Yearbook 2017 by School of APL, Newcastle University

2017

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 87 Stage 5 Stage 6 Fieldwork and Site Visits Research in Architecture 158 BA Dissertation MArch Dissertation Linked Research Taught Masters Programmes PhD / PhD by Creative Practice Creative Practice Symposium Architecture Research Collaborative Scaling the Heights Exhibition Awards

200

Contributors

201

NUAS

202

Sponsors

203

Welcome Prue Chiles – Director of Architecture

This book celebrates the achievements of students and staff whose hard work is a testament to the innovative culture and inclusive atmosphere of this School. It has been an exciting year which has been wonderful to both observe and be a part of. The creative and intellectual rigour of our approach was again formally recognised as excellent by the RIBA in the accreditation visit that took place this academic year. It has been a year of both change and continuity; change, with the addition of a number of teaching, academic and support staff, their arrival has already been warmly received and widely appreciated. Our School has always promoted a broad range of interdisciplinary practices and specialisms within the study of architecture and this increasing diversity has fostered a wide variety of design and research studios in both the Bachelor and Master’s degree programmes. For the first time, this has also included vertical studios which have encouraged collaboration between undergraduate and postgraduate students. Change has also come with the first major redevelopment of our School’s accommodation since 1966: the addition of an extension to the Building Science building which has doubled our workshop capacity, added new studios, review spaces and digital fabrication facilities. The latter include a new digital workshop space which has already been fully exploited by this year’s cohort through a wide range of models and representational studies. Moreover, investments in new technologies such as virtual reality equipment have allowed students to explore a wider range of media and further expand the limits of their architectural imaginations. Continuity has come in the form of continued success of the live build ‘linked research’ programme, the latest iteration of which was highly commended in the rural initiatives category of the RIBA MacEwen Award. This programme has worked for a number of years in collaboration with local residents to design and build small structures in Northumberland aimed at sustaining rural communities. They have also provided an opportunity for students to experience the difficulties and delights of seeing a live architectural project from concept through to completion. This programme is an example of the close connections between our teaching and the work of the Architecture Research Collaborative (ARC), the School’s established research group. Collaborations between researchers and students fill the pages of this yearbook from the Newcastle After Dark studies, a study of the intricacies of night-time economies in Newcastle, through to Zanzibar Futures, a journal considering Zanzibar as a microcosm of geopolitical issues, along with continuing experimental architecture research into living architectural fabric. NUAS, the Newcastle University Architecture Society, has been recognised by the students’ union for the second year running as Best Departmental Society. Students have also established a student charter of Article 25, an NGO whose name is derived from the United Nations declaration of human rights, stating that everyone has the right to adequate and dignified shelter. Work like this continues the School’s tradition of offering programmes which engage students in a diverse range of social, political and cultural projects, instilling a strong sense of human values and societal responsibility. Our research-led teaching is intended 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. The work presented in this book illustrates its diversity, originality, significance and rigour.

Charrette Charrette Week is a whole School, one week, high energy, high productivity series of workshops culminating in a show on the Friday. 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 50 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! In keeping with the relatively new Charrette tradition Charrette leaders (typically alumni, architects, engineers and artists) were given three thematic words to respond to, this year’s being:

Charrette 1: Haptic Shadows Holly Hendry

Charrette 2: Junk Puppets Hannah Pierce

Charrette 3: Instrumental Matt Charlton Tom Randle

Charrette 4: Silence Of The Senses Hazel McGregor

Charrette 5: Place in Progress Kate Percival Lowri Bond Sara Cooper

Charrette 6: Incubation Station Matt Rowe

Charrette 7: Touch Me! Let’s Change The School Amara Roca Inglesias

Charrette 8: Navigating Indeterminacy Andrew Walker

Charrette 9: Print Shift Repeat Ruth Sidley Thomas Henderson Schwartz

Charrette 10: You Spin Me Right Round Baby Right Round Archie Bell

Charrette 11: A Tale Of Two Cities Gareth Hudson

Charrette 12: Tantrum City Yatwan Hui

Charrette 13: Charrette Narratives Student Run

Charrette 14: Arts Cafe For Chilli Studio Holly Hendry

Charrette 15: Enchanted Architecture Sara Nabil Ahmed

Charrette 16: Stu Brew Red Kellie

Charrette 17: Curating the School Kieran Connolly

BA (Hons) Architecture

Samuel Austin and Simon Hacker – Degree Programme Directors

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-through-making, 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 Some aspects of first year architectural education are reasonably constant and unchanging. The design module this year has continued to introduce students to the fascinating richness and diversity of existing architectural discourse and culture; to encourage them to pick up and try out the eternal tools and instruments of architecture, including scale, context, observation, human form, inhabitation, structure, manufacture and representation; as well as offering them opportunities to design and test-out solutions to a range of particular problems and needs. But this year has also seen some radical changes within Stage 1. All the studio projects were written and run for the first time, and various new connections have been fostered between the design and non-design modules, with an intention to build further on these in subsequent years. From a School context, perhaps the most obvious change has been the hand over from Martin Beattie as Stage 1 Coordinator this year â&#x20AC;&#x201C; after many years of managing, teaching and nurturing first year, Martin has finally moved on to new pastures within the School and this is an opportunity on behalf of all staff, tutors and students to thank him for his input and dedication. Year Coordinator Martin Beattie Simon Hacker

Project Leaders

Elizabeth Baldwin Gray James Longfield Laura Harty Simon Hacker

Students

Aaron Cheng Abigail Elisabeth Hawkins Afiqah Binti Sulaiman Akihisa Tomita Aleksabdria Bolyarova Alexandra Ellen Duxbury Alice Katherine Du Fresne Amna Ahmad I M Fakhro Ana Paula Godoy Anastasia Ciorici Anna Moncarzewska Anya Beth Donnelly Anna Volkova Assem Saparbekova Atthaphan Sespattanachai Chi Shen Chloe May Dalby Christopher David Anderson Christopher Liam Carty Cristina Alicia Gonzales Mitcalf Danielle Marie Quirke Demi-Jo Crawford Edward Benedict Yaoxiang Yan Elizaveta Streltsova Emily Jane Morrell Emily May Simpon Emily Rachael Pendleton Birch Emma Fernandez Ruiz Erin Noelle Dent Erya Zhu Esthefpany Mishell Carrillo Monge Ewan Mark Smith Faith Mary Hamilton Flora Rose Sallis-Chandler George William Cooper Grant Martin Donaldson Harry Charlesworth Groom Harry James Hurst Hassan Mehboob Sharif Ho Hang Ryan Fung Holly Kate Rich Huyen Anh Do Iram Kamal Irene Dumitrascu-Podogrocki Isabel Lois Fox

Text by Simon Hacker

Jacob Timothy Weetman Grantham James Edward David Hall James Michael Stokoe Jianing Lyu Jingyi Zhou Jody-Ann Goodfellow Joseph George Allen Josephine Anne May Coffey Junwen Luo Ka Ching Leung Kareemah Muhammad Karishma Dayalji Kate Asolo Woolley Katie Lara Cottle Kristin Olivia Read Leah Charlotte Harrison Leeza Anna Potanah Lucy Kay Atwood Luk Chong Leung Luke Tim Jonathan Shiner Lynsey Holt Madalein Carroll Maegan Rui Qi Lim Maharram Mammadzada Martina Dorothy Hansah Matthew Chi Ming Warrenberg Megan Frances Nightingale Michelle Sie Ee Lim Milo Carroll Miruna Ilas Mohini Devi Tahalooa Natalie Beata Piorecka Nathan Alan Cooke-Duffy Oliver Charles Harrington Pak Siu Au Peter Thomas Staniforth Philomena Chen Pok Ho Cheung Qian Yi Choi Rachel Emmeline Clark Rachel Sophie Keany Rebecca Sinead Crowley Rodrigo Miguel Pereira Domingos Rosa Sophia Kenny Ruth Niamh Angele Vidal-Hall Sabrina May Lauder Sally Emir Clapp Samuel Fraquelli Samuel Mackenzie Bell Sarah Alexandra Johnsone Sarah May Bradshaw Sean Ryan Bartlem Shaunee Lyn Tan Shivani Umed Patel Sienna Poppy Sprong Sofia Kovalenko Sofia Grace Turner

Solomon Olufemi Adeyinka Ofoaiye Sophie Tilley Thomas James Grantham Thomas Robert Porritt Tobias Evan Himawan Tongyu Chen Victoria Louise Haslam Vito Benjamin Sugianto Wen Hua Huang Will Peter Tankard William Harry Taylor Xin Guo Xingyu Zhou Xueqing Zhang Yeekwan Lam Yi May Emily Chan Yingyeung Mo Zhana Hristova Kokeva Zhong Zheng

Contributors See pg.201

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Intervention! James Longfield

This project invites students to design a small inhabited intervention within a particular surveyed site. Using measured survey drawings, photographic studies and observational drawings in order to inform ideas for a new small scale ‘micro architecture’, students design an intervention that houses a particular function and occupies territory between the scale of furniture and architecture. Linked with AUP Stage 1 (see pg.68)

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PRESENTATION PAGE 30

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Top left to Bottom right - Zhong Zheng, Megan Nightingale, Tobias Himawan(2), Matthew Warenburg (2), Peter Staniforth (2)

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. Linked with AUP Stage 1 (see pg.68)

Top left to Bottom right - Anna Volkova, Karishma Dayalji, Qian Yi Choi, Cameron Reid (AUP), Anya Donnelly, Group: Kate Asolo Woolley, Maegan Rui Qi Lim, Michelle Sie Ee Lim, Anastasia Ciorici, Maisie Jenkins (AUP), Julian Baxter (AUP), Karolina Smok (AUP), Group: Isabel Lois Fox, Jacob Timothy Weetman Grantham, Jianing Lyu; Leeza Potanah

op left to Bottom right - Group: Abigail Elisabeth Hawkins, Christopher David Anderson, Luk Chong Leung; Group (AUP): Kirin Gallop, Fabian Kamran, T Natalie Si Wing Lau, Thomas McFall; Alexandra Duxbury, Martina Hansah, Tobias Evan Himawan, Ruth Vidal-Hall, Group (AUP): Ellis Salthouse, Nur Salymbekov, Ella Sophia Spencer, Thanuyini Suseetharan; Xin Guo, Shivani Patel

Market Placed Simon Hacker

In this final project of the year, students design a small market and enterprise building for the University Campus. The project commences with the design of individual stalls, booths and small workshops that explore various architectural languages. Working within a group students then design a collective aggregation or cluster of these small structures on a specific site – a market place. Finally, they individually design a larger in-door hall in conjunction with a structure and skin that provides shelter for the wider market complex.

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BRUTALISM x FR EI OTTO | An investigation of the site revealed a assortment of different architectural elements across the site. Clare-

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From left to right: Fig 22a: Investigation to minimize roof ’s elevational profile Fig 22b: Reinterpreation of architectural elements on Site B Fig 22c: Development of roof ’s structural strategy

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op left to Bottom right - Qian Yi Choi, Edward Benedict Yaoxiang Yan, Anastasia Ciorici, Atthaphan Sespattanachai, Pok Ho Cheung, Ho Hang Ryan Fung, T Qian Yi Choi, Katie Lara Cottle, Atthaphan Sespattanachai, Matthew Chi Ming Warrenberg 25

Stage 2 Economy forms the basis of our architectural investigations and design explorations in Stage 2 this year. How architecture is produced by, and productive of, the economies within which we live has been explored through analysis of urban environments and the imagination of their futures; the design of collective housing and communal spaces; projects crossing the boundaries between art, architecture and engineering; and the design of spatial experience. With projects set in Edinburgh’s historic port, Leith and the Northumberland border town of Berwick-upon-Tweed, and in the fictional realms of film, projects have moved between the scale of the dwelling to the scale of space; from the digital to the material and practices of making: always asking the question of architectures’ role and relation to the economies it is embedded in. A year of transition, Stage 2 seeks to encourage a growing sense of criticality towards design decisions, a developing autonomy of thought and action, and an understanding of architectures’ position in times of social, cultural and economic flux. Year Coordinators Andy Campbell Ed Wainwright Christos Kakalis Claire Harper

Project Tutors

Amara Roca Inglesias Amy Linford Carolina Ramirez Figuroa Christos Kakalis Claire Harper Dan Kerr Gillian Peskett James Longfield James Perry Jennie Webb Jess Davidson Luke Rigg Nita Kidd Stella Migdali

Fine Art Tutors Adam Goodwin Archie Bell Gareth Hudson Harriet Sutcliffe Peter Sharpe Julia Heslop Rosie Morris

Students

Aaron Swaffer Abigail May Smart Alesia Berahavaya Alysia Lara Arnold Arran James Noble Bahram Yaradanguliyev Benedict Douglas Wigmore Boris Larico Villagomez Brandon Athol Few Callum James Luke Callum Robert Campbell Charlie William Donaldson Cheng Wan Mak Chi Lam Cheng Ching Nam Yue Ching Wah Hong Chou Ee Ng Chun Yin Ng Ciara Catherine McClelland Cooper Taylor Danielle Helena Berg Darcy Eleanor Arnold-Jones David Michael Gray David Richard Osorno

Dianne Kwene Aku Odede Dora Mary Frances Farrelly Eleanor Waugh Elliot James Crowe Elliot Matthew Dolphin Eloise Aliza Coleman Emily Catherine Child Emily Reta Spencer Emma Elizabeth Kemp Emma Imogen Moxon Ethan John Archer Euan Emilio Alpin McGregor Eve Kindon Finlay William Lohoar Self Freya Jane Emerson Gemma Louise Duma Grace Charlotte Ward Hannah Emily McAvoy Harry Cameron Tindale Harry Robert Henderson Hazel Ruth Cozens Helenna Abigail Taylor Henry James Cahill Ho Sze Jose Cheng Huiyu Zhou Ibadullah Shigiwol Ioana Buzoianu Irvano Irvian Jack Oscar Sweet Jake Thomas Williams-Deoraj James Edward Bacon James Gillis Jamie Schwarz Jay Antony 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 Lajes Machado Marques Figueira Joseph Henry Noah Elbourn Joshua Willem Jago Knight Jun Tao Gerald Ser Junyi Chen Ka Chun Rico Chow Ka Hei Chan Kai Lok Cheng Katie Ann Elizabeth Campbell Katy Rose Barnes Kieran Harrison King Chi Leung

Text by Christos Kakalis

Kiran Kaur Basi Konstantins Briskins Kotryna Navickaite Levente Mate Borenich Liam Kieran Rogers Liam Michael Marcel Davi Lilian Winifred Davies Luc James Askew-Vajra Malgorzata Nicoll Szarnecka Man Cheong Gabriel Leung Matilda Louise Durkin Matilda Marie Barratt Matthew Edward Harrison Matthew Oliver Ward Meina Zhang Mengxian He Monica Said Myeongjin Suh Nadia Beatriss Young Nancy Marshall Marrs Natasha Diyamanthi Trayner Nicholas Juan Tatang Nikshith Nagaraja Reddy Nitichot Setachanadana Nophill Mohmmd Damaniya Olga Barkova Pablo Larrea Wheldon Phoebe Elizabeth A Shepherd Polina Morova Quian Wang Qian Zhao Rachael Jeanette Burleigh Rachen Marie Cummings Rachel Spencer Rebecca Charlotte Glancey Rebecca Jean Maw Reece Jay Oliver Rowena Saffron Covarr Robert Walker Ashworth Rufus Giles Wilkinson Samuel George Brooke Samuel James Hawkins Seo Ruong Kang Seyoung Han Shihao Quan Simour Elise Button Siriwardhanalage De Saram Sophie Ogilvie-Graham Steven Gary Lennox Susanna Emily Jane Smith Tanya Naresh Haldipur Tashanraj Selvanayagam Tian Hong Kevin Wong Tian Yee Lim Toghrul Mammadov Weihao Wang

Wing Yung Janet Tam Xi Lin Xuanzhi Huang Yi-En Ling Yuan Xu Yuan Xue Yuehua Wang Yuze Tian Zehua Wei Zhidong Liu

Contributors See pg.201

Opposite - Arran Noble

Top left - Name Name Project Title

Top right - Nameless Nameless Project Title

Bottom - Name Name Project Title

At Home in the City Amara Roca Inglesias & Dan Kerr; Jennie Webb & Luke Rigg; Gillian Peskett & Christos Kakalis; Amy Linford & Stella Migdali; Nita Kidd & James Perry; Carolina Ramirez Figuroa & James Longfield; Jess Davidson & Claire Harper How housing is produced, where it is built and who it is for are essential questions, not only for architectural practitioners, but for society at large. Semester oneâ&#x20AC;&#x2122;s main project, set in Leith, Edinburgh, explored the changing conditions of housing and collective living within a set of specific economic and social constraints.

Top - Henry Cahill

Bottom - Samuel Brooke

Top - Brandon Few

Middle, left to right - Toghrul Mammadov, Hazel Cozens, Jose Lajes Machando Marques Figueira

B ottom - Brandon Few

Engineering Experience Amara Roca Inglesias & Dan Kerr; Jennie Webb & Luke Rigg; Gillian Peskett & Christos Kakalis; Amy Linford & Stella Migdali; Nita Kidd & James Perry; Carolina Ramirez Figuroa & James Longfield; Jess Davidson & Claire Harper Through a collaborative project involving students, staff and practitioners from architecture, fine art and engineering, filmic environments were reimagined as a set of physical artworks to be moved into, through, over, under â&#x20AC;&#x201C; experienced through human motion and the camera, and re-filmed to re-tell a specific experience from each film.

Top and Middle - Charlie William Donaldson

Bottom, left to right - Irvano Irvian, Alesia Berahavaya

Left - Alesia Berahavaya

R ight, top to bottom - Ethan John Archer, Irvano Irvian

Exploring Experience Amara Roca Inglesias & Dan Kerr; Jennie Webb & Luke Rigg; Gillian Peskett & Christos Kakalis; Amy Linford & Stella Migdali; Nita Kidd & James Perry; Carolina Ramirez Figuroa & James Longfield; Jess Davidson & Claire Harper Can we think of architecture through an experiential understanding of materiality? Producing, treating and working with materials suggest practices and processes that can inform design to unpack diverse architectural events taking place in different levels: from drawing to construction and inhabitation. The project, set in Berwick-upon-Tweed, explores the ways materiality is embodied in architecture seeking, to unravel its complex and dynamic character.

Top - Benedict Wigmore

Middle, left to right - Levente Borenich, Bahram Yaradanguliyev, Gemma Duma

Bottom - Liam Davi

Top - Katie Campbell

Middle - MatthewWard

Bottom - CharlieDonaldson

Stage 3 Following RIBA Bronze Medal success last year, this year’s Stage 3 were given the choice of nine yearlong studios covering a wide range of themes and issues. Three of the studios were also taught vertically, split between the graduating Stages 3 and 6, providing a platform for peer learning and increased crosspollination between the BA and MArch. Studios covered subjects ranging from the re-use of the Bank of England site, through unconscious rituals and contemporary monastic practice to a revisit of Cedric Price’s ‘Potteries Think Belt’. Field trips ranged from a stay in Barcelona, an Italian ‘Grand Tour’, visits to Ronchamp and La Tourette and a road trip to Nottingham, Leicester and Walsall. The studios followed the pattern established last year of a six week primer, followed by ‘Staging’ (including a field trip), Realization and Refinement stages. The ‘Primer’ exercise is designed to develop and define the studio’s unique thematic framework. Students then developed their own projects, from a complex range of issues into a structured and synthetic whole. New innovations this year included ‘Theory into Practice’ and ‘Architectural Technology’ symposium days, an increased focus on technical integration through focused technical reviews and expanded academic portfolios. Year Coordinator Matthew Margetts Cara Lund

Project Leaders

Aldric Rodriguez Iborra Amy Linford Andy Campbell Armelle Tardiveau Cara Lund Carolina Figueroa Christos Kakalis Colin Ross Daniel Mallo David McKenna Hugh Miller Ivan Marquez Josep Maria Garcia Fuentes James Londfield Kati Blom Martyn Dade Robertson Matthew Margetts Michael Simpson

Students

Agatha Mary MacEwan Savage Aishath Mohaned Rasheed Alena Pavlenko Alexander Willaim Alexander William Mackay Alexander James McCulloch Alice Elizabeth Reeves Alice Elizabeth Simpkins-Wood Amber Natasha Farrow Ameeta Praful Ladwa Andreas Lukita Haliman Angus James Campbell Brown Anna Vershinina April Glasby Arthur Anuma Bayele Assem Nurymbayeva Benjamin James Taylor Boram Kwon Charlotte Goodfellow Charlotte Laura Victoria Lorgues Chao Shen Chi-Yao Lin Ciaran Horscraft Claudia Kim Bannatyne Daniel Barrett Daniel Francis Hill David Stuart Jones Douglas Gardner

Text by Matthew Margetts

Ekren Sungur Elizabeth Rose Ridland Eliza Hague Elle-May Simmonds Emily Yasmin Georgina O’Hara Emma Kate Burles Esme Hallam Farrah Noelle Colilles Gabrielle Faith Beaumont George Windsor Oliver Grace de Rome Groffrey Nicholls Hao Zhuang Harrison Jack Avery Hector Adam Laird Henry William Orlando Valori Hoi Yuet Chau Ho Yin Chung Huey Ee Yong Isabel Mills Lyle Jack David Ranby Jacob Alexander Smith James Alexander Kennedy Jennifer Louise Betts Ji Chuen Ng John Kenneth Knight John Joesph O’Brien Jonathon McDonald Joseph William Firth Smith Juan Felipe Lopez Arbelaez Ka Chun Tsang Kate Francis Byrne Kate Hannah Longmore Kate Helena Stephenson Katherina Weiwei Bruh Katherine Isabel Rhodes Katherine Marguerite Mitchell Laura Jane Cushine Lawrance Loc Man Wong Liam Costain Lilly Francis Street Lilly Rebekah Travers Lucy Emily Heal Marina Ryzhkova Marisa Rachel Bamberg Mark Andrew Laverty Mattew Davies Smith Matthew Donald Lovat Hearn Matthew Layford Matthew Patrick Rooney Melitni Athanasiou Men Hin Choi Muhammad Ahmed Asfand Natalie Mok Suet Yin

Nial Simran Parkash Nicholas William Gilchrist Honey Nita Harieth Semgalawe Nurul ‘Aqilah Binti Ali Octorino Tjandra Oliver James Crossley Pannawat Sermsuk Paul Mathew Johnson Philippa Grace McLeod-Brown Pitaruthai Longyan Prajwal Limbu Pui Wing Clarins Chan Quynh Dang Le Tu Rebecca Rowland Regen James Gregg Rhiannon Jade Graham Robert John Thackeray Robert Thurtell Richard Harry Mayhew Rufaro Natalie Matanda Ryan Daniel Bemrose Ryoga Adityo Dipowikoro Sam McDonough Samuel Richard Sam Welbourne Sean Martyn Hoisington Shuyi Chen Sirawat Thepcharoen Thasnia Haque Timothy Seymour Lucas Trung Hieu Tran Tung Son Cao Tristan Patrick Chammey Searight Vincent Zeno MacDonald Wai Yip Tsang William Mansell Wing Kei So Xueyang Bai Yanjie Song Yee Yuen Ku Yi Shu Zhuoran Li Ziyun Wang

Contributors See pg.201

Opposite - George Oliver

Studio 1 - Acting Town

Daniel Mallo & Armelle Tardiveau Based in the Georgian market town of Richmond (North Yorkshire), the Acting Town studio focused on the creation of spaces for performativity bringing to the fore interaction, events and processes. The studio placed a strong emphasis on urban and material research with a view to interweave experimental spaces for performing arts within the urban fabric. The year started exploring the themes of variation, seriality and repetition within the dense amalgamation of Richmond town centre; it culminated with the design of a Laboratory for Performing Arts unfolding the approach of building as a â&#x20AC;&#x2DC;villageâ&#x20AC;&#x2122;, a series of sequentially interconnected rooms, outdoor plazas and alleys.

Left - Nick Honey

Right, top to bottom - Liam Costain, Nick Honey, Ekrem Sungar

Left, top to bottom - Aui Longyan, Mark Laverty, Nita Semgalawe

Right, top to bottom - Liam Costain(2), George Oliver

Top left to Bottom right - April Glasby, Gloria Chen, Quynh Dang Le Tu, Pan Sermsuk

Top left to Bottom right - James Kennedy, Pui Wing Chan, Anna Vershinina, Grace de Rome(2), Shuyi Chen

Studio 2 - Enclosed Order

Ivan Marquez Munoz & 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 on 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.

Andreas Hliman

Top left to Bottom right - Ciaran Horscraft, Andreas Hliman, Matthew Hearn, Sean Hosington, Marisa Bamberg, Ryoga Dipowikoro, Laura Cushnie

Top, left to right - Melitini Athanasiou, Ka Chun Tsang

Middle - Yi Shu

Bottom - Chi-Yao Lin

Top - Timothy Lucas

Middle, left to right - Wing Kei So, Nurul Ali

Bottom - Laura Cushnie

Studio 3 - Experimental Architecture Martyn Dade-Robertson & Carolina Figueroa

This year the Experimental Architecture studio anticipated the implications of a new generation of ‘Living Technologies’ on the design of the built environment. The studio made use of the University’s world-class research in biology and biotechnology to anticipate a new building technology. We introduced students to the idea of experiment and experimental practices in architecture – combining scientific experiments with creative and open-ended design processes. The studio was sited in Dunston Staiths where the students were asked to “fill the gap” in a fire damaged portion of this industrial timber structure on the River Tyne. The students developed propositions based on a range of lab and studio combined facilities.

Exhibition - Group work

Top - Kate Stephenson

Middle - Kate Stephenson

B ottom - Trung Hieu Tran

Top - Amber Farrow

Middle - Pippa Mcleod-Brown

Bottom - Vincent MacDonald

Left, top to bottom - Alexander McCulloch, Amber Forrow Right, top to bottom - Emma Burles, Kate Byrne, Hector Laird, Robert Thackery, Matthew Layford

Studio 4 - Getting Away From It All Colin Ross & 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, c) create a tourist destination to boost local economy - a tool for regeneration with local, regional or national focus.

Top - Jon McDonald

Middle, left to right - Joseph Smith, Claudia Bannatyne, Arthur Bayel

Bottom - Jon McDonald

perspective section with airflow

PERSPECTIVE SECTION 1:100 WITH AIRFLOW 1:100

Top - Esme Hallam

Middle - Alice Simpkins

Bottom - Will Mansell

Top - Matthew Rooney

Middle, left to right - Elizabeth Ridland, Agatha Savage, Katherine Mitchell

Bottom - Katherine Mitchell

Left - Matthew Rooney

Right, top to bottom - Matthew Rooney, Richard Mayhew, Gabrielle Beaumont(3)

Studio 5 - Material Poetics James Longfield & Amy Linford

Material qualities are central to the production of architecture, both technically, in terms of the pragmatics of construction, and through the social meanings, rituals and memories they embody. Our studio encouraged students to engage with material as the ‘stuff’ of architecture, real, rather than rendered, the thickness, thinness, density, weight of building elements, and the effect these qualities have on the sensory experience of occupation. Through the studio each student has explored a specific material through hands-on investigations, and through a year-long engagement with Scarborough as a site of reflection and production. Students’ projects have addressed materiality as a way of thinking about building design and detailing as a thoughtful and critical process of material assembly which emerges out of the pragmatics and poetics of material contexts, cultures and politics.

Left - Ho Yin Chung

Right, top to bottom - Lilly Street, Aishath Rasheed, Lilly Street

Top left to Bottom right - Angus Brown, Katherine Rodes, Ryan Bemrose, Ji Chuen Ng, Natalie Mok, Rhiannon Graham, Thasnia Haque

Top to Bottom - Lilly Travers(2), Aishath Rasheed, Natalie Matanda

Top - Ameeta Ladwa

Middle - Natalie Matanda

B ottom - Alive Reeves

Studio 6 - The Very Hungry Caterpillar Andy Campbell

The Very Hungry Caterpillar studio focuses on helping something grow, evolve and flourish. Students were asked to support the seed of an idea to creatively re-use a vacant, under-used building in Glasgow. An architecture of preservation will allow this ordinary building to be inhabited by a creative, artistic community in the short-medium term while an architectural strategy for the longer term will help protect this community through an envisioned gentrification of the surrounding area.

Top - Daniel Hill

Bottom - Ziyun Wang

Seeking a New Corporate Architecture Katie Longmore

Main Entrance Elevation

1:200 Exploded Axonometric

Left, top to bottom - Juan Lopez Arbelaez, Katie Longmore

Right, top to bottom - Wai Yip Tsang, Ziyun Wang(2)

Top left - Rebecca Rowland

Top right - Wai Yip Tsang

Middle - Rebecca Rowland

Bottom - Sirawat Thepcharoen

Left, top to bottom - Juan Lopez Arbelaez, Katie Longmore, Daniel Hill

Right, top to bottom - Regen James Gregg, Daniel Hill

Studio 7 - Potteries Thinkbelt Matthew Margetts & Cara Lund

Continuing an interest in Infrastructure as background processes and systems this year we have revisited Cedric Price’s ‘Potteries Think Belt’ - 50 years after its conception. We used the Potteries Think Belt plan as a ‘treasure map’ to navigate the delights of contemporary Stoke-onTrent. The studio was one of three ‘vertical’ studios pioneered this year, taught jointly between Stages 3 and 6, and began with the group exercise of building a ‘Stoke-o-Matic’ dynamic mapping model. The model was used to explore systematic relationships between transport, education, environment and identity with enjoyably unpredictable results. Stage 3 students were then asked to develop their own hybrid briefs based on components of the Potteries Thinkbelt’s original brief – incubators, knowledge stores, accommodation units and interchange stations. Sites were selected along infrastructural routes past, present and future. Linked with Stage 6 (see pg.144)

Symposium - Group work

Top, left to right - Chao Shen, Hao Zhuang

Middle, left to right - Sam Wellbourne, Chao Shen

Bottom - Chao Shen

Top and Middle - Boram Kwon

Bottom - Hao Zhuang

Left, top to bottom - Ben Taylor(3), Hao Zhuang

Right - Elle Simmonds(2), Sam Wellbourne

Studio 8 - Building Upon Building

Josep-Maria GarcĂa-Fuentes & Aldric RodriguezÂ Iborra This studio explored preservation as architecture, as it understands they are both placed within a cultural continuum and are the outcome of a complex cultural, social and political struggle. This idea was explored through the design of a major addition to/or the transformation of an existing heritage building. This required an understanding of the existing building 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 those meanings might or might not be extended, enriched or transformed and reshaped by the new addition. Linked with Stage 6 (see pg.148)

Lawrence Wong

Top - Yanjie Song

Bottom - Octorino Tjandra

Xueyang Bai

Sketch and Final Sections, 1:200 at A1

Top - Henry Valori

Middle - Octorino Tjandra

Bottom - Jack Ranby

Studio 9 â&#x20AC;&#x201C; Rituals and the Unconscious Kati Blom, David McKenna & 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. Linked with Stage 6 (see pg.152)

Top - Matthew Smith

Bottom, left to right - Hue Yong, Matthew Smith, Daniel Barrett

Top left - Daniel Barrett

Top right - Eliza Hague

Bottom - Hue Yong

Top - Eliza Hague

Middle and Bottom - Daniel Barrett

Left, top to bottom - Yuen Ku(2), Paul Johnson

Right, top to bottom - Harrison Avery, Eliza Hague

Stage 3 - Fieldwork & Site Visits BA (Hons) Architecture As part of Stage 3 the varied studios undertake a range of field trips in the first semester, travelling to a diverse locations around Europe. Studio 1: Acting Town Madrid

Studio 2: Enclosed Order Basel La Tourette Lyon Ronchamp Vitra Foundation - London - Barcelona

Studio 3: Experimental Architecture Barcelona London

Studio 4: Getting Away From It All Edinburgh

Studio 5: Material Poetics Barcelona

Studio 6: The Very Hungry Caterpillar Glasgow

Studio 7: Potteries Thinkbelt Birmingham Leicester Nottingham Walsall

Studio 8: Building on Building London Rome Verona Venice

Studio 9: Rituals and Unconscious Finland

Barcelona Centre

KATI DONâ&#x20AC;&#x2122;T WALK IN FRONT OF THE CAMERA

BA Architecture & Urban Planning (AUP)

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

The BA (Hons) Architecture and Urban Planning (AUP) is an evolving three-year programme that seeks to unite academic themes and approaches from the architecture and urban planning programmes across the School. The AUP degree carries its own intellectual and pedagogical themes that cannot be found on other programmes elsewhere in the School. There are four conceptual strands, which includes one major theme, â&#x20AC;&#x2DC;alternative practiceâ&#x20AC;&#x2122;, and three minor themes: visual culture, urban design and spatial practice as well as social enterprise. The alternative practice strand responds to a critique of twentieth century architecture and planning as overly technocratic and individualised. Returning to these critiques, alternative practice bring to the fore social, cultural, political and environmental concerns in the design and construction of the built environment. Our course has drawn inspiration from a range of thinkers and practitioners concerned with the built environment (including philosophers, political activists, sociologists, geographers, architects and planners) that have sought to engage and include communities in design and building (sometimes self-build, sometimes co-production). The design work from Stages 1, 2 and 3 of the programme selectively showcases much of the intellectual and practical academic content of the degree while helping the students to develop visual and spatial skills; we aim to engage students in developing their own agenda and interests making clear the connections between social, environmental and design issues and the built environment as the driving spirit of their endeavors.

AUP Stage 1 The AUP programme is radically interdisciplinary and offers an integrated approach to both Architecture and Urban Planning. The first semester focuses on skill building with formative design projects allowing students to develop drawing abilities in free hand and orthographic representation, as well as engage them in materialising spatial ideas three dimensionally through modelling and sketching. Students begin the year with the study of an urban scene in Siena painted by Lorenzetti in 1339; they interrogate the socio-spatial relationships and model to scale their interpretation of the urban fabric. This first exercise is intended to set the tone of the programme and engage students in unpacking traditional questions in urban studies at all scales (city, building, people). This is supported in greater depth with non-design modules such as ‘Alternative Practice Histories’ and ‘Social Worlds’ allowing students to develop critical thinking of the power of the standard profession while broadening the spectrum of the myriad of other actors of the built environment. The design projects together with the ‘Introduction to Architectural History’ and ‘Architectural Technology’ 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. Linked with BA Stage 1 (see pg.12-15) Project Leaders

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

Stage 1

Sophie Wakenshaw Stephen Teale Thanuyini Suseetharan Thomas McFall Thomas Sheridan

Contributors See pg.201

Abell Ene Aimee Akinola Amabelle Aranas Andrew Fong Andrew Webb Anqi Li Cameron Reid Chloe Cummings Chunyang Song Daniel Carr Dongjae Lee Dwayne De Vera Ella Spencer Ellis Salthouse Emma Van Der Welle Fabian Kamran Farah Binti Ashraf Haziqah Hafiz Howe Henry Oswald Julian Baxter Juliette Smith Karim Shaltout Karolina Smok Kelly Morris Kirin Gallop Luis Henriques Menezes Pataca Maisie Jenkins Matthew Li Mohammad Hassan Natalie Lau Nik Binti Azman Nur Salymbekov Oliver Timms Oyinkansola Omotola Ryan Hancock Salar Butt Samantha Chong Sara Fulton Sebestyen Laszlo Tali Shuli Wu

Text by Armelle Tardiveau

Opposite - Sophie Wakenshaw

Reading Into/Drawing From Armelle Tardiveau

The project focuses on The Allegory of Good and Bad Government, an urban scene set in the city of Siena, Italy, painted by Ambrogio Lorenzetti between 1338-39. By observing, sketching and drawing the ensembles of buildings that can be read into Lorenzettiâ&#x20AC;&#x2122;s painting, students delve into a three-dimensional interpretation of the traditional urban fabric depicted. Working in groups, the outcome is the articulation of a plan and a model of the scene.

Group Work: Sophie Wakenshaw; Ryan Hancock; Luis Pataca, Shuli Wu; Juliette Smith; Karolina Smok; Oliver Timms, Amabelle Aranas; Julian Baxter; Dwayne De Vera; Sara Fulton, Karolina Smok, Oyinkansola Omotola, Haziqah Hafiz Howe, Daniel Carr; Sebestyen Laszlo Tali; Emma Van Der Welle

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 of sunlight and floodwater.

Top, left to right - Natalie Lau, Sophie Wakenshaw, Haziqah Hafiz Howe

Middle - Ella Spencer

B ottom - Kirin Gallop

Top left to Bottom right - Haziqah Hafiz Howe, Natalie Lau, Shuli Wu(2), Karolina Smok, Chloe Cummings, Luis Henriques Menezes Pataca, Kirin Gallop

Top left to Bottom right - Ella Spencer, Anabelle Arana, Natalie Lau, Chloe Cummings, Andrew Webb

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 the second semester where students are exposed to alternative practice projects and governance methods as well as sustainable approaches to the built environment. Project Leaders Rutter Carroll

Stage 2

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

Contributors See pg.201

Text by Armelle Tardiveau

Opposite - Group work

Theory and Form Rutter Carroll

The module considered the development of architectural expression in response to the economic challenges and social optimism that characterises the North East region. Students considered a Theory + Form approach in the submission of an essay and design project pursuing a strategy for the re-use/conversion/ extension/adaptation of an existing post war building on Tyneside. The Salvation Army Menâ&#x20AC;&#x2122;s Hostel, by Ryder and Yates, a key building from the post war period in the region, 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 - Salvation Army Menâ&#x20AC;&#x2122;s Hostel, by Ryder and Yates 1974

Bottom - Group work: Junqiang Chen, Minsub Lee, Ka Hei Wong, Ting En Wu

Group Work: Jing Su, Shaoyun Wang, Sutong Yu, Jieyang Zhou, Ahmet Halil Hayta, Sanghyeok Lee, Reacheal Felicia Modupeayo Osinuga, Winnie Wing Yee Wong, Zeynab Bozorg, Van Abner Tabigue, Consul, Sahir Thaper, Ryan Patrick Thomas, Fatma Beyza Celebi, Bunkechukwu Chiagoziem Obiagwu, Sonali Venkateswaran, Dominica Ruby Bates, Joshua Edward Beattie, Theodore Christian Robert VostBond, Emily Whyman

AUP Stage 3 The major component of Stage 3 is the dissertation. In order to cater for the variety of strengths and abilities of the cohort, students may choose to write a Social Science dissertation or Creative Practice dissertation using design as a form of enquiry. The design modules offered, including housing for vulnerable populations and co-production of space, ensure an incremental experience of working in/for/with communities. Furthermore, the Erasmus exchange to Amsterdam and Stockholm in semester one reinforces the diversity of approaches around alternative practice. The year culminates with a series of talks by a variety of practitioners and activists of the built environment with a view to inspire students for their next academic or professional steps â&#x20AC;&#x201C; these include Amy Lindford of MUF Architects,â&#x20AC;¨Kate Percival and Sara Cooper of 22 Sheds, Dr Emma Coffield curator of Newcastle City Futures, Michael Crilly of Studio Urban Area, Ryan Conlon a student from the MA Urban Design student (AUP 15/16 graduate), Sally Watson Architectural Curator and Dhruv Sookhoo, architect, planner and developer. Project Leaders Armelle Tardiveau Daniel Mallo Tim Townshend

Stage 3

Alex Robson Ali Alshirawi Andrew Blandford-Newson Anthony Choy Chia-Yuan Chang Christopher Hau Eleanor Chapman George Jeavons-Fellows Hannah Knott Henry Morgan Jieyu Xiong Jonas Grytnes Luke Leung Nadine Landes Natalie Sung Phuong Anh Pham Runyu Zhang Sheryl Lee Simona Penkauskaite Thomas Gibbons Yeqian Gao Yilan Zhang Yuxiang Wang

Contributors See pg.201

Text be Armelle Tardiveau

Opposite - Group work

Housing For Vulnerable Populations Tim Townshend

During the 2020s a point will be reached where 25% of the UK’s population is 65 or over. However people are not simply living longer, but living more active lives into older age. There is a huge challenge to meet the needs and aspirations of these active ‘third agers’. Working with Armstrong House an independent charity providing ‘independent living with support‘, in the village of Bamburgh, Northumberland explored the complexities of providing a safe, stimulating and desirable home for older people in the existing setting of a listed building.

Top - Luke Leung

Middle - Jonas Grytne

Bottom - Anthony Choy and Yuxiang Xang

Top - Sheryl Lee

Middle - Yequian Gao CURRY PLANT

FOUNTAIN GRASS

PEBBLE DASH PEBBLE DASH

GLASS GLASS

CURRY PLANT CURRY PLANT

FOUNTAIN GRASS FOUNTAIN GRASS

STONE PATH STONE PATH

TIMBER BEAM TIMBER BEAM

ASHLAR ASHLAR

SUCCULENT SUCCULENT

G A R D E N

PEBBLE DASH

GLASS

SUCCULENT

S E N S O R Y

STONE PATH

LAVENDER LAVENDER

LAMB’S EARS LAMB’S EARS

LAMB’S EARS

G G AA RR D D EE N N

TIMBER BEAM

ASHLAR

LAVENDER

HONEYSUCKLE HONEYSUCKLE

HONEYSUCKLE

SS EE N N SS O O RR YY SS M M EE LL LL TT O O UU CC H H SS O O UU N ND D SS II G GH H TT

S M E L L T O U C H S O U N D S I G H T

SECTION SECTION 1 1 : : 200 200

SECTION 1 : 200

COURTYARD LOUNGE

Bottom - Simona Penkauskaite

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

Set in the West End of Newcastle upon Tyne, this project aimed to promote/expand on the initiatives of Edible Elswick. Students designed and built a prototype that would enhance the practices of planting, growing and cooking initiatives in an ethnically diverse neighbourhood. This informed the design of a master plan for Mill Lane using urban agriculture as the leading drive for an inclusive urban space that engages social groups from diverse age, social and religious backgrounds.

Group Work: Shelley Xiong, Runyu Zhang, Yilan Zhang, Andy Chang, Natalie Sung, Simona Penkauskaite, Yu / Jason Wang, Ali Alshirawi, Hannah Knott, Nadine Landes, Ellie Chapman, Andrew Blandford-Newson, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung

Group Work: Alex Robson, Chris Hau, Tom Gibbons, Henry Morgan, Jonas Grytnes, Yeqian Gao, Sheryl Lee, Luke Leung

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 and MArch 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. Brick and Clay Matt Rowe

Building Wth Round Poles: Joints and Meshes Amara Roca Iglesias

Creative Concrete Leigh Cameron

Film and Photography Matt Lawes

Golden Journey with Matt Rowe

Organic Casting Amy Linford

Stone Carving

with Russ Coleman

https://thinkingthroughmaking.org/workshops/

MArch Zeynep Kezer – Degree Programme Director ‘What can architecture do? Where might architectural thinking take us?’ These are essential questions that drive Newcastle’s two-year MArch Programme. We offer a research-led approach to education, alternately challenging and encouraging students to stretch their architectural and critical imaginations, to think harder and more deeply about what architecture is and what it could be. As a result, the output every year is diverse, threaded by an interest in architecture as a collective, cultural endeavour. The projects interrogate architectural production in all its aspects, from material processes, to modes of design, representation and construction, to the ways that architecture shapes - and is shaped by - the society and culture in which it is situated. As an RIBA accredited Part II programme - the second of three steps towards qualification as a UK Architect - MArch is geared to develop advanced skills in analysis, representation, design, and technical resolution through projects of considerable scale and complexity. But it is also rooted in the belief that architectural training must go beyond professional competence. The MArch draws on the diverse expertise of Architectural Research Collaborative, our School’s multidisciplinary research collaborative, to push explorative ways of working and thinking architecturally. Students are given incentives to undertake original investigations into issues and techniques at the forefront of contemporary developments in architecture and beyond - from synthetic biology to the space of the psyche - while at the same time grounding their work in a specific material, social, cultural and intellectual context. Cross-studio reviews, exhibitions (in and out of our premises) and symposia support a lively exchange of ideas and challenge students to position their work in relation to trends in architectural production and discourse. Teaching in MArch cuts across common distinctions between design, technology, history and theory, promoting an integrated approach that treats all aspects of architecture as opportunities for critical creative enquiry. Studio modules play a central role, incorporating lectures, seminars, consultancies and workshops spanning the curriculum, as well as cross-year events such as ‘Charrettes’ and ‘ThinkingThrough-Making’ Week. Projects are undertaken in small design-research studios, each exploring particular issues or themes that resonate with the research interests of tutors. Briefs invite an open process of investigation between staff and students, fostering the development of an independent approach and distinctive critical stance, all grounded in rigorous research. In Stage 5, two semester-long projects set in a major European city (currently based in Rotterdam) interrogate the complexities of architecture’s relation to context, from urban to detail-scale, allowing students to test new approaches, methods, and ideas. With most of the prescribed curriculum covered during Stage 5, Stage 6 is freed up to focus on a specific interest or question, pursued in depth through a year-long thesis project. With a rich range of opportunities for specialisation, the MArch programme at Newcastle allows students to develop their own fields of expertise and to showcase these in a distinctive portfolio. Alongside the design studio, students can choose to pursue independent research through a dissertation, to join a linked research design project in which they collaborate on a live research project led by a member of staff, or to take a tailored set of modules from one of our other specialist Masters programmes - such as Sustainable Buildings and Environments, Town Planning, or Urban Design - with the potential of accumulating credits towards a second postgraduate degree. Bridging between the two years of MArch, these activities spark ideas and develop skills that often feed into thesis projects. The School also has a series of exchange agreements with leading schools of architecture in Europe and around the world, including KTH Stockholm, National University of Singapore, and the University of Sydney. MArch students can study abroad for one or two semesters of Stage 5, and the programme benefits from the diverse skills and experiences of students who join our projects.

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 emphasize 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 Rotterdam – beginning with an intensive week long study visit, including architectural tours, excursions, talks, group urban analysis and social events. Students undertake a critical reimagining of the city through two semester long projects which challenge them to work at two radically different scales – first urban, then detail. Framing design as a rigorous, as well as speculative process, they foster design-research skills and interests in preparation for Stage 6. In semester one, ‘Plan Rotterdam’ asked students to engage with the urban fabric of the city, its historical layers, cultural currents and social differences. The project was taught as five distinct studios that each took on a different urban area and issue. Common themes include the interplay of buildings, infrastructure, land and water in a city below sea level, architecture’s role in the production of images, experiences and lifestyles, and the politics of regeneration in a place renowned for visionary architectural and urban ideas. The project is paired with the ‘Tools for Thinking about Architecture’ module, which introduces a range of critical approaches through lectures, workshops and seminars. Semester two’s ‘Rematerializing Rotterdam’ switched focus to material and technical imagination, taking detail, construction and atmosphere as opportunities for creative and critical exploration. The brief asked students to interrogate a [g]host architecture – built or unbuilt, in Rotterdam or elsewhere – and to reimagine it in the contemporary city. A detail and environment lecture series, supported by expert consultancies, encouraged students to pursue a technical specialism that embodies the intentions of the project.

Year Coordinators James Craig Stephen Parnell

Project Leaders

Bethan Kay Ivan Marquez Munoz James Craig Laura Harty Ken MacLeod Nathaniel Coleman Stephen Parnell

Students

Robert Wills Sophie Baldwin Theodora Kyrtata Thomas Sharlot Thomas Cowman

Erasmus Students Cyrillus Carpreau Elin Stensils Mirjam Konrad

Contributors See pg.201

Abigail Murphy Adam Hill Adel Kamashki Alexander Blanchard Alice Ravenhill Alina Tamciuc Babatunde Ibrahim Clare Bond Cynthia Wong Daniel Sprawson Demetris Socratus Emma Gibson Emma Kingman Elizabeth Holroyd Henry Brook James Anderson James Hunt Jessica Goodwin Jessica Mulvey Karl Mok Laura McClorey Lorna Clements Luana Kwok Matthew Turnbull Oliver Wolf Preena Mistry Robert Douglas

Text by James Craig

Opposite - Sophie Baldwin

Dreamland James Craig

In this studio, we interrogated Rotterdamâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;metropolitanâ&#x20AC;&#x2122; attributes as a means to creating our own urban laboratory; a theme-park dedicated to metropolitan simulation. The site for this studio is the area in and around the Rijnhaven-Maashaven basins. This site has been marked as the first in a series of postindustrial harbour basins to be transformed in the next 20 years under the Stadshavens development plan.

Cynthia Wong

Top - Sophie Baldwin

Middle, left to right - Preena Mistry, Becca Lewis

Bottom, left to right - Mirjam Konrad, Jessica Goodwin

The Early Days Of A Better Nation Stephen Parnell & Ken MacLeod

The aim of this project was to envision a Rotterdam of 2086. This was achieved through working with Science Fiction novelist Ken MacLeod to first establish a post-human scenario with each student then designing a fragment of that scenario with their own brief, set in 2086, on a site in Heijplaat.

Matthew Turnbull

Top - Elin Stensils

Bottom, left - James Anderson

Bottom, right - Alice Ravenhill, Adan Hill

This Could Be Rotterdam (Or Anywhere) Bethan Kay

The magnificence of central Rotterdam’s architectural ambitions cloaks the fact that much of the city sprawls out in relative banality to the encircling infrastructures. It is these ‘non-places’, bearing no defining characteristics of history or identity, which this studio set out to explore through in-depth analysis and a critique of the ‘Image of the City’. Focusing on the dullness of Rotterdam’s Brainpark, a highly-planned but declining backwater (where 36% of the office space stands empty), students were challenged to question what could reactivate the site and put it back on the approved map.

Top - Robert Douglas

Bottom - Lorna Clements

Top - Emma Kingman(2), Abigail Murphy

Middle - Robert Douglas

Bottom, left to right - Karl Mok, Clare Bond

In Media Res Laura Harty

This studio was interested in prising apart the clear binary of public and private within the urban realm, and seeked to extrapolate and interrogate the tensions and possibilities that lie between. The studio title ‘In Medias Res’, Latin for ‘in the middle of things’ suggests that sites exist within a nexus of multiple defining criteria. One of the students’ tasks was to distil these criteria into a typology of urban places which scale between public and private.

Robert Wills

Top and Middle - Luana Kwok

Bottom, left to right - Thomas Sharlot, Adel Kameshki

Lost Spaces

Ivan Marquez Munoz The Lost Spaces studio proposed a design-based reflection about the value of lost spaces, in the process of decay in their lifecycle. The task was to create an intervention that provided living accommodation and associated common facilities for a particular protagonist in need of care, implementing a strategy of socially integrated and architecturally sustainable neighbourhood.

Left - Demetris Socratus

Right, top to bottom - Abigail Murphy, Emma Gibson, Clare Bond

Top - Demetris Socratus

Middle - Emma Gibson

Bottom - Clare Bond

Hybrid Objects James Craig

Hybrid Objects asked students to create an architectural response to the complex space that exists between viewers and objects. This space, a foggy territory where myriad meanings can be made, is the zone where projected meanings collide to create a space of betweenness. The result is a hybrid object; constituted from entangled meanings that exist between observers and objects. Through the selection and unpacking of an object from the permanent collection of the Museum Boijmans Van Beuningen, each student developed their own art depository in the Museumpark area of Rotterdam.

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Alice Ravenhill

Elinâ&#x20AC;&#x2122;s exploded axo here

Section BB

Section AA

Section BB

Painting Storage Basement Plan - 1:200

Top - Elizabeth Holroyd

Middle, left to right - Elizabeth Holroyd, Elin Stensils,Theodora Kyrtata

Bottom - Thomas Cowman

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Tell-Tale Tectonics Bethan Kay

Situated between Rotterdam’s spectacular Wilhelminapier and the declining port, the rapidly gentrifying peninsula of Katendrecht formed the site for this semester’s enquiry. Expanding on the themes explored in Marco Frascari’s ‘Tell-The-Tale Detail’, the studio embraced the value of details as the union of representation and function, and as generator of a scheme. Delving into the area’s rich history - from industry to jazz, immigration to art, tattooing to prostitution and everything in-between - each student adopted a ghost from the district’s past to act as the catalyst for a wide range of tectonic explorations rooted in the narrative of place – tectonics that tell-a-tale.

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Preena Mistry

Top - Mirjam Konrad

Middle - Cynthia Wong

Bottom - Preena Mistry

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Spectres of Utopia and Modernism Nathaniel Coleman

Students excavated indwelling â&#x20AC;&#x2DC;ghosts of modernismâ&#x20AC;&#x2122; in surviving Rotterdam examples of heroic modernist architecture from the 1920s and 1930s, and in orthodox post-war modernist buildings constructed between 1945-1960. In quarrying for ghosts of modernism, students also chased spectres of Utopia, harbouring the potential for tragedy and the promise of better ways of being at the same time. The modernity students resuscitated is one of near infinite possibilities, bound up with re-enchanting the world; not the spent modernity of technocratic excess. The Utopia pursued was as a method for shaping desires for better ways of being â&#x20AC;&#x201C; not the catastrophic totalising Utopia of convention.

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Top - Alex Blanchard

Bottom, left to right - Adam Hill, Jessica Goodwin

Top - Adel Kamashki

Middle - Sophie Baldwin

Bottom - Robert Douglas

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Stage 5 & 6 Fieldwork & Site Visits

MArch As part of Stage 5 and 6 varied field trips were taken across the year. Stage 5 visited Rotterdam as a group which gave the opportunity for students to experience the city and embark on site visits. Stage 6 visited places from Stoke-On-Trent to Zanzibar, as well as students taking individual trips related to their thesis projects. MArch Stage 5 Rotterdam

MArch Stage 6 Studio 1: Caravanserai - Zanzibar Zanzibar

Studio 2: Experimental Architecture Venice

Studio 3: Intoxicated Space Berlin

Studio 7: Potteries Thinkbelt Stoke-on-Trent

Studio 8: Building Upon Building Rome Verona Venice

Studio 9: Rituals and the Unconscious Finland

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Stage 6 In Stage 6 students undertake a year-long thesis project with a self-generated brief, within a theoretical framework established by their chosen studio. This year an unprecedented nine studios were on offer, including three studios running in a vertical orientation with Stage 3 in which students responded to variants of the same thematic concerns. All nine studios offer a comparable level of complexity, but they cover a broad range of issues and geographies leading to a diverse variety of outcomes. They showcase the interactions between studio leaders’ research expertise and the evolving interests and competences of Stage 6 students. To achieve this, students’ individual thesis projects are developed within each studio’s thematic, balancing their individual learning objectives with the studio’s area of interest. Students build upon experience gained from previous years’ representational techniques and experimentation, as well as the technical and critical knowledge they gain in Stage 5. In the MArch, studios range from ‘The Architectural Biography’, in which students respond to the oeuvre of a chosen architect with their own projects, through to ‘Caravanserai Zanzibar’, continuing Professor Prue Chiles’ work with students on the island. The Matter Studio develops APL’s tradition of working with the properties of materials, which this year has been greatly enhanced by the opening of brand new and extensive workshop facilities. Similarly, the Experimental Architecture Studio builds on Professor Rachel Armstrong’s research into biological drivers for architecture. Each of the studios has a strong and burgeoning identity within the School, and this year’s excellent student work reflects the diverse and broad range of research-led teaching at the School. Year Coordinators Matthew Ozga-Lawn Zeynep Kezer

Project Leaders

Aldric Rodriguez Iborra Andrew Ballantyne Cara Lund Claire Harper David McKenna Edward Wainwright Graham Farmer Hugh Miller James Craig Josep-Maria Garcia-Fuentes Kati Blom Matthew Margetts Matthew Ozga-Lawn Nathaniel Coleman Paul Rigby Prue Chiles Rachel Armstrong Samuel Austin

Students

Adam Hampton-Matthews Alexandra Carausu Alexander Baldwin-Cole Angie Hei Man lau Carl Reid Cleo Kyriacou Daniel Duffield David Boyd Deryan Teh Gavin Wu Gregory Edward Murrell James Street Jessica Wilkie Joseph Dent Joseph Wilson Justin Moorton Kathleen Jenkins

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Katie Fisher Kayleigh Anne Creighton Kim Alicia Gault Laurence Ashley Malcolm Greer Pritchard Mariya Lapteva Martin Parsons Matthew Wilcox Matthew Sharman-Hayles Matthew Westgate Michael Southern Nedelina Atanasova Nicola Blincow Nikolas Ward Noor Jan-Mohamed Raphael Selby Rebecca Wise Richard John Spilsbury Robert Evans Rosie O’Halloran Ruochen Zhang Samuel Halliday Sophie Cobley Stavri Rousounidou Su Ann Lim Thomas Saxton Ulwin Beetham Vili-Valtteri Welroos Wallace Ho

Contributors see pg.201

Text by Matthew Ozga-Lawn

Opposite - David Boyd The Draughtsman’s Quietus

Studio 1 – Caravanserai - Zanzibar Prue Chiles & Claire Harper

This studio builds upon the body of work and progressive thinking of previous years in an ongoing research project, which seeks to understand and conceptualise new paradigms for architecture and spatial planning in Zanzibar: a semi-autonomous archipelago on the East-African ‘Swahili Coast’. The projects all address tightly interwoven economic and socio-political issues but from different angles, and although the chosen sites are spread around Unguja: Zanzibar’s largest and most populated island, just as much attention and conversation has gone into the wider issues and connections. Collaboration began with a 2060 scenario-based mapping exercise, which through certain assumptions, precedents, strategies, and the mediation of carefully measured contingencies, proposed a sustainable spatial schematic for Unguja in just over 40 years time. In December 2016, the team travelled to Zanzibar to validate research to-date, and armed with individual mappings of key subjects to be explored, they began to enrich their lines of enquiry. The countless interactions, observations and discussions; from liaising with the Local Planning Department to designing and constructing a new public toilet block with a local NGO; were all invaluable to understanding some of Zanzibar’s most pertinent development issues, so that they could be addressed through responsive and responsible architectural proposals.

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Angie Hei Man Lau Empowering Rural Zanzibar

Deryan Teh Mkokotoni a Town for Fish

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5. 9. 7.

10. 8.

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Justin Moorton Zanzibar Academy of Culinary Arts

Kayleigh Creighton Shwahili Community Co-operative

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Malcolm Pritchard Caravanserai

Nicola Blincow From Home to Island

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Studio 2 â&#x20AC;&#x201C; Experimental Architecture Rachel Armstrong & Andrew Ballantyne

Experimental Architecture prepares students for changing architectural ideas and emerging new technologies, relevant to a globally connected, highly complex and constantly evolving world. By establishing a starting point from which established design tropes may be challenged, such as the use of inert building materials, new opportunities, like the use of â&#x20AC;&#x2DC;livingâ&#x20AC;&#x2122; fabrics and technologies, may be explored by developing prototypes that relate to an original building proposal. Students attending the course will therefore develop a set of architectural design tools, graphical notations, and experimental studio practices that can not only be applied during their final year but also throughout their professional development.

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Top and Middle - Staithes Group Field Trip

Bottom - Su Ann Lim

Su Ann Lim The Ephemeral Halophytic Saltscape

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Kim Gault Waste Palaces

Matthew Sharman-Hayles The Bio-Analogue City

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Michael Southern Gaudy Architecture

Fabric sculptures in the Lagoon Garden

Nedelina Atanasova Lagoon Fabrics

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LAGOON FABRICS

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Thomas Saxton The Sensory Cenobium

Wallace Ho Academy of Decay

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Studio 3 – Intoxicated Space

Edward Wainwright, Kieran Connolly & Samuel Austin ‘… the rapture of the Dionysian state with its annihilation of the ordinary bounds and limits of existence contains, while it lasts, a lethargic element in which all personal experience of the past became immersed. This chasm of oblivion separates the worlds of everyday reality and the Dionysian reality.’ - Friedrich Nietzsche, The Dionysian Worldview, pg.88 Dionysius takes us to spaces outside our daily lives, breaks the chains of the known world and permits an insight into alternate experiences of being. These spaces are both mental and physical, created by a state of intoxication. This state can itself be induced by many stimuli – the effect of rhythm, touch, excess, desire, art, belief… These stimuli do not operate on the human in a vacuum. They take place always in, and through, space: the pub, club, bedroom, brothel, stadium, gallery, church. Ritual, sensory intensities and deprivations are key to their effect – experiences are played out over time, through space, on and with the body. Intoxicated Space situates itself as a studio focusing on design practice. Here, intoxication is understood as being produced through spatial, material and aesthetic intensities across a range of themes: desire, immersion, repetition, contact, touch, the body and crowds. The studio has sought not to define a product as its core output, but to explore the development of methods of architectural design. We have sought to critically interrogate each other’s pre-conceived design methods and practices coming into the final year of the MArch, with the aim to define, borrowing from Jane Rendell, modes of a critical spatial practice.

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Cleo Kyriacou EROS desire

INTOXICATED SPACE

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INTOXICATED SPACE

INTOXICATEDINTOXICATED SPACE SPACE

Daniel Duffield BECOMING

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fig 50 Stage 5 Material Explorations. Earth brick productions.

fig 51 Stage 5 Material Explorations. Earth brick productions.

fig 33 (top) Sarah. A first iteration for developing a technique of representing a 41problematised body.

fig 34 (bottom) Reappropriation of a Hannah Hรถch collage

fig 35 Reappropriation of a Hannah Hรถch collage

fig 36 Reappropriation of a Hannah Hรถch collage

Following on from looking at the work of Monica Bonvicini especially, I conducted a series of models and drawings, that studied the objects of disabled embodiments and there meanings. These provocations collided those elements in order to demonstrate tensions and propose new potentials. For example, the reconcieving of the safety cord handle in an accessible toilet as a black tassel!

fig 60 Stage 6 Provocation piece.

fig 61 Stage 6 Provocation piece.

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Gregory Murrell Aesthetic Intoxication

Laurence Ashley Intoxication Intensities Trust in Capital

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Noor Jan-Mohamed A Dissolution of Boundaries

Stavri Rousounidou Durational Extentions of the Russian State Hermitage

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Studio 4 – Matter

Graham Farmer & Paul Rigby The studio celebrates ‘Matter’ and encourages design processes that are founded on a dialogic and emergent understanding of materiality. The studio challenges the notion of buildings as static assemblies of neutral products and instead seeks concrete material practices in which technology is always both contextual and performative. Students start by selecting their own matter to ‘collaborate’ with and as a group have explored new understandings of conventional construction materials like timber and ceramics, along with experimental new materialities interrogating growth, form-making and formlessness. Themes of making, manufacture, entropy, flux, transformation and environmental renewal are all prominent in the student work.

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Alexander Baldwin-Cole Bakethin Weir Facility

Adam Hampton-Matthews Restless Landscapes

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Martin Parsons Weaving Architecture

Vili Welroos Origin

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Studio 5 – The Architectural Biography James Craig & Matthew Ozga-Lawn

This studio develops from the representation and exploration of the life and experiences of prominent individuals, as found in our previous studio ‘Landscapes of Human Endeavour.’ This time we refocus attention onto the figure of the architect. Students selected a range of architects and produced projects which mediated between their own imagined constructions, and a biographical reading of the architect they are engaged with. This year the lives and projects of Aldo Rossi, Peter Eisenman, Paulo Soleri, Raimund Abraham, Joseph Gandy and Alexander Brodsky were reimagined by students in the studio.

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Gavin Wu The Scrimshaw Missiles

P1_5B & P1_5C

P1_13Di-iii

P1_13Fi-iii

P1_5Fi

P1_13Eii

P1_13Eiii P1_13Ei

P1_5A[L]

P1_5Eiv

P1_5Fiii

P1_5A[R] P1_4A P1_5Ev

P1_13Div-v

P1_13Fiv-v

P1_8Aiv

P1_12D

P1_12E

P1_4C

P3_4A

P3_1C P1_5B

P1_5D

P1_11Aiii P1_1A[R]

P1_5Ci-vii

P2_1Aii

Position: South Facing; Above Ground. Access: Public Landscape. Private self contained towers.

Position: North Facing; Below Ground. Access: Private routes. Vault Access & maintenance.

Position: East Facing; Top of Structure.

Samuel HallidayAccess: Vaults Semi of Origin Public/Private Landscape on roof.

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Mariya Lapteva The Venice

Nikolas Ward Houses of Tension

House - 1:50

School - 1:500

Checkpoint - 1:250

Nautical Club - 1:250

Stadium - 1:200

Hotel - 1:100

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SLUDGE RECYCLING SYSTEM

LIVING UNITS PRUDUCTION SYSTEM

CENTRAL PAVILION

PRODUCTION CENTRE COMMUNITY CENTRE

RECYCLING HARBOR

SLUDGE TREATMENT FACTORY

FIRING CENTRE

ALTERNATIVE URBANIZATION 1:250

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Ruochen Zhang Urban Laboratory: River of Waste

Joseph Dent Peter Eisenman, Midtown Manhattan and House2

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Studio 6 – The Rhythmanalysis of Concrete Utopias Nathaniel Coleman The End of the City? Students in this studio were challenged to develop proposals for concrete utopias in the city. If the 20th century can be understood as a long period of unmaking cities that continues, despite their apparent resurgence, the aim of this studio is the production of projects for the reurbanization of city centres, in particular those that might be considered successful examples of regeneration but in achieving this sucsess have become so sanitised that the city is no longer ‘city-like.’ The projects produced in this studio have examined the possibilities revealed by using ‘Utopia as Method’ in the design process.

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Alexandra Carausu A Digital Cemetery in a Transhumanist Future

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David Boyd The Draughtsmanâ&#x20AC;&#x2122;s Quietus

Matthew Wilcox The City That Built Itself

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Studio 7 – Potteries Thinkbelt Matthew Margetts & Cara Lund

Continuing an interest in infrastructure as background processes and systems this year we have revisited Cedric Price’s ‘Potteries Think Belt’ – 50 years after its conception. We used the ‘Potteries Think Belt’ plan as a ‘treasure map’ to navigate the delights of contemporary Stokeon-Trent. The studio was one of three ‘vertical’ studios pioneered this year – taught jointly between Stages 3 and 6, and began with the group exercise of building a ‘Stoke-o-Matic’ dynamic mapping model. The model was used to explore systematic relationships between transport, education, environment and identity with enjoyably unpredictable results. Stage 6 students were given much more latitude and typically chose to focus on more societal infrastructures such as education, retail and third sector networks. Linked with Stage 3 (see pg.52)

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Jessica Wilkie The Learning Precinct

Joseph Wilson Touching Ground

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Robert Evans Stow-ke

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Studio 8 â&#x20AC;&#x201C; Building Upon Building

Josep-Maria Garcia-Fuentes & Aldric Rodriguez Iborra This studio understands preservation as architecture, as it explores architecture, heritage, authenticity and preservation tied to ever-changing political and cultural processes, which inescapably mean that their constant changes cannot be avoided or stopped. Grounding on this approach the studio discusses the contemporary concern with heritage and the everâ&#x20AC;&#x201C;expanding preservation movement. Ultimately the studio questions what it means to preserve and whether it is really possible to preserve. The projects in the studio explore new approaches to experimental preservation to better suit this profound and changing essence of heritage and respond appropriately to its current contemporary challenges. Linked with Stage 3 (see pg.56)

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Carl Reid British Museum and a Critique on Preservation of Artefacts

Raphael Selby Park of the People

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Matthew Westgate The 21st Century Pedestrian Reformation of Venice

Red Doors

Katie Fisher Gresham Red Door Workshop

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Asylum Documents

Studio 9 â&#x20AC;&#x201C; Rituals and the Unconscious Kati Blom, David McKenna & Hugh Miller

Rituals and the Unconscious is a vertical studio. The theoretical background, in both Stage 3 and Stage 6 studio, is similar, but structure and focus were different. Both groups took part in the trip to Finland. During the first part of the year, Stage 6 had theoretical seminars about phenomenology, perception psychology and psychoanalytical literature, on top of normal tutorials. The overall aim was to choose a ritual important to each student. The thesis question evolved from the premise to revitalise this ritual. During the primer phase, various approaches were developed concentrating on projection, processes of daily or creative rituals, or the ritual of death. Students then chose individual methods to test the limits of the revitalising of a ritual through design, in variety of places: New York financial centre, RIBA headquarters in London, Lindisfarne Island, Londonâ&#x20AC;&#x2122;s Islington and Newcastle. Linked with Stage 3 (see pg.60)

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Primer Group Work Freud Room

Kathleen Jenkins The Moonshot Factory at Portland Place

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James Street Translation

Rosie Oâ&#x20AC;&#x2122;Halloran Islington Projection House

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Rebecca Wise Meditative Architecture

Ulwin Beetham La Danse Macabre

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Research in Architecture Multidisciplinary research in architecture is flourishing, and we are particularly pleased this year that our successes in winning major project funding, developing collaborations between colleagues and building a strong postgraduate research community which are also benefitting students in the BA and MArch through innovative research-led teaching. 2016-17 saw the launch of Prof Rachel Armstrong’s Horizon 2020-funded £3.2 million LIAR (Living Architecture) project and Dr Martyn Dade-Robertson’s Thinking Soils has just won ESPRC funding, enabling us to recruit a talented group of Research Associates and strengthen our unique focus on Experimental Architecture. The School is establishing itself as a UK leader in architectural design research; we had our first creative practice PhD completions from Dr James Longfield and Dr Luis Herna; fine artist Dr Polly Gould joined our Architecture Research Collaborative (ARC) as postdoctoral fellow in Design-led Research, and together with Prof Prue Chiles organised the inaugural Architecture: Creative Practice Symposium (25-26th April 2017) where this year’s visiting professor Julieanna Preston (Massey, NZ) joined contributors from across the UK to mentor junior colleagues and present her participatory project Murmur about the Town Wall. ARC staged a number of public events which took research into the spaces it is about; Scaling the Heights, an ARC-organised collaboration held in the abandoned space of the Tyne Bridge’s North Tower (18-25th Nov 2016) as part of the AHRC Being Human Festival of the Humanities, featured the urban explorer Lucinda Grange and had over 400 visitors including local MP Chi Onwurah. Dr Emma Cheatle recorded birth stories in Maternity Tales in the RVI and Laing (17-18th Nov 2016) and MArch students presented their Newcastle After Dark research in local night-club Tiger Tiger (12th Feb 2017). They were one of eleven linked research groups which ran this year – an offer which is unique in the UK as far as we know where MArch students can elect to work in small groups on a research project led by one or two staff – on projects as diverse as studying international brutalism to building pavilions at Kielder Water. This year we also introduced a new research-led module in the BA – with 15 dissertation electives offered by staff across the disciplines, further enabling all students to benefit from the rich research culture in the School. Ecologies, Insfrastructures and Sustainable Environments Rachel Armstrong Samuel Austin Carlos Calderon Graham Farmer Simone Ferracina Neveen Hamza John Kamara Zeynep Kezer

Experimental Architecture

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

Nathaniel Coleman Josep-Maria Garcia-Fuentes Claire Harper Peter Kellett Zeynep Kezer Stephen Prnell Adam Sharr Edward Wainwright

Industries of Archicture

Prue Chiles Neveen Hamza John Kamara Katie Lloyd Thomas Daniel Mallo Adam Sharr Armelle Tardiveau

Processes and Practices of Architecture

Prue Chile Nathaniel Coleman Graham Farmer Claire Harper Futures and Peter Kellett Imaginaries Katie Lloyd Thomas Nathaniel Coleman Daniel Mallo James A Craig Dhruv Sookhoo Martyn Dade-Robertson Josep-Maria Garcia-Fuentes Armelle Tardiveau Edward Wainwright Matthew Ozga-Lawn Stephen Parnell Mountains and Ian Thompson

History, Cultures and Landscape Samuel Austin Andrew Ballantyne Martin Beattie Kati Blom

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Megastructures

Rachel Armstrong Andrew Ballantyne Martin Beattie Prue Chiles James A Craig Graham Farmer

Text by Katie Lloyd Thomas

Josep-Maria Garcia-Fuentes James Craig Zeynep Kezer James Longfield Adam Sharr Javier Rodriguez Corral Javier Urquizo Calderon Visiting Professors, Khalid Setaih PhD examiners and Kieran Connolly contributors Luis Hernandez Hernandez Amy Butt Macarena Beltan Rodriguez Anna Holder Matthew Ozga-Lawn Becky Shore Nergis Kalli Catrin Huber Ohoud Kamal Chris Muller Oluwatoyin Akin Chris Speed Pierangelo Scravaglieri David Greenwood Ray Verrall Ian Wiblin Ruth Lang Jane Rendell Sadanu Sukkasame Julia Heslop Sam Clark Juileanna Preston Sana Al-Naimi Katja Grillner Sarah Cahyadini Lucinda Grange Sinead Hennessy M. Sohail Tijana Stevanovic Neil Barker Usue Ruiz Arana Nikoletta Karasthani Xi Chen Penny McCarthy Xi Ye Rutter Carroll Yasser Megahed Simon Taylor Yomna Elghazi Steve Sharples Ye Huang

PhD students

Aldric Rodriguez Iborra Ali Salih Ashley Mason Carolina Ramirez Figueroa Charles Makun Cheng Wang Dhruv Sookhoo Djuang Sodikin Hazel Cowie Ivan Marquez Munoz

Opposite - Scaling the Heights

BA Dissertations

Vernacular Architecture of Nomads: Transmission of principles and knowledge from traditional Kazakh architecture to the architecture of 21st century Assem Nurymbayeva This dissertation set out to investigate and discuss Vernacular Nomadic Architecture and how its fundamental efficient engineering basics and other aspects have been applied and used in the contemporary construction field. Study on the historical background and structural principles of nomadic dwellings is important in order to get a better understanding of traditional Kazakh Architecture, to test and analyse the ancient structures and research the subject of cultural influence. In this dissertation the Case Study on the aspect of implementing the features of nomads’ dwellings in the time of 21st Century is reviewed and studied. Moreover, purpose of this research is to assess the extent to which information gathered from the Literature Review unravelled nomadic constructions - Yurts. Their examination and inspection with the aim of obtaining holistic critique will be implemented by collecting primary data of thermal performance and feedback from the occupants. The notion of combining technological innovations of today and extremely valuable traditional experience and knowledge accumulated by the human race for many centuries is the focus of this dissertation. Rebuilding Identity: Acknowledging the traumas of architectural destruction Daniel Barrett My dissertation aims to investigate the troubling state of identity within refugee camps, following the biggest migration crisis since World War II. I began by defining the routes to a positive sense of identity under the two classifications of accomplishment. This provided an architectural and spatial framework from which to view identity in refugee camps, which naturally led to an uncovering of the tensions at the heart of humanitarian design that constrict identity growth: Permanence – Temporary, Independence – Control. Considering the spatial clues for these categories, an analysis of the formal and informal refugee settlements seemed to reveal that the further towards the permanent and independent side of the spectrum, the more identity is able to flourish. The dissection of the Za’atari camp was important as it showed the development of identity over a wide time frame in a highly controlled environment (a refugee camp ‘sandbox’). The steady swing from temporary to permanent, and from control to independence, over the course of five years unveiled a gradual rebirth of Syrian Identity. I tell this story through the accomplishments of the refugees in Za’atari.

Classifying Concrete: A study of existing irregularities in concrete’s characteristics and how this could affect its position in the current classification system of material properties Quynh Dang Le Tu This dissertation originated from my interest in finding out what could be regarded as ‘irregular’ in architecture. This is not the kind of striking unusualness that calls for attention like the extravagant cladding of Frank Gehry’s Guggenheim Museum or Zaha Hadid’s extreme curved style in Heydar Aliyev Centre. I wanted to study something which exceeded the ‘normal’ in a subtle way but which also has a significant impact on the work of architecture. At the outset, concrete came to my research as fabric formwork, something contrasting to the density of the common concrete. What interested me was its plasticity, but moreover the appreciation of the material itself more than just about the constructional aspect. Concrete cannot be defined by one category and I wanted to find ways to express its ability ‘to be both’ of concrete. While determining concrete’s indeterminacy I have also realised that I might as well have created a new class for its properties. Because of being ‘in-between’, concrete has moments of irregularity and does not fit into the conventional property system. This led me to question whether it was the classification that could not cope with the properties of concrete and caused irregularities in it. And if that is the case, could there be another framework that accepts concrete’s properties as another standard category?

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At The Threshold: Investigating the work of Sou Fujimoto in relation to ideas of the ‘inbetween’ in Dutch structuralism and in the Japanese notion of ‘Ma’ Pannawat Sermsuk Every day we unconsciously cross a number of threshold spaces. Transitional spaces are key moments in architecture yet these spaces are much neglected. Aldo Van Eyck, a key figure in Dutch Structuralism, believed that threshold spaces promise a potential to create a continuous sense of place. Influenced by Einstein’s theory of relativity where space and time are interrelated, Van Eyck began to form the concept of the ‘in-between’. In parallel to Dutch structuralism, the idea of in-between has long embedded in Japanese architecture known as ‘Ma’. It is also an architectural inherent being reinterpreted into a contemporary context by architects like Sou Fujimoto. Also inspired by Einstein’s theory of relativity, the concept of homogenised continuity of interiority and exteriority becomes prominent in Fujimoto’s work. His architecture involves spaces which connect together in ‘loose order’ – of which he called ‘weak architecture’. Acknowledging those differences, and without suggesting any direct influence of one architect on another, this dissertation sets out to explore certain parallels between Van Eyck’s notion of the in-between and the work of Sou Fujimoto. It will trace an approach to an in-between realm that will help in breaking down boundaries between public and private, inside and outside, and create a continuous sense of place where a person can feel ‘belong’ wherever they are. The International Flying Circus: Architects and branding within an evolving media landscape Katherine Marguerite Michell Architecture has always been understood as more than purely shelter. Primarily a tool for communication, architecture is read as a symbol of broader social order; carrying inherent economic and cultural significance. Conversely, architecture can also be the spatial manifestation of the individual ego and culturally-distinguished celebrity. This role of celebrity architect has powerful ramifications in the field of political strategy; ramifications that are explored through this writing which examines the media’s role in sponsorship of the architectural ego. As starchitects are increasingly fetishised as cultural icon and mainstream ‘celebrity’, the aura of architectural mystique that once preserved this high-cultural status is now being dispelled by selfies and socks. By examining different value systems that propagate architectural eminence, this writing explores how the platforms of social media are altering these established values. Whether aura is diminished, or starchitects are increasingly fetishised as celebrity, these changes will inevitably play out in the future global landscape. The International Flying Circus adopts a speculative look ahead at the political implications of a shift in architectural status. Architectural Soundscapes: The communication of the sonic experience within art galleries Jack Ranby The dominance of the visual appraisal of architecture means that the significance of auditory spatial awareness is generally overlooked. Whilst greatly influencing the way we navigate and perceive space and promoting a feeling of social cohesion, the ignorance towards the role of sound in architecture comes primarily from our perception of space and time. In this dissertation, the overall role of sound in architecture will be discussed, along with the development or ‘deterioration’ of the urban soundscape and its causes. This will ultimately lead to an investigation of the means of representing and communicating aural information in order to reinforce the use of sound for a rational design methodology.

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BA Dissertations

The Carpets of Venice: Was venetian façade ornamentation influenced by the carpet trade 1300-1600? Angus Brown Art historians have drawn a link between Islamic carpets and Italian painting. This dissertation will attempt to establish a further link between oriental rugs and the ornamentation of Venetian architecture (1300-1600). This will be achieved by examining the relationship between Venice and the East centred around the carpet trade, followed by an exploration of its influence on Italian paintings, before attempting to discover whether such a link can be drawn to Venetian architecture. The first chapter will discuss the early depictions of Anatolian carpets in Venice. To help inform the discussion we will look at some of the common motifs and patterns displayed on oriental carpets. Inventories will also help us to establish the extent of the carpet trade. The second chapter will establish why vernacular architecture was receptive to Islamic influence with analysis of the tripartite plan and Gottfired Semper’s Stoff-Wechsel theory. The third chapter will address whether carpets have become part of the city’s permanent display, discerning whether there is a connection between the mihrab niche found on Moslem prayer mats and Venetian fenestration. To complete the discussion, we will analyse the surviving façade paintings of the city and discern whether these too were influenced by the patterns found on carpets. Terrestrial Ecopoiesis: The choreography of life within an encapsulated world Robert Thackeray Whether it’s to travel into the depths of space, or to sit out the apocalypse here on earth, closed system ecologies strive to provide a space that can sustain human life. By mixing together disciplines such as biology, ecology, anthropology, and a whole load of other ‘ologies’ to go with them, the closed systems created in the past present a very experimental architectural typology. Delving into these ideas, and how their ecologies will be inhabited by people, this essay tries to emulate their experimental approach. Combining scientific analysis with descriptive postulations and fiction, or using poetry, religion and myth to accentuate experimentations, the essay strives to cross disciplines, and therefore styles, to give a rounded understanding of such a multifaceted typology. HygroSpores: A report into early experiments on the design and fabrication of bacteria spore based actuators Pippa McLeod-Brown Energy reduction policies imposed by the government have led to technological innovations to lower energy consumption in architectural design and building practices. Building systems “reduce energy use by means of technologically enabled climate-responsiveness”. Actuators are primary examples of this; they are used to regulate internal building environments by reducing nuances such as solar heat gain. Bioclimatic design has been the focus for attaining lower energy consumption figures, however the use of active building systems is still sporadically required when external environmental conditions do not favour the passive systems implemented. In recent years there has been a growing interest in developing organic material to replace traditional mechanical systems. Natural systems perpetually respond to the environment using genetically ingrained survival mechanisms. This has inspired a new generation of responsive materials in architecture that are capable of reacting intelligently to their environment. The properties of materials such as wood have been researched to understand how the natural systems function so we can programme them to work for human benefit. This dissertation will describe a series of experiments that explore a new type of hygromorphic material which uses a mutated strain of Bacillus Subtilis spores that can be applied to a thin, passive, polymer substrate and programmed into an actuating system.

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AUP Creative Practice / Social Sciences Dissertations

Window: mediation between two spaces: The inhabitants and the street watchers? Yeqian Gao I chose the window and the transparency behaviology around the window as the key words of my dissertation. The main inspiration was from a study trip to the Netherlands which took place in April 2016. During the trip, we did several neighbourhood site visits. One thing that impressed me was the design of the windows. I could not help but look in the rooms behind every window. Even though sometimes nobody was at home just looking at the stylish interiors greatly enhanced my experience. It got more interesting when there were people inside, then you get to see all sorts of activities take place and even eye contact when they realized pedestrians like me, were looking through the window. Also, when a whole group of students with a guide walking around your neighbourhood, the residents will get curious and attempt to look out from the window. Soon, a question of what other contribution these windows by the street have to their neighbourhood and street experience in residential area? Rather than just playing a role of natural surveillance, which was from the eyes on the street theory from Jane Jacob, from my own observation and experience, the window contributes to the liveliness of the street and neighbourhood and therefore improve the walking experience among the neighbourhoods. Along with the research, the literature reading started based on the keywords: urban scale, lively street and neighbourhoods, private and public urban space, walk, windowâ&#x20AC;Ś However, most of the literature covers the topic of urban design only assume the public space as urban area and more specifically majority were about boosting economic in commercial area. Walking experience researches, that I covered, had more attention to neighbourhoods, nonetheless, they often relate to healthy urban. All enhanced the purpose of this research. Therefore, at this stage, I ste my research question into two aspects, windowology and within neighborhoods. Five site visits have done in Newcastle Upon Tyne, throughout different typology of the neighborhoods in Newcastle, linkages and clues are coming up slowly, and in this draft, I would like to share my findings basing on three of the Newcastle window experience. The Impact of Street Art Graffiti in the Process of Regeneration Lok Hang Luke Leung The importance of art that surrounds us in our society â&#x20AC;&#x201C; among our built environment there is undiscovered uniqueness, for each passage and alleyways there is something mysterious. Of which, street and graffiti artists operate in these scenes, captivity transforming urban waste into a city canvas. These artists are the urban regenerators, reflecting their work on the social political aspect of the media. Furthermore, to contact these invisible figures among our society, I used the platform of Instagram to attract artistâ&#x20AC;&#x2122;s attention, as well as keeping a recording of this subcultural movement. Overall, the study revealed that city acceptance toward street and graffiti are the main contributors in elevating the creative industries within a city, however, it is the individuals that underline the city success. What are the impaction of Graffiti in the process of regeneration? How has Culture shifted? Making Street Art and Graffiti as part of our culture? Does Street Art and Graffiti have benefits to the wider norms of society? An Investigation into Subterranean Residential Developments within the Royal Borough of Kensington and Chelsea Andrew Blandford-Newson This dissertation explores the incentives behind the new popular method of undertaking subterranean residential developments within Kensington and Chelsea and how their impacts have labelled such constructions as an issue for concern over recent years, leading to respective local planning legislation changes. Through a qualitative research process, material from professionals, local residents and submitted Planning Applications are analysed to better understand such impacts and the adequacy of such newly established policies within the planning system itself. The results show an insight into the important role that the planning system plays in ensuring planning for the future in the best interest of serving the public.

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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.

Scales of Aggregation: Material variation in architecture Justin Moorton Standardisation has historically been promoted as a means of driving down manufacturing costs and hence improving the accessibility of products through economies of scale. Yet the materials which make our built environments are all starting to look the same, and this flavourless homogeneity may be taking an emotional toll on the people forced to live in and around them. A growing body of cognitive science research is revealing how oppressively dull environs can create stress and raise blood pressure as a direct result of boredom, and how variety can improve our quality of life. This paper looks at reasons why visual variation in architectural materiality is a property worth examining and retaining. To do so, scale and texture were employed as metrological frameworks for approaching the design of heterogeneous surfaces. This concern is especially valid considering the huge technological advances in digital fabrication of late. Multi-material printing is already possible and in the not-so-distant future it is anticipated that we will be able to embed and weave multiple materials into complex micro-structures specified with micron-scale precision. However, it is shown that there are other ways of orchestrating heterogeneity, mostly involving relinquishing some for of agency or control. The deterministic specification of variation is a much more complicated endeavour and an interdisciplinary method of approach is outlined. Although this dissertation quite clearly had the secondary agenda of highlighting some of the pitfalls of material standardisation, it has ended on a positive note. Whether by cultivating the need for craft and community participation in contemporary construction, or enabling material variety to become â&#x20AC;&#x2DC;freeâ&#x20AC;&#x2122; and accessible to all, a contingency which can be made possible through the wider availability of 3D printing, the refocusing of design energies to include the smallest scales of material design has the potential for real political and social traction in todayâ&#x20AC;&#x2122;s world of every-increasing giganticism. And we do live in very exciting times: where the material concoctions we produce may soon be as varied as our imaginations will allow.

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Theatrical Reconstructions: Case studies on authenticity within the politics of heritage construction Vili Welroos Originating from ideas conceived in the 19th century, precise reconstructions are a 20th century phenomenon caused by the urge to preserve our legacy within a narrative of heritage construction. It has come to be used and abused by those in control of a dynamic Bourdieuian field of ‘heritage production’. In the 21st century, this phenomenon is rapidly accelerating via innovative methods of recording and the possibility for seemingly authentic replication through new technologies. The project typology, perhaps, highlights an evolving perception of heritage; one that is built on what existed, or preserved as a physical manifestation of the past after its destruction. Analysis of perceptions of historic authenticity is performed by juxtaposing three different case studies – St. Mark’s Campanile, the Berlin City Palace and the Triumphal Arch of Palmyra. The reason for using these examples is due to their underlying differences in terms of reconstruction and a comparative analysis based on a theoretical understanding of the preservation debate is performed. This research proposes that architects take a critical attitude towards the built (and rebuilt) environment which forms a part of a complex socio-political struggle taking place before us right now and in the future. Recording and archiving information renders it usable within reconstructions whilst keeping memories hidden forever makes their recording obsolete. The dilemma is that it always contains a level of political contestation. Destruction may be inevitable, but retaining a record allows humanity to celebrate the physical manifestation of memories in the present, making it indispensable as a tool for solace. Nevertheless, the debate carries on evolving towards a new type of transformed neo-physical preservation. What can the differing attitudes taken towards authenticity and precision tell us about the political struggle they are part of, and what can architects learn from it today?

Social Housing, The Discography: A soundtrack to Britain’s modernist estates Adam Hampton-Matthews The phrases council estate and tower block have become two of the most stigmatised terms in the English language. Simply thinking about them brings about a plethora of negative connotations that we subconsciously associate with them. So much so that many of Britain’s estates are now brandished with the same caustic typologies of ‘dead-ends, vandalism, violence, and the absence of escape routes’. This ‘fear’ of crime and social malaise within estates is deeply rooted in British history and politics. Britain’s modernist estates have long been a social backdrop to which a variety of popular culture platforms are situated featuring heavily in motion pictures, yet what is less well documented is the way Britain’s estates have been portrayed in music. Often overlooked in writings of architectural representation, music could prove a particularly intriguing subject due to the close and personal relationship artists have with their lyrics; providing a deeper insight into what these estates meant to the people who lived in them, and how they were perceived both within a local context as well as across Britain. The dissertation begins with a study of prolific dystopian-novelist J.G. Ballard, focusing specifically on his influences within the emerging genre of New Wave music during the 1970s, reflecting on how artists began to comment on Ballard’s dystopian vision and the realities of British housing. The subsequent chapters include a comprehensive study of the modernist housing that developed in Coventry and Sheffield. Over the years, these utopian cities have proved to be a powerful tool for creativity for some of Britain’s most influential artists in the music industry. Taking a journey through the music ‘scenes’, this study aims to gain a better understanding of the relationship between the perceptions of Britain’s modernist estates and the genres that emerged.

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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 in the MArch enabling year-long collaborative research projects between staff and students. Linked Research encourages approaches that extend beyond the conventional studio design project or ‘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 an unprecedented eight linked research projects were completed, ranging from explorations of Newcastle’s unique nightlife to the study of abandoned and empty swimming pools. 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.

Architecture by Default

Testing Ground

James Street Noor Jan-Mohamed

Alexander Baldwin- Cole Kathleen Jenkins Katie Fisher Laurence Ashley Matthew Westgate Robert Evans Samuel Halliday Sophie Cobley Ulwin Beetham

Kieran Connolly

Beyond Representation James Craig Matthew Ozga-Lawn David Boyd Joseph Dent Nikolas Ward Ruochen Zhang

Graham Farmer

Zanzibar Futures Prue Chiles

Empty Pool

Katie Lloyd Thomas Rona Lee Martin Parsons Stavri Rousounidou Theodora Kyrtata

Alexandra Carausu Malcolm Pritchard Matthew Wilcox Nicola Blincow

International Brutalisms Steve Parnell

Joseph Wilson Raphael Selby

Learning Space Matthew Margetts Cara Lund Carl Reid Gavin Wu Jessica Wilkie Kayleigh Creigton Thomas Cowman

Newcastle After Dark Edward Wainwright Samuel Austin

Matthew Sharman Hayles Rosie O’Halloran Thomas Saxton

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Text by Matthew Ozga-Lawn

Opposite - Raphael Selby International Brutalisms

Architecture by Default Kieran Connolly

Situated in the buildings and spaces which form the generic environments of contemporary architecture, Architecture by Default is a critical investigation into spatial production predicated on values of efficiency, economy, management and organisation. Through the reading of industry wide material specification documents employed by corporate facility management services, a catalogue of construction systems â&#x20AC;&#x201C; from the suspended ceiling tile to plastic trunking â&#x20AC;&#x201C; are identified and their repetition across a variety of rooms, spaces and building types is documented and analysed. These are the spaces procured by spreadsheet, by a committee of people not usually too interested in what a space looks like but how it performs. Examples are cited where the vision for a building or a space are dictated by the specification of the systems which form it; how they meet certain regulations, are packaged with particular warranties and fit into tightly controlled budgets. Conclusively the project addresses how these dominant products and systems affect the design of space and the wider impact this has on how modern buildings are constructed. It speculates on the wide range of default processes embedded in architectural production, from the use of standardised construction systems to the specificationâ&#x20AC;&#x2122;s which dictate their implementation.

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Beyond Representation

James Craig & Matthew Ozga-Lawn Beyond Representation is a project based around an earlier project by STASUS titled Everest Death Zone. This project consisted of four drawings and a short text concerning the bodies of endeavourers who tried and failed to ascend Mount Everest. STASUS invited students to extend one of the drawings, based on the most famous endeavourer, George Mallory, into a physical installation at the ‘Mountains & Megastructures’ symposium (March 2016 at APL). The installation included performative and atmospheric experimentation and students worked with STASUS on designing, fabricating and installing the work. The installation was then extended and developed as part of ARC’s Scaling the Heights event in the North Tower of the Tyne Bridge (see pg.198) Students were tasked with installing the work, along with the work of other collaborators, as part of a battery-powered temporary exhibition in the tower. Finally, students were tasked with translating the installation into a virtual, embodied drawing through VR technology. Using the School’s new VR room, students exhibited work that mediated between a virtual representation of Everest’s landscape, the North Tower, the installation, and a physical apparatus within the room itself. This complex and multi-layered set-up bridged formerly distinct representational frameworks and allowed us to move and interact with architectural drawing in new and unexpected ways.

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Empty Pool

Katie Lloyd Thomas & Rona Lee Acknowledging the various ways of defining emptiness, the study of The Empty Pool revolves around the state that follows the removal of water. This decision is derived from the intrinsic link between the pool’s main modus usandi – swimming and paddling. The specificity of the pool’s form prevents programmatic alteration, a constraint that offers ample space for imagination and discussion. The peculiarity at the sight of the pool’s exposed form, segregated from its intention, is an exceptionally intriguing theme, open for interpretation. Site visits, theoretical readings and film screenings were used as resources for the development of the project. The outcome of the group research was an inventory of empty pools, compiled in a book for the purposes of an exhibition. A volumetric study through a series of physical models was conducted for a selection of pools. The pool shapes in 1:500 scale were sunk into plaster rectangles, the dimension of which was derived from the standard swimming pool tile. Within the project students formulated individual research topics. Martin explored the purpose and patterns of oceanic lidos, a pool typology which is currently reviving throughout the British Isles. Stavri investigated the physical animation of the female body in the element of water through researching psychoanalysis, feminine theories and the swimming pool’s cinematic history. Theodora defined a typology under the name ‘exotic pool’ and used the exposed volumes of Tropicana Pool in Rotterdam as a lens to deconstruct and decipher the illusion of a tropical landscape fantasy.

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International Brutalisms Steve Parnell

The group research looked at International Brutalisms – focusing on the ethical aspect of the movement as opposed to Reyner Banham’s aesthetic. Brutalism (whether called by the same name or not) appeared in many countries in the post war period. There is currently a debate on the future of these buildings as due to their age, they demand refurbishment, restoration, or demolition. The group focused on researching the context of Brutalism internationally by each student choosing a country to study and catalogue its key brutalist buildings. The purpose of this was understand the Brutalism in its native context and assess whether the findings could contribute to the British debate. The first semester of the project looked at the historical background of Brutalism, to understand style of architecture and how to identify it. This included literary and periodical research to identify key buildings and later, travelling to the chosen country to document the buildings, as well as interviews with local academics and architects, during the summer vacation. The final semester consisted of completing a written dissertation which also included the documentation of the buildings. The Architectural Journal of US Brutalism Joe Wilson My dissertation, led with the question “what characteristics constitute to defining Brutalist architecture in the United States of America, and do they focus on architectural aesthetics, as opposed to having an ethical stance promoted by British Brutalism?” This question was posed because North America did not suffer the same physical devastation as that of the UK and other European countries during the Second World War. I found that US ‘Brutalist’ architects’ ideologies did not carry the social missions as British Brutalist architects. From my conversations with U.S. architects, I discovered that it was the heavy, monumental, and sculptural aesthetic qualities of Le Corbusier’s work that captured U.S. architects’ imaginations. Le Corbusier presented concrete as a building material that offered sculptural plasticity. This freedom offered US architects an escape from the rectilinear style of sharp modernism, instead providing endless variability in form allowing inhabitants to engage with the architecture more intimately. I sought to confirm whether U.S. Brutalism is exclusively associated with concrete, and identified that the expressive use of concrete in the USA often resulted in three recurring features: monumentality, sculpturalism, experientialism. I explored Brutalism’s reception in the USA, with regards to the architecture itself and the terminology. I found that US architects believed that the word ‘Brutalism’ held negative connotations and that they referred to their work as ‘concrete modernism’ or ‘expressionism’. I concluded that the term Brutalism within American architecture is a superimposition by journalists for assemblage of aesthetically similar buildings that were constructed in concrete during the late modernist period. Brazilian Brutalism: An analysis of Brutalism in the context of Brazil Raphael Selby The dissertation aims to discover the essence of Brazilian Brutalism through an analysis of essential characteristics of the buildings researched. The term Brutalism has been used to refer to a widespread selection of modern architecture from the 1950s to the 1980s. The study argues that Brutalism in Brazil, although similar in aesthetics to other Brutalisms around the world, is native to the country. A recent ‘aestheticisation’ of Brutalism has seen the popularity of these buildings grow on social media. However, there is little knowledge outside Brazil regarding the context of these buildings, their purpose in the urban fabric and how they are inhabited and experienced. Field work in Brazil, which included visiting the buildings and interviewing key academics and architects, was crucial in providing the data required for the analysis of the buildings and their architectural qualities. The understanding of ethic as ‘essence’ - derived from the word “ethos” - rather than implying a notion of morality, is concerned with the intrinsic nature and essential quality of a material or space. It is such meaning, that determines the character of the building, resulting in more than just an aesthetic experience. By observing, documenting, photographing and drawing the buildings first-hand an analysis of three ‘essential characteristics’, namely the ground plane, monumentality and natural light - argues for the essence of Brazilian Brutalism. By studying Brutalism in Brazil, the need for further research became clear. There is a large number of buildings requiring to be documented. The age and condition of the buildings, require academics and architects to identify their architectural importance, allowing for their appreciation, understanding and subsequent preservation.

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Learning Space

Matthew Margetts & Cara Lund Building on our previous linked research collaboration with Sunderland University’s Psychology Department, ‘Slides, Deckchairs and Watercoolers’, we continue our exploration into the psychology behind places, spaces and furniture designed for interaction. This year the focus was on increasing our understanding design which encourages people to physically engage with and modify a space/piece of adaptable furniture. Much modern workplace and education furniture is designed to be flexible. But it is only flexible if people engage with it and change it. Our practice experience in British Council for Offices’ award winning workplace design suggests this rarely happens in reality or as intended. Thus the central line of enquiry was to gain a better understanding of the psychological parameters, and having spatialized these, test an intervention in the architecture school, before refining and testing in a real-life workplace. Our students were challenged to work across disciplines, with real end users, to develop dynamic mapping tools and to undertake their own reflective ‘live build’.

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Newcastle After Dark

Edward Wainwright & Samuel Austin Newcastle has become nationally and internationally famous for its nightlife. From ‘stag and hen do’s’ to the ‘trebles bar’ phenomena, the city has evolved spatially, economically and legislatively to accommodate a playground of desire, consumption and intoxication. Heavily dependent on the night time economy, Newcastle is continually developing spaces for the after-dark. The areas of the Bigg Market and the ‘Diamond Strip’ of Collingwood street have been explored through film and photography, documenting the activities and experiences that contribute to the night-time streetscape. Newcastle After Dark explores the city at night; a dense fabric of interior spaces catering for excitement and excess, that spill out onto the streets and urban spaces in between. Nocturnal environments of the city - the bar, pub, nightclub - are well understood through their economic and social geography, but there have been few comprehensive, architecturally-led surveys of spaces of intoxication, despite their significant influence on the identity of post-industrial cities across the UK. This staff and student research project takes an architectural approach to to explore the spaces of the night – looking at their forms, materials, aesthetics and experiences – in the context of the city. Research into the city’s night-time economies, and their evolution, history, and role within Newcastle’s culture, informs an examination of how intoxication is enacted in, and through, the city’s space, and how space in turn is transformed through night time desires.

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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. This year the students worked on two main projects. The first involved a collaboration with The Middlesbrough Institute of Modern Art (MIMA) where the students designed and constructed the furniture infrastructure for the exhibition ‘If All Relations Were to Reach Equilibrium..…’ This project involving display, and public programmes explored the subject of migration on Teesside and elsewhere, bringing together artefacts and artworks made by asylum seekers as well as established artists. The second project engaged the students in the design and construction of a Heritage Lottery funded Wildlife Hide at the Bakethin Conservation Area, Kielder. The students navigated complex statutory and client requirements including making the structure fully accessible and only specifying materials from sustainable sources. The students worked closely with the Northumbrian Wildlife Trust and the resulting timber-framed structure contains two ‘pods’ on split levels, one for bird watching and one for forest viewing. The Hide is clad in charred larch, has a moss roof and includes innovative sash windows that slide into the wall to give unobstructed views

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Zanzibar Futures Prue Chiles

This project seeks to explore the geo-politics of Zanzibar: a small island archipelago just off the East-African ‘Swahili coast’. Zanzibar has the ambition of being the most sustainable island in Africa, despite currently facing pressing development issues of rapid population growth and scarcity of resources. With a population of just under one million, Unguja, Zanzibar’s principal island, is truly a microcosm of the most critical nternational development challenges. The culmination of this linked research project was a journal, Zanzibar Futures, which represents a year-long documentation of the cultural, social and development issues on Unguja, resulting in a combination of research inquiry, design thinking and live building. The team’s journey began with fieldwork in February 2016, which formed an invaluable foundation for the subsequent research. Working together with the Ministry of Urban and Rural Planning in Zanzibar and the NGO Sustainable East Africa, they were briefed and informed on current practice and approaches toward local development planning. Featured in the journal are four key essays, which although individually authored are a result of closely related and interrelated research topics. Therefore, like much of the included work, these represent a collective endeavour and support the other ethnographic, historical and design studies. The essays also highlight different academic and architectural modes of production and methods used in their research. Alexandra’s essay on the typologies of Architecture in Zanzibar is an architectural polemic focusing on how the buildings in Zanzibar relate to each other spatially, materially and stylistically with regards to their varying cultural influences. Malcolm’s essay, overtly political, elaborates on studies of Zanzibar’s education systems, whilst simultaneously acting as commentary on the architectural design principals and construction patterns surrounding local education. Matt’s essay discusses one of the conundrums of contemporary exchange and commercial culture, by questioning the degree to which markets can be formalised, whilst finding ways to quantify in ways meaningful to architecture the variety of exchange and activity patterns of a marketplace. Finally Nicola’s essay on the cultural value of trees, highlights through both sytematic and poetic means the enormous political, social and economic value of trees in Zanzibar. From their fundamental importance throughout colonial and local histories, to the current economy and identity of the region, trees carry particular social importance and make a huge contribution to urban public space. Finally the team worked on developing a website to document the collective academic work which has been carried out in Zanzibar over the last four years by students from both the Universities of Sheffield and Newcastle. The website aims to bring together the design projects, studies and papers so that they can be shared with partners in Zanzibar, whilst also being accessible to other disciplines and anyone else interested in learning about the geopolitical, socio-economic and architectural complexities of this fascinating region.

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MA in Urban Design Georgia Giannopoulou, Tim Townshend, Ali Madanipour Contributors: John Devlin, Roger Meier, Martin Bonner, Aidan Oswell, Richard Smith, William Ault, Dhruv Sookhoo, Colin Haylock, Michael Crilly, Tony Wyatt, Sarah Miller, Geoff Whitten, Prue Chiles, Steve Graham, Cristina Pallini, Smajo Beso 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 increasingly popular in the UK cohousing model. The European field trip to Milan (Italy) aims to introduce alternative approaches to Urban Design using concepts of landscape, health and GreenBlue infrastructure. The project is based on a derelict site planned for a railway station on the Milan-Mortara line, including an unfinished railway structure by Aldo Rossi. Students are tasked with producing proposals for developing a salutogenic landscape using theoretical explorations on the theme as well as taking into consideration the cityâ&#x20AC;&#x2122;s history in relation to its water systems and fitting into the context. The year concludes 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 left to Bottom right - Group: Xuan Zhou, Peijun Yao, Group: Adem Altunkaya, Jackson Leong, Group: Ryan Conlon, Diva Jain, Group: Laurence Bonner, Adem Altunkaya, Ryan Conlon, Group: Adem Altunkaya, Jackson Leong

Top - Group: Diva Jain, Ryan Conlon, Adem Altunkaya, Laurence Bonner Upper Middle - Group: Laurence Bonner, Ryan Conlon, Adem Altunkaya, Diva Jain Lower Middle - Group: Diva Jain, Ryan Conlon Bottom - Group: Diva Jain, Ryan Conlon

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

Contributors: Astrid Lund, Nathaniel Coleman,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 second semester 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. Students produce three architectural/urban design schemes of increasing scale and complexity for a specific urban location. 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 -Mohamed Elghoneimy

Bottom - Jemma El Chidiac

Top left to Bottom right - Jemma El Chidiac, Hala Almalkawi(2), Jiayin Zhong, Xinjue Wang, Xiaoli Tian(2)

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MSc in Experimental Architecture

Martyn Dade-Robertson, Rachel Armstrong Contributors: Carolina Ramirez Figueroa, Andrew Ballantyne, Simone Ferracina, Aurelie Guyet, Luis Hernan, Rolf Hughes The MSc in Experimental Architecture is a new and exciting programme based on a visionary architectural practice that deals with global 21st century challenges that prepares students for a rapidly evolving professional environment. Our approach is grounded in an experimental designled methodology to working with new types of materials, methods and technologies that create the context for further social, political, economic and cultural reflection that, which are expressed through an architectural design project which is simultaneously provocative and visionary, but also grounded and rigorous. The course is design based and centred around two Studios: Living Technologies and Synthetic Ecologies (run in semesters 1 and 2 respectively). The studios are supported by lectures and workshops in drawing, modelling computation, fabrication and design methods. Students are expected to emerge from the programme with world-class design portfolios that also embody an informed position on the role of the 21st century architect. Students are encouraged to challenge accepted modes and practices in architecture using a variety of approaches that include design-led and scientific experiment. Such an approach seeks to address forward-focussed engagement with architectural agendas while also providing opportunities for young architects to develop the intellectual and practical skills by which they may develop strategies for dealing with a rapidly evolving professional environment that is being shaped by global challenges, such as rapidly rising populations, and emerging technologies.

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Synthetic Ecologies

Living Technologies

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MSc in Sustainable Buildings and Environments (SBE) 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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Top -Wuxia Zhang

Bottom - Lwigina Ramirez Castillo

6 1 2

3 8

5 6 10

Top, left to right -Wuxia Zhang, Eliana Peralta Aquino

Middle - Lwigina Ramirez Castillo

Bottom - Eliana Peralta Aquino

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Recent PhD by Creative Practice Completion Making Byker: The Situated Amateur Practices of a Citizen Architect James Longfield Positioned on the margins of the architectural profession as an informal and amateur practice, my thesis explored connections between ‘expert’ practice and the city as a fluid socio-spatial construct of (re)production and consumption, freed from professional preoccupations with buildings as formal, static and aesthetic objects. In 1969, Anglo-Swedish architect Ralph Erskine was commissioned to masterplan and design the Byker redevelopment project in Newcastle upon Tyne. With colleagues, he established an office on site, and a number of the architects moved to the area to deliver the project. As a result of this direct engagement with the area, a situated mode of practice emerged in the overlap between their professional personas as practitioners and their social concerns as residents. Having moved into a house in Byker in 2011, my work onsite through the PhD drew on the approach of Erskine’s team as a touchstone, inspiring a mode of relational practice that draws on situated and everyday ways of knowing to inform acts of adaption, (mis)use and intervention, and that investigated the unique condition of the hobby rooms which Erskine’s team included in the design of the redevelopment. The investigation of the thesis developed a creative practice methodology to inform and trace a series of tactical and reflective operations that emerged out of my engagement with the social ecologies and political structures of Byker, as both a resident and an active citizen. Through the overlapping of my professional and personal identities I pursued a series of architectural projects and practices that sought to traverse the boundary between the professionally distinct configurations of architect and user to question new possible relations between these two identities and associated perceptions of the built environment. Through ongoing reflection on these operations, the thesis established four distinct themes: situated practice, everyday practice, amateur practice and citizen practice, that situate contemporary theoretical positions on architecture in the context of Byker. A situated drawing, inscribed onto my dining table at home, provides a site to explore each theme and their intersections. The work on site explored the historical and contemporary background of the underused and vacant hobby rooms in Byker as spaces of collectivity and leisure interest. Limited by the inaccessibility of many of these spaces, my investigations explored the spaces of hobby practice more broadly across the redevelopment in collaboration with Byker residents, identifying hobby space as that which is temporally inhabited framed by key equipment formed through the ‘everyday design’ of these users. The development of this altered understanding of the nature and use of hobby space informed the design and construction of a series of pieces of ‘hobby furniture’ for different hobbyists around the Byker area that explored the possibility for hobby space as deployed across a range of spaces. Reflection on the use of these elements paid closer attention to the forms of social infrastructure that supports and underpins the use and viability of collective hobby spaces, culminating in the proposal of a set of ‘hobby agencies’ that speculated on the social relationships that might enable spatial alterations across public spaces in the area. The situated actions through which the hobby rooms were addressed also confront the illegitimacy of amateur practice, revealing the creative and empowering potential of the informal social engagement of the practitioner with the conditions of use and appropriation, alongside other citizens, embedding practice within a local network of individuals, agencies, local organisations and political bodies. By deploying professional tools and methods within the context of citizenship, the thesis contributes toward ongoing discussions concerning the role of participatory practice in architecture, exploring these questions from the perspective of the practitioner’s involvement in the rituals and rhythms of everyday life. In doing so, it frames an approach to architectural practice that is spatially situated, yet temporally boundless, a cyclical operation that weaves together spatial, social, and political activity, making a claim for a new mode of situated, amateur, citizen practice. Main Supervisor: Adam Sharr, Second Supervisor: Katie Lloyd Thomas, Internal Examiner: Prue Chiles, , External Examiner: Katja Grillner - KTH School of Architecture - Stockholm, Sweden BYKER COMMUNITY GARDENS Byker Community Gardens

Residents

Ouseburn Farm

YMCA Byker

Storehouse

Horticulturalist

Byker Community Trust

Byker Aspire Byker Community Trust

Locations Ouseburn Farm

BCT Rapid Response Team

HORTICULTURAL TRAINING

COMMUNITY ORCHARD

TENDING PUBLIC SPACES

U NIT Y G A

NS Horticulturalist

PLANT NURSERY

Residents

COMMUNITY MEALS

BYK

ER EDUCATION

MAKING BYKER

Activities

Education

Productive Growing

Horticultural Training

Community Orchard

Tending Public Spaces

Community Meals

Cooking Lessons

Engaging with the two primary schools to educate children on growing plants and care for the environment.

Growing fruit and vegetables in the Byker Gardens and around the estate. Food grown can be used for shared meals.

Training and teaching new horticultural skills to residents to help people improve their gardens or pursue employment.

The south facing terraces of Avondale Rise lend themselves to a small community orchard, growing a range of fruit.

Residents employed to plant and maintain the public spaces around Byker, including planters, beds and hedges.

Shared meals between residents developing relationships and providing the opportunity for new social connections.

Utilising fruit and veg grown around the redevelopment to teach residents about healthy eating and cooking.

St Lawrence’s Primary School

Residents YMCA Byker

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Hobby Agencies: Byker Community Gardens Hobby Agencies: Byker Community Gardens

COOKING LESSONS

PRODUCTIVE GROWING

Storehouse

PhD and PhD by Creative Practice Students PRACTICEOPOLIS: Journeys in the architectural profession Yasser Megahed The contemporary architectural profession displays an on-going struggle for economic and cultural capital between heterogeneous cultures of practice, which together comprise what can be described as a state of dynamic equilibrium. The contemporary profession is dominated by a technical-rational culture of practice. The term refers to commercially-driven practices that are often associated with the production of buildings by or for multinational corporations and tend to echo their values. This research interrogates the imperatives of this domination on the values of the architectural profession. It builds upon two strategies: firstly, mapping the alternative cultures of the present architectural profession; and secondly, identifying the dangers of the increasing closeness in values between the profession and other actors in the building industry. The research argues that these increasingly shared values threaten the unique worth of the architectural profession and the dynamic equilibrium which characterises it. By inventing Practiceopolis: an imaginary city of architectural practice, the research aims to investigate the nature of the profession and the particular values it contributes to the built environment. Practiceopolis is a city built on diagrammatic relations between different cultures of practice covering a wide spectrum of the contemporary profession. The city became envisaged through a sequence of five iterative narratives whose specific narrations set the foundation for the next. An initial diagram becomes a map, which becomes the plan for a speculative city. These narratives are accountable for mapping the contemporary profession by building the complex metaphor of Practiceopolis. They explore the inhabitation of Practiceopolis by narrating stories about the competition between prominent cultures of practice in the cityâ&#x20AC;&#x2122;s imaginary political scene represented through a graphic novel. The research ends with propositions regarding the particular values of the architectural profession, and highlights the necessity to explore how these values could be defined, communicated, and marketed.

Life, Superceiling: A cultural history of the suspended ceiling Kieran Connolly Suspended ceilings are a ubiquitous element of contemporary architecture. From the generic spaces of the shopping mall, corporate office and hospital wing; to intimate spaces of domestic inhabitation, the suspended ceiling prevails. Their pervasive presence can be attributed to their simplicity, ease of construction and inherent repetitious quality. Organised on a regular grid of 600mm x 600mm, the suspended ceiling neatly resolves the problem of how to conceal the plethora of technical and environmental services desired in the design of modern buildings. The proliferation of suspended ceiling systems globally testifies their status as the default ceiling solution for contractors, designers and clients alike. The ubiquity of suspended ceilings across our contemporary built environments, implies that there widespread application is not only enabled by technical efficiency but by active cultural, political and economic forces. The research examines and develops an account of the history of technical, social, cultural and economic factors which have contributed to the global production and consumption of suspended ceiling systems. Borrowing techniques and methods deployed by radical Italian design collective Superstudio; multiple readings of the suspended ceiling are developed, drawing out wider questions related to prevalent cultural attitudes toward standardisation, industrialisation, organisation and management. These attitudes are read through the suspended ceiling, contributing toward a critique of contemporary spatial production and its relationship to architectural practice.

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Towards a Synthetic Morphogenesis for Architecture Paola Carolina Ramirez Figueroa www.syntheticmorphologies.com Synthetic Morphologies is a design exploration project that emerges from a growing design discourse on the possibilities afforded by Synthetic Biology. The 21st century is poised to be the era of biology, very much like the 20th has been the age of digital information. The notion comes from recent advances from Synthetic Biology in manipulating and creating new living organisms that exhibit unprecedented traits in nature. Design, as many other fields, has felt the influence of such a paradigmatic shift. In architecture, for instance, a growing body of speculative work imagines a future material reality enacted by hybrids of machine and living organisms, whereby building are grown rather than constructed. Yet, Synthetic Morphologies poses the possibility that, in fact, Synthetic Biology presents design with a more profound challenge – one that stirs the restating of the discipline of design itself. To think, for instance, of buildings which are grown out of pre-programmed living organisms is, in effect, to continue the classic paradigm of design wherein the designer is an almighty giver of form. I propose an alternative approach – an organicist-inspired material practice for synthetic biology. I believe the intersection of design and synthetic biology invites us to think of design as a negotiation between different actors, some of which include the chemical environment, mechanical conditions, designers and living organisms themselves. Throughout my doctoral research I’ve engaged in different projects which characterise and trace the evolution of the speculative discourse initiated by synthetic biology, and which eventually leads to the notion of a biologically-oriented material practice: a technique to engage with the processes of designing through and with living organisms.

Space Thickening and the Digital Ethereal: Production of architecture in the digital age Jose-Luis Hernandez-Hernandez www.digitalethereal.com Digital Ethereal came about as a design discourse on digital technologies, and the invisible infrastructure underpinning it. I believe our interaction with this landscape of electromagnetic signals, described by Antony Dunne as Hertzian Space, can be characterised in the same terms as that with ghosts and spectra. They both are paradoxical entities, whose untypical substance allows them to be an invisible presence. In the same way, they undergo a process of gradual substantiation to become temporarily available to perception. Finally, they both haunt us: ghosts, as Derrida would have it, with the secrets of past generations; Hertzian Space, with the frustration of interference and slowness. But it is these same traits of Hertzian Space that affords the potential for a spatially rich interaction with information systems, one that more closely resembles the interaction with real architecture. The challenge however lies in how to design with systems that are fundamentally invisible. They can be ‘translated’ – changing their modality into one which is tangible. This modality change is however always laced with cultural charges, which changes the nature of Hertzian Space. In order to take advantage of Hertzian Space, I advocate for a creative practice aimed at creating new objects, indexed to Hertzian Space, but which also captures the cultural and social complexity imbued in the use of such technologies. I call this new series of objects the digital ethereal. The design work created throughout this project blends together disciplines and techniques such as performance, photography, design, programming and electronics.

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Shared Identity: Buildings, Memories, and Meanings Stephen Grinsell News stories about either the decision to save or demolish many buildings of the 1960s and early 1970s regularly use the noun monstrosity, usually prefaced by the word concrete. However, not all concrete buildings create animosity. The recently demolished Birmingham Central Library, whilst derided by Prince Charles as looking like ‘a place where books are incinerated, not kept’ (Birmingham Mail, 2014) is also commonly and affectionately called the ‘Ziggurat’, a reference to the stepped terraces of ancient temples. David Parker and Paul Long in their article ‘“The Mistakes of the Past”? Visual Narratives of Urban Decline and Regeneration’ write ‘For all their faults, the buildings of the 1960s and 1970s currently being destroyed supplied Birmingham with an identity’ (Parker and Long, 2004 p.18). Buildings are given their identity and meaning, or more accurately, given a multiplicity of meanings, by those who gaze upon them and allow the building to impact upon them. This impact, or the experience as a result of that gaze, stirs emotions and evokes memories, memories that heighten a sense of identity. This identity then becomes a shared identity as people share their memories, and what the building means to them. Parker, D., & Long, P. (2004). ‘“The Mistakes of the Past”? Visual Narratives of Urban Decline and Regeneration’. Visual Culture in Britain, 5(1), 37-58.

The Impacts of Owners’ Participation on ‘Sense of Place’, the Case of Tehran, Iran Goran Erfani A key aspect for urban designers and managers concerns how urban transformation arising from regeneration of inner-city areas is associated with ‘sense of place’. Although much academic work tracks individual sense of place, little interrogates the community aspect and its link with urban renewal. This study investigated how the urban renewal schemes in Tehran, Iran have attempted to adopt the owners’ participation into their planning and implementation. It concentrated especially on diverse ways that different stakeholders perceived the methods of these schemes and the significance for community sense of place. The study examined the urban renewal projects conducted by the municipality of Tehran which concerns these areas as deprived neighbourhoods with various physical, social and environmental problems. Two cases were studied, namely the Oudlajan bazar and the Takhti neighbourhood, which both are located in the inner city (district 12). Despite similarities, they are distinctive cases. Oudlajan, which has outstanding heritage value to the city, is a commercial public space. The Takhti project was about the residential private space. In addition, each case had diverse socio-cultural and physical transformation. The selecting of the distinctive cases shaped a better picture of urban transformation in Tehran. The techniques applied seek to represent different types of participants, by means of local observation and semi-structured interviews with a range of stakeholders in these schemes. Additionally, to elicit what constitutes the interrelationships between people and place, Photo Elicitation Interview (PEI) was carried out. The photos captured by the residents were discussed with them to reveal the potential impact of urban renewal projects on place-based community attachment, identity and satisfaction in the eyes of individuals. Concurrently, planners, managers and developers were interviewed. To signify the intersubjectivity, the results and evidence from the previous phases were separately discussed with other participant and non-participant residents in the renewal schemes. Furthermore, the study considered the potential and limitations for sense of place associated with the urban regeneration schemes.

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On Repetition: Photograhpy in/as Architectural Criticism - Working through the Archives of Mies van der Rohe and Lilly Reich’s German Pavilion and the North American Concrete Grain Elevators Catalina Mejia-Moreno www.travesiafoundation.org ‘Many of us, maybe all of us, look at some images repeatedly, but it seems that we do not write about that repetition, or think it, once written, worth reading by others’. T.J.Clark. The Sight of Death. An experiment in Art Writing. (New Haven and London: Yale University Press, 2006) pp. 9. In the photo-archives of two of the most recognised British architectural historians of the late twentieth century - Robin Evans and Reyner Banham two iconic buildings come across repeatedly, almost compulsively. In Evans’, the Barcelona Pavilion (1929- reconstructed 1986) and in Banham’s, the Buffalo Grain Elevators (late nineteenth Century). While these slide sets can be understood as the result of the empiricist English tradition and the relevance of direct experience for the buildings’ histories and criticisms, they are also evidence of a wider phenomenon in architectural history: the drive to re-visit, the compulsion to re-photograph and the instinct to repeat. In this context, my PhD project questions photography as the inherent means of repetition in architectural history, while arguing that the photograph as material object and object of representation also performs as the criticism itself. By studying two important moments in time for the photographic dissemination of the two aforementioned buildings, and by understanding the material history of photographs as commodities and objects of transaction, I critically examine the relationship between architectural history, architectural criticism, and photographic and ideological techniques of (re)production.

Looking Towards Retirement: Alternative Design Approaches to ThirdAger Housing Sam Clark UK society was first categorised ‘aged’ during the 1970s, and is currently heading towards ‘super-aged’ status, whereby 20 per cent of the population will be aged sixty-five and over by the year 2025. Indeed scientific evidence indicates linear increases in life expectancy since 1840, such that UK population ‘pyramids’ are now looking more like ‘columns’, with fewer younger people at the base and increasing numbers and proportions of older people at the top. There are 10,000 centenarians living in the UK today, with demographers anticipating a five-fold increase by 2030. Half of all babies born this year can expect to live one hundred years. Housing plays a significant role in sustaining a good quality of life, and there is growing opinion that moving to specialist or more age-appropriate housing has a positive impact on the wellbeing of older people, as well as potential benefits to the property market as a whole. Recent design research includes a competition commissioned by McCarthy & Stone to ‘re-imagine ageing’, and an RIBA report illustrating future scenarios in which ‘Active Third-Agers’ have made a huge impact on UK towns and cities. Both initiatives were predicated on the idea that today’s older population (colloquially known as the ‘babyboomers’) have alternative and more demanding lifestyle expectations that are likely to drive a step-change in housing choice for older people. Sam is working in collaboration with national house builder, Churchill Retirement Living, to further explore the needs and aspirations of those entering retirement. In this instance a PhD by Creative Practice is being used as a vehicle for applied design research that will contribute to contemporary visions for retirement living.

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Cities, People, Nature: An Exploration Usue Ruiz Arana mynaturehood.tumblr.com With more than half of the world’s population now living in cities, it is the nature within the city that has the potential to enhance people’s lives on a daily basis. The city-people-nature trinomial raises a number of questions that form the basis of this research. My first installation coincided with the ‘Landscape, Wilderness and the Wild’ conference and explored two initial questions: Is there a boundary between the natural and cultural in the city? The relation between nature and culture is complex. The classical notion of nature is the world devoid of human interaction or activity; and urbanization, the antithesis of nature. At the other end of the spectrum there is the notion of nature as a social constructed phenomenon, and the idea that nature as the untouched doesn’t exist anymore, as human activity has affected the whole world. What is evident is that cities depend on nature to survive and vice versa, and it is therefore difficult to see where one ends and the other starts. Could the expectation of nature in the city be challenged and what could we tolerate within the urban? Within the city we tend to arrest the progression of nature in order to maintain landscapes and spaces looking a certain way, and avoid the chaos or fear that might result from a ‘wild’ nature. ‘Wilderness’ is found on abandoned sites, on former industrial sites, in the cracks of the pavements, in the joints of the walls, reclaimed by nature whilst waiting to be developed or cleared out. Is looking the reason why we arrest nature, and how is nature experienced through the other senses?

Revealing Design: A Dialogic Approach Matthew Ozga-Lawn www.ncl.ac.uk/apl/staff/profile/matthew.ozga-lawn My research project attempts to reveal hidden or overlooked agencies within the studio space and the representational modes therein, which is normally conceived of as a neutral zone through which designs are simply ‘transmitted’. In my study, the studio is conflated with a rifle range. The studio, in adopting the characteristics and agencies of the military space, opens architectural representation onto codes and phenomena normally considered to be outside its remit. These phenomena are drawn into the project through historical and theoretical links established by the rifle range space. My research blurs the agencies of the military and studio spaces, revealing coded agencies that we as designers often take for granted in how we relate and engage with representational artefacts in the studio.

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Quality Control and Quality Assurance in Construction – Case of Tower Buildings in Libya Salem Tarhuni The Conservation of Twentieth Century Architecture in China Yun Dai Comprehensive Intelligence in Sustainable Courtyard House Architecture Rand Agha A Spatial Carbon Analysis Model for Retrofitting the Guayaquil’s Residential Sector – GURCC as a Case Study Javier Urquizo Crisis of Traditional Identity in Built Environment of the Saudi Cities. A Case Study: The Old City of Tabuk Mabrouk Alsheliby Natural Ventilation: An Evaluation of Strategies for Improving Indoor Air Quality in Hospitals of Semi-Arid Climates Mohamed Mahgoub Elnabawi Learning from Vernacular Natural Ventilated Residential Houses in Mediterranean Climate Zone of Lebanon; and Developing its Application Methods in Designing Contemporary Housing in Beirut Najla Mansour The Contemporary Role and Transformation of Civic Public Architecture: The Case of Tripoli’s Central Municipal Building, Libya Abdelatif El-Allous A Coincidental Plot, For Architecture Ashley Mason Natural Ventilation: An Evaluation of Strategies for Improving Indoor Air Quality in Hospitals of Semi-Arid Climates Mohammed Mohammed Architecture for All in the megacity: Spatially Integrated Settlements in Istanbul Dominated by Desirable Affordable Housing that Values More than the Total Cost of Construction and Land Values Ulviye Nergis Kalli Impact of Community Participation on Peri-Urban Development Projects in Akure, Nigeria Oluwatoyin Akim Usage of Thermally Comfortable Outdoor Space through the Lens of Adaptive Microclimate Khalid Setaih Becoming Planners and Architects: the Formation of Perspectives on Residential Design Quality Dhruv Sookhoo After the Blueprint: Questions around the Unfinished in New Belgrade Tijana Stevanović Modelling the Effects of Household Practices on Heating Energy Consumption in Social Housing. A Case Study in Newcastle upon Tyne Macarena Beltan Rodriguez

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Architecture: Creative Practice Symposium The School of Architecture, Planning & Landscape at Newcastle University 25-26th April 2017 Architecture: Creative Practice Symposium led by Professor Prue Chiles was conceived as an in-house event with the addition of notable external contributors, and the aim was to create a dynamic and informal forum in which to present, debate and create our sense of the breadth of creative practice within the School of Architecture, Planning & Landscape, and in architecture more widely. This small scale and intimate symposium consisted of workshops, round tables, exhibitions, and discussions creating fruitful exchanges in a positive and generous atmosphere. We were delighted to have as opening keynote Professor Jane Rendell from the Bartlett School of Architecture, UCL. Rendell shared insights into how architectural design, creative practice, and material experimentation can be more fully presented as research, followed by an introduction to her work and the field of terms - critical spatial practice and site-writing - for which she is renowned. The evening continued with presentations by: Prof Prue Chiles – Social Ends And Means; Catrin Huber - Creative Practice; Prof Adam Sharr - Architectural Design; Prof Rachel Armstrong - Experimental Architecture; Prof Graham Farmer - Live Build Projects; Ian Wiblin and Dr Chris Müller – Photography; and a round table discussion led by Prof Katie Lloyd-Thomas. Dinner was then served in the newly opened Building Sciences Lab. The next day began with the workshop presentations by Elizabeth Baldwin Gray, Kati Blom, Andrew Campbell, James A Craig, Claire Harper, Dr Christos Kakalis, Daniel Mallo, Mags Margetts, Matt Ozga-Lawn, and Dr Ed Wainwright, each followed by crit-style feedback. After lunch landscape architect and artist Catherine Dee, and artists Penny McCarthy, Dr Becky Shaw, (SHU), Dr Polly Gould (APL) framed their projects, so to explore whether Fine Art offers a model of an emergent academic system that is useful in Architecture. Reports on visits to other practice research discussions elsewhere were presented by Dr Anna Holder - Researching Making/Making Research, Aarhus; Dr Martyn Dade-Robertson - Research through Design Conference, Edinburgh; James A Craig and Prof Katie LloydThomas - PhD By Design Conference, Sheffield; Nikoletta Karastani - RIBA North East: Dr Emma Cheatle on her practice and Newcastle University Humanities Research Institute (NUHRI); and Julia Heslop on Protohome. The coffee breaks were illustrated by landscape architect Dr Ian Thompson’s photographic work and Dr Peter Kellett’s recent exhibition on everyday objects in Addis Ababa. Our visiting Professor, Prof Julieanna Preston, Professor of Spatial Practice at the College of Creative Arts, Massey University, Wellington, New Zealand, gave the closing keynote; a performative presentation with voice, image and narrative, that brought the event to a moving close. We then enjoyed a guided walk with Dr Ed Wainwright past the architectural sites of note in Newcastle on the way to the sixteenth century building, Alderman Fenwick’s House, Pilgrim Street where Ian Wiblin presented his exhibition of black and white photographic prints and video work, with closing drinks.

Image: Polly Gould Alpine Architecture: Piz Roseg, 2017 Watercolour on paper 34.5 x 54 cm New York, VOLTA2017 Improbable architectures for mountain tops after the work of Bruno Taut (1880-1938)

At points over the two days it was argued that different definitions of research might be needed in order to accommodate both the distinctive multidisciplinary nature of architecture, and its knowledge production through practice. The Symposium provided the opportunity to recognize the wide range of practice that is occurring at APL and to open questions for future inquiry.

Text by Polly Gould

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ARC – Architecture Research Collaborative Architecture is often considered a mongrel discipline, and architectural research is often perceived as borrowing from many other fields from art history to civil engineering. We set up ARC with the aim of countering this view – promoting architecture as a discipline in its own right. We wanted to challenge a model of research which dissects architecture into its technical, social and humanistic components so we proposed a group composed of themes which would change over time whilst maintaining their collective identity. This year we have continued with the themes we set in 2015: Namely Ecologies, Infrastructures and Sustainable Environments, Experimental Architecture, Futures and Imaginaries, History Cultures and Landscape, Industries of Architecture and Processes and Practices of Architecture. In addition, we have a special and emergent theme Mountains and Megastructures which has framed some of our collaborative activity this year. Our AHRC-funded event ‘Scaling the Heights’, part of the Being Human Festival of the Humanities, was held in the in the North Tower of the Tyne Bridge on the 18–25th November. The event attracted over 400 visitors to an exhibition which included the installation Everest Death Zone, presentations by a group lead by STASUS (James A. Craig and Matthew Ozga-Lawn) and presentations from speakers across the School and beyond. A follow-up publication is being planned. Our commitment to interdisciplinary research has an international presence through the Cambridge University Press Journal arq – Architectural Research Quarterly – whose managing editor, Professor Adam Sharr, and the majority of the editorial team are based in ARC . A special issue this year on Biotechnologies for the Built Environment was edited by Martyn Dade Robertson and Rachel Armstrong. As our numbers continue to expand with Polly Gould starting as the ARC Research Fellow at the end of last year and new colleagues joining us we have also turned our attention to how we present our creative practice and design lead research. Traditional research is often measured in terms of the quality traditional publications. However, in Architecture we seek to practice research through a much greater range of media and outputs. To this end we held a Creative Practice Symposium on the 25-26th April to bring together practitioner researchers and research practitioners to discuss the role creative practice has in their own work. This is the beginning of a new initiative for the School as we develop emerging areas of research which have been overlooked for too long.

Iraq and the Enduring Legacy of Gertrude Bell Sana Al-Naimi History, Cultures and Landscape In my PhD research I investigate the dramatic changes in the built environment over the last century in Iraq. I explore the enduring spatial implications of Gertrude Bell’s vision, which not only shaped post-WWI British Mandate Iraq, but also continued to inform the actions of consecutive governments. Bell introduced socio-spatial changes aided by the designs of Scottish architect J.M. Wilson. Both skilfully employed their shared passion and expertise in Islamic and Mesopotamian archaeology in “sugarcoating” colonialism. I aim to understand how novel architectural typologies and new space hierarchies contributed to the current cultural and political instability in Iraq. Acknowledgments: This research is funded by the Northern Bridge Doctoral Training Partnership. Artwork by the author based on images from Gertrude Bell Archive, Newcastle University, PERS_ B004B. 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)

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Witch Bottles Rachel Armstrong Ecologies, Infrastructure, Sustainable Development Layering of material according to a chemical and symbolic programmes that speak to the elements of air, fire and water were located within the grounds of the Robert Rauschenberg Foundation property as a charm that discusses the values at risk through sea level rise. They symbolize our hopes, fears and dreams about climate change in a manner that draws from local traditions – the production of charmed bottles – and ancient knowledge practices, like channeling. These bottles are now part of the foundation’s land art collection and were also “virtually” gifted to the BBC Museum of Curiosity, Series 9 at: http://www.bbc.co.uk/programmes/b07lj6yh Acknowledgments: Robert Rauschenberg Foundation Fellowship Residency Rising Waters 2 confab, April/May 2016 Pre-Columbian Tropical Urbanism Peter Kellett History, Cultures and Landscape This AHRC funded project is evaluating the long term urban traditions exemplified by the diversity of pre-Columbian tropical cities of Mesoamerica, to inform sustainable urban futures. A series of interdisciplinary workshops will build on historically integrated research on tropical urbanism and environmental design to formulate a collaborative research project to test underlying principles. In addition to academic partners in several countries, the project will engage with wider audiences through a design ideas competition and public exhibition to create awareness of the archaeological relevance of the past for future urban living. Collaborators: Benjamin Vis (PI) University of Kent, University of Leiden, University of Gothenburg, RIBA South East, Sainsbury Centre for the Visual Arts The Alternative Public Xi Chen Processes and Practices of Architecture The research will investigate the nature and creation public space in the city in Wenzhou, a coastal city in the southeast of China. The research interrogates the theoretical analysis and the experimental artistic practice that attempting to test the possibilities of alternative approach towards the production of public space. It will re-examine the effects and understanding of the modern introduction of public space in contemporary Chinese society. By referring to the ‘right to the city’, the research aims to explore whose power accounts in the development of public space through the cultural, social, spatial and political lens. Website: www.unbuilt.net Constructing Informality Peter Kellett History, Cultures and Landscape Since 1985 I have been carrying out longitudinal ethnographic research into the growth and development of informal settlements in the city of Santa Marta, Colombia. 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 within a local family in a settlement for extended periods on multiple occasions makes it possible to explore the interrelationships between processes of housing construction, furnishing and habitation, and issues of identity (re)construction and the role of the dwelling in people’s lives. Collaborators: Benjamin Vis (PI) University of Kent, University of Leiden, University of Gothenburg, RIBA South East, Sainsbury Centre for the Visual Arts

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The Modernism of Birth Emma Cheatle History, Cultures and Landscape This research examines the impact of buildings and interiors on the history of English maternity. From the 1750s, concurrent with the rise of the novel, the incidental spaces of home birth were succeeded by lying-in hospitals run by newly established man-midwives. Across the nineteenth-century, birth was further medicalised and institutionalised in these purpose made spaces. Analysing particular buildings and novels, this research traces the developing relationship between the places in which birth took place, the women and men involved, and the development of instruments and practices. The related Being Human Festival project, Maternity Tales, spring from the above research. Key References: Emma Cheatle, Part-architecture: the Maison de Verre, Duchamp, Domesticity and Desire in 1930s Paris (Routledge, 2016) Emma Cheatle, ‘Recording the absent in the Maison de Verre’, in IDEA Journal (2012) Standardised Assessment of Building Adaptability John M. Kamara Industries of Architecture The aim of this project is to refine and test a theoretical model for rating the adaptability of buildings as a first step towards a methodology for the standardised assessment of building adaptability. The theoretical model is based on indicators of the adaptability of different elements of a building in relation to six adaptability features: adjustability, versatility, refit-ability, convertibility, scalability, and movability. Empirical evidence through case studies and analytical techniques will be used to model building change and test and refine the theoretical model. Collaborators: Dr Oliver Heidrich (school of Civil Engineering, Newcastle University), Dr Vladimir Ladinski (Principle Architect, Gateshead Council), Professor Mario Dejaco, Professor Fulvio Re Cecconi and Dr Sebastiano Maltese (Politecnico do Milano, Italy) Phenomenological Affordance Analysis Kati Blom Processes and Practices of Architecture My thesis laid foundations for an analysis of unique architectural experiences which have heterogeneous elements. The corresponding building offers a set of negative or positive affordances which may become noted in an experience. To analyse environmental relations via perception psychology (Gibson) proved to be useful particularly in evaluating glass buildings and the memorable experiences triggered by them. This analysis reveals continuities and discontinuities of surfaces of material substances, as well as the analysis of affordances within. Both exterior and interior can be looked as concave or convex surfaces. The Architect as Shopper Katie Lloyd Thomas Industries of Architecture This project investigates the emergence of the architect as ‘shopper’ and handmaiden of the building products industry in the interwar period – a transformation much debated at the time, but now largely forgotten, and an unquestioned aspect of contemporary architectural practice. It explores the role of women who, on the one hand were just entering the architectural profession, selling building products or working in the electrical industry, and on the other, were actively targeted as key consumers of building products. The research is in conjunction with the Building Centre (London) and a Canadian Centre for Architecture (Montreal) research fellowship to prepare the book proposal. Link: http://www.youtube.com/watch?v=_KSc5m9mWQs

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Revisiting the Modernist Dream Prue Chiles Processes and Practices of Architecture This project explores the newly renovated Park Hill in Sheffield, an iconic modernist megastructure. We worked with the new residents living there, stakeholders and people with memories of the old Park Hill, to build up a picture of domesticity, everyday living and how the residents interact with the building, the concrete and the space. From indepth interviews and interactive workshops with models and drawings the subsequent exhibition, we found that the new residents came from a surprisingly wide demographic and had diverse and inspiring thought and attitudes about their new lives at Park Hill and how they are making it home. Collaborators: Museums Sheffield, Kate Pahl and others at the University of Sheffield. Part of the ‘Imagine’ project sponsored by the AHRC/ESRC 2012-2017 Solar Futures Prue Chiles Ecologies, Infrastructures and Sustainable Environments An experimental, transdisciplinary and collaborative project to develop independent energy visions and neighbourhood strategies for the future of Stockbridge, South Yorkshire. Working closely and co-productively with a group of local residents for three years the project and energy systems modelling to describe the current possibilities, research ideas and local values of the transition. We explore the role of strategic national policy and the potential for holistic design in planning energy transitions. We develop a more visionary set of speculative “what if ” projects/scenarios for discussion that could be relevant for all places like Stocksbridge. The nature of transdisiplinarity and coproduction in the project were key findings. Collaborators: In partnership with Durham and Sheffield Universities. An EPSRC funded project 2012-2016 Art, Economy and Space Ed Wainwright History, Cultures and Landscape Artist’s practices are intimately linked to space – its availability is intricately tied to the emergence of scenes of artistic activity. The spaces available for use by artists are directly affected by changing economies. The ebb and flow of capital being reflected in often surprising ways through environments that become available for studios and workshops. The effect these spaces have on modes of artistic production and the relations between artists forms the basis of an emerging research project, with collaborators between architecture, business and fine art at Newcastle University, and the arts organisation The NewBridge Project, in Newcastle upon Type. Collaborators: David Butler (School of Arts & Culture, Newcastle University) Charlie Gregory (The NewBrigde Project, Newcastle) Paul Richeter (Newcastle University Business School) Moon Writing Rachel Armstrong Experimental Architecture Moonlight in the bay around the iconic Fish House at the Robert Rauschenberg Foundation in Captiva produces graphical traces on the surface of the water that suggest a correspondence between the sun and the earth, which is orchestrated by the tides. This Moon Writing invokes the production of symbols from a generative surface, which raises deeper questions about the kinds of languages that the natural world produces spontaneously and even understands – be they between cosmic bodies, or bacteria – and how do we begin to design with them? Acknowledgments: Robert Rauschenberg Foundation

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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) 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)

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Construction Site for Ideas Stephen Parnell History Cultures Landscape A research programme investigation on the role of architectural media in the construction and dissemination of architectural ideas and discourse from their beginnings in the nineteenth century to the present day. It aims to understand the role of the magazine in the construction of architectural history and its influence on architectural culture and practice by charting the content and form of architectural periodicals across time, with particular focus on the contributors and their relationship to the changing nature of architecture as a profession, practice, and culture. Key References: Parnell, S. ‘Architecture Magazines: Playgrounds and Battlegrounds.’ In Common Ground: A Critical Reader, ed. K. Long and S. Rose, 305-8. Venezia: Marsilio, 2012. ‘Architecture Magazines: Playgrounds and Battlegrounds’, 13th International Architecture Exhibition, Biennale di Venezia, 29 August – 25 November 2012.

Parnell, S. ‘AR’s and AD’s Post-War Editorial Policies: The Making of Modern Architecture in Britain.’ The Journal of Architecture 17, no.5 (October 2012). Parnell, S. ‘The Collision of Scarcity and Expendability in architectural Culture of the 60s/70s.’ Architectural Design, August 2012.

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

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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Scaling the Heights: Mountains and Vertical Megastructures Tyne Bridge North Tower 18-25th November 2016 Scaling the Heights: Mountains and Vertical Megastructures was an exhibition and programme of public talks on the physicality and ascent of tall structures and artificial mountains, presented by the Architecture Research Collaborative (ARC) and temporarily installed in the Tyne Bridge’s North Tower, providing a rare opportunity to explore one of Newcastle’s iconic buildings. This event was included as part of Being Human, the UK’s only national festival of the humanities, that took place in over forty-five towns and cities across the UK between 17-25th November 2016 and followed that year’s theme ‘Hopes and Fears’. Contemporary economic and social conditions are driving cities and their inhabitants ever higher into cloud-grazing skyscrapers and highrises. We invited our audience to experience the long history and mesmerising appeal of all things high and mighty through an exhibition of mountains and megastructures. The North Tower was unlit, unoccupied, unheated and without electrical supply, and the event was set up as an entirely battery-powered show. The site was accessible from street level by a flight of stairs that led into the open tower cavity, criss-crossed by steel supports, home to pigeons, prone to leaking in the rain, and echoing with the rhythm of the bridge traffic overhead. Each visitor was equipped with a torch in order to navigate the exhibits: the dramatic installation ‘Everest Death Zone’ suspended in the vast, vertical space by architects STASUS; photographic works by the vertical urban explorer and photographer Lucinda Grange; Amy Butt’s Sci-fi reading corner; a participatory sound installation derived from recordings from all the Tyne bridges by James Davoll and David de la Haye; a curatorial cabinet of curiosity by Dr Christos Kakalis. A programme of events and talks from the exhibitors animated the site over the week: architect Neil Barker’s talk Building the Tyne Bridge; a walking tour with Rutter Carroll of the Tyne Gorge North Newcastle and Castle Hill and Tyne Gorge South Gateshead and St Mary’s; Professor Steve Graham and Amy Butt discussing science fiction and the vertical city; Dr Josep-Maria Garcia-Fuentes’ talk The Mountainous search for a Modern Architecture; Dr Martin Beattie’s talk Travels on the Edge of Empire: John Stapylton Grey Pemberton’s expedition to Darjeeling and the ‘snowy ranges’; and a chilly film screening of ‘The Epic of Everest’ Captain John Noel, 1924: restored 2013. ARCs success with opening an iconic but rarely accessible Newcastle building as a site for Scaling the Heights was met with great enthusiasm by the public, and has created ambition for further forays into temporary site-specific exhibits in the city, so as to profile the architectural research into the built environment that is coming out of ARC and APL.

SCALING THE

HEIGHTS MOUNTAINS AND VERTICAL MEGASTRUCTURES

architecture research collaborative

NOVEMBER 18-25

TYNE BRIDGE NORTH TOWER #SCALINGTHEHEIGHTS

#BEINGHUMAN16

Book online at: www.ncl.ac.uk/apl/events/being-human/scaling-heights

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Text by Polly Gould

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Awards

Newcastle University APL Awards BA (Hons) Architecture H B Saint (William Bell) Memorial Scholarship for best major project designs: Mark Laverty

Thomas Faulkner Prize: Angus Brown

MArch Architecture H B Saint (William Bell) Memorial Scholarship for best major project designs: Daniel Duffield

William Glover: Justin Moorton

Ed Bennett Prize: Greg Murrell

RIBA Awards BA (Hons) Architecture

RIBA Bronze Medal nominations: Daniel Barratt Mark Laverty

RIBA Hadrian Award nominations: Kat Bruh Matthew Rooney Melitini Athanasiou Tristan Searight

MArch Architecture

RIBA Silver Medal nominations: Daniel Duffield Mariya Lapteva

RIBA Hadrian Award nominations: David Boyd Mariya Lapteva Matthew Sharman-Hayles Vili Welroos

3DReid Award Nomination: Daniel Duffield

www.3dreid.com

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Top - Mark Laverty

Middle - Daniel Duffield

Bottom - Mariya Lapteva

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

Alanah Honey Cath Keay, Chloe Gill Damien Wooten David Davies Di Leitch Elizabeth Baldwin Gray James Longfield James Morton Keri Townsend Laura Harty Mal Lorimer Maral Tulip Mike Veitch Nathalie Baxter Robert Johnson Sean Douglas Steve Tomlinson Tara Stewart Tony Watson

Stage 2

Albane Dullivier Andy Campbell Elizabeth Baldwin Gray Enrico Forestieri Jamie Anderson John Lowry Kieran Connolly Kieran Gaffney Luis Hernan Maria Mitsoula Nikoletta Karastathi Patrick Devlin 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

Ali Madanipour Andrew Donaldson Dhruv Sookhoo Diego Garcia Mejuto Di Leitch Emma Gibson Georgia Giannopoulou Helen Robinson Irene Curulli Irene Mosley James Longfield Jane Midgley Joanna Wylie Joe Dent Jules Brown Julia Heslop Ken Hutchinson Loes Veldpaus Martin Bonner Matt Wilcox Mike Veitch Montse Ferres Neil Powel Paola Gazzola Preena Mistry Raphael Selby Robert Douglas Roger Maier Ronnie Graham Rutter Carroll Sana Al-Naimi Sara Stead Sophie Ellis Tara Stewart Tim Bailey Usue Ruiz Arana Xi Chen

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

Alistair Robinson Andrew Carr Andrew English Gary Caldwell Howard Evans Rolf Hughes Maurice Mitchell Neil Armstrong Nick Heyward Patrick Devlin Pete Brittain Peter Hoare Simone Ferracina

Photography

Brandon Few Ko-Le Chen Lucinda Grange

Stage 5

Ali Manadipour

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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 Summer Ball and Charity Ball, which raised over £1000 in aid of Crisis in December. 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. We are also celebrating winning ‘Best Departmental Society’ for the second year running for our work providing an enjoyable atmosphere outside of lectures to meet, discuss and challenge the built environment sector. 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. President: Jonathan Pilosof, Secretary: Joanne Cain, Treasurer: Jhon Sebastian Valencia Cortes, Events Director: Ellie Waugh, Social Secretary: Helena Taylor, Raising and Giving Officer: Rowena Covarr, Formals Officer: Farrah Noelle Colilles, Exhibition & Shows Coordinator: Regen James Gregg, Lectures & Talks Coordinator: Jose Figueira, Marketing and Communication: Bahram Yaradanguliyev, Kofibar Representative: Matilda Barrett, Sports & Activities Coordinator(s): Toghrul Mammadov, Brandon Few

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Sponsors This year our thanks go to several special practices who have been kind enough to sponsor our end-of-year degree shows and publications. The Newcastle-based practice FaulknerBrowns is our principle sponsor and plays a big role in the life of the School, particularly through the teaching of Paul Rigby, one of the practiceâ&#x20AC;&#x2122;s partners. Hawkins\Brown and Farrells have also provided generous sponsorship and our thanks as a School goes to each of these practices, which are all active in the Newcastle area and beyond.

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faulknerbrowns.co.uk

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Newcastle University School of Architecture, Planning and Landscape Yearbook ‘17 Editorial Team Elizabeth Holroyd Theodora Kyrtata Matthew Ozga-Lawn Special Thanks Alison Pattison James Craig & Linked Research Group “Curating APL” 2014-15 Title Partners FaulknerBrowns Printing & Binding Statex Colour Print www.statex.co.uk Typography Adobe Garamond Pro Paper GF Smith Colourplan, Mandarin, 350gsm First published in July 2017 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 ISBN 978-0-7017-0256-4