard Austin Huang Jianbo Huang Anna Jones Reuben Jones Tham Kiengvarangkoon Kushi Lai Lok Ming Law Charlotte Maynard Jake McClay Bethany Meer Alexander Mewis Rasel Miah Bhumit Mistry Miranda Muhajier Samantha Owen Jeongyeon Park Dominic Payne Amruta Satre Kaniz Shanzida Milena Sharkova Jessica Tiele Leila Udol

Robert Walker Janet Wolf Charlie Wong

Contributors

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

Text by Armelle Tardiveau

Opposite - Austin Huang

Reading Into/Drawing From James Longfield

A close reading of Ambrogio Lorenzettiâ&#x20AC;&#x2122;s famous painting of Sienna - The Effects of Good Governance in the City - through a process of modelling the painting as 3D space, introduced students to modelling techniques while hosting discussions around public and private space, socio-economic contexts and material considerations that inform the realisation of architecture and the urban realm.

Group Work

Measured Drawing Kati Blom

The second project introduces the conventions of orthographic drawings and other two dimensional media using a space in campus as a survey location. Students not only measure a site, but they also record and discuss their own impressions using photographs, observational drawings and short texts. The reiterative process of hand drawing establishes studentsâ&#x20AC;&#x2122; understanding of the importance of two dimensional abstract representation.

Left - Henry Gomm

T op, left to right - Bethany Meer, Janet Wolf

B ottom - Jingwen Chen

Architecture Occupied Laura Harty

By re-modelling seminal pieces of urban architecture - Jorn Utzon’s Fredensborg Houses, Peter Salter’s Walmer Yard, Hertzberger’s Diagoon Dwellings + Copper Lane Co-housing by HHR - students learnt to make a connection between the real and the imagined, resulting in a personal occupation of these projects through their own collages and photographs.

Top left to Bottom right - Exhibition, Austin Huang, Reuben Jones, Bethany Meer

Measure

David McKenna There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest dates from the early 1800s and coincide with the founding of the University. Measure required the design of a 15th boat house and cafe that would form a gateway from the city centre to the University playing fields with particular consideration given to sunlight and floodwater.

Top, left to right - Kushi Lai

Middle - Jingwen Chen

Bottom - Adam Blacknell

Co-created City Ed Wainwright

Negotiating a clash of urbanisms in Gateshead - top-down private development at Trinity Square and the grassroots arts collective of the Newbridge project - formed the context to this project. On-site workshops with the studio holders at Newbridge helped students establish a brief for a threshold space to act as a connecting public foyer between the project and the formal urban realm of Trinity Square. Design proposals were then presented back to the artists in a final review held in the studio spaces, as well as members of the public through outdoor projections of student work.

Top, left to right: Jingwen Chen Botttom: Rueben Jones

Top, left to right: William Bell, Kaniz Shanzida & Amruta Satre Bottom, left to right: Jessica Tiele, Kushi Lai

AUP Stage 2 Delving into greater depth in the alternative practice ethos, students develop further critical thinking by being exposed to theories pertaining to architecture and planning in the widest possible range of cultures and social groups. Positionality in both theory and design becomes a leading aspect of the AUP Stage 2. In addition, students are provided the opportunity to choose from a variety of options so that they can carve their own career path and further develop skills and imagination in design projects but also specialisms in planning, social enterprise, poverty and informal housing as well as sociology and the politics of urban space. The optional field trip to the Netherlands is a highlight of semester two where students are exposed to alternative practice projects and governance methods as well as sustainable approaches to the built environment. Project Leaders Rutter Carroll Sarah Stead

Stage 2

Aimee-Anna Akinola Mohammad Hassan Cherry Au Julian Baxter Farah Ashraf Nik Azman Salar Butt Daniel Carr Samantha Chong Chloe Cummings Dwayne De Vera Wenjing Deng Abell Ene Andrew Fong Zhongqing Gu Ryan Hancock Luis Menezes Pataca Maisie Jenkins Fabian Kamran Karl Lam Dongjae Lee Matthew Li Dianne Odede Henry Oswald Ellis Salthouse Nur Salymbekov Karim Shaltout Juliette Smith Ella Spencer Oliver Timms Emma Van Der Welle Andrew Webb

Contributors

Sarah Stead Xi Chen Ziwen Sun Nikoletta Karastahi Daniel Mallo Rutter Carroll Sophie Ellis Xi Chen James Longfield

Text by Armelle Tardiveau

Opposite - Group work: Karim Shaltout, Ella Spencer, Andrew Webb

Mappable Traces

Sarah Stead, Xi Chen and Ziwen Sun This project invited students to explore how architecture and urban space are experienced and re-used by the public. This fundamentally turned studentsâ&#x20AC;&#x2122; curiosity and speculation to re-think the existing static spatial terms as a series of urban transitions, itinerant everyday activities and moveable apparatuses. By mapping these uncertainties and engaging with the public, students initially provoked, sliced or experimented with various ideas around the Laing Gallery, Newcastle. These insights informed the subsequent project, which was to design small transformational architectures that could create an event to engage, intervene, or mediate the public in heterogeneous ways.

Top - Karim Shaltout

Bottom - Andrew Webb

Top: Daniel Carr

Middle: Group Work: Chloe Cummings, Andrew Webb, Dongjae Lee

Bottom: Samantha Chong

Theory and Form

Rutter Carroll and Sophie Ellis The module considered the development of architectural expression in response to the economic challenges and social optimism that characterises the post war North East region. Students were asked to consider a theory and form approach in the submission of an essay and design project pursuing a strategy for the re-use/ conversion/extension/adaptation of an existing building from the period on Tyneside. The Claremont Tower and Daysh Building, by Sheppard, Robson & Partners, (completed in 1968), a key project from the post-war period in the region on the University campus, was identified for study and analysis by allowing students to assess the design through a series of lectures, visits, seminars, design analysis tutorials and exercises.

Top right - Group work: Julian Baxter, Daniel Robert Carr, Ellis Matthew Salthouse, Oliver James Timms Top left and Bottom - Group work: Farah Madiha Binti Ashraf, Nik Amanda Farhana Binti Azman, Chloe Savannah Cummings, Dianne Kwene Aku Odede

Top - Group Work: Ryan Hancock, Karim Mohamed Khairy Shaltout, Ella Sophia Spencer, Andrew Thomas Webb Bottom, left to right - Group work: Salar Butt, Dwayne Joshua, Afable De Vera, Abell Eduard Ene, Andrew Fong, Group work: Julian Baxter, Daniel Robert Carr, Ellis Matthew Salthouse, Oliver James Timms

AUP Stage 3 The dissertation is the only compulsory module in the third year. Here, students further develop their research skills through social science or creative practice methods to underpin an independent piece of research. Students who choose a design pathway are provided with the opportunity to put theories of alternative practice into live practice by being encouraged to develop their work, in dialogue, with a community or a client. Meanwhile the array of optional modules widens and the students can build upon and consolidate a variety of academic themes that were developed in the earlier stages of the programme: such as themes relating to housing, politics, homelessness, design and/or sociology and politics. The Erasmus Exchange offers a chance for students to engage with different yet complementary pedagogical approaches. This year KTH Stockholm was the favoured destination. Furthermore, to engage students in considering their next step in professional or academic life, practitioners and agents of the built environment are invited to talk to the students about their work. Finally in this final stage of their programme students also greatly benefit from Newcastle Universityâ&#x20AC;&#x2122;s career services.

Project Leaders Armelle Tardiveau Daniel Mallo Tim Townshend Smajo Beso

Stage 3

Minnie Bates Joshua Beattie Zeynab Bozorg Fatma Celebi Junqiang Chen Van Tabigue Consul Abbey Forster Richard Gilliatt Ahmet Hayta Hannah Hiscock Ben Johnson Jeff Korworrakul Minsub Lee Sanghyeok Lee Flynn Linklater-Johnson Georgia Miles Bunkechukwu Obiagwu Racheal Modupeayo Osinuga Michael Rosciszewski Dodgson Jing Su Sahir Thapar Ryan Thomas Sonali Venkateswaran Theodore VostBond Shaoyun Wang Emily Whyman Ka Hei Wong Winnie Wong Ting En Wu Sutong Yu Adil Zeynalov Jieyang Zhou

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

Text by Armelle Tardiveau Opposite - Group work: Van Abner Tabigue Consul, Bunkechukwu Chiagoziem Obiagwu, Winnie Wing Yee Wong, Richard George Gilliatt

Housing For Vulnerable Populations Tim Townshend

There is an acute need for facilities for those coping with/recovering from addiction. Alcohol and drug problems are prevalent in all walks of society and Newcastle has higher rates than the national average. Newcastle City Council intends to work in partnership with a care provider to develop a health, well-being and recovery hub at Western Lodge – a former park keeper’s cottage - located on the west side of Leazes Park, adjacent to the City Centre. The hub will provide access to dedicated recovery activities. Adopting the Council’s brief, the project explored the complexities of providing a well-being and recovery hub for service users and their families - which meets the needs of those service users and providers in a stimulating, enjoyable, safe and appropriate environment.

op - Just Five: Winnie Wong, Eric Wu, Van Consul, Jieyang Zhou, Minsub Lee T Bottom - WE: F. Beyza Celebi, Ahmet Hayta, Adil Zeynalov, Sonali Venkateswaran, Ka Hei Wong

op, left to right - Just Five, Self Builders: Sutong Yu, Shaoyun Wang, Jing Su, Junqiang Chen T Bottom - FAB: Zeynab Bozorg, Sahir Thapar, Bunkechukwu Obiagwu

Middle - WE

Co-Production of Space: Probing the Future Daniel Mallo and Armelle Tardiveau

The Ouseburn Community Emerging project explores the socio-spatial relations between the residents of the Malings, a pioneering housing scheme in the Ouseburn Valley (Newcastle upon Tyne), and the creative and artistic scene nestled in this culturally vibrant pocket of postindustrial land. Through a participatory design process, encompassing the creation of open-ended inspirational prompts, students captured, traced and revealed urban narratives that culminated with the design and installation of urban prototypes. Over the course of a day, these interventions, with evocative titles such as ‘soft boundary’, ‘whouseburn’, ‘frame it’, ‘centre point’, ‘the collectors’ or ‘Ouseburn market’, sparked dialogue and intrigue while making community desires visible.

Group 1: Minsub Lee, Sanghyeok Lee, Ting En Wu, Jeffery Korworrakul

Top: Group 5: Junqiang Chen, Jing Su, Shaoyun Wang, Sutong Yu Bottom: Group 2, Group 4:Van Abner Tabigue Consul, Bunkechukwu, Chiagoziem Obiagwu, Winnie Wing Yee Wong ,Richard George Gilliatt

Middle, left to right: Group 2: Ahmet Halil Hayta, Ka Hei Wong ,Fatma Beyza Celebi, Adil Zeynalov, Group 4 (2)

Thinking-Through-Making Week Thinking-Through-Making Week continues our theme of collaborations with artists, engineers, architects, musicians, thinkers and makers. The week is for final year BA students in the second semester of the year. With a focus on material and making, this week-long series of lectures and workshops asks students to approach architecture through the process of making and drawing at large-scale, bringing material back to the core of architectureâ&#x20AC;&#x2122;s exploration. Workshop Groups Augmented Reality Ceramics Arduino & Coding Forming & Casting Film Making & Programming Brick Making Interaction Design Carpentry Lighting Design Carving

Workshop Leaders Irene Brown Helen Brown Holly Hendry Alistair MacDonald James Longfield Louise Southwell Russ Coleman Leah Millar Gloria Ronchi Andrew Walker

Engineering Symposium Lecturers Mark Johnson Paul Bussey Paul Blake Liam Proudlock Tim Bailey John McAulay

Design Series Lecturers Ben Elliot Ceri Williams Iona Howell Siobahn Oâ&#x20AC;&#x2122;Boyle Paul Rigby Kieran Gaffney Hazel McGregor Dan Kerr Jenny Kingston Grace Choi Nick Peters Freddie Armitage Reshma Upadhyaya James Anderson Bernadette Devilat Sam Manton Emily Pearson Fiona MacDonald Jenny Lee Adam Kalopsidiotis Preena Mistry Sophie Baldwin Babo Ibrahim Clare Bond Hayley Graham

MArch Steve Parnell – Degree Programme Director

Architectural practice and education is way more complicated and diverse than it 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 43 validated schools offering RIBA Part 2 courses and the total number of students at all levels has increased by about 20% over the past decade to around 15,500 today. This might seem surprising considering the increase in student fees to £9,000 in 2010 and the recent headlines in the Architects’ Journal revealing that architects’ average annual salaries trail those of not only other consultants in the design team, but also tradesmen on site. And while most of the public don’t have a clue what architects actually do, and architects are 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 this year. As the Programme Director of the MArch, if I consider all this alongside the RIBA’s statistics that only around half of students starting a Part 2 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 2-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. The MArch is run horizontally, with Stage 5 concentrating on one design project based in Vienna in each semester. The first semester concentrates on the urban fabric, and the second on building fabric. The year-long design studio in Stage 6 then allows students to concentrate on their thesis, building on the research and design skills they’ve nurtured in Stage 5. We encourage rigorous research and theoretical underpinnings for design projects as well as thorough technical resolution and innovative representation and we offer a variety of studios with a mix of approaches by studio leaders from both practice and academia. There are various routes through the MArch, with students this year being able to choose modules from Town Planning or Urban Design hosted by our colleagues in the Planning side of the School, or indeed from Sustainability or Design Computation. However, most students opt for the Linked Research route where they get to work closely with a supervisor on one of our architectural research projects. This could be a Live Build in Kielder Forest to a Kickstarter campaign to save 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 re-imagining 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 lectures and consultancies on materials, details, systems, atmosphere and environment, which aimed to help the investigation, development and refinement of technical strategies and constructions as part of the project narratives. Year Coordinators

James Craig Ivan J. Márquez Muñoz

Project Leaders

Dr. Nathaniel Coleman James A. Craig Anna Czigler Ivan J. Márquez Muñoz Sarah Stead

Students

Fira Albarakbah Freddie Armitage Ali Beaumont Ruta Bertauskyte Michael Choi Ciaran Costello Dominic Davies Laura Davis-Lamarre Richard Dunn Rachel Earnshaw Olivia Ebune Joseph English Ellie Gair Tom Goodby Hayley Graham Joshua Higginbottom Derek Ip Alex Jusupov Yasmin Kelly May Hui Koay David Laidler Lewis Lovedale Jamie Morton Andrew Nelson Hun Pu Simon Quinton Sarah Rogers Tooka Taheri Harry Thompson

Reshma Upadhyaya

Erasmus Students

Ingrid Bererstedt Tove Ekstrom Alexandra Jablonowska Lena Kurzawa Morten Schrötgens Justine Copin

Contributors

Duarte Lobo Antunes Dr. Samuel Austin Dr. Ben Bridgens Dr. Neil Burford Amy Butt Diana Cochrane Kieran Connolly Gordon Dolbear Tom Dyckhoff Graham Farmer Pierre Forissier Jack Green Allan Haines Dr. Neveen Hamza Laura Harty Ross Heffernan Nick Heyward Dr. Christos Kakalis Daniel Mallo James Nelmes Matt Ozga-Lawn Dr. Stephen Parnell Paul Rigby Gillian Treacy Ray Verrall Leon Walsh

Text by Iván J. Márquez Muñoz

Opposite - Hun Pu

Transformational Objects James Craig

The psychoanalyst Christopher Bollas describes the Transformational Object as a drive towards aesthetic or environmental conditions that are consequential of experiences gained in early psychic life. In Vienna, the collective unconscious of the city is manifest through the adoption of ‘images’ that seek to show the city as relevant and progressive, where the tropes of festivilisation take centre stage while the historic fabric is displaced to meer backdrop. In this studio, students were invited to interrogate Vienna’s Transformational Objects through interpretations of the city’s complex relationship to urban transformation, and to respond to those interpretations through a range of urban interventions that transect the city.

Above - Hun Pu

Top - Freddie Armitage

Middle, left to right - Michael Choi, Ruta Bertauskyte

Bottom - May Hui Koay

Vienna 2028

Iván J. Márquez Muñoz 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.

Above - Fira Albarakbah

Left Top - Bottom Joseph English, Ciaran Costello, Joseph English

Bottom Right - Alex Jusupov

Playing Vienna Anna Czigler

‘All play is associated with intense thought activity and rapid intellectual growth. The highest form of research is essentially play.’ ~N. V. Scarfe The purpose of the project is to use ‘Play’ as a method for creating an urban intervention that reacts to the site (the playing field) through understanding the needs of the people we encounter there (the players). Inspired by these encounters we developed our own typology of buildings and public spaces. Our projects used Play as a critique, mapping agent, a programme and an attitude. We looked at the current shift in Vienna’s political context and choose the 15th District as our site, a densely populated and young district with the highest foreign-born population within Vienna. Our programme initiator was one of the most democratic of uses: play. Play is organised, disorganised, ritual or free of rules; can define spaces or transform spaces for its needs; can be performative, relaxing or competitive, understated, hidden or spectacular. Play can be a challenge, or a response – to theory, to behaviour, or to political and social norm. Our projects aimed at developing a set of urban moves that can create a new and democratic layer of activities for all possible users.

100

Group Work - Morten Schrötgens, Lewis Lovedale, Tooka Taheri, Laura Davis-Lamarre

Top - Lewis Lovedale

Middle, left to right - Morten Schrรถtgens, Tooka Taheri

Bottom, left to right - Laura Davis Lamarre, Reshma Upadhyaya

101

Return of the Repressed: Memory Against History Nathaniel Coleman

Like cities everywhere, Vienna trades on selective accounts of its past, especially its central role in developments of European Modernism between the 1890s and 1930s, including the work of Adolf Loos (1870-1933). However, during the 20th century, until 1945, its story is also a lesson in catastrophe. Adolf Hitler (1889 – 1945) has influenced the character of Europe more than any art movement. Whatever claims the West makes to civilisation, World War II represents the logical disjunction of an irresolvable internal contradiction that only repression makes tolerable. The spectre of catastrophe haunts Europe; the relative absence of Hitler from Viennese narratives of significance evidences species’ tolerance for barbarity. But the repressed always returns, today in intolerance of so-called citizens of nowhere. The outline here provided the framework for analysing Vienna in the studio, which challenged students to imagine what shape an architecture might take that did not simply reproduce those aspects of modernity that have made it a ‘necessary condition’ of catastrophe.

102

Top - Harry Thompson

Bottom - Joshua Higginbottom

Top - Ellie Gair

Middle - Tom Goodby

Bottom - Sarah Rogers

103

AntiSpaces

Ivan Marquez Munoz The ‘AntiSpaces’ studio proposes a design-based reflection about the value of antispaces, 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.

104

Top, left to right - Morten Schrötgens, Tom Goodby

Middle, left to right - Yasmin Kelly, May Hui Koay

Bottom - Richard Dunn

Top - Morten Schrรถtgens

M iddle - Lewis Lovedale

Bottom - Tom Goodby, Lewis Lovedale

105

An Environmental Sense of Place Sarah Stead

Nestled across various sites on the Danube Island in Vienna, the students of this studio addressed how they could design sustainable buildings that gave an â&#x20AC;&#x2DC;Environmental Sense of Placeâ&#x20AC;&#x2122; for displaced people seeking refuge in this city. Collective research about the island and migrant cultures influenced the making of dining chairs for our Catalyst project dinner, which also set the scene for each studentâ&#x20AC;&#x2122;s manifesto on what sustainable design is. The culminating projects offer wide ranging perspectives on how socially responsible buildings can foster integration of displaced people into the city and how the design of these buildings respond to their specific host sites.

106

Dominic Davis

Top - Fira Albarakbah

Middle, top to bottom - Andrew Nelson, Simon Quinton

Bottom - Ciaran Costello

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Detailing Experiences Anna Czigler

In the late 60s and during the 70s Vienna saw the emergence of a group of experimental architects, whose interest in social engagement, environmental changes and the empowerment of the individual created a series of unconventional architectural pieces. These architects experimented with materials, structures and atmospheres to communicate their ideas on how society should engage and evolve. Viennaâ&#x20AC;&#x2122;s museums are one of its most important tourist attractions. They are usually housed in grand buildings with ornamental expressions inside-out, reflecting worlds gone by. Students proposed an extension to one of three possible existing museum sites, based on the work of one of the architects active in Vienna from the late 1960s and 70s. We worked from and through details. Details can define space, materiality, structure, connect or divide through atmospheric qualities like light, sound or temperature. We studied the cultural and social relevance of the existing details so we can root our proposals in a narrative that can create a social stand as much as a material one, assisting the design with siting and programme as much as with environmental, experiential and atmospheric strategies.

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Top - Freddie Armitage

Bottom - Ruta Bertauskyte

GROUND FLOOR PLAN

Top, left to right - Rachel Earnshaw, Harry Thompson, Ellie Gair

SCALE: 1:200 at A1

Bottom - Sarah Rogers

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Spectres of Vienna: Excavating the Repressed Nathaniel Coleman

Spectres of Vienna challenges students to excavate the hidden traces of the repressed in Vienna that constitute spectral figures inhabiting the cityâ&#x20AC;&#x2122;s architecture (and urbanism). In particular, each student chose a building to work with spanning from the 1860s to the near present, listed in the brief. In almost every instance, architecture manifests the official story as determined by the dominant power at any given moment, and by the modes of production organised in its image. It has perhaps always been thus but since around the middle of the 18th century, the condition has become ever more pronounced; a by-product of capitalist realist conceptions of the world that now have a seemingly unshakable hold on the imagination. The challenge for students was to work within a zone between dominant spatial conceptions and modes of production, and their other; alternative modes of practise and production, that are nonetheless materially realizable.

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Top - Hun Pu

Bottom - Laura Davis-Lamarre

Top - Hun Pu

Bottom, left to right - Michael Choi, Laura Davis-Lamarre

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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. Stage 6 visited places from Glasgow to Talinn, as well as students taking individual trips related to their thesis projects. MArch Stage 5 Vienna

MArch Stage 6 Studio 1: Intoxicated Practices: Intensities of Production Berlin

Studio 2: Assemblages Glasgow

Studio 3: Architecture+ Talinn

Studio 4: Freespace Tay Valley

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Stage 6 Every year, students in Stage 6 produce extraordinary and innovative work through their year-long thesis project studies, and this year is no exception. Situated between four thematically diverse studios but developing their own individual briefs and architectural theses, students created astounding projects across a diverse range of architectural endeavours. These studios didn’t only provoke a diverse range of architectural responses, but also encouraged deeper and reflective thinking on the nature of architecture as a discipline. Intoxicated Practices: Intensities of Production led by Ed Wainwright and Sam Austin encouraged students to grapple with their own practices, turning the focus of architectural production back on itself and intensifying existing working methods associated with architectural practice in order to draw them into view. Inspired by art practices found on a student trip to the Transmediale festival in Berlin, and through close links to Newcastle University’s Fine Art department and the NewBridge Project artist’s collective, students developed novel modes for architectural projects. Assemblages, led by Zeynep Kezer and Jennie Webb, encouraged students to develop architectural responses to a wide range of conditions that act as constructive agents in the design process. Projects were situated across the UK, in each case taking account of wider political forces or ecological pressures to generate complex architectures. Architecture+, led by Steve Parnell and Amy Butt, asked students to generate hypothetical scenarios of the near-future, often involving a radical reimagining of the architect’s role and capacity in relation to post-human society. The students in this studio travelled to Tallinn and many produced these scenarios in direct response to the city and its potential future conditions. Freespace, led by Laura Harty and Matt Ozga-Lawn, utilised the thematic set up for this year’s Biennale di Venezia, in particular its focus on the generosity of spirit and sense of humanity at the core of architecture. To explore this, students worked with ‘allies’ – characters who inhabited or were associated with the same landscape, the Tay Valley stretching across Scotland from Dundee to Ben Lui. Students generated proposals around these characters, from Duleep Singh to D’Arcy Thompson, embedding them in contemporary debates and proposals around the nature of architecture.

Year Coordinators Matthew Ozga-Lawn

Project Leaders

Amy Butt Edward Wainwright Jennie Webb Laura Harty Matthew Ozga-Lawn Samuel Austin Stephen Parnell Zeynep Kezer

Students

Abigail Augusta Kathleen Murphy Adam Lewis Hill Adel Kamashki Alexander James Blanchard Alice Ravenhill Alina Tamicuic Amit Patel Babatunde Junior Lanre Ibrahim Clare Louise Bond Cynthia Yan Wong Daniel Sprawson Demetris Socratous Elizabeth Fay Holroyd Emma June Gibson Emma Louise Kingman Henry Cobley Brook James Alexander Hunt

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James Thomas Anderson Jessica Goodwin Jessica Sarah Mulvey Karl Shern Mok Lorna Anna Clements Matthew James Turnbull Oliver Alexander Wolf Preena Dinubhai Mistry Rebecca Jane Lewis Robert Christian Wills Robert Matthew Douglas Sophie Claire Baldwin Theodora Kyrtata Thomas Richard Cowman Thomas Sharlot

Contributors see pg.194

Text by Matthew Ozga-Lawn

Opposite - Tom Cowman, Welcome to the Masc Games!

Studio 1 – Intoxicated Practices: Intensities of Production Ed Wainwright and Sam Austin

What is it to practice, when our practices cause our end? Understanding our systems of material production and consumption under capitalism as primarily cultural, fluid and in a constant state of being remade in their self-same image, architecture’s role as mediator of these materially driven cultures has a role in drawing attention to the crisis point capital finds itself in. Building on studio practices in the first iteration of the Intoxicated Space studio in 2016/17, Intoxicated Practices/Intensities of Production sets its focus on critically engaging with modes of production and methods of architectural and spatial practice. Through close reading and analytical processes, we have interrogated our design practices and pedagogical assumptions, searching, in psychoanalytic terms, for the moments where our pathological habits ‘act out’ in our work. We have sought to open up the space for dialogue, critique and creative thought and action for both student and tutor, and aimed to expand our conception of what an architectural project / process / practice might be.

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Alex Blanchard De-programming the Revit Technician

Daniel Sprawson Beyond the Desk

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Robert Douglas Alternative Smooth

Karl Mok Self-Artefact: A Translational Project

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Sophie Baldwin Erasure of Social Landscapes

Henry Brook Refined Transparencies of Berlin

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Emma Gibson McDonaldâ&#x20AC;&#x2122;s Anatomy

Jessica Mulvey Co-opting the Commercial: A Resistant Design Practice

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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 and identify its components, carefully trace theinteractions 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.

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Emma Kingman A New Ecological Pattern: Reconciling a Landscape in Limbo

Thomas Sharlot Geopolitical Fluidity: Brexitâ&#x20AC;&#x2122;s affect on the Irish Border

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Alina Tamicuic Re-Constructing Bigg Market

James Hunt Those who Lie with Legacy

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Lorna Clements At the Confluence - The parameters of flooding

Babatunde J L Ibrahim The Return of the Makers: Craft in the Modern Age

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Clare Bond 528 cows: Repurposing Newcastleâ&#x20AC;&#x2122;s Town Moor

Adam Hill Re-Industrialising North Shields

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Studio 3 – Architecture+ Steve Parnell and Amy Butt

Before a future can be built it must first be imagined. This envisioning of speculative futures is one of architects’ fundamental obligations to society. But it comes with the imperative that we critically question the utopian impulse which drives our desire to modify the built environment, to examine the notion of progress we hope to be advancing. When what it means to be ‘human’ is changing, what will be the architecture of a trans-human future? The projects in this studio extrapolate an architecture of a not-too-distant future, exploring the implications of an ‘architecture+’ in response to ‘humanity+’. In doing so they establish a critical distance from which to consider the potential social, political, and architectural ramifications of scientific innovation, encouraging a new attentiveness towards manifestations of technological progress in our contemporary moment.

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Theodora Kyrtata Hyper-Preservationist: Or the Post-Modern Prometheus

DEPARTMENT OF MASCULINITY “ATTENDING THE GAMES”

Tom Cowman Welcome to the Masc Games!

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James Anderson Rehabilitation from Technological Addiction

Rebecca Lewis LasnamĂ¤e +

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Preena Mistry A Post-Digestion Society

Demetris Socratous Smart Polis Resistance

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Alice Ravenhill Thrill Town

Amit Patel Bridge over Loneliness

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Studio 4 – Freespace

Laura Harty and Matt Ozga-Lawn Students worked with a range of characters who have lived or been associated with the landscape of the Tay Valley in Scotland to generate poetic architectural projects. Each of these projects constitutes a response to Grafton Architect’s Freespace manifesto (see www.labiennale. org) and students generated their own Freespaces from an attentive reading of both character and landscape. The diverse cast united by this unique geography includes Patrick Geddes, Beatrix Potter, the trinity of John Ruskin/Effie Gray/John Millais, Duleep Singh, Maggie Wall, John Buchan (with Alfred Hitchcock), D’Arcy Wentworth Thompson and Williamina Fleming.

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Adel Kamashki Freespace of Hybrid Identities

Cynthia Wong Freespace of Imagination: The Tale of Beatrix Potter

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Robert Wills Housing Data - A Freespace of Concealment

Jessica Goodwin Freespace of Perspective

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Matthew Turnbull Re-valuing and Re-imagining Plastics in Society

Abigail Murphy Freespace of Relationships

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Elizabeth Fay Holroyd The Freespace of Translation - Community Island

Oliver Alexander Wolf Geddes Square

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Research in Architecture This section of the yearbook compiles information on research activities from the BA to PhD and staff level, including Linked Research and information about our taught postgraduate programmes. Multidisciplinary and collaborative research in architecture continues to flourish with colleagues involved in a wide range of activities, presentations and exhibitions at the international level, such as Rachel Armstrong and team’s ‘Bric(k)olage: An Ecology of Found Practices’ at the Venice Biennale later this summer and in New York, Zeynep Kezer co-organised ‘Architectural History Redefined: Celebrating the Scholarship of Dell Upton’ at CUNY (April 13-14, 2018). At the local level, Newcastle-based projects include Carlos Calderon’s research into city electricity provision, Ed Wainwright’s work on local artists’ studios and regeneration, and an exhibition of the ‘Living Brick’ at the Great North Museum, as part of the Great Exhibition of the North 2018. We opened a new Bio Design lab (which we believe is one of the first in the world) based in the Devonshire Building on Newcastle University’s main campus. The new facility combines a wet lab with imaging and 3D printing capabilities to enable us to build prototype living technologies. Following our tradition of opening up unusual and underused spaces in the city to public audiences, and exploring the urgent questions these sites raise, we staged ‘Sparks of Life’ (23-25 November 2017) in the faded Art Deco splendour of the foyer of Carliol House the former HQ of the North East Electricity Supply Company (NESCo) and today at the heart of the East Pilgrim Street Development Area, with a new lease of life as the home of a vibrant artist-led community. Around 200 people visited installations by students and colleagues; recreating the former home of the NewBridge Project before its demolition, and exploring the metaphorical affinities of building reuse with Frankenstein, with a screening of the 1931 film, and a programme of talks and debates running alongside, as part of the AHRC Being Human Festival of the Humanities 2018. Research-led teaching is a major strength in the School with students at BA, MArch and PhD levels all engaging with staff research projects. The dissertation elective enables second and third year students to be involved with staff specialisms and current projects. This year, for example, second year students in dE11 helped out with the international symposium ‘Displaced Practices’ here at the School (22 – 23 March 2018) and students’ work in dE12 was presented at the workshop for Arts Council funded project ‘Moving to the Next Level: disabled artists make dis/ordinary spaces’ at UCL (17 March 2018). At the MArch level our linked research students were funded by the University to visit world leading Schools of architecture such as Harvard, MIT, Yale, Penn, Columbia, Delft, Eindhoven and KTH, Stockholm as part of their inquiry into “How to Become a Top 50 Institution, and Why Should We Care?”. The findings of students researching mega-basements of the super rich in London, led by Roger Burrows, were published in national newspapers in articles such as Anna Minton’s ‘How basement-loving billionaires are forcing everyone else out’ in The Guardian (8 May 2018).

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Text by Katie Lloyd Thomas

Opposite - Sparks of Life

BA Dissertations At Newcastle all students produce a dissertation over Semester 2 of Stage 2 and Semester 1 of Stage 3. It’s a major undertaking and a great opportunity for students to develop research skills in areas that really interest them, across the full range of disciplines in the School from building science, history and theory, planning and creative practice. This year we introduced two initiatives to further enable students to shape their dissertations according to their individual enthusiasms, and to enjoy research-led teaching in the BA. The new ‘dissertation project’ route allows students to engage with research through modes such as lab work and experiment, prototyping, film-making and creative practice, supported by a reduced length report - a mini version of the creative practice PhDs we supervise in the School. And for the first time, students began their dissertation studies by choosing a dissertation elective – a series of weekly seminars that provide thematic, intellectual and methodological frameworks for their study. Colleagues from across the School – including planning – offered a rich and varied range of electives based on their own research interests and disciplines, and students continued their dissertation supervision with their elective tutor.

dE1 : Experiment Andrew Ballantyne and Rachel Armstrong Our approach is to treat the dissertation as an experiment. The aim is to conduct an investigation that resolves a question. The question might be theoretical and might be answered by thoughtexperiments, or it might be more practical and could be resolved by something done in a laboratory. Galileo did a famous experiment by dropping things off a tall building, but without the right intellectual framework dropping things off tall buildings does not amount to an experiment. The dissertation-question must in some way inform your approach to architecture, and the most interesting questions will be those where the answer is not known in advance—that is the point of doing the experiment. You might be wondering what sort of architecture could develop from digital printing, or whether theatre can help people to interact in public spaces. The important thing is going to be thinking your way through the problem in such a way that your ideas can be tested experimentally and then written up in a way that demonstrates that your conclusions are supported by evidence. The evidence might be text, images, or something else altogether—sound recordings, or videos of performance—but the strong work will reach interesting conclusions by way of rigorous argument.

‘The Symbolic Narrative of the Modern Kitchen: The Biography of the Woman’s Sphere’ - Hazel Cozens

dE2 : Architecture’s Unconsciousness Kati Blom These seminars go through some key texts in psychoanalysis, phenomenology, perception psychology and architectural theory related to embodied architectural experience, but also to the drawing process. Seminar 1: On creation and making in general close reading of daily (drawing) rituals of architects. Seminar 2: On craft / the craft of drawing Seminar 3: On direct reading of architecture close reading of architectural (tangible) elements (doors, windows, floors, roofs, canopies, hearths, lobbies, porches etc.) as architectural affordances. Seminar 4: On experience and how buildings represent themselves to us, on difficult experiences of environment. Spot different tangible factors in architectural creation that remain partly unknown to us. dE3 : Urban Informatics: Cities and Social Theory in the Information Age Roger Burrows and Sebastian Weise

‘After Limbo: Instigative Proposals for Porto’s Ilhas’ - José Figueira

‘By ‘informatics,” I mean the material, technological, economic, and social structures that make the information age possible . . . [T]he hardware and software that have merged telecommunications with computer technology; the patterns of living that emerge from and depend upon access to large data banks and instantaneous transmission of messages; and changing habits of posture, eye focus, hand motions, and neural connections that are reconfiguring the human body in conjunction with information technologies.’ - Katherine Hayles Whilst most students will be familiar with the notion of the ‘urban’, the notion of informatics – as used here - may well be less familiar. This elective hopes to demonstrate that a focus on ‘urban informatics’ provides a plethora of insights into how contemporary social and cultural theory might be rethought for the digital age. Organised around some lectures, and some films, but mostly reading and discussion groups, the elective invites the application of the theoretical and practical insights from key scholars to an area of interest to the student. Those include, for example, recent writings of Mike Crang, Martin Dodge, Stephen Graham, Rob Kitchin, Scott Lash, Bill Mitchell, Bruce Sterling and Nigel Thrift, Malcolm McCullough, and Katherine Hayles.

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‘The Architecture Uncanny: Anomalous Hotel Corridors’ - Xi Lin

dE4 : Energy, Society and Cities Carlos Calderon By 2050 it is projected than more than 70% of the world’s population will live in urban areas. The theme of this elective is about understanding the relationship between energy flows, society, and spatial formations. During the seminars we will explore examples that use a variety of research methodologies to break new ground in understanding how social inequalities, environmental problems, cultural practices and technological change shape the evolution of energy systems. What does this mean for the dissertation? I do have a preference for dissertations that look at the particular, and research by doing. For me, the seminars are an opportunity to look and discuss research studies. Hopefully, the seminars will inform your research thinking and selection of your dissertation topic but your dissertation could be on a topic outside the theme.

‘Designing the homeless city with dignity - Recognising the complex needs of rough sleepers and the holistic approach required to reintegrate them back into society.’ - Tanya Haldipur

‘Writing the Irish Border: Brexit and the design of ‘soft’ and ‘hard’ borders in Southern County Fermanagh’ - Rachael Burleigh

‘A Handbook to Understanding the Architectural Biographic and its Application to William George Armstrong’ - Aaron Swaffer

dE5 : Writing Architecture, Writing Fiction Emma Cheatle In this elective we will consider how different methods and forms of writing affect our experience, perception and analysis of the built environment. In particular, we will study critical, creative and fictional texts that feature architecture, cities and landscapes as a series of material cultural objects. Reading a range of writers – architectural historians, cultural commentators and novelists – we will look at the very different methods of using text to understand, utilise and project architecture, both real or imagined. We will analyse the role of narrative, archive, fact, creative thinking, subjectivity, theme and structure in developing the social or political position of the author. Students will develop a short piece of ficto-critical architectural writing in order to develop a topic for their 3rd year dissertation. The 4 seminars will cover different aspects of writing: architectural history; creative spatial writing; critical cultural writing; and the novel and writing techniques.

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. In this elective we will explore the lives and practices of a range of architects across history. We will 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 will also develop re-enactments of particular methods of working in order to creatively reinterpret the approaches these architects took. We will be asking students to principally work 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/modeled/filmic biography.

dE7 : Bio-materialism Martyn Dade-Robertson

‘BIOMIMETICS - The Application of Plant Inspired Actuation Principles’ - Callum Campbell,

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 characterizes 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 theme will aim to explore the philosophy and practice of this emerging field and may lead to dissertations that are based on theory, scientific and/or creative practice.

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dE8 : Experimental Preservation Josep Garcia-Fuentes This elective explores the concepts of heritage, authenticity and preservation. We will understand them as dynamic concepts and the outcomes of ever-changing political and cultural process, which inescapably means that their constant changes cannot be avoided or stopped. What does ‘heritage’ mean, then? And what does ‘to preserve’ mean? Furthermore, it is really possible to preserve? Should we explore new techniques of experimental preservation to better suit the profound essence of heritage and respond appropriately to its current challenges? Through a selection of selected readings and creative exercises we will interrogate what heritage is and what it means to preserve with the aim of challenging the most widespread notions of these concepts, and defining an alternative practice of experimental preservation. During the four seminars we read and debated; (1) what heritage is, (2) what to preserve means, (3) what experimental preservation is, and as well (4) discuss creative works by students for a selected case-study. ‘The Western Wall: Preservation & the Politics of Heritage’ - Jonathan Pilosof

dE9 : Psychologies and the unseen energies of architecture 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 mange energy flows to improve building enjoyment and delight is the core of performative architecture. In this series we will discuss the meaning of comfort, its perception, and how energy flows through the various building typologies inform architectural design. We will also look at how building design rating systems can hinder or support the creation of comfortable and enjoyable environments within.

dE10 : A City Centre for the On-line World Colin Haylock The East Pilgrim Street area presents Newcastle with an opportunity to radically rethink the nature of the City Centre when retailing is migrating to on-line and the nature of work is changing. Current plans are however largely based around “more of the same”. It only takes a walk around Eldon Garden to have one questioning the wisdom of this. Students will explore the unique nature of the East Pilgrim Street area, consider in detail the practical needs of potential uses which might contribute to a much richer and more varied City Centre through the future development of this quarter – how these uses might interact with each other to create a much more varied and vibrant place – identify inherent conflicts between these uses and consider how through design of place and buildings these might be avoided, mitigated or managed.

‘Student Accommodation: Relationship between architectural considerations in social space and the production of social interaction’ - Ching Wah Hong

dE11 : Atmosphere, Mood & Architectural Experience Christos Kakalis The unit explores the role of atmosphere in architectural experience, representation and design. A combination of practice-based work and discussions on suggested readings and projects aims at the investigation of background knowledge of the role of mood, atmosphere and attunement in architecture as well as a fore-ground, practical engagement with the material through workshops and small projects. The four seminars include the exploration of (a) urban atmospheres, (b) noise, silence and architectural experience, (c) creating, performing and representing sound-scapes and (d) material attunements. The dissertations can be relevant to a variety of themes around experience, atmosphere, drawing and design that will be discussed during the seminars.

‘Rethinking Hindu Temples In A Rapidly Urbanizing Singapore’ - Tashanraj Selvanayagam’

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Top - Bottom - dE8 Jonathan Pilosof, dE6 Hazel Cozens, dE9 Ching Wah Hong

dE12 : Alternative Architectures Peter Kellett Architects have traditionally worked for elites and affluent groups. There is now increasing interest in how architects can engage effectively with relatively disadvantaged groups: the homeless, refugees/migrants, low income populations, disaster victims, etc. At the same time the energy and innovative capacity of those without access to professionalised knowledge is becoming increasingly recognised. In the seminars we will explore a range of individuals and organisations who are attempting to bridge this divide and examine theories and promising precedents for alternative architectures.

‘Yarl’s Wood: A Space Humanity Forgot An Exploration into the Architecture of Yarl’s Wood Immigration Removal Centre, and the Subsequent Effects it has on the Women Detained’ - Katie Campbell

dE13 : Borders, Boundaries, Frontiers Zeynep Kezer Borders are dividers, between here and there, us and them, inside and outside. In this age of refugee crises, illegal immigration, drug trafficking, and other transgressive crossings, we tend to think of them as a peculiar condensation of administrative and institutional structures, military presence and surveillance technologies. This dissertation seminar group will focus on spatial demarcations (boundaries, borders, and frontiers) that define domains by monitoring, sorting, and filtering the movement of people and things between them. We are interested in how: • such mechanisms work not as separators between just different countries, but also communities, genders, and races at different spatial scales. • in practice their effect extends beyond a simple line, generating new and sometimes unexpected spatial formations on either side of the divide. • their use and presence produces new social identities and hierarchies. dE14 : Meetings with Walls Katie Lloyd Thomas

‘Bess and Her Domain: Deciphering the Messages of Hardwick Hall’ -Katy Barnes

In this elective we’ll be using a whole range of walls from fictional fantasies to local everyday and canonical architectural examples to consider how the construction of the built environment is never merely technical, but always also cultural. We won’t be taking a long view, but instead getting up close and personal to reveal what walls and their innards might tell us about changing social, economic and cultural contexts, and ask how they may shape and modify our experience. Using walks, artworks, literature, technical documents as well as writings on architecture, the four seminars will look at the following themes: * Writing walls * Reading the wall * The Interiors of Walls * Performing walls * The dissertation doesn’t have to be about a wall – it could develop out of any of the themes that interest you during the seminar series, and might well pick up questions of the boundaries and connections we make between humans and non-humans, our environment and between each other.

dE15 : Marginal Spaces Ed Wainwright, Ruth Raynor and Sam Austin 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. These are the spaces where life takes place. At once thoroughly normal, yet often unknown. From the space of the shopping mall, to the airport lounge; the doctors waiting room, to the bus stop; the sports stadium, to bar; the multi-story car park, to the street. These spaces, and the spaces in between, will be examined through a range of exploratory techniques, adapting methods from film practice, visual analysis, affect theory and material, architectural readings to investigate how these marginal spaces are produced, re-produced and experienced. ‘Collective Living: Investigating a new form of developer-led co-living’ -Brandon Athol Few

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Working between creative-practice based methods and close, material and textual readings of specific spaces within and outside the city, we’ll look closely at those spaces and their contexts that are often forgotten, overlooked or otherwise marginalized.

Top - Bottom - dE8 Tashanraj Selvanayagam, dE14 Katy Barnes, dE15 Brandon Few

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.

Contested Heritage: Competing Visions for Souq Al-Muharraq, Bahrain Adel Kameshki Kamashki The conservation of heritage becomes problematic when the prevailing attitude to conservation is focused on the built past through which it is dominated by actors who define what is worthy of conservation through a top-down approach (Galvan Lopez, 2010) rather than considering the values of the area’s community who may have different views on the matter. Such approaches often involve the reconstruction, adaptation and restoration of buildings to which the top-down approach is forced upon the local community. This often leads to an increase in property value, the emergence of new functions, the displacement of the community and the emergence of issues stemming from conflicting agendas. In the context of Souq Al-Muharraq in Bahrain, the Bahrain Authority for Culture and Antiquities (BACA) has implemented such an approach. This context however, is dominated by Bahraini nationals and migrant labourers whose values and desires clash with each other and those of BACA, who wishes to attract tourists. In doing so, BACA has focused on conserving Souq Al-Muharraq’s built heritage rather than the values and desires of its community. This led to a form of conservation that was forced upon the other actors, and issues have emerged as a result. As such this the question: how compatible are the agendas behind the development of Souq Al-Muharraq in a context where heritage is contested by key actors? The question is answered firstly through a literature review that establishes how contested agendas or views on heritage may emerge, and clarifies how use of heritage by a dominant actor can accommodate issues resulting from conflicting agendas. Alongside the literature review, a survey of the Souq is performed by collecting the occupational data of shops and tourist destinations. Furthermore, photographs of the Souq are taken to show changes in the area. Findings collected from news articles in both Arabic and English are then utilised to identify some of the issues emerging from the conflicting agendas involved in the Souq. These issues are then tied back to the literature review, thus establishing the compatibility of these agendas. Findings from the walking survey and collected news articles indicate that the dominant agenda of BACA focuses on its wants rather than the needs of the local community which led to issues emerging. This is seen in the results from the walking survey in which only tourists visited cultural destinations. Furthermore, this is proven in BACA’s priority in renovating derelict houses planned for tourist use rather than ones that remain occupied by the local community as well as in the Bahraini nationals’ demonstrations during the 2012 Spring of Culture, when the call to prayer—Athan—was banned in favour of a music performance. As such, the fulfillment of BACA’s agenda and the subsequent emergence of issues reveal that the agendas of the actors involved in the conservation-led development of Souq Al-Muharraq are not compatible. It is likely that if other agendas were fulfilled a different set of issues would have emerged.

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Photo : Iwan Baan

(de) CONSTRUCTING NARRATIVES Alina Tamciuc This dissertation analyses the current socio-political context of Gateshead Quay and its impact on local communities. A combination of in-depth literature review on policy writing and institutional ‘publicity’ material combined with a visual deconstruction of the urban landscape has provided an insight into the impact of the redevelopment on social inclusion/exclusion and how this is dictated by local, regional and national institutions. The urban landscape is a direct result of applied policies and templates therefore, if analysed, can clearly expose priorities, bias and flaws of governing bodies. In this paper, I extend the argument made by Bailey et al. (2007) and Minton (2004) regarding Gateshead Quay as a site of regeneration which does not provide an insight into its social impact. Current spatial methodologies heavily rely on quantitative data and therefore provide symbolic, if any, evidence of success. These methods should be combined with other forms of analysis to reveal the whole picture and provide tangible ways to benefit society. In the case of Gateshead Quay, the purposeful exclusion of people and sanitization of social minorities from its landscape combined with its gaping disconnect from the everyday life of the local communities has resulted in a landscape that struggles to connect to the town to which it belongs. Instead of acting as a gateway for people, business and opportunity, it has become a barrier whose stagnating dissonance with other parts of Gateshead is likely only increase once the North of Tyne Devolution occurs in 2018.

Social Housing, The Discography: A soundtrack to Britain’s modernist estates Adam Hill W. G. Sebald’s fictional works confront issues of historical amnesia through the exploration of architectural ruins. His pre-occupation with ruination began whilst critiquing the German literary and architectural response to the Second World War, which he condemned for its progressive ideology. Sebald believed that without ruins and without proper confrontation of history through literature, Germany threatened to lose an awareness of its recent history (Vandevoordt, 2016). In reaction, he published four fictional works, which use encounters with ruins to reveal repressed historical events. Within the books, ruins are used to disrupt the idea of future orientated progress by instead providing a space of transition between past and present. Whilst Sebald’s books confront the devastation and destruction of post-war Europe, they also resonate with contemporary aspects of ruination. Today, developing cities stand witness to a new wave of architectural ruins in the form of derelict industrial sites. Incomparable to the devastation of the Second World War, but nevertheless important to acknowledge, is that these contemporary ruins are also emblematic of destruction and trauma. Whilst the proliferation of inner city industry in the 19th and 20th centuries enabled modernisation, it also had a hugely detrimental effect on populations and landscapes. Within the logic of late capitalism, the existence of industrial ruins in developing cities is increasingly short lived (Huyssen, 2010, p. 19). In their destruction or regeneration, ruins no longer harbour the critical potential to disrupt notions of historical progress, but instead become documents of progress themselves. All that remains of their history is confined to written accounts which, in the case of industrial histories, are characterised by narratives of technological progress. Resonant with Sebald’s critique of post-war Germany, the combination of progressive architectural regeneration with progressive historical writing, arguably results in the darker side of industrial history being largely forgotten. The Tate Modern art gallery, formerly Bankside power station is a prime example of this phenomenon. Bankside’s destructive past has been near-on eclipsed by written history (Murray, 2015), whilst its transformation into the Tate Modern is now lauded as a beacon of progressive cultural development. As a counterpoint to the popular narrative of progress that characterises Bankside’s regeneration, this essay comprises a Sebaldian reading of Bankside, which re-conceptualises its history and positions its existence as a ruin between 1981 and 1993 as a time of heightened critical potential. This ultimately provides insights into how the scope of architectural writing and criticism could be expanded, whilst also posing questions as to how architects might confront the regeneration of industrial ruins in the future.

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AUP Creative Practice / Social Sciences Dissertations Mobile homes are being used in the United Kingdom as a way to prevent or transcend primary homelessness and these people have limited access to support services and basic amenities. Ryan Patrick Thomas The dissertation used the social media platform Facebook to find and converse with people who were using mobile homes as a way to prevent or transcend primary and secondary homelessness. It used qualitative data collection techniques to explore their narratives and stories. It extensively explored the various ethical constraints, especially when conversing with vulnerable peoples and sensitive data. It paid particular attention to the modern social media ethical frameworks and techniques currently in circulation. Extreme caution had to be used due to how social media and the internet allows for the reidentification of respondents through search engines, to make sure data could be shared with confidence and anonymity. The respondents were found to be living in cheap, secondhand, substandard accommodation. They had limited access to support services, such as a General Practitioner and Social Security, mainly due to their lack of address. Their access to basic amenities such as laundry, running water and heating was severely reduced; with these factors it affected their mental health and general wellbeing. It found that further research should be undertaken to find the scope of the problem in a more homogeneous and quantitative form. It recommends that from this further research should influence and force policy changes that will be needed to support these people. An Exploration of the Relationship Between Self-Build, Individuality and Community, in Walter’s Way and Segal Close, London, UK. Dominica Bates The aim of this dissertation is to explore the long-term success of self-build housing and understand what factors contribute to the maintenance of individuality and community in an established selfbuild scheme. Advocates of self-build housing believe that it increases user-satisfaction in terms of design aspirations and personalisation, based on the idea that because the dweller built the house they can alter it with greater confidence and ease. Additionally, advocates of self-build on a communal scale believe that it improves community participation and place-making, as the process of physically constructing the community brings residents together, generating mutual responsibility. Segal Close and Walter’s Way in Lewisham, London are two of the most famous self-build schemes in the UK, designed by (and therefore named after) Walter Segal. They were constructed between 1976 and 1987, and together they comprise 20 homes. Over the last 30 years the majority of the original self-builders have moved away and new residents have come to occupy the houses. In this context it is important to consider how self-build homes respond to new dwellers, and in turn, how dwellers respond to self-build homes, constructed by a previous dweller. “Making Things Visible” Revealing the Potential of Urban Loose Space Through Actor-Network Theory Newcastle upon Tyne, UK. Emily Whyman This dissertation used Latour’s Actor-Network Theory embedded theory in the design investigation as a way of addressing increasing urbanism in cities - looking at how we view space. Small, loose spaces are of an abundance in the city. It is within our capacity to become sensitive to these places, and train our creative intelligence towards them, to understand the exciting potential which they offer. To become aware of the networks within our built environment will increase our interaction with the physical, tangible and real - a reconnection with the non-human interfaces which influence our everyday choice. This was a study on how to create space through activation of the urban imaginary, a response to green washing and historic desensitisation concerning coexistence with the natural environment. Loose space is considered the space ‘inbetween’ - a byproduct of our global urbanism, it is undefined and unchartered, yet often the spaces that allow for the spontaneous and unexpected activities to occur. The dissertation looked at and intervened within different actor-networks functioning in the proximity of the space - for example, community gardens, cafe’s and cycle pathways. The potential of the space offers opportunity for temporary urbanism and experimentation in the public realm. Actornetwork theory looks at space in a way that redefines what it means to be aware. To become sensitive to the built environment is to look sustainably, understanding the process of interaction and relation. It looks at the current and genuine, breaking down meanings to understand our personal connection with space and how these relate our society as a whole.

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Top left - Name Name Project Title

Top right - Nameless Nameless Project Title

Bottom - Name Name Project Title

The Implementations of Prefabricated Architecture: A Rapid Response Towards Homelessness in Growing Urbanising Cities. Winnie Wing Yee Wong There are as much as 100 million people that are homeless worldwide, according to the latest United Nations global survey that was conducted in 2005 (Homeless World Cup, 2017), with 1.6 billion people that do not have adequate housing (Habitat for Humanity, 2017). The purpose of this research is to study how prefabricated architecture can be used as a meaningful ‘device’ for the homeless, in growing compact cities such as those in Asia. I want to gain an understanding to how we can utilise unused spaces for these devices, particularly the spaces under the West Kowloon Corridor flyover, in Hong Kong, along with the hope that these prefabricated architectures can adapt to daily lives, be easily-deployable and operate as longterm housing. Additionally, it can be argued by Erik Swyngedovw (2006, p.22), that urbanisation increases social and physical networks, it causes a lot of movement from different spaces; a neverending process of de-territorialisation. The homeless almost become the by-product of growth in cities, which is important, to understand the role of homelessness in the city, which is described as a large organic function by the Metabolism movement in the 1960s (Lin, 2010, p.22). But also, the way people utilise unused spaces, their network and the necessities they need in life. This is so that these spaces could also be used for future homes in a megalopolis society. In addition, the need to be aware of sustainable issues in the future, where technology and design will play an important role to adapt to these future changes. There will always be change but how can we pursue change without having to create negative impacts on cities, as urbanistic growth is a continuing process. Overall, to find out further about prefabricated architecture, I will also create a ‘Dialogue’ between other architects and theorists interlinking with the theories of Metabolism to see how a strategy can be applied in contemporary society, along with an interactive model and a guide to survival in the city, which stimulates thinking… The Relationships between street art and individual experiences in forming urban identities and characters in Istanbul’s three districts? Fatma Beyza Celebi Street art provides visual connections to our urban environment, but they also have an astonishing relationship to various urban processes in cities. Istanbul has a growing number of street art in various districts that shape and form different urban identities and characters of those districts. Street art is researched in an urban scale, but how do individuals perceive and constitute to shaping urban identities and characters? As street art is very interactive and personal in its own nature, this research uses cultural probes for its methodology to understand individual experiences in an urban scale in relation to street art.

How the Title of World Cultural Heritage Influences the Local Residents? Jieyang Zhou At present, the majority of the studies on the world cultural heritage lie in the discussions of physical heritage protection, but few attempt to establish the links with people. Acted as the inheritors and custodians, the local residents play vital roles not only in the continuation of the vitality of the historical buildings, but the sustainable development of heritage-related industries. They can be the promoters but also obstructors, which depends on the influence and changes in their lives. Selecting the Nanjing Tulou in China as the case area, this dissertation aims to explore the impacts on the local inhabitants living under the title of World Cultural Heritage. Furthermore, the story and the delicate relationship between people and the protection work of historical architectures would be told in my study. After series of semi-structure interviews, results are eventually analysed into four themes. The unsolved housing problems and restricted life that belong to the negative effects, and the pride feelings and return migration which motivate inhabitants to retain the housing patterns of Tulou, and participate in the development of heritage tourism.

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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 of 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 ‘lone researcher’ 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 or partners inside and outside the University. This year six linked research projects were completed, ranging from explorations of London’s mega basements, to analysis of the QS university league tables and the regeneration of a small town in southern Italy. Linked Research is an increasingly popular option for students in our MArch, offering students first-hand access to the ongoing research of staff at APL, and allowing novel ways of collaborative learning that break new ground in how we educate at the School.

Mapping Residential Basement Development in Cental London Roger Burrows

Sophie Baldwin Beth Holroyd

How to Become a Top 50 Institution and Why Should We Care? Zeynep Kezer Martyn Dade-Robertson Jess Goodwin Alice Ravenhill

Testing Ground Graham Farmer

Lorna Clements Daniel Sprawson Henry Brook Robert Douglas Thomas Sharlott Abigail Murphy

The Gagliato Project Prue Chiles

James Anderson Rob Wills Emma Kingman

Artifical Skies

Matthew Ozga-Lawn James Craig Cynthia Wong Parsons Demetris Socratous

Re-modelling Newbridge Edward Wainwright James Hunt Jess Mulvey

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Text by Matthew Ozga-Lawn

Opposite - Testing Ground

Mapping Residential Basement Development in Central London Roger Burrows

Working with The Guardian newspaper we explored the geography of residential basement development in central London between 20082017; covering the decade long arc of the consolidation of transnational wealth elites in London. We focused our attention on the seven boroughs that contain the most affluent postcode districts: Camden; Hammersmith and Fulham; Haringey; Islington; Kensington and Chelsea; Westminster; and Wandsworth. The data we collected was derived from the information provided on each London borough’s planning portal. We searched ‘basement’ as a keyword, and each application this generated was inspected in detail to see if it was an actual excavation; most were not. So, by way of illustration, in Kensington and Chelsea the keyword ‘basement’ generated an average of 1,103 applications per year of which only an average of 117 per year (11 percent) turned out to be subterranean development proposals. For each basement proposal located we extracted data, which included: the year of the application; the decision date; the decision (granted or refused); the address; an estimate of the average depth of the proposed excavation; the architect or designer responsible for drawing the plans; and a detailed description of the proposed development. From this description we were able to ascertain if the proposed development contained: a swimming pool; a gym; a cinema; a wine cellar; a garage; and myriad other features which we will discuss below. Using all of this detailed information we then attempted to produce a simple typology of the basements. First, we separated the proposals into two categories based on the type of property under which the basement was going: terraced or semi-detached (both of which will share a party wall) on the one hand and detached on the other. Second, we made a judgment as to the size of the basement using a simple three-point scale: standard; large; or mega. We defined ‘standard’ as a one-storey (average height of 3m) basement contained within the footprint of the house. We defined ‘large’ as a two-storey basement contained within the footprint of the house or as a one-storey basement that extends beyond the footprint of the house under the garden. We defined ‘mega’ as a three-storey (or equivalent in height) under the footprint of the house (or larger) or a two-storey basement that extends beyond the footprint of the house under the garden (or larger). This sounds complicated but, in practice, allocation to each category is relatively unambiguous.

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How to Become a Top 50 Institution and Why Should We Care? Zeynep Kezer & Martyn Dade-Robertson

Using data quantification to measure the value of higher education has become commonplace, due to the emergence of independent organisations ranking one university above another. The rise of these rankings and league tables has lead them to become influential tools within universities, but are also part of a broader culture of commodification, that sits at odds with some of the central premises of higher education. This project involved a critical assessment of these rankings and metrics operate, focussing the QS World Architecture subject ranking, a globally recognised ranking system. The research involved a thorough analysis of the QS methodology in order to see how the QS acknowledges the subjectâ&#x20AC;&#x2122;s interdisciplinary nature and adapts itself to subject specific criteria. The investigation also involved primary research into the qualities and characteristics that make a highly ranked architecture School. This included travelling to numerous architecture Schools across Europe and America and conducting interviews with both staff and students at these institutions. The last part of the research looked at how Newcastle University could improve its ranked position within the QS World Architecture Subject Ranking, whilst also questioning at how the university might seek to situate itself within the world of competitive rankings.

70% Academic Reputation 15% Domestic Institutions 85% International Institutions 10% Employer Reputation 30% Domestic Institutions 70% International Institutions 10% H - Index 33% H1 Single Weight 66% H2 Double Weight

QS METHODOLOGY

SHOULD NEWCASTLE CARE ABOUT THE QS RANKING?

10% Citations per Faculty

Images Top Left to Bottom Right: 69 (Harvard)

Images Top Left to Bottom Right: 49 (TU Delft)

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Figure 37: How to Become A Top 50 Architecture School for the QS Ranking Figure 9: QS Architecture Subject Ranking Methodology Breakdown

IDENTITY CULTURE AND ATMOSPHERE 99 Images Left to Right: 1 (Newcaslte), 2 (Newcaslte), 3 (Harvard)

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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 ‘live’ projects. The Live Build project is a collaboration - this year between the student team at Newcastle University, led by Professor Graham Farmer and Peter Sharpe, of the Art and Architecture programme at Kielder Water and Forest Park Development Trust (KWFP), and our client the Calvert Trust, Kielder. The brief was to develop the site through built form and landscape in order to challenge Calvert Trust’s visitors in a new, creative and unexpected way. The project aims to help people test and raise their aspirations through innovative ways of thinking, experiencing and exploring. The brief therefore asks for the space to be interactive for all, but with an emphasis on small children who are not currently catered for in the Calvert Trust facilities. Further, to provide a beautiful and long lasting contribution to the site of Calvert Trust Kielder, that embraces the sense of ‘Kielderness’.

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The Gagliato Project Prue Chiles

The Gagliato project asks the difficult question - how can you successfully and sustainably regenerate a remote town in a poor part of Italy, that has struggled economically for hundreds of years? Gagliato is situated close to the Ionian coast in the province of Catanzaro in Southern Calabria, in the toe of Italy. It is a small rural town at an altitude of 450m, an area of approximately 6km2 and with a population of 515 inhabitants (2013). The town has seen a steady population decline since the 1950’s with inhabitant’s seeking a better quality of life in places such as Canada and Switzerland. It is 10 Kilometres from the Ionian coast. In line with UNESCO’s new urban agenda we looked at how specifically the culture and the creativity of the place can effectively fight processes of urban and regional marginalisation and decline. We had the opportunity to visit and work in Gagliato twice. On the first trip we worked with an interdisciplinary and international team of regeneration professionals, masters students and local people to work in a week-long workshop on the key ideas and approaches that could inspire and help the regional government and local groups plan for the future. On a second trip we followed up on this and worked again with local people and an established NGO, to look in more detail at short term, mid-term and long-term development ideas and strategies for the town that included and using the and developing various new institutions. The team worked on understanding the fascinating context and history of the town and then designed a number of small interventions for the short term addressing the public spaces in the town – and the almost abandoned medieval ‘borgo’ and then looking at longer term strategies including various new tourism and education projects and new micro-industries. We also visited other towns and hill villages in the area and travelling to and from Gagliato stayed in Naples and Rome and visited Pompei. The project was funded by the Intrepid Project an EU COST grant looking at interdisciplinary working. The outcome of the project was a detailed study Gagliato, a framework for future growth. This has been published on the Intrepid website at http://www.intrepid-cost.eu/ wp-content/uploads/2018/06/7threport_gagliato.pdf

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Artificial Skies

Matthew Ozga-Lawn and James Craig

Artificial Skies explored the new possibilities in architectural representation opened-up by virtual reality technologies. Tasked with developing a project that mediated between virtual and embodied experiences, students worked between game software and models to generate a unique installation. Students selected Nigel Coates as the focus of the study, drawing on his recurring interest in the body to provide an anchor for the multimedia work. Cynthia and Demetris traced Coates’ interest in the body through his oeuvre, from early incorporation in his design process to later more literal studies – culminating in the massive-scale body as the focal point of the Body Zone pavilion in the then Millennium Dome in the year 2000. The students recreated aspects of this exhibition alongside fragments and glimpses of Coates’ projects within an interactive installation, operating simultaneously in virtual reality and physical components. The disorientating experience utilised Coates’ projects to allow for reflection on the bodily experience of architectural representation as it is moved around and inhabited physically and through the imagination. Their exciting work is part of several emerging attempts at utilising virtual reality and similar technologies to open up new ways of thinking about and through architectural representation at the School.

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Re-modelling Newbridge Edward Wainwright

Re-modelling NewBridge is a collaborative research project which used scanning technology to archive and explore the built form of an artist-run community that is now demolished. The NewBridge Projectâ&#x20AC;&#x2122;s seven-year inhabitation of Norham House was born out of a unique set of circumstances and has lead to the organic development of a rich architectural fabric. This study first outlined the social, economic and political factors that on the one hand provided the opportunity and on the other led to its demolition. This project used a practice-led approach that was initiated through our learning of the scanning process and how this data was used to build a digital model in order to form an archive. The Geomatics Department, Newcastle University, fascilitated this process. In deploying this methodology we have used the approach of practice-led research whereby aims have been formed from the developing research itself. This has been essential, as through practical application of this technology we have learnt much about The NewBridge Project and the role and value of an archive of this kind.

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MA in Urban Design

Georgia Giannopoulou, Tim Townshend

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.

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Top - ARC8069 Richard Keeling and Han Bing [Voca] Co Housing Project Bottom - ARC8065 Group Work Han Bing [Voca], Tomo Sheriff, Yilan Zhang and Ciaran Costello

Top - Middle - Group: Olga Aliyeva, Richard James Keeling, Fabian Andres Palomino Bottom - Group: Runyu Zhang [Summer], Richard Dunn, Jialu You [Jarly]

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MA in Architecture, Planning and Landscape (Design) Martin Beattie

Contributors: Astrid Lund, Tony Watson The Master of Architecture, Planning and Landscape-Design (MAAPL-D) course encourages students to develop a deeper understanding of varieties of identity in cities. Students conduct detailed studies of particular urban communities, concentrating on determining strategies of appropriate development for specific urban sites. In each of the three semesters of the course, developing projects presuppose devising community based urban design frameworks for selected sites that broadly consider the surrounding context. In each semester, holistic design frameworks articulating the potential character and quality of the environment initiated by the proposed project support reasonably complex building designs. Semester one is divided proportionally between group explorations of the city and individual project work, augmented by developing research into the history, theory and design of cultural buildings in an urban context. The Semester two project explores ideas of meaning and identity in the urban environment and the role that public space and buildings play in articulating notions of citizenship and community. Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. The problematic of public space within an increasingly privatised built environment; the degree to which theory can be verified by the design; and the support of both by close readings of set theoretical texts that consider architecture and the city from a range of perspectives are central to the course; as is a developing understanding of architecture within the expanded field of an urban context in relation to notions of identity, community, and culture more generally. No matter their scale, projects are construed as complex public buildings with key interior and exterior public spaces specific to their location and purpose. Thesis projects developed during the third Semester provide students with opportunities for elaborating on many of the themes introduced earlier in the course. The thesis is a major design project framed by individual students that they largely produce independently. The MAAPL-D course challenges studentsâ&#x20AC;&#x2122; preconceived notions of architecture, planning, urban design and the city, as well as their ingrained habits of architectural conceptualization and representation. In the course, individual buildings are considered as component parts of cities, rather than as isolated objects within it. As such, tendencies to over-emphasise buildings as spectacular image, interesting form, or virtuosic technological novelty are counter-balanced by the urban, social, and tectonic qualities of projects. Within the expanded field of the city, urban buildings are emphasised as socio-cultural elements rather than primarily as abstract objects of aesthetic (or visual) appreciation.

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Top -Yuying Liu Bottom - Youssef Hilday

Top - Youssef Hilday Upper Middle - Huilin Li Middle - Yuying Lui Lower Middle - Bottom - Lin Huang

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MSc in Sustainable Buildings and Environments Neveen Hamza

Contributors: Alan J Murphy, Barry Rankin, Halla Huws, Hassan Hemida, Ivan Marquez Munoz, Liam Haggarty, Richard Allenby, Paul Yeomans MSc students in SBE use building and urban performance simulation tools and a deeper understanding of building physics to underpin their architectural design approaches. This academic year we were joined by students from the MArch and MAAPL-D route. The students worked on three live projects with their estates departments and Newcastle City Council. They engaged with a number of well-established professionals in the field. The Engineering Excellence Quarters in Newcastle University Campus studies: we were asked by the University to start looking at massing ideas for the project to maximize capturing the sustainability aspects of the site. Students looked into the environmental impacts (such as wind speed and shadowing studies) on pedestrians and how different massing ideas could lead to a unified campus where pedestrian movement is facilitated and the natural environment is moderated. The Freeman Hospital in Newcastle: working closely with the Estate Department to improve the 1960â&#x20AC;&#x2122;s building. The occupants complain from drafts in winter and overheating and less effective natural ventilation in the wards year round. The project addressed possibilities of aesthetic improvements, and insertions of social interaction spaces while moderating the indoors climate using building performance simulations. Students also expanded their explorations to look at climate change scenarios and environmental architectural concepts can prevent the need for cooling. Fishermanâ&#x20AC;&#x2122;s Lodge in Jesmond Dene: the students presented design proposals for the public consultation that was managed by English Heritage and Newcastle City Council. Fishermanâ&#x20AC;&#x2122;s Lodge has been derelict for over ten years and ideas for its revival and extensions into various possible functions were introduced to the council to help them build ideas of potential usage. Building and urban performance simulation were used to maximize the sustainability potential of the projects and underpin design decisions in such a dark and historic valley.

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Above - Joey Aoun

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MA in Landscape Architecture Studies Ian Thompson

Contributors: Reader in Landscape Architecture Guest Contributors: Andrew Scambler, Chartered Landscape Architect 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.

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Above - Mengna Zhou

Above - Ziyun Chen

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PhD and PhD by Creative Practice Students

PhD Completions: PRACTICEOPOLIS Dr. Yasser Megahed Bio-MaterialProbes:Design Engagements with Living Systems Dr. Carolina Ramirez-Figueroa Space Thickening and the Digital Ethereal: Production of architecture in the digital age Dr. Jose-Luis Hernandez-Hernandez

Integrated Design Approach for Responsive Plant-Inspired Skins Yomna Elghazi

Museums & Landscapes to shape Modernity Aldric Rodriguez Iborra

Looking Towards Retirement: Alternative Design Approaches to Third-Ager Housing Sam Clark

The development of a computational model to represent the mechanical behaviour of agarose gels as a soil analogue and predict the growth rate, 3D distribution and mechanical influence of urease-producing bacteria within their matrix Javier Rodriguez Corral

Reimagining Children’s Spaces with Seven Stories: The National Centre for Children’s Books Daniel Goodricke

Effects of Retrofit Insulation on Space Heating Consumption: a Case Study of a High-Rise Social Housing Building in Newcastle Upon Tyne, UK Dr. Macarena Rodirguez Beltran

Shared Identity: Buildings, Memories, and Meanings Stephen Grinsell

Continuing PhD Students:

Learning from Tokyo Ulviye Nergis Kalli

Architecture and Urbanism in Twentieth

Aldo Rossi: Architecture and the Nature of Memory Sinead Hennessy

Century Iraq: The Enduring Legacy of Gertrude Bell Sana Salman Dawood Al-Naimi

Contested Narratives of the city of Amman: The Case of Amman’s Spaces and it’s identities Ohoud Kamal

ILLUSORY CONSTRUCTIONS The architectonic of “indeterminacy” in space as scenery for social interaction Carlos Arleo

Frameworks for Ingenuity : Processes of Practice in the London County Council Architects Department (1943-65) Ruth Lang

Bacterial Biomineralization Through a Morphogenic Biofabrication System Thora Arnardottir Negotiating Space : Women in Lowincome Urban Households, Surabaya Sarah Cahyadini The Right to the Public Space Through Making in Wenzhou, the Chinese City Xi Chen Life, Superceiling: A cultural history of the suspended ceiling Kieran Connolly Images of Construction: Constructed images in the marketing of housing and their affect on its architectural design Hazel Cowie The Autobiographical Hinge: Revealing the Intermediate Area of Experience in Architectural Representation James Craig

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BIM-Integrated Conceptual Design Decision Making: Energy Predictive Framework for Prospect BREEAM Rated Buildings Ramy Mahmoud

The influence of urban morphology on domestic Energy consumption a case study-Erbil, Kurdistan, Iraq Ali Mohammad Salih Fluid-infrastructures and the computational potential of liquids in architecture Pierangelo Marco Scravaglieri The Essentials of Spatial-Based Programme Approach: towards Synergized Development of Regional Water Supply Infrastructure in Indonesia Djuang Sodikin Working Title: “Becoming planners and architects: the formation of perspectives on residential design quality” Dhruv Adam Sookhoo Unfinished Blueprint: Institutionalisation, Management and Appropriation in New Belgrade Tijana Stevanovic

An investigation in the effect of high air temperatures on the thermal comfort, health and academic performance of pupils in UBE classrooms Charles Makun

Participatory Housing Processes: Rehousing the Indigenous Karen Village in Thailand Sadanu Sadanu Sukkasame

Perceptions of Concrete Ivan Marquez Munoz

Repositioning the Profession: The 1958 RIBA Oxford Conference and its impact on Architectural Education Raymond Verrall

Craters: A Paracontextual Practice (through the absent-present phenomena of Parallel of Life and Art) Ashley Mason Designing the street canyons to improve the air quality in steppe climates with reference to Amman Harith Omar The Duke in His Domain Matthew Ozga-Lawn

Meanings in Architecture: Conceptual and Pragmatic Xi (Frances) Ye Mohanad Alfelali Abdulrahman Almajadiah Smajo Beso Catalina Mejia Moreno Indah Mutia Hatem Noujoum Usue Ruiz Arana

Recent PhD by Creative Practice Completions PRACTICEOPOLIS Dr. Yasser Megahed This thesis is about a graphic novel produced as the culmination of a creative practice architectural research project. It dramatizes real-life exchanges from project management meetings held during a live architectural project in the United Kingdom, repositioning those exchanges in an imaginary city as highstakes public debates. The graphic novel depicts these discussions as value conflicts in order to examine the ideologies at work among architects and other actors in the construction industry. The research represents a special creative space that challenges design research practices to create new strategies and methods for design as scholarship.

Main Supervisor: Professor Adam Sharr, Second Supervisor: Professor Graham Farmer, Internal Examiner: Professor Prue Chiles, , External Examiner: Professor Gordon Murray

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Bio-Material Probes: Design Engagements with Living Systems Dr. Carolina Ramirez-Figueroa

The last decade has seen the emergence of biotechnical architecture, a discourse inspired by contemporary developments in biotechnologies and that imagines the possibility and consequences of integrating living systems into the processes of design and fabrication of architecture. In this thesis, I argue that one of the major challenges facing biotechnical architecture is in exploring the design possibilities of living systems; given the complexities associated in direct engagement, designers often approach them indirectly by falling back on tools, techniques, and frameworks of existing technologies. The process results in a lack of appreciation of the way living systems constitute potentially revolutionary technologies that can redefine our conception of design and architecture. In this thesis, I propose a creative exploration methodology which affords a direct engagement with living systems, and generates the context to explore their design possibilities. The thesis is divided in two parts. The first builds the theoretical groundwork and argues that there is tension between two biotechnical imaginations:one that operates within biotechnical architecture; and the other that defines the narrative of contemporary biotechnologies. I argue that the tension raises two research questions: are there any alternative ways and contexts for working with living systems that take elements from both discourses? And whatmethods and ways of exploration do we need to engage directly with living systems to find the design possibilities? To explore the research questions, I propose the methodology of bio-material probe: design situations that provide the context to explore the design possibilities of biological systems, but that suspend the requirement for a practical design outcome at the outset. Four bio-material probes are mobilised in the second part of the thesis to define different approaches to designing form with living systems, starting with parametrics and evolving to an approach that considers non-human agency and assemblages. Main Supervisor: Dr Martyn Dade-Robertson, Second Supervisor: Professor Katie Lloyd-Thomas, Internal Examiner: Professor Rachel Armstrong, External Examiner: Professor Orkan Telhan

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ARC – Architecture Research Collaborative

This has been a great year for the consolidation of research in ARC and the development of collaborations between members, both building on existing momentum, and developing new projects. We welcome Neil Burford as new co-director of ARC, now that Martyn Dade-Robertson has moved across to be Director of Research in APL. Neil’s particular knowledge and experience of architectural practice, housing and sustainable materials and environmental research are already engendering new collaborations in these areas of strength in the School. Fine artist, Juila Heslop, joined us as our second ARC post-doctoral fellow, to develop aspects of her self build project ‘Protohome’ in response to conditions of scarcity. Our distinctive approach to multidisciplinary architectural research is at the heart of a new collaborative ARC project and AHRC network bid, ‘Architects’ Ways of Knowing’ led by Christos Kakalis. Jeremy Till joined us for a stimulating research overview in the middle of the March blizzards and helped define 3 key centres of gravity in our architectural research. Research into the practices and processes of architecture – both mainstream and alternative – ranges from historical studies such as Katie Lloyd Thomas’ project The Architect as Shopper’ examining the emergence and effects of proprietary specification in inter-war Britainto (awarded research fellowships by Leverhulme and Paul Mellon Centre for Studies in British Art and Architecture), to testing the possibilities of community engaged practice as in Armelle Tardiveau and Daniel Mallo’s ESRC Impact Acceleration Grant funded project with ethnographer Abigail Schoneboom – a sensory and design exploration of the spatial separation between the office/meeting/classroom areas and garden at Scotswood Natural Community Garden, which cuts off users from some of the benefits of connecting/interacting with nature. Our in-house Design Office completed Kings Quad – the elegant recovery and refurbishment of a courtyard previously hidden within Armstrong Building – which was also the subject of Yasser Megahed’s brilliant graphic novel ‘Practiceopolis’ as part of his creative practice PhD. A major new international project in our history and cultures research launched this year. ‘Displaced Practices: People of the Mediterranean Milieu at the End of the Ottoman Empire’ is led by Dr Zeynep Kezer and Dr Christos Kakalis, examines the spatial dimension of the population displacements that occurred as part of the protracted collapse of the Ottoman Empire. The first symposium (22 – 23 March 2018) also featured an exhibition of photographs from the Gertrude Bell Archive and the screening of the 1983 film Rebetiko at the Tyneside Cinema. Following on from our exhibition Scaling the Heights last year, Dr Martin Beattie, Dr Christos Kakalis and Matt Ozga Lawn have drawn together more than 20 national and international contributions towards a first ARC-based publication, Mountains and Megastructures: Neo-geologic landscapes of human endeavour. ARC’s globally renowned work in living systems and materials continues to be explored in through two major projects. Thinking Soils is a multidisciplinary research project funded by the EPSRC as part of the Designing the Future Theme. The team, lead by Martyn Dade-Robertson, is investigating the development of a biological pressure sensor and material synthesis system based on bacteria. Rachel Armstrong’s Horizon 2020-funded £3.2 million LIAR (Living Architecture) project, has been exhibited this year at Lakeside Gallery, Nottingham; at Cragside, Northumberland, and at Estonia Architecture Biennale. International presentations, performances and workshops have taken place of the project at the Trondheim Biennale, at the Institute for Advanced Architecture of Catalonia (IAAC), Barcelona, at the University of the Underground/Sanberg Instituut, Amsterdam and at the World Creativity Forum in Aarhus, Denmark. Congratulations also to Dr Carolina Ramirez Figueroa for her PhD completion ‘Bio-material Probes, Design Engagements with Living Systems’. Ecologies, Insfrastructures and Sustainable Environments Rachel Armstrong Samuel Austin Neil Burford Carlos Calderon Graham Farmer Simone Ferracina Neveen Hamza John Kamara Zeynep Kezer

Experimental Architecture

Rachel Armstrong Andrew Ballantyne Ben Bridges Carlos Calderon Andrew Campbell James A Craig Martyn Dade-Robertson Graham Farmer Simone Ferracine Matthew Ozga-Lawn

Futures and Imaginaries

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Nathaniel Coleman James A Craig Martyn Dade-Robertson Josep-Maria Garcia-Fuentes Polly Gould Christos Kakalis Matthew Ozga-Lawn Stephen Parnell Ian Thompson

History, Cultures and Landscape

Samuel Austin Elizabeth Baldwin Gray Andrew Ballantyne Martin Beattie Kati Blom Nathaniel Coleman Josep-Maria Garcia-Fuentes Polly Gould Claire Harper Christos Kakalis Peter Kellett Zeynep Kezer Stephen Parnell Adam Sharr Edward Wainwright

Industries of Archicture

Ben Bridges Prue Chiles Neveen Hamza Laura Harty John Kamara Katie Lloyd Thomas Daniel Mallo Ivan Marquez Munoz Adam Sharr Armelle Tardiveau

Processes and Practices of Architecture

Armelle Tardiveau Edward Wainwright

Mountains and Megastructures

Rachel Armstrong Andrew Ballantyne Martin Beattie Prue Chiles James A Craig Graham Farmer Josep-Maria Garcia-Fuentes Zeynep Kezer Adam Sharr

Ben Bridges Neil Burford Andrew Campbell Prue Chile Nathaniel Coleman Graham Farmer Claire Harper Laura Harty Peter Kellett Katie Lloyd Thomas Daniel Mallo Ivan Marquez Munoz Dhruv Sookhoo

Text - Katie Lloyd-Thomas Image - Armelle Tardiveau

Displaced Practices: people of the Mediterranean Milieu at the End of the Ottoman Empire Zeynep Kezer and Cristos Kakalis History, Cultures and Landscape This event is the first in a series of scholarly collaboration (including work shops, symposia, and research projects) focusing on the violent reconfiguration, starting from the middle of the 19th century, of the georgraphies that roughly correspond to the Ottoman Empireâ&#x20AC;&#x2122;s domain. Displaced practices is a two-day symposium/workshop that will examine the dislocation and relocation of populations during the end of the Ottoman Empire from a spatial perspective. With the keynote addresses from Vahe Tashjian Founder of Houshamadyan website) and Professor Renee Hirschon (Oxford University), a public movie screening, and presentations from students and staff both from Newcastle and beyond, this symposium/workshop will examine how the catastrophic changes during this period affected the world of spaces and artifacts, effectively foregrounding the routines and rituals that make up the everyday lives of ordinary people. The three selected themes for exploration in the inaugural event are: (re)creating life in a new land, encounters with new neightbours and representation/reconstruction.

Socialisation Through Design Process Dhruv Adam Sookhoo Processes and Practices of Architecture Interactions in pracitce socialise architects into cultures of design. The project is undertaken during an invited research residency at Metropolitan Workshop, as they develop design responses to a series of large scale, nationally significant housing and regeneration schemes. The project engages with practice as a social context for learning and professional socialisation. it intends to accelerate practice-based learning for the generation of architects and planners, by supporting practitioners to analyse and reflect on how they communicate within one another during the design process. The project is particularly interested in how senior practitioners use design review and design artefacts (e.g.drawings and models) to share, manage and reflect on challenging issues with team members, e.g. professional ethics, design quality and negotiating planning. Collaborators: Neil Deely, Partner, Metropolitan Workshop Chris Leyland, ECLS, Newcastle University

Mapping Athonite Silence Christos Kakalis Mountains and Megastructures This book explores the moving qualities of mountains by utilising theories, ideas and processes which contribute to a larger understanding of these geological forms. In highlighting the fluid attribute of mountains the authors offer an alternative to the traditional approach of the sciences and the humanities, which address mountains as static geological or geographical features. Publication: Christos Kakalis & Emily Goetsch (eds), Mountains, Movements, Mobilities, (Palgrave Macmillan, 2017)

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Testing Ground: Rochester Roundhouse Graham farmer Ecologies, Infrastructures and Sustainable Environments The ongoing Testing Ground project is collaborative and trans-disciplinary in nature and seeks innovative synergies between design practice, teaching and academic research. It consists of a series of award-winning, permanent self-build architectural projects constructed within remote rural communities. Each project explores social sustainability by working directly with communities to identify and support local needs. The buildings are constructed using a volunteer workforce, using available local resources, expertise and craft skills whilst also providing training opportunities and adding direct social and economic benefits to local communities. Intoxicated Space Ed Wainwright History, Cultures and Landscape From the nocturnal realm of the bar, club & pub, to the divine realm of the church, mosque or temple, intoxication – seen as phenomena that moves one outside of the realm of everyday experience – is enacted in and through space. Understanding the production of the spaces of intoxication, and how intoxication can be produced through space forms the basis of this collaboration research project and design studio. Working with installation artists, architects and researchers, Intoxicated Space seeks to explore the experience, politics and production of intoxication through practice based research methods. Collaborators: Gareth Hudson (School of Fine Art, Newcastle University) Students: Delia Heitmann (RWTH Aachen), Rosie O’Halloran, Tom Saxton, Matt SharmanHayles (APL, Newcastle University) The letters and architectural writings of John Stapylton Grey Pemberton from Sri Lanka and India Martin Beattie History, Cultures and Landscape This project explores the entangled meanings of travel, exploration, race and empire, in the late-nineteenth century through the “publish” and family letters of John Stapylton Grey Pemberton (1860 - 1940). Pemberton published eight letters, probably for the Yorkshire Post, from the beginning of December 1886 until the beginning of January 1887. His unpublished family letters give vivid and detailed accounts of his visit to various sites of architectural antiquity around Sri Lanka and India. Pemberton’s perspective is without doubt one of a European elite man, the dominant one in colonial histories, travel memoirs and novels of the period. However in places, his letters to his father also reveal a colonial traveller with several identities, and a creeping acknowledgement of uncertainty in the colonial project. Here amongst the anxieties, banalities, and irrationalities that characterise the texts of colonisers is a more fragmented and erratic emotional history of empire that challenges representations of colonial discourse and social relations of power as uniform, rational and consistent. Architecture of Atmospheres Polly Gould Processes and Practice of Architecture With historical and archival research into John Ruskin’s The Storm-Cloud of the Nineteenth Century (1881) and the nineteenth century climate scientist John Tyndall’s research into the physical properties of air, along with water colour architectural model making presented as both experiment and design proposal, this research uses speculative creative practice to investigate the nexus of relations between artefacts, museum microclimates, climate, and the environment. My interests are in Fine Art Practice, Ecologies, feminist new materialism, the posthuman, architectures of display, the Polar Regions, Alpine landscapes and histories of exploration.

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Critical Spatial Practice Xi Chen Processes and Practices of Architecture This practice-based research focuses on Jiangxin island, which is a place of colonial history, nostalgia and modern life in Wenzhou, China. One of the aspects of the research which is key is the public events-making that attempts to rethink the colonial heritage, to re-examine the concept of public space and to re-imagine an open future of the island. The term critical spatial practice addresses the difficulties in making public events in the island with regard to the complexities of socio-political structure in China. It proposes the agency of political engagement and artistic making as the spatial pratice, and the agency of mapping and self-reflection as the tool of representation. Website: www.unbuilt.net Practiceopolis: Journeys in the Architectural Profession Yasser Megahed Processes and Practices of Architecture The research investigates the on-going competition for economic and cultural capital between cultures of practice operating within the contemporary architectural profession. It creates the imaginary city of Practiceopolis, a metaphor of the contemporary architectural profession. Drawing on the iterative process of research-by-design, the city is envisaged through a sequence of narratives including mapping prevailing values in the profession, identifying the prominent cultues of practice and most substantially the production of an architecturally-themed graphic novel, taking place in Practiceopolis. The novel narrates stories about the competition between prominent cultures of practice in the cityâ&#x20AC;&#x2122;s imaginary political scene and speculating on the future of the architectural profession.

Hygromorphic Materials Graham Farmer Experimental Architecture This research is a collaboration between the Schools of Civil Engineering & Geosciences (CEG) and APL. It aims to explore the possibility of developing sustainable adaptive building systems with passive climate responsiveness enabled by the incorporation of low cost, low-tech, timber composite hygromorphic (moisture sensitive) materials. Key areas of research include materials programmability and predictability, long-term durability and architectural integration. Collaborators: Dr Ben Bridges, Artem Holstovs, School of Engineering, Newcastle University

Constructing Informality Peter Kellett Processes and Practices of Architecture Since 1985 I have been carrying out longditudinal ethnographic research into the growth and development of informal settlements in Columbia. The 30 year cumulative data set documents the housing trajectories of communities and households through changing economic and social circumstances and helps explain how built form and social formations are mutually and dynamically constituted through time. Living with a local family in a settlement for extended periods on multiple occasions makes it possible to explore the inter-relationships between housing construction, furnishing and habitation, and identity re-construction and the role of the dwelling in peopleâ&#x20AC;&#x2122;s lives.

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Rapid Urban Change Peter Kellett Ecologies, Infrastructures and Sustainable Environments Ethiopia is experiencing rapid economic growth, development and modernisation, including large scale programme to improve the living conditions of the poor and to modernise the capital, Addis Ababa. Well-established communities are being moved from centrally located traditional courtyard housing to multi-storey blocks on the urban periphery. This collaborative research is documenting the lived experience of urban transformation and social change through case studies of low-income households. The aim is to give a voice to those with the least control and power and to gain insights into how communities cope with change, their levels of resilience and how they adapt to radically different social, spatial and economic circumstances. Key Outputs: Kellett, P. and Eyob, Y. (2016) ‘From Courtyards to Condominiums: the experience of re-housing in Addis Ababa’ paper presented at IAPS 24 International Conference \The human at home, work and leisure: Sustainable use and development of space in everyday life’, Lund University, Sweden, June. Collaborators: Ethiopian Institute of Architecture and Building Construction (EiABC) at Addis Ababa University, Newcastle University Institute for Social Renewal

Visual Arts and International Development Peter Kellett History, Cultures and Landscape This exhibition-based project draws on the techniques from contemporary art to question conventional narratives and world views and thereby contribute to the public understanding of the international development. Lively assemblages of everyday objects supported by photographic projections presented stories of celebration, innovation and creativity alongside development dilemmas and challenges. The exhibitions draw on material from Ethiopia. Key Outputs: Kellett, P. (2015) ‘Made in Ethiopia: Material Culture of Everyday Life’ solo exhibition, Long Gallery, Department of Fine Art, Newcastle University, April 2015. Collaborators: Addis Ababa University, Voluntary Service Overseas (VSO), Newcastle University Institute for Creative Arts Practice (NiCAP)

Bacteria Spore Actuators Martyn Dade-Robertson, Carolina Ramirez-Figueroa & Luis Hernan Experimental Architecture Very recent research has shown that bacteria spores combined with an elastomer like material can be used to create very powerful hydromorphic material. Hydromorphic materials can respond to changes in humidity by changing shape. There are a number of hydromorphic materials and most work by combining two layers – which have separate rates of expansion in the presence of moisture. As one layer expands it forces the other layer to change its shape causing the material to bend. In architecture there has been experimentation with timber based hydromorphic materials but, as yet, the bacteria based hydromorphic materials have not been considered by architectural designers. We have begun to experiment with the basic material and configurations of Bacilla Spore actuators and, through a Stage 3 (3rd Year Undergraduate) studio begun to work with mechanisms that may translate the power of the hydromorphic material to mechanisms which may form parts of a dynamic building skin. Output: Bacteria Hygromorphs: experiments into the integration of soft technologies into building skin – ACADIA 2016

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LIVING WILD: Bakethin Hide Graham Farmer Ecologies, Infrastructures and Sustainable Environments Living Wild is a Heritage Lottery funded project involving a wide range of public and private partners. The project’s core aim is to bring Kielder’s unique landscapes to life for visitors and residents, helping them enjoy, learn, share and immerse themselves in nature whilst also contributing to the long-term protection of the area’s ecologies. The Bakethin Hide project explores the transformative potential of design and the ways in which codesigned and co-constructed artefacts can potentially contribute to a re-imagining of regional and local space within a wider framework of sustainability.

Computational Colloids Martyn Dade-Robertson Experimental Architecture Imagine a soil, saturated with billions of engineered bacteria cells. As a force is applied to the ground, bacteria living in the soil would detect an increase in pressure. The bacteria respond by synthesising a new biological material to blind soil grains together and increase soil resistance. The resulting structure would consist of a material where sand grains are only cemented where the forces through the material require. Our EPSRC funded project will build a proof of concept to show how we might design a manufacturing process where the material itself acts as manufacturer and designer, modelling and responding to its environment. The implications of such a project could be profound. Such a technology would push well beyond the current state of the art and challenge a new generation of engineering designers to think at multiple scales from molecular to the built environment and to anticipate civil engineering with living organisms. Project Team: Martyn Dade-Robertson (School of Architecture, Planning and Landscape), Helen Mitrani (School of Civil Engineering and Geosciences), Anil Wipat (IOS, School of Computing science), Meng Zhang (Faculty of Life and Health Sciences – Northumbria University), Aurelie Guyet (School of Architecture, Planning and Landscape), Javier Rodriguez Corral (School of Architecture, Planning and Landscape)

Out of our Control Prue Chiles Processes and Practices of Architecture An ongoing longitudinal auto-ethnographic research project to re-visit, re-evaluate and encourage the clients’ and builder’s responses to the homes they have lived in and built. This project turns from the eyes of the architect to the hands of the maker and to the senses of the dweller to interrogate ideas about the social and built everyday domestic space, its representation, the final outcome and beyond. Can bricks and mortar be a reflection of ourselves and transformational to the life of the occupants? Our architectural field of operation is an expanded site of multiple and layered accumulations of physical domestic locations, where the relationships, bodies and texts compound into what we define as Home. Contingencies of site are far more acute for us and placed us at the heart of a set of relationships and processes that became an expanded field for us beyond the conventional notion of site. Collaborators: The Architectural Practice CE+CA and many other interested parties

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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

Anna Cumberland Asia Stefanova Charlotte Powell Chloe Gill Cynthia Wong David Davies Di Leitch Elizabeth Holroyd Emma Gibson Henna Asikainen Jan-Mohamed James Longfield James Morton Karl Mok Keri Townsend Laura Harty Mal Lorimer Maral Tulip Mike Veitch Nick Clark Nathalie Baxter Nuur Olga Gogoleva Robert Johnson Sana Al-Naimi Sean Douglas Simon Hacker Sneha Solanki Steve Tomlinson Tara Stewart Theodora Kyrtata Tracey Tofield Tony Watson Xi Chen

Stage 2

Albane Dullivier Andy Campbell Ed Wainwright Elizabeth Baldwin Gray Enrico Forestieri Jamie Anderson John Lowry Katie Lloyd Thomas Kieran Connolly Kieran Gaffney Luis Hernan Maria Mitsoula Neil Burford Neil Gillespie Nicholas Taggart Nikoletta Karastathi Patrick Devlin Prue Chiles Sam Boyle Sam Clarke Simone Ferracina Vlasios Sokos

Stage 3

Adam Storey Alan Fraser - Structural Engineer Albane Duvillier - www.aaschool.ac.uk Alex Gordon - www.jesticowhiles.com Aurelie Guyet Bex Gill Chris French - www.simpsonandbrown.co.uk

Craig McIntyre Dan Kerr - www.mawsonkerr.co.uk David Bailey - www.dlgarchitects.com Declan McCafferty - www.grimshaw.global Elizabeth Baldwin-Gray Fraser Halliday - www.harrisonstevens.co.uk Hazel York - www.hawkinsbrown.com Hugh Miller - www.hughmillerfurniture.co.uk Iris Van Dorst - www.faulknerbrowns.co.uk Jack Green - www.biomorphis.com James Nelmes - www.bennettsassociates.com James Perry www.harperperry.co.uk Javier Rodriguez Corral John McAulay - www.cundall.com Josh Duffy - www.arup.com Luis Hernan Julie-Anne Delaney Lee Haldane Liam Proudlock - (Proudlock Associates) Luciano Cardellicchio - Kent University Luis Hernan Marc Horn - www.studiohorn.com Mark Johnson - www.brentwoodgroup.co.uk Mark Sinclair - Structural Engineer Mike Harrison Neil Wallace Nicholas Peters - www.grimshaw.global Nita Kidd - www.mawsonkerr.co.uk Paul Bussey - (AHMM) Rachel Currie - gt3architects.com Ray Verrall Rob Morrison - Taktal Ross Blekinsop - www.studiohorn.com Rowan Moore - www.theguardian.com Sean Douglas Sean Griffiths Selena Anders - Notre Dame University Scott Emmett - www.arup.com Stephen Ibbotson - www.iarch.co.uk Stephen Richardson - www.sw.co.uk Stuart Hallett - www.arup.com Tim Bailey - www.xsitearchitecture.co.uk Tim Mosedale - www.mosedalegillatt.wordpress.com Tracey Proudlock - (Proudlock Associates) Usue Ruiz Arana Valerio Morabito - Penn Design Yasser Megahed

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

Ali Manadipour Amy Butt Anna Czigler Ben Bridgens Chantelle Stewart Dik Jarman Evan Green Jack Green James Longfield James Nelmes Jenny Conroy John Ng Jonnie McGill Kieran Connolly Leon Walsh Lisa Moffit Luis Hernan Manja van de Worp Megan Charnley Paul Thomas Remo Pedreschi Roger Burrows Ruth Hudson-Silver Sam Vardy Sarah Jane Stewart Simone Ferracina Tahl Kaminer Toby Blackman

Stage 6

Andreas Dopfer Kirstie Smeaton Katie Lloyd Thomas Dominic Stevens Soraya Smithson Alice Clancy Kieran Connolly Gareth Hudson Amy Butt Richard Clay Caroline Edwards Nathaniel Coleman Koldo Lus Arana Ben & Sarah Tew Luis Hernan Tom Dyckhoff Fred Drion Neil Burford Yasser Megahed Adam Sharr Matthew Margetts James Craig Martyn Dade-Robertson Aaron Guy

Awards and Nominations The School awards a range of prizes for exemplary work across the BA and MArch programmes each year, with monetary values of up to £1000 each. Congratulations to all our award winners and also to our nominations for the prestigious RIBA Medals and the new RIBA North Award, all of whom will be able to attend events in Newcastle or London as the School’s nominees, and whose work will be featured amongst the best in the country (www.presidentsmedals.com).

Newcastle University APL Awards BA (Hons) Architecture

RIBA Award Nominations

H. B. Saint (William Bell) Memorial Scholarship for best major project design:

RIBA Silver Medal:

Jack Sweet

Sophie Baldwin (p. 120) Abigail Murphy (p. 145)

Thomas Faulkner Prize:

RIBA Bronze Medal:

Hazel Cohens

Napper Memorial Prize: Hyeonuk Kim Christopher Carty

Jack Sweet Aaran Noble

RIBA North Award:

Ching Wah Hong

Abigail Murphy (p.145) Alex Blanchard (p.116) Callum Campbell Wing Yung Janet Tam

Prof Douglass Wise Memorial Prize

Other Awards

Trenwith Wills

Callum Campbell Jay Hallsworth

Andrea Toth Award

3DReid Nomination www.3dreid.com: Daniel Sprawson (p.117)

Roxana Caplan

Architects’ Journal Student Prize

March Architecture

www.architectsjournal.co.uk:

H. B. Saint (William Bell) Memorial Scholarship for best major project design:

Emma Kingman (p.124) Jack Sweet (p. 47, 48)

Abigail Murphy (p.145)

William Glover: Adam Hill (p.131)

Ed Bennett: Sophie Baldwin (p.120)

Exceptional Contribution: Jose Figueira Aaron Swaffer Jonathan Pilosof Joanne Cain

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NUAS 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 member’s 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 the 2017 ‘IBM Award for Outstanding Contribution to the Student Community’ highlighting our work to boost cross stage engagement around the School and campaigning to improve students’ safety and welfare. The society has also won ‘Best Departmental Society’ for two years running for our work in providing 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. The Society wishes to thank all the staff of APL for their endless help and enthusiasm as well as RIBA, NAWIC 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. President: Peter Staniforth Secretary: Joe Allen Treasurer: Oliver Harrington Social Secretary(s): Megan Nightingale, Shaunee Tan Formals Officer: Emily Chan Exhibition & Shows Coordinator: Aaron Gustav-Swaffer Lectures & Talks Coordinator(s): Jose Figueira, Iris Guo Marketing and Communication: Sarah Bradshaw Kofibar Representative: Faith Hamilton Sports & Activities Coordinator: Grant Donaldson

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.

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Newcastle University School of Architecture, Planning and Landscape Yearbook â&#x20AC;&#x2DC;18 Editorial Team Ellie Gair Laura Davis-Lamarre Matthew Ozga-Lawn Special Thanks Alison Pattison Title Partners FaulknerBrowns Printing & Binding Statex Colour Print www.statex.co.uk Typography Adobe Garamond Pro Paper GF Smith Colourplan, Pistachio, 350gsm First published in June 2018 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