Sheffield School of Architecture Undergraduate Catalogue

The University of Sheffield School of Architecture 2013

www.shef.ac.uk/architecture @SSoA_News Cover Image Mohammed Syafiq Hassan Jubri The University of Sheffield School of Architecture would like to thank the technical and administrative team for their continued support and input throughout the year.

We would also like to thank all of our contributors, everyone involved in curating the exhibition and everyone involved in compiling this catalogue.

Contents

Foreword

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Undergraduate

First Year

Second Year

Third Year

Undergraduate Special Study

6 12 18 28

Events And Activities

Theory Forum 2012 - Urban Blindspots

SSoA Forum 2013 - Thinking Craftsperson

Sheffield University Architecture Society

Article 25 Createplay

Student Competitions

34 35 36 38 39 40

Awards And Recognitions

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Foreword It’s official. Sheffield is the best school outside London and second best in the UK according to architectural practitioners in the Architects’ Journal top 100 survey. This comes as no surprise as practitioners are always telling us that they want to employ our students.We know how great they are. The work in our exhibition is a testament to their passionate yet critical belief in architecture as a force for good.

The year began with a visit from the RIBA Visiting Board which commended us for our commitment to academic excellence, clear ethos, and exceptional research work integrated with teaching at all levels of the programme.

September also brought in our first cohort of home students paying full fees. We have been pushed into new and uncomfortable territory as higher education in the UK becomes a privatised business. No longer can we retreat into dusty academe or sink into complacency. The pressure is on to innovate and to embrace change.

Fortunately there is no shortage of ideas and the school continues to grow. This year we have developed a new workshop in the George Porter Building for constructing full scale models. The workshop in the Arts Tower has expanded, augmented by a materials library paid for thanks to alumni funds. Sheffield is known as the UK pioneer in Live Projects. Plans are now afoot to build a LiveLab in an empty shop on the Moor which will act as base for our work in community outreach, enabling local people to draw on the architectural expertise of our students and staff, while allowing us to test our ideas in the real world.

We believe it is essential for the architectural profession to develop a research capability and to find ways of proving the value of architecture through rigorous enquiry, an idea echoed in the RIBA Leading Architecture strategy document. Our school is a pioneer in this area, providing academic leadership to the RIBA Research Practice survey and the RIBA Research Practice Guide. We count amongst our staff and Visiting Professors some of the most eminent research practitioners in the UK, indeed Professor Sarah Wigglesworth is the first woman architect to be appointed Royal Designer for Industry.

Staff in the school won first and second prize in the RIBA President’s Medals for Research in Practice. Indeed we had a very celebratory time at these awards with Steve Parnell winning best PhD thesis, Kirti Durelle being highly commended for his MArch dissertation and Dan Hall shortlisted for his design work. We aim to produce entrepreneurial students with the research and communication skills to provide creative solutions to any problem, for example Guillermo Dochao-Naveira won the audience vote at the University’s Enterprise Award Ceremony for his project Hive, one of 76 projects submitted.

We would like to take this opportunity to thank AHMM, BDP, Bond Bryan, Hawkins Brown, HLM, MSMR, OMI, Proctor and Matthews, RMA and the West Yorkshire Society of Architects for their support, sponsorship and donations.

Professor Fionn Stevenson will take over as Head next academic year, voted one of the most ‘sustainable’ women in Architecture by the Architect’s Journal. Fionn has already achieved much in her short period at Sheffield, beating several competitor schools to the title Royal Academy of Engineering Centre for Excellence in Sustainable Design.

The Social Science Faculty in which we sit offers ever more possibilities of fertile interdisciplinary exchange, enabling us to develop exciting and innovative new ways to address the societal challenges of our city and of the world, an ideal place for the synthesising skill set of architecture.

Flora Samuel Head of School

First Year First year acts as a foundation year, introducing students to a new and very different learning environment. A strong studio culture exists, encouraging collaboration and critical reflection. Individual studio projects explore a variety of possible routes into the design process, whilst seeking to broaden the students’ understanding of the cultural, social and environmental context they will be operating in.

This is supported by a wide range of workshops, introducing the key skills and techniques which the students will need to successfully develop and communicate their ideas. The aim is to engender a culture of representation, enabling students to make appropriate choices as to how they represent their ideas at different stages of the design process.

Director Daniel Jary Deputy Director Howard Evans Studio Tutors Matthew Bradshaw Carl Fraser Naomi Keena Ellen Page Mark Parsons BA Architecture Eddie Al Farra George Allen Sam Allen Abi Al-Yafei Elliott Andrew Zuzanna Antczak Petros Antoniou Rachel Atterbury Naomi Bailey Eric Berrou Callum Brown Cristina Carcanescu Theodoros Chailis Byron Chan Manasa Chegu Veronica Chen John Chia Adelina Chiriac Karen Chow Christina Christofidou Ruth Cook Tom Cronly Fanni Csepeli Ben Currie Laura Dunce Benjamin Eden Sam Evans Afif Fathullah Christiana Giorgas Christina Guerrero Kat Haycock Eirini Ilia Adam Johnson Shawn Kejriwal Serina Kitazono Julianna Kitsiou Will Kreibich

Georgia Kritioti Gigi Kwong Alyson Dawn Lam Carmen Lee Jonathan Luke Toby Mackrill Ahad Mahmood Bianca Man Kieran Marsh Ashley Mayes Paddy Mcelroy Clare Mckay Sho Murayama Neil Nageshkar Sam Naylor Maryna Omelchenko Ana Oprea Eniayo Oyebolu Dora Paschali Gabriele Pauryte Lucia Pells Charlie Perriam Claire Perry Yanni Pitsillides Louis Pontikis Alice Preston-Jones Maria Ramos Bryn Ray Jess Reaney Beth Reynolds Tim Rodber Richard Rothwell Wiam Saad Lucy Sanders Alex Sims Mark Stancombe Maggie Stewart Will Sutherland Rob Tattersall Alice Thompson Hannah Towler Jack Wilkinson Carrie Williams Emily Watt Jane Wong Joyce Yazbeck Claire Yu Weichen Zhang

BA Architecture And Landscape Eleni Elia Lishen Feng Caroline Green Sani Lama Andrew Merrison Jemima Thomas Melissa Wood MEng Engineering And Architecture Deborah Adler Maria Barnes Oliver Berry Hannah Brooker Yunhao Chen Max Clayton Aimee Desert Helen Fairclough Matthew Gabe Grace Gallagher Boris Lazarov Chi Ma Sam Paterson Gavin Pillinger Dominic Walker Holly Wilkinson Workshop Leaders Jules Alexandrou Sam Brown Colin Harwood Daniel Jary Ian Hicklin Naomi Keena Peter Lathey Alan Macdonald Chris Maloney Rosie Parnell Julija Smyrnowa Emily Stock Peter Williams Guest Reviewers Theo Bishop Sam Brown Simon Chadwick Mark Emms Jo Lintonbon Adam Park Stephen Walker

Matter Reality Group B1/C1

The University of Sheffield School of Architecture

Semester One Project 1 Home Truths Working in their new studio group, the students begin by exploring an area of Sheffield in order to identify a potential site. Working only with rough models, the students are then asked to design a place where the group can live and work, exploring notions of privacy and communality.

01 Ashley Mayes P3, Weights Room, CADS

At the end of the project the students come together to discuss all the things they would need to know in order to further their design, exposing the curriculum for a school of architecture.

03 Group F3/F4 P2, Main Room, CADS

Project 2 Room Archaeology Each group is assigned an existing space which they are required to analyse, record and represent in great detail. In the first instance the students are asked to produce a measured survey and photographic record for the space.

04 Group E3 P3, Lower Courtyard, CADS

Special thanks to CADS and the Sharrow Community Forum for their help with this project.

Project 3 A Sense Of Place Working with the same room, the students are asked to analyse and represent the space using a variety of more subjective methods. Through a range of one-day workshops the students are introduced to techniques such as mapping, photography, filmmaking, animation, narrative-collage, and room biology. The project ends with a series of exhibitions, capturing and communicating the essence of the spaces looked at.

Project 4 Designers, Kings And Assemblers Working individually, the students are then asked to design a collection of functional objects appropriate to the room they have analysed during P2 and P3. The only material available is a defined quantity of cardboard, and each student is required to produce a set of written instructions from which another student can construct the object. This encourages an understanding of the importance of clear and accurate drawn communication.

02 Christina Guerrero P5, Sequential Study

05 Jane Wong P5, Sectional Site Model 06 Alyson Dawn Lam P5, Sectional Model 07 Group D2 P2, Weights Room, CADS 08 Group F3 - Chi Ma P3, Pop-up Book, Main Room, CADS 09 Group Work P4

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Project 5 A Place For Contemplation Semester one ends with the first piece of architectural design work. Working individually the students are asked to design ‘a place for contemplation’, exploring the relationship between internal volume and external form, and between person and space.

Halfway through the project the students are given a site, adapting their design to suit the particular constraints with regard to access, topography, daylight and views.

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The University of Sheffield School of Architecture

Semester Two Project 6 Matter Reality Technology in semester one is focussed on the materials used in construction, and the first project of semester two gives the students an opportunity to apply this knowledge. Through a process of playful exploration the students are asked to work in groups to design and make a ‘place for conversation’ using only a single given material. On the final day the finished structures are constructed in the public realm, giving the students an opportunity to see how the public react to and interact with their design work.

Special thanks to Sandra Barley at the Moor for helping to facilitate this project.

Project 7 A House Of Sorts The final project of the year allows the students to bring together all their experience from both the studio course and the humanities and technology lecture courses into one integrated design project. The students first undertake a detailed analysis of the Furnace Hill area of Sheffield. A number of different potential scenarios are then identified for the project, each requiring a family house incorporating space for a particular business or activity. A creative process of brief development takes place before design work begins. The students are then asked to develop and present their proposals using a wide range of the techniques they have experimented with over the course of the year.

10 Group B2/C2 P6, Polymers 11 Aimee Desert P7, Concept Model 12 Eleni Elia P7, Growing House 13 Jane Wong P7, Concept Study 14 Group D3/F1 P6, Bio-Materials 15 Ashley Mayes P7, Relief Section 16 George Allen P7, House Of Make Believe 17 Matthew Gabe P7, House For A Sculptor 18 Christiana Giorgas P7, 3D Printed Sketch Study

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19 Jane Wong P7, Temporary Occupations 20 Ahad Mahmood P7, House Of Make Believe 21 Kat Haycock P7, House For A Sculptor 22 Callum Brown P7, House Of Make Believe 11

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Second Year The Second Year programme seeks to stretch the ambition and enthusiasm of students through projects of increasing complexity, challenging architectural preconceptions. The studio is structured to engender further investment in the design process and consequentially a greater confidence in decision making. The primary driver for this is an extended experimentation with drawing methods and a heightened emphasis on the exploration of design ideas through rigorous testing in drawing and model making. This is supported through the critical analysis of design proposals in the ‘large group review’, intended to cultivate a relaxed and fluid exchange of ideas within the studio.

Director Simon Chadwick Co-Director Paul Testa Studio Tutors Robert Blundell David Britch Isabel Britch Simon Chadwick Colin Harwood Paul Testa BA Architecture Ivan Andonov Easton Andrea Muhammad (Akmal) Azmi Charlotte Backshall Chloe Barrow Sebastian Benson Luo Bingxiao Benjamin Bradish Guy Bridgewood Daniella Caruntu Luxuan Chen Zack Chen Gary Cheung Alex Clark Christopher Cooper Peter Cross Joel Cunningham Nick Dearden Dora Dixon Osaki Douglas Jordan Egglestone Harry Fox Columb Friel Anja Glaeser Karine Goh Panayiotis Hadjisergis Matthew Halton Juwhan Han Nigel Hassell David Hodgson Amanda Holden Estelle Jarvis Ruth Jennings Sophie Johnson Simon Keeling Monika Klavins Aliz Kopenetz

Sanjeev Kumar Zoe Laing Jonathan Lee Angelos Liakakos-Perros Stephy Liu Laura Mauger Jan Mazlan Imogen Mcgrath Rachael Moon Rebecca Nixon Amir Ojalvo Jessica Pallot Chigi Patel Samuel Philpot Zhini Poh Louis Pohl Gabriela Pop Yuejun Qian Rebecca Quickfall Nadiya Qureshi Banah Rashid Benjamin Rea Esme Rothwell Oluwadamilola (Dami) Sanda Alexander Scally Shruti Seth Aftab Shaikh Kseniya Sharin Pierre Shaw Hana Shibu Philip Shotton Angus Smith Bartholomew Smith Edward Smith-Taylor Rosanna Sutcliffe Roma Swords-McDonnell Corina Thomas Andreas Tsestos Stefania Tsigkouni Danielle Vazquez Evgenia Vlachaki Qihong Wang Simon Wells Ellen Wheeler Jay Wheeler Morgan Williams-Parnell King Wong Ula Zhang Felicia Zhou Alya Zokari Daria Alexandra Baciu

BA Architecture and Landscape Alexandros Achniotis Jabir Ahmadu Mollie-Mae Dale-Collen Sophie Entwisle Joren Heise Robyn Kent Grace Laurie Maleeka Metteden Rebeka Russell MEng Engineering and Architecture Joanna Dicken Guillermo Dochao-Naveira Jack Flynn Thomas Gresham Aatisha Gupta Amy Izzard Parveen Jones Ekke Piirisild Leanne Robinson Ian Shepherd Gurdat Singh Georgina Stocks Joseph Walker Guest Reviewers Theo Bishop Jonathan Boyle Isabelle Deakin Pol Galagher Carole Latham Warren McFadden Henry McKeown Dean Shaw Stephen Ryan

Zhini Poh

The University of Sheffield School of Architecture

First Semester Project 1 ‘Kiosk’ A small kiosk proposal located in one of six sites in the city centre of Sheffield.The typology provokes investigation into the nature of small commercial units, offering the opportunity to open up to the streetscape, and close down for security at night. A 1:20 model of the proposal is a key component.

01 Qing Wong Rural Cycle Centre

Project 2.1 ‘Measure’ The year is divided into thirds to study one of three vehicle types: Bikes, Boats or Microlights. in small project groups students prepare 1:1 scale drawings of all elements of the vehicles accompanied by drawings of the human anatomy to provide a sense of proportion.

03 Juwhan Han Cycle Centre

Project 2.2 ‘Territory’ Each student completes an A0 plan of the site, approached as a ‘figure ground drawing’ of a rural or open landscape.

05 Ekke Piirsild Rural Cycle Centre

Project 2.3 ‘Threshold’ Each site has a particular threshold within the landscape, and students are encouraged to make an architectural response to the threshold condition. Students are asked to look at component construction methods, with a notion of impermanence.

02 Nick Dearden Boat House

04 Corina Thomas Microlight Centre

06 Zack Chen The Boat Centre 07 Aliz Kopenetz Clifftop Microlight Centre

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The University of Sheffield School of Architecture

Second Semester Project 3.0 ‘Critique’ A variety of design projects completed by former students of the Undergraduate Course are made available to Year 2 students to format into presentation panels for an exhibition. The groups are required to analyse the project, debate it and provide a written critique of the proposal. The exhibition was supported by a series of seminars to which all UG students and staff were invited.

Project 4.1 ‘Housing Precedent Study’ A rigorous group study into key aspects of a given housing development.

Project 4.2 ‘Living Needs’ Students are required to plan a dinner party. All elements of the evening must be documented, from the purchase of the food to the washing up. With specific attention to drawing methods, this social event becomes a detailed analysis of domestic space.

Project 4.3 ‘Housing’ The housing project brief offers an opportunity to explore the nature of shared space within small communities. Each student is required to design dwellings to house 6-8 families, with a small additional element of addition accommodation to be individually determined. The six sites, all adjacent to the medieval wall in the City of York, contain a variety of urban, and semi-urban conditions.

Discussion and debate around the current nature of housing in the UK is developed through the precedent study, and a 1:1 study of domestic space is cultivated through the ‘living needs’ project which is centred on the analysis of the spatial requirements of a dinner party in a student house. The housing project is primed to provoke investigation into the nature of ‘front’ and ‘back’, and ultimately the identity of ‘street’ and ‘neighbourhood’.

Housing Project: 08 Pierre Shaw 09 Ben Rea 10 Joren Heiss 11 Alex Clarke 12 Stefania Tsigkouni 13 Guy Bridgewood 14 Angelos Leakakos-Perros

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Third Year The third year comprises two principal design projects, one in each semester, preceded by a short group project undertaken in conjunction with a fieldtrip to Newcastle.

The studio comprises a variety of parallel projects underpinned by a social dimension, the process of making and recognition of the need for a deep understanding of the characteristics of place. The studio aims to encourage students to develop their own position within the contextual and thematic framework provided by project briefs, with emphasis upon the project as a whole as well as the end product, acknowledging the importance of both analysis and synthesis during the design process. Enquiry and experimentation in design are actively encouraged together with a wide range of representational techniques and the creative integration of technology which is viewed as a valuable contributor to the design process. The resulting variety of design approaches acts itself as a vehicle for reflective discussion and learning within the year as a whole.

The excellent standard of work this year and the results achieved overall is testament to the energy, enthusiasm and commitment of this student group.

Director Mark Emms Co-Director Leo Care Studio Tutors Tony Broomhead Leo Care Oli Cunningham Mark Emms Ian Hicklin Ranbir Lal Maggie Pickles BA Architecture Muhammad Ahmad Suzaili John Bacon Hua Bai Paul Bailey Maria-Christina Bellou Helen Berg Ella Bridgland Toby Buckmaster Alexandra-Paula Carausu Yu Chen Mihai Chiriac Jenny Chow Corina Ciobanu Ernesto Correa Edward Crooks Joel Darlington Jonathan Day Kerry Dragon James Gilfoyle Roubini Hadjicosti Benjamin Hancock Mohammed SyafiqHassan Jubri Laurence Heijbroek Robert Henry Maria Henshall James Hickman Joshua Honeysett Benjamin Hooper Jennifer Horne Keaton Howes Joseph Ingham Lillian Ingleby Kate Jenkins Irene Kalli

Kia (David) Kam Leslie Lam On Li Francesca Menegaldo Danai Metochi Kameliya Minkova Nur Syahida Mohd Azhar Ketki Mudholkar Harriet Mulcahy Jose Navarrete Daniel Newall Zak Nicoll Muyiwa Oki Emily Page Andreas Papallas Jennika Parmar Thomas Parsons Priyanka Patel Sophie Payne Martin Petkov Luis Potter Clare Reid Simeon Shtebunaev Joshua Stokes Emily Temperton Kha Nam Tran George Warner Paul Watson Benjamin Wells Kalani Wickramasekara Hannah Wiessler Leas Christopher Williams Azafia Yahya Di Zhan Qing Zhou BA Architecture and Landscape Genevieve Cant Keith Dudson Andrea Matta Alexander Michl MEng Engineering and Architecture Kenneth Allan Oumouna Attigh Rebecca Bleeze Emma Bowes Phillip Brewer Alyssa Gibbons

Jonathan Jackson Christopher Jones Matthew Marson Catriona Mcculloch Steven Moran Catherine Rankine Andrew Sadler Olivia Wall Laura Wilson Visiting Professors Andrew Groarke Paul Monaghan Greg Penoyre Visiting Architects Simon Branson Ming Chung Stephen Hill Andy James Carole Latham Jacquie Milham Helen Newman Simon Robinson Tom Rogers Catherine Skeltcher Tony Skipper Hannah Smart Nick Tyson Stephen Wall Tom Vigar

Visiting Structural Engineers John Carr Buick Davison Chris Gibbs Susie Horsfield Steve Reynolds

Fionn Stevenson Sarah Wigglesworth MArch Students Nicola Dale Lizzie Dodwell Nick Hunter Neil Michels Guy Moulson Catherine Tucknutt Landscape Tutors Andy Clayden Laurence Pattacini Kamni Gill James Hitchmough Research Students Sahar Zahiri Gunes Nazif

School Staff Irena Bauman Sam Brown Simon Chadwick Prue Chiles Rachel Cruise Howard Evans Steve Fotios Dan Jary Jian Kang Russell Light Jo Lintonbon Keaton Howes

The University of Sheffield School of Architecture

Semester One Project 1 Inside Out, Newcastle Students undertook a critical building analysis in groups, based upon visits and meetings with clients or users, from which an approach the analysis and representation of the surrounding city was established.

Project 2 Narrative Spaces, Hebden Bridge Tony Broomhead & Mark Emms The project started with the representation of a story and an exploration of social, urban and historical narratives within the mill town of Hebden Bridge, and culminated in proposals for a building to support the existing network of storytellers in the area and embrace the local community.

01 Helen Berg Rebecca Bleeze Keaton Howes Newcastle Toffee Factory Elevation Analysis 02 Toby Buckmaster Mohammed Syafiq Hassan Jubri Kameliya Minkova Newcastle Baltic Flour Mills Worldwide Analysis 03 Jonathan Jackson Amir Ojalvo Emily Page Newcastle Literary And Philosophy Library Light Study

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04 Edward Crooks Reality Fantasy Centre 05 Thomas Parsons Ted Hughes Poetry Centre 06 Ella Bridgland Storytelling Centre 07 Sophie Payne Storytelling Centre 08 Helen Berg Canalside Storytelling Centre

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09 Toby Buckmaster The Gatsby Storytelling Centre 10 Catherine Rankine Storytelling Centre

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Project 2 Change of State: Heat Light Glass, Scarborough Leo Care & Maggie Pickles The project investigated physical relationships between energy and the changeable states of materials involved in the processes of forming glass, whilst considering seasonal variations of people and place inherent in this coastal context.

STAY, Sheffield Oli Cunningham & Ranbir Lal The project centred on the idea of arrival in an unfamiliar place and explored the notion of ‘stay’ through a series of activities including packing a bag and sending a postcard, with resultant projects proposing a variety of hostel and hotel types located across a range of sites in Sheffield.

11 Joshua Honeysett Scarborough Seafront Artist Glassblowing Centre 12 Joshua Stokes Hot Glass Studio 13 Mohammed Syafiq Hassan Jubri Glass Productions 14 Simeon Shtebunaev The Glass Studio 15 Ben Wells Rivelin Valley Activity Centre 16 Keaton Howes Rivelin Valley Activity Centre 17 Emily Page Glassblowing Workshop 18 Andrea Matta Scarborough Funicular Glassblowing Centre 19 Muyiwa Oki Glassblowing Centre

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20 Mihai Chiriac Climbing Stay Centre 21 Robert Henry Retreat 22 Andreas Papallas Ominous Stay

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Landscape House Archive, Chatsworth Estate Ranbir Lal This project started with investigations into the extensive collections of the archive at Chatsworth House, and resulted in a variety of proposals which extend or challenge traditions of innovation, conservation and landscape management at Chatsworth together with more recent trends in recreation.

Food and Shelter, Sharrow, Sheffield Ian Hicklin Conceived in response to Government’s proposed changes to the rehabilitation of offenders, this project invited architectural proposals aimed to support ex-offenders in gaining stability and independence and in learning catering skills, whilst offering accommodation, employment opportunities and social support.

Urban Manufacturing / Manufacturing [the] Urban, Furnace Hill, Sheffield Oli Cunningham Within the historical manufacturing context of Sheffield, students investigated digital fabrication technologies and developed proposals for new manufacturing facilities concerned with various aspects of digital fabrication.

Stitched, Furnace Hill, Sheffield Integrated Architecture and Landscape Project Concerned with the regeneration of one of Sheffield’s historic industrial quarters, this project considered the city at multiple scales in dimension and time, undertaking analysis to inform a vision and wide urban strategies, and culminating in detailed proposals for a building and its surrounding landscape context.

23 Edward Crooks Chatsworth House Theatre of Progress 24 Mohammed Syafiq Hassan Jubri Bicycle Manufacturing Centre 25 Roubini Hadjicosti Chatsworth Silkworm Farm 26 Kenneth Allen Urban Manufacturing 27 Simeon Shtebunaev Sharrow Food and Drink 28 Joe Ingham Chatsworth Brewery 29 Thomas Parsons Chatsworth Botanical Archive 30 Furnace Hill Group Model Urban Manufacturing 31 Lillian Ingleby Ex-Offenders Rehabilitation

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32 Emily Temperton Chatsworth Through the Lens

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The University of Sheffield School of Architecture

Velo City,York Maggie Pickles This project mapped transport infrastructures embedded in the city of York, examining how permeability and connectivity promote sustainable cities, and proposed thermally permeable pedal interchanges integrated with public realm as places to celebrate new connections of cycling and rail infrastructures and in anticipation of the Grand Départ of the Tour de France next year.

Merzbauten, Elterwater Leo Care Working on the site of Kurt Schwitters’ final and incomplete Merz Barn this project investigated relationships between the production and exhibiting of art, the use of found objects and assemblage and the impact of socio-political and geographical influences on artistic expression.

Development, Cultural Industries Quarter, Sheffield Tony Broomhead The project explored how the private sector can provide educational resources for children and adults. The project aimed to build upon existing activities within Sheffield’s Cultural Industries Quarter to create site specific learning environments that would help ensure the area’s future and reach out into the wider community.

33 Ella Bridgland York Cycle Centre 34 Keaton Howes The Merzbarn 35 Muyiwa Oki Merzbauten 36 Ben Wells York Cycle Station 37 Robert Henry Merz Barn 38 Sophie Payne VeloCity 39 George Warner Development and Growth 40 Laurence Heijbroek Merzbauten 41 Joshua Honeysett Sheffield Bionics Centre

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42 Jose Navarrete The Merz Barn

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The University of Sheffield School of Architecture

Undergraduate Special Study The special study is an individual piece of work, allowing students to explore a particular aspect of architecture in some depth.Topics usually fall within the following subject range: architectural theory, architectural history, science and technology, structures, management, CAD and the digital realm, landscape architecture, or urban design. It offers students the opportunity to research, organize and produce an extended piece of mostly written work over the course of a year.

Studies this year have ranged from the sublime comparison between Geoffrey Scott’s The Architecture of Humanism and John Ruskin’s The Stones of Venice by James Hickman, to the ridiculous examples gathered in Helen Berg’s careful study of Humour in Architecture.

Topics included examinations of Waste Reduction Through User Engagement by Maria Henshall and the ‘Temporary’ In Architecture by Ketki Mudholkar.

These works offer a flavour of the richness, rigour and variety of the Special Study, and the wide range of research methodologies, analytical and presentation techniques that are deployed.

Co-ordinator Stephen Walker

01 Helen Berg Humour In Architecture 02 Helen Berg The Headington Shark, Oxford 03 Helen Berg New York New York Hotel, Las Vegas 04 Helen Berg The Louvre, Paris 01

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Humour In Architecture: An Application Of Superiority, Incongruity And Relief Theories Of Humour To The Subject Of Architecture, And An Exploration Of The Potential Benefits And Hindrances Of Humorous Design Helen Berg Extract From Introduction

1. Rose, S: ‘Give us a frill’ The Guardian (Monday 17 April 2006) 2. Stevens, G: The Favored Circle: The Social Foundations of Architectural Distinction (Massachusetts Institute of Technology, Cambridge, Massachusetts 1998) p.73 3. Bergson, H: Laughter: An Essay on the Meaning of the Comic (transl. Brereton & Rothwell, Macmillan, London, 1900) ch.1.1

“An architect with a sense of humour is like a doctor in a comedy tie”1 It would seem that in a bid to maintain an air of superiority and professionalism, architectural forms and aesthetics are often restrained and made to look ‘serious’. There are of course exceptions to this rule, but there is a lingering reluctance to use too much colour or quirky forms, and humour (which could be seen as the opposite of seriousness) is very rare indeed. I am not alone in this observation; in his book, “The Favored Circle”, Dr Garry Stevens conducts a sociological study of architects, in which he identifies the “extraordinary lack of humour and priggish self- righteousness noted in the great architects”2. The lack of architectural humour became still more evident as I conducted my research: typing “humour in architecture” - and a dozen paraphrases – into online library search engines produced very limited resources, and it was only through exploration of more loosely related topics, such as Postmodernism and general “Design Wit”, that I was able to explore the subject. Searches for architectural humour often resulted in books and articles with titles such as ‘Silly Structures’ and ‘Weird Buildings’, and more established architectural sources tended to ignore the topic entirely.

Perhaps the Architect’s reluctance to use humour is due to a perceived lowered credibility in design, and the fear that they will be mocked for creating visual jokes. Another explanation is that it is very difficult to maintain a comic value for long periods; buildings last many years but most jokes soon become old and exhausted. A final theory, proposed by Bergson in his collection “Laughter”, is that humour is an inherent human experience: only humans understand the emotion, and only human activity and behaviour can be the source of laughter3.

Humour can only be roused through experience we can relate to or comprehend, and buildings - inanimate, functional objects - are too detached for this level of empathy. Perhaps, then, it is the architect who is the comic; the building is just an instrument to represent their idea, and the joke almost certainly involves a human element – be it a joke at another architect’s, or society’s, expense, or making their own work into a farcical creation. For all these reasons, it could be seen to be difficult to achieve humour in architecture, and to do so successfully is a commendable skill. ...If it’s so difficult, why are you still trying to promote humour in architecture?!

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There are, however, architects such as FAT, Frank Gehry, Robert Venturi and James Stirling who work against this adversity and succeed in creating buildings which are humorous to look at, but are still recognized as quality4 architectural design. By applying three recognized theories of humour (incongruity, relief and superiority5) to a range of perceived comical architectural examples, I intend to assess what makes some humorous design successful, and how other comic intentions go down like a lead balloon. I also want to explore whether comedy is an aid or hindrance to architectural design; do you actually gain anything in making an amusing building or is it a case of humour for humour’s sake?

INCONGRUITY THEORY- disproportion, surprise and ‘the ridiculous’ p.5 RELIEF THEORY- relief from repression and social constraints p.13 SUPERIORITY THEORY – mockery; ridicule p.18 Well, this all sounds very interesting, but what exactly is humour?

HUMOUR: The term humour is adopted in a wider sense to incorporate all that is amusing, witty, or rouses laughter. The more precise definition of humour does not include satire, farce or wit; Coleridge distinguishes the comic: “pure, unmixed, ludicrous or laughable”6 from “the congeniality of Humour with Pathos”7, recognizing the sympathetic nature of humour. Humour has varied considerably over the centuries, shifting from a “cruel habit of making merry over physical misfortunes” and becoming more “humanized” 8 - sympathizing with the misfortunes of others.

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In this study I intend to adopt the wider reading of “humour”, as I feel it is important to recognize less genial aspects of comedy; mockery and satire are still prevalent in today’s humour, although the tendency is to cover up the “cruel” intentions by implying the jibe is not meant to be taken seriously. For example, following the daily events of the London 2012 Paralympics, Channel 4 broadcasted “The Last Leg”, which poked fun at misfortunes in the day’s proceedings. The name alone was a play on the last leg of a race, combined with the fact many competitors do only have one leg, and the show found humour in scenes such as a blind long jump competitor accidentally steering off course and running full pelt at an event adjudicator, who is one moment seated serenely on his chair and the next flying backwards in an attempt to get out of the path of the oncoming six- foot tall blind competitor. Admittedly, I found the scene quite hilarious; there was humour in the adjudicator’s exaggerated reaction, but there was also humour in the fact the blind competitor was running in the wrong direction – a clear example of how we do still laugh at misfortunes, although it is perhaps less common to do so in a deliberately contemptuous manner.

It will be interesting to investigate whether architectural humour derives more from “pathos”, or if it is born from a desire to humiliate other more ‘serious’ architects and mock the profession in general.

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4. QUALITY: The defines of architectural quality are a very subjective thing, based on aesthetic taste, but also encompass the functional value of the building and whether it provides comfort and happiness as well as adequate shelter. Broadly speaking, the term quality is adopted to mean ‘of high standard’.

5. Monro, D. H: Theories of Humor: Writing and Reading Across the Curriculum (3rd ed. Laurence Behrens and  Leonard J. Rosen, eds. Scott, Foresman and Company, Glenview, Illinois, 1988) p. 34955  6. Coleridge, S.T: ‘Wit and Humour’ in The collected works of Samuel Taylor Coleridge: Lectures 1808-1819 on Literature v.2 (ed.

Foakes, R.A, Princeton University Press, 1987) p. 171 7. Ibid. p. 417 8. Gregory, J.C: The Nature of Laughter (Kegan Paul, Trench, Trubner & co.LTD, London, 1924) p. 10  Monro, D. H: Theories of Humor: Writing and Reading Across the Curriculum (3rd ed. Laurence Behrens and  Leonard J. Rosen, eds. Scott, Foresman and Company, Glenview, Illinois, 1988) p. 349-55 9. Dr Johnson, S: The Idler No. 58 (May 26, 1759) 10. Gregory, J.C: op.cit 11. Heller, S: Design Humour- The Art of Graphic Wit (Illworth Press, New York, 2002) 12. Aspin, I. J: Fun in FAT- Fashion Architecture Taste (MArch Dissertation, Sheffield University, 2008) p. 7

The University of Sheffield School of Architecture

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04 Mihai Chiriac Hopscotch, Ropewalks Area In Liverpool 05 Mihai Chiriac Furnace Park Contaminated Brownfield In The Background 06 Mihai Chiriac Love Locks On The Pont Des Artes, Paris 07 Mihai Chiriac Pallet Deconstruction - Chair Construction Workshop

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Can Loose Space Be Designed?

A Review Of Furnace Park Mihai Chiriac Extract From Conclusion After experiencing Karen Franck’s spontaneous “Loose Spaces”, first hand, during my explorations, I realized that it is difficult to see how provision for loose space could be deliberately made within the social, yet restrictive urban spaces. Consequently, I decided to discuss the extents to which the qualities of loose space can be achieved when designing a contemporary alternative public space, such as Furnace Park.

This was possible by observing the controversies that surround the collaborating actors and processes, the context and the community, as well as the design freedom and safety.

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After interviewing the main actors involved, I established that Furnace Park is a collaborative project between different groups and individuals, which bring a variety of ideas and expertise to the table.The academics involved test their theories by applying them to practice.

The novelty of the design and management process stimulates creativity, uses existing networks and establishes new ones. Furthermore, the project’s viability relies on the collaboration between the actors and the public, because allowances have been made for the user’s input on the design and construction of the park. I consider that this collaboration stimulates looseness in the design and by replacing the hierarchies found in mainstream architecture, as Hernberg (2012, p.120) describes, “[it is] welcoming contributors from everyone in the spirit of a shared enterprise.”

However, the creative energy that the hat swapping processes stimulate is followed by an instability that contrasts with the traditional management structures that the more pragmatic supporters of the project tend to work with. Unfortunately, as the project advances through stages, the planning, financial and health and safety measures start to impose on the initial creative “foam”(Sloterdijk 2011) design and management relationship. The reliance on the University as well as the contrasting expectations of the sponsors to the ones of the actors push the project towards a more structured design and management process. After I interviewed the actors and followed the project’s progress for several months, it appears to me that, the closer the project comes to its completion, the chances that loose space is the outcome are lowered (Fig. 57). This supports the initial idea that loose space is an abstract concept which cannot be deliberately pursued.

At this stage I can only speculate that in Furnace Park, loose space is challenged, because the project has to go through the mercantile design and management stages, which precede its completion on site. Comparing loose space from my initial explorations to Furnace Park, I notice that former’s impromptu nature contrasts the implications that predetermined design has to the latter.

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In order to question whether the Furnace Park’s specific context possesses the variable which determine whether loose space can emerge or not, I have chosen to look at the site both “as a matter of fact”, objectively, but also as a “matter of concern”, within its wider context, as suggested by Latour (cited by Awan et. al., p. 39). Existing preconceptions and intensive real estate development encouraged through planning policies undermine the existing rich social networks and narratives. Loose space therefore mediates between the two ways of looking at the site, by enhancing the character of the area, thus raising its value, a favorable solution from both points of view.

In addition to this, precedents such as Kalatsama Temporary and Ecobox reveal the benefits that loose space has on derelict sites, and on their wider context. However, they highlight that the success or failure depends on the effect that the loose space has on the users and vice versa. Therefore if community and context sustain Kalatsama Temporary and the Ecobox project, they can also be considered as determinants of the success of Furnace Park. This conveys that a symbiosis between loose space and its context and users is required for a successful outcome.

In the Furnace Park scenario, the post-industrial character of the area is only contrasted by temporary accommodation which creates a weak community presence (Cheeseman cited by Live Projects 2012). Furthermore, the community’s involvement is only speculated, since it was the general public, not the community, which was surveyed regarding the nature of the program for the future project(Live Projects 2012). Nevertheless, since the actors, as spatial agents, also collaborate with the users, they provide them with access to the site, as well as tools and ideas on how to create spaces that enable looseness. Any interested user is expected to build pallet furniture, and adapt it any way they want to, therefore creating their own loose space, following the footsteps of the Fun Palace.

07 Still, the looseness is hindered by considerations on health and safety of the designs, and by the risks that the area presents to such an inclusive and open type of project. Keeping in mind Franck’s “ingredients” for loose space, and comparing them to the Furnace Park site conditions, it can be observed that the project lacks the physical elements that would generate interest, and that users could appropriate, which motivates a physical intervention on the site, since its current empty, deteriorated state does not raise any interest, not even to enable loose activities.

As I previously agreed that a temporary intervention which creates a loose space is a favorable solution to this derelict site which is waiting for future redevelopments, the Furnace Park proposal should be supported by anyone concerned about the area. More importantly, users should be encouraged to interact with the site and construction of the park, since they possess the main key to the success of this project.

Furnace Park is expected to be fully operational during the events that will take place in Sheffield in the summer of 2013. I hope to return to the site and enjoy a unique experience of a loose space, that justifies the complex design processes and exciting, hard work and investment that preceded its completion.

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Events and Activities A wide variety of activities take place outside of courses, with both students and staff participating in a range of events locally and internationally. The Sheffield University Architecture Society run a vibrant array of activities, including this years whole school event and the popular SUAS Lecture series, sparking discussion within the school in the Hatch studio journal.

The year has seen undergraduate students participating at the World Architecture Festival in Singapore, whilst closer to home students and staff contributed to the Festival of the Mind, collaborating with other universities and local organisations in a city-wide series of activities.

Charitable efforts include those of the Sheffield chapter of Article 25, running events such as the 10x10 art exhibition and auction to raise money for development and disaster relief. Sheffield graduates have also set up the CreatePlay organisation in Bulgaria, designing accessible play equipment for a childrens nursery, continuing relationships with the school through volunteers.

The University of Sheffield School of Architecture

Theory Forum 2012 - Urban Blind Spots Theory Forum 2012

Central Library Sheffield Library Theatre Surrey Street, S1 1XZ 9:30 - 14:00

Sheffield School of Architecture, Arts Tower, Western Bank, S10 2TN 16:00 - 20:00

Jonathan Gla ncey L ondon

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Blind spots also relate to approaches, research and teaching projects that look beyond the conventional approaches of architectural and urban history in order to value and champion other ways of surveying and of accounting for cities; ways that aim at transforming the tools with which both citizens and architects might understand cities. In this sense, blind spots refer to different perceptive and representational methods through which one can describe urban conditions.

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Theory Forum 2012 was also supported through the Faculty of Social Science Methodological Innovation Fund

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The Theory Forum ‘Urban Blind Spots’ was supported by the research centre AGENCY.

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URBAN BLIND SPOTS hopes to bring together a range of people from different disciplines, academia and practice, exploring and discussing the various notions of blind spots in relation to cities and the way they are produced, used, perceived and portrayed. It is aimed to be a testing ground through which the multi-faceted manifestations and understandings of blind spots can be explored and theorized.

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Non-functional gaps also interested Georges Bataille: he considered them to be the blind spot of any functional economy, the moment or location from where it was possible to demonstrate that economy’s reliance on a general economy that operated beyond any ‘system.’

However apparently unassailable, however impermeable any particular discourse might seem, reaching its blind spot could reveal the reliance of that economy on others, and demand an acknowledgement of its contingency.

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We also understand blind spots as those cities and urban conglomerations that are usually overlooked or sidelined by the Euro-centric canon of urban history or an urban discourse that focuses on those global, fast growing metropolises that provide us with a high level of imagery, staggering data and socio-spatial extremes.

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Blind spots exist in every society, culture, and urban fabric. They can be spatial, social, economic, or policy related. On the one hand, blind spots are typically situations and topics that are obscured by other themes; they fall outside our radar because they are neither considered topical nor pressing enough to be addressed by policy or planning. On the other hand, blind spots also describe necessary places of informality; places and spaces which are overlooked by the authorities, by planning or other users, and thereby allow for indeterminate, unregulated, informal, non-prescribed and open uses.

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SSoA Forum 2013 - Thinking Craftsperson

When

16:00-18:00hrs Tuesday afternoons 5 Feb 35– 12

Where

Arts Tower floor 16 lecture theatre

This years forum involved a brilliant program of speakers who are all makers in different fields. The series, organised by Professor Sarah Wigglesworth, focussed on what it means to craft, with particular interest in the relationship between craft and digital technology.

Speakers addressed issues regarding the worth, purpose and function of craft, discussing the link between process and craftsperson.A range of speakers including a guerrilla knitter, willow sculptor and boat builder gave, at times, highly personal accounts of their relationship to the materials, objects and end users involved in their particular process of production.

The lectures addressed key issues of production in an increasingly digital age, using the varied stance of each speaker to develop a forum for discussion within the school.

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12 Feb Laura Bacon [willow sculptor] Rachael Matthews

19 Feb Jessica Briggs [jeweller] Amanda Hall [costume designer]

[guerrilla knitter] d Design is a design studio ny based in South London.

Jessica Briggs is a designer / maker of contemLaura Bacon is a sculptor using basketry and rojects ranging from pop-up Blanch & Shock [Food Artists] Gail Mcgarva [Boat Builder] porary jewellery, working predominantly in silver weaving techniques to create uniquewooden and compelling Blanch & Shock Food and Design is a design studio and catering Gail McGarva is a traditional boat builder with a particular mmersive performances with gold. Originally a textile designer, her distinccompany based in South London. They develop food scale projectsworks. passion for work boats ofishistorical resonance that hold a vibrancy in large Her based on a strong ible installations and culinary ranging from pop-up restaurants, food for immersive performances their present day communities. Her specialist area is the building tive, desirable work is widely exhibited throughout desire to turn chaotic amounts of raw materials dults andandchildren.

We enjoy themed canapes to edible installations and culinary of replicas or ‘daughterboats’ to these vessels, breathing life into a the UK. ‘spaces’ kind.of these historic craft. for adults and applying modern of some new generation chniquesdemonstrations to the bounty of children.We enjoyinto techniques to the bounty of seasonal produce available in the UK. ilable in the UK. 01 Amanda Hall is a freelance costumier who has Rachael Matthews is a Laura Bacon [Willow Sculptor] Blanch & fluent Shock knitter, improvisational worked for over twenty years in film, musical, Laura Bacon is a sculptor using basketry and weaving techniques to carpenter, socially engaged craftsman and director theatre, dance, opera and couture. create unique and compelling large scale works. Her work is based 02 of an ethical yarn shop, who sees processes on a strong desire to turn chaotic amounts of raw materials into Gail McGarva as opportunities for spiritual development. ‘spaces’ of some kind. [cuisine and design]

12 Feb Laura Bacon [willow sculpto Rachael Matthews

5 Feb Blanch and Shock

Rachael Matthews [Guerrilla Knitter] Rachael Matthews is a fluent knitter, improvisational carpenter, socially engaged craftsman and director of an ethical yarn shop, who sees processes as opportunities for spiritual development.

Michael Eden [Ceramicist] Michael Eden creates work that explores the relationship between hand and digital making, the cultural value of objects and how we engage with the physical in a world which is increasingly experienced through a screen.

03 Rachael Matthews 04 Caroline Till 05 Natasha Daintry

Natasha Daintry [Ceramicist] Natasha Daintry is a contemporary ceramicist working in porcelain. Her practice focuses on vessel forms and is concerned with colour and material.

Jessica Briggs [Jeweller] Jessica Briggs is a designer / maker of contem- porary jewellery, working predominantly in silver with gold. Originally a textile designer, her distinc- tive, desirable work is widely exhibited throughout the UK.

5 March Michael Eden [ceramicist] [Textile Futures] Caroline Till [Textile Futures] Caroline of Till isMA Course Director of MA Textile Futures at Central Natasha Daintry [ceramicist] rse Director Textile Saint Martins. Examining the dissection between science and Amanda Hall [Costume Designer] Amanda Hall is a freelance costumier who has worked for over twenty years in film, musical, theatre, dance, opera and couture.

int Martins.

Examining the design, the course explores materiality to create design solutions Michael Eden creates work that explores the for design, a sustainable future.

Caroline is also co-founder and Director ience and the course of Design Trend Consultancy FranklinTill. Working within the between hand and digital making, relationship o create design solutions for a design and lifestyle trends industry, this agency has worked on the cultural value of objects and how we engage aroline isstrategy also co-founder for some of theand world’s leading brands including Louis with the physical in a world which is increasingly Vuitton, Samsung, Unilever and Selfridges. end Consultancy FranklinTill. experienced through a screen. design and lifestyle trends

has worked on strategy for ading brands including Louis nilever and Selfridges.

Natasha Daintry is a contemporary ceramicist working in porcelain. Her practice focuses on vessel

[guerrilla knitter]

Blanch & Shock Food Design is a design studio and01catering company based in South London.

They develop food projects ranging from pop-up restaurants, food for immersive performances and themed canapes to edible installations and culinary demonstrations for adults and children. We enjoy applying modern techniques to the bounty of seasonal produce available in the UK.

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12 March Gail McGarva

Laura Bacon is a sculptor using baske weaving techniques to create unique and com large scale works. Her work is based on desire to turn chaotic amounts of raw m into ‘spaces’ of some kind.

Rachael Matthews is a fluent knitter, improvi carpenter, socially engaged craftsman and of an ethical yarn shop, who sees pr as opportunities for spiritual develo

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[boat builder]

Gail McGarva is a traditional wooden boat builder with a particular passion for boats of historical resonance that hold a vibrancy in their present day communities. Her specialist area is the building of replicas or ‘daughterboats’ to these vessels, breathing life into a new generation of these historic craft.

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The University of Sheffield School of Architecture

SUAS At the start of the academic year in 2012, Sheffield University Architecture Society outlined our ambitions for an efficient, accessible and broad society. We are proud to have created a new relationship with our neighbouring architects at Sheffield Hallam and thank them for their support in participating in the first ever SUAS & SHarc social, the now legendary “Architecture Take Me Out” as well as opening both of our respective lecture series to create an even broader programme. It is a testament to our members and lecture team that Thursday evenings spark intrigue and discussion throughout a busy year, with a schedule including Angela Brady (RIBA President), Christine Murray (AJ Editor-in-chief), along with award winning architects and professionals from other fields.

Social favourites, including our annual Bakewell Pub Crawl and our “Handmade” Summer Ball, gave everyone a reason not to pack away their model making tools and to create installations, furniture and costumes for the events. SUAS has also created new opportunities for involvement, such as our student-to-student mentoring scheme, whilst continuing the success of others such as our studio journal. Hatch showcases contributions from students and staff around main themes and demonstrates the breadth of knowledge present in our school.

We hope that these new events, themes and ambitions are carried forward into future years and thank our tireless committee, engaging members, supporters and critics for an exciting year with achievements to be proud of.

Nam Kha Tran, SUAS President

Lunchtime Specials The Lunchtime Specials are a series of talks given by architecture students for architecture students. The talks aim to disseminate students’ tacit knowledge to other students in the School and, unlike the School’s timetabled lectures, are all student led. The talks expose students to a wide range of techniques and tools that can improve their workflow, provide inspiration for developing a project, and explore their potential roles as architects and other creative disciplines. The topics for each of the talks have evolved as the result of requests from undergraduate and postgraduate students This year’s talks (Series 09 and 10) have ranged from developing skills to developing an agenda and considering where and how to work. The talks have been delivered by Y2,Y3,Y5 and Y6 students.

Whole School Event Prompted by the discussion in SUAS lectures over the future of the profession, this year SSoA’s annual Whole School Event design charrette brought together the whole school in a workshop in which students were asked to communicate what they thought of architecture today.

We discussed issues current to architecture, and proposed progressive actions to positively shape these issues. Common themes emerged through exhibiting the work produced, and it became clear that many of the issues central to our profession are placed right at the heart of the work of the school. The day of hasty sketching and discussion acted as a snapshot of the concerns for the future of the profession and architectural education that positively manifest themselves within the work of every student of our school every day.

The Architecture Students Network (ASN) SUAS continued to champion, and actively participate in, nationwide student involvement this year. In February, the Architecture Students Network (ASN) held their first open forum, bringing together representatives of institutional bodies, Heads of Schools, practitioners and students from about 25 schools of Architecture.

SUAS treasurer and ASN initiator Alex Maxwell, represented the student body on the panel in a vociferous and progressive discussion, that spanned from routes in to the profession and inter-school collaboration to the issue of unpaid internships.

Intense follow-on discussion during the days after the event provoked the RIBA to reinforce its position against the practice and certain recruitment sites to redact unpaid job offers.

SUAS Commitee 2013 President Nam Kha Tran Vice President Abigail Watts-Cherry Secretary Jennika Parmar Treasurer Alex Maxwell Inclusions Officer Kat Wong Lunchtime Specials Team Nick Hunter Sam Gill Jessica Morrison Joanna Hansford Kerry Dragon Andreas Papallas

Social Team Holly Barker Tom Cronly Kerry Dragon Nigel Hassell David Hodgson Estelle Jarvis Irene Kalli Josh Stokes Publicity/ Branding Dovile Botyriute Ben Hooper Andreas Papallas Bryn Ray Lecture Team Kalpana Gurung Lilly Ingleby Mike Horswill Simeon Shtebunaev

01 The SUAS Handmade Summer ball 02 Winter/Spring SUAS lecture series 03 Lunchtime Specials series 04 Hatch Journal 05 Whole School Event work 06 ‘Take Me Out’ Event 07 Whole School Event work 08 SUAS lecture

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Journal Team: Editing, Design, Production: Mike Horswill Alex Maxwell Lily Ingleby Funded by you, via SUAS

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Early Encounters

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Lunchtime Specials Series 09 Semester 01//Week 09//Talk 02

Research by Design & Design by Research:

Wednesday 27th November 2012 The Well @ 13:05 www.lunchtime-specials.tumblr.com

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The University of Sheffield School of Architecture

Article 25 Article 25 is a UK registered charity that builds projects to provide better shelter wherever there is disaster, poverty, or need. As the Sheffield student chapter of Article 25 we are involved in educating people in the importance of humanitarian design and raising money for Article 25’s projects. This year is the Sheffield Chapter’s fourth year. In the past the chapter has raised money in many ways through the usual tried and tested bake sales and barbeque events. However, after the success of last year’s team winner the Haiti competition we wanted to focus our efforts into raising as much money as possible for a project that Article 25 are currently starting in Haiti.

In collaboration with NGO Outreach International and local Haitian partner Organisation for the Social Development of the Masses (ODSM), Article 25 are currently undertaking vital structural surveys, site safety assessments and providing temporary school shelters as part of a major school reconstruction programme in Haiti. The immediate challenges to begin the reconstruction process involve demolition, site clearing and temporary school mobilisation on all 30 sites. Over a three year programme, the Article 25 team on the ground will rebuild or improve schools, using local involvement to build the community’s internal capacity.

As well as adopting this project to fundraise for, we outlined three main objectives for the chapter; to educate, to involve, to fundraise.We have attempted to reach each objective in a different way. Last year we focussed heavily on education.Through lectures, collaboration with SUAS and workshops we tried to help students understand the issues of architecture in developing worlds and the sustainability of it. Also, educating ourselves by producing a feasibility report for an off grid water system for a small village in Los Olivos, Columbia last summer. This year we have focussed further on involvement, taking a group of students to Hill Holt Wood in Lincolnshire for the second time, which was a chance for them to get experience of straw-bale building and reciprocal roofing systems. Finally, this year we have tried to fundraise money to have an adequate impact on the work being carried out in Haiti. We have worked with RAG in the Student’s Union, raising money through bake sales, bucket collections and selling glow sticks at student night’s out. However, our largest fundraiser and the big event in our calendar was a charity auction.

The Sheffield 10x10 event was a chance for architects, artists, thinkers and students to take one of a hundred squares of 200mx200m around Sheffield city centre and represent however they saw fit. We got a great response of graphical work, sculptures and painting.

It was a fantastic night for the school and the chance to really engage with the Sheffield community. We raised over £300 just from this one event, which will go straight to the project in Haiti.

It has been a very successful year for the chapter, we have gained a lot of experience and raised some money for a good cause. Let’s just hope that with the help of the new students coming through the chapter can do even better next year.

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CreatePlay Despite continuing improvements in the past decade, social integration of the disabled in Bulgaria remains insufficient. In 2008 the European Committee for Social Rights (the EU’s highest social rights body) found Bulgaria had ‘violated international law by discriminating against children with disabilities in not providing them with an education.’ Bulgaria’s history of warehousing the disabled in isolated institutions lacking educational structure continues to deny children their inherent right to an education. This isolation compounds the disabilities and reinforces cultural and social stigma.

Located in Gorna Oryahovitsa, Bulgaria, CreatePlay is a community design and build charitable project working to improve integration of disabled children in a mainstream nursery school. Established last year by Rory Cleary, Maeve Dolan and Chloe Anderson in their final year of Undergraduate, the project is working to collaboratively design and construct an outdoor sensory playspace to be used by both disabled and non-disabled children. Upon completion, a program of community usage will be implemented for organisations and individuals, encouraging interaction within the wider community.

The design will take an alternative approach to the traditional playground, aspiring to be innovative and sensory whilst aiming to dispel the preconception that a facility of its kind should be visibly ‘specialist.’

The student led project is now live in Bulgaria, working through a crucial community engagement process to ensure the development of a relevant design. This close working relationship aims to increase a sense of ownership amongst the community, whilst providing a platform for them to proactively lead the discussion on diversity and tolerance within their locality.

CreatePlay is working in collaboration with the UK charity, Volunteer Studio, and Bulgarian children’s charity, PriateliVT. CreatePlay was shortlisted for the RIBA ICE (John) McAslan bursary and is sponsored by the British Council, Sheffield Alumni Fund and Sheffield University Research Enterprise. www.create-play.org www.justgiving.com/CreatePlayBulgaria

The University of Sheffield School of Architecture

Student Competitions Students at SSoA have taken part in extra curricular design competitions, consistently winning and being shortlisted against other students and practicing architects on national and international platforms. This year the school has seen numerous successes in a wide variety of awards, ranging from international travel awards, to local enterprise and sketching competitions.

01 AIA Noel Hill Student Travel Award Rebecca Nixon “After my A-Levels I taught in Uganda for a year. Returning to Uganda after the first year of my architecture degree after receiving the Bedford Bursary from West Yorkshire Society of Architects, I spent 3 months conducting research ‘Evaluating the appropriateness and success of the approaches to sustainable architecture by Western bodies in Uganda’. I visited an array of projects giving an insight into the issues surrounding communications between cultures, the implications of new materials and the importance of knowledge exchange through construction; enabling the creation of transferable skills.”

Rebecca is returning to Uganda this summer to run a series of workshops with 16 2nd, 3rd and 4th year architecture students at Makerere University, after winning the AIA Noel Hill Travel Award. The series of workshops will address and explore some of the issues realised in her initial research, concentrating on the exchange of knowledge through co-design, co-creation and coproduction.

02 AIA Ken Roberts Architectural Delineation Competition Ross Jordan Ross Jordan won the international AIA Ken Roberts Architectural Delineation Competition 2012 best in category for digital/ mixed-media. Ross’s image represents a visionary alternative urban landscape, based on the production of algae as a means of creating bio-fuel. The image formed a key part of Ross’s final dual architecture and engineering degree project entitled ‘bio-fuelled delusion’, relating to people’s obsession with fuel and how we have become desperate to source more of it rather than reduce our reliance on it.

04 Sheffield Design Awards SSoA had success at the Sheffield Design awards, seeing tutors Prue Chiles, Howard Evans and Leo Care win the ‘best small project’ for the Horsefield House and the Bureau-Design+Research’s contribution to the refurbishment of the Arts Tower recognised as the project won both the ‘best conservation project’ and the ‘peoples’ choice for best building’. Professor Sarah Wigglesworth presented the awards.

05 World Architecture Festival In 2012, six undergraduate students: Chris Cooper, Ben Rea, Angus Smith, Alex Scally, Pierre Shaw, Tom Gibbons and Louis Pohl, represented Sheffield at WAF in Singapore.

Continuing ideas from first year work, the group developed schemes in response to a brief given in a 48 hour charrette held in the Marina Bay Sands hotel, which was subsequently presented to the conference alongside a range of other student bodies.

06 Festival of the Mind SSoA contributed to the university Festival of the Mind event. A series of talks, exhibitions and events were held throughout the city, with the architecture department collaborating with various organisations to create installations and exhibitions.

The Arrivals Zone converted a shipping container into an alternative tourist information booth outside Sheffield Railway Station, running tours through and out of the city.

50 Ideas for Sheffield was an exhibition that ran at the CADS workspace, proposing a range of ways to make Sheffield an even better place to live, including self-build housing, off-grid living and innovative new uses for some famous city landmarks.

Denis Mason Jones Award for Free Hand Sketching 2012:

03 USE “Making Ideas Happen” Enterprise Awards Guillermo Dochao-Naveira Guillermo was a finalist in the Social Concept section of the enterprise awards with HIVE, his design for a temporary structure, that provides greater structural integrity, more rapid construction and disassembly and more efficient use of space than standard tents and marquees. All nine finalists pitched their ideas to the audience at the Celebration of Enterprise Dinner in Firth Hall.

Guillermo’s pitch was very entertaining and won the audience vote for the best pitch along with a £500 prize.

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The University of Sheffield School of Architecture

Awards and Recognition This year has seen many successes within the department, with numerous students receiving prestigious awards and scholarships for their design work.

01 RIBA Yorkshire Student Awards 2011 - 12: Part 1 Gold Award Matthew Pearson North Atlantic Duel: Museum and Memorial, Birkenhead Docks Tutor: Mark Emms This project, sited within the docks of Birkenhead, is derived from the student’s individual research and makes skillful connections between the cargo ships and community of Birkenhead docks and German U-boats operating within the North Atlantic during World War II. The proposal reconciles these conflicting sides through a kinetic structure which performs a dual function of museum and memorial.

The U-boat museum proposes a setting for the display of U-534, a rare surviving German U-boat, together with associated artefacts found within it. Four large drums exhibit different aspects of the U-boat (machine, home, ship and weapon) with each one affording a view into a section of the segmented U-boat. Daily at dusk the sections of the U-boat, held on large rotating posts rooted in the dock itself, slowly turn to piece together U-534 and form a memorial to a multitude of civilian lives lost aboard locally based ships which were sunk by U-boats in the North Atlantic.

This is a bold and provocative proposal which embodies a dimension of time and which responds in scale of to the vastness of its context, the (largely lost) typology of local dockland structures, the size of U-534 itself and the large loss of life resulting from U-boat action during World War II. The project has been developed through simultaneous exploration and testing in models and drawings and is characterised by a consistency in intellectual approach through research and concept to formal and technological resolution.

Overall, Matthew’s project achieved a 1st class standard and his output is testament to his engagement, commitment and bold but thoughtful approach to the project.

02 RIBA Silver Medal: Shortlisted Daniel Hall Reinstating the Ruin: Augmented Landscapes of knowledge and learning as a journey through water Tutor: Russell Light

and it is this material, which becomes the object of analysis. As such by asserting the symbolic function of the ruined monument as a record of time aims to reestablish the strongest sense of place, or locus.

03 RIBA President’s Awards for Outstanding Practice-located Research Alastair Parvin and David Saxby of Architecture 00:/ in collaboration with Cristina Cerulli and Tatjana Schneider of the University of Sheffield: ‘A Right to Build’ “A Right To Build puts forward a case that our almost total dependence on the big-provider model is no longer rational or realistic, and a rethink is now needed if we are to meet the UK’s housing needs in the coming decades. A Right To Build will try to draw the outline of a very different kind of emerging housing industry, one which is focused on growing the housing supply not by extending the narrow ‘peak’ of big providers, but by growing the ‘long tail’ of small groups and individuals who seek to find a plot of land and provide homes for themselves. Although they might not know it, these individuals and small groups collectively form a growing, emergent, bottom-up, mass housebuilding industry: selfprovided housing.”

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04 RIBA Yorkshire Student Awards 2011 - 12: Part 2 Silver and Best Presentation Prize Anthony Hogger The Convalescent’s Memorial Tutor: Satwinder Samra A convalescent centre for alcohol addiction with an integrated local public library, historical archive and community forum.

This project explores the notion of convalescence - of being between sickness and health –both at the scale of the individual and the town. By proposing an integrated program of therapeutic services and new civic elements, the project brings together the ‘outsider’, namely the recovering addict, and the local community with the intention of catalysing greater social and urban cohesion.

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Based initially on the character of Prospero in Peter Greenaway’s adaptation of Shakespeare’s ‘The Tempest’1., The project explores the relationship between the significance of the collection as defined through reinstating the historical fragment and artefact back into the landscape as a memory of the place. This approach is based on the idea that architectural history lies in the material; 01

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A RIGHT TO BUILD

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University of Sheffield School of Architecture

Alastair Parvin / David Saxby Cristina Cerulli / Tatjana Schneider

Architecture 00:/

03 The next mass-housebuilding industry

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04 NORTH FAÇADE WITH PUBLIC PARKLAND IN THE FORE

IMAGE / STAMFORD PARK PAVILION, STALYBRIDGE

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RMA are a dynamic design led practice based in Camden, with a 30 strong team (8 of whom graduated from SSoA) and 6 partners (4 of whom graduated from SSoA). We share the same highly creative approach, pragmatic attention to detail and commitment to place making fostered by SSoA and demonstrated by their high performing graduates.

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Image: Park Hill Photograph Š Daniel Hopkinson

Publisher University of Sheffield Editorial Design Edward Crooks Edmund Harrison-Gray Ranbir Lal Tom Parsons Emily Temperton Photography Matthew Bradshaw Peter Lathey Printed in England by University of Sheffield Print Services (Print & Design Solutions) Copyright 2013 School of Architecture, University of Sheffield.

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