Kent School of Architecture and Planning - End of Year Show Catalogue 2021 by University of Kent

KSAP 2021

Kent School of Architecture and Planning

We would like to thank our sponsors for all their support in making our ‘Projections’ catalogue 2021 possible.

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‘PROJECTION’ 6 7

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TRAIL ROUTE 1

34 BURGATE MArch Unit 3

12-14 BUTCHERY LANE MArch Unit 4 BA (Hons) Stage 3

47B BURGATE MArch Unit 4 BA (Hons) Stage 3

24 ST GEORGES ST. MA & MSc PGT programmes

4 MARLOWE ARCADE BA (Hons) Stage 2

15-16 GUILDHALL ST. BA (Hons) Stage 1 & 3 3-4 SUN ST. BA (Hons) Stage 1 MArch Pedagogy

20 SUN ST. BA (Hons) Stage 3 BA & MArch Artefact

25th June - 23rd July 2021

CONTENTS ‘PROJECTION’ EXHBITION 2021 KENT SCHOOL OF ARCHITECTURE & PLANNING

01 - INTRODUCTION

05- POSTGRADUATE

KSAP Foreword

KASA Foreword

02 - MArch 20/21

MA Architectural Visualisation

280

MA Architecture & Urban Design

288

MSc Architecture & Conservation

294

MArch Foreword

Unit 1

Unit 3

Unit 4

Unit 5

106

Net Zero 2021

128

MA Urban Planning & Resilience

306

MArch Dissertation

132

PhD in Architecture

312

MArch Artefact

136

Pedagogy

140

PG Dip Architectural Practice

314

03 - AWARDS 20/21 Shortlist Nominees

150

04 - BA (Hons) 20/21 BA Foreword

156

Stage 3

158

BA Dissertation

258

BA Artefact

262

Stage 2

266

Stage 1

272

MSc Architecture & Sustainable Environment MSc Bio Digital Architecture

298 302

06 - RESEARCH & COMMUNITY Outreach

318

CASE

320

CREate

322

DARC

328

KASA

332

Acknowledgements

336

INTRODUCTION

KSAP

FOREWORD HEAD OF SCHOOL PROFESSOR GERALD ADLER (ANOTHER) EXTRAORDINARY YEAR When I sat down to write my foreword to last year’s catalogue, little did I imagine I’d be doing so again this year, working remotely away from the School. Has this way of working become the new normal? I fervently hope not, and indeed our plans are to revert to studio teaching in the autumn term, with far fewer students needing to stay away and engage remotely through Teams. We all have our individual and communal stories to tell about the year just ending, and it is apposite that this year’s Venice Biennale of Architecture poses the question ‘How will we live together?’, one that is on everyone’s lips, and underpins every architecture student’s form-making endeavours. As we (continue to) stare into our screens, we are all pondering the return of the social, and thinking how best to achieve this. Architecture should be everything the screen is not: three-dimensional, tactile, social, sensuous, unmediated, inviting, intriguing, direct. And here we are on each other’s laptops, wondering who might come, how it might work…

So wrote Edwin Heathcote in his review of the Biennale. The School has done its utmost to engage with the realities he is referring to, and I hope will agree when you see the highlights of our students work, on the pages of this catalogue, in our website, and exhibited and projected through the city of Canterbury. CHANGES In many ways, the restricted ways of working necessitated by the pandemic was able to shield many of us from the inherent difficulties we experienced as we made the transition from Faculty to Division. We now have a largely new team of programme and student support staff, and have worked closely with them during the transition period, but happily have some familiar faces working behind the scenes at Divisional level: Natalie Conetta, Charlotte Malkin, Sharmini Mahendrasingam and Ben Martin. And our technicians are still with us: physically, in the Marlowe Building (the technical hub for the entire Division will be based in our former admin office, ground floor of the Marlowe Building), and undiminished in their numbers. We welcome Dr Manolo Guerci to his new role as BA Programme Director, while Prof. Henrik Schoenefeldt takes on Manolo’s previous role as Director of Graduate Studies. RESEARCH This has been a vital year for the School’s research effort. This concluded with our submission to the national Research Excellence Framework. This was the culmination of individual and collaborative work by our Teaching and Research colleagues, with valuable input from our three research centres and coordination and collation by Prof. Marialena Nikolopoulou. If I can single out two colleagues from this massive collective effort, it would be Dr Nikolaos Karydis for his impact case study on heritage buildings and environments, in Greece and East Kent, and Prof. Henrik Schoenefeldt for his on the historical environmental systems of the Palace of Westminster. Both case studies are representative of particular strengths we have in architectural research. And to round off this mention of the REF it reflects well on the School that Prof. Gordana Fontana-Giusti has been selected to be part of the panel evaluating all UK universities research submissions to our unit of assessment, the Built Environment. Innovative research also takes place at postgrad student level, and this year marks the initial year of our co-tutelle arrangements with Lille, with one student in each School. This also sees the culmination of our co-tutelle PhD

with Rome Tor Vergata, with one candidate’s viva taking place. THE FUTURE A School of Architecture never stands still, ours included. If it sometimes feels like we are undergoing a permanent revolution, then this is a product of not wishing to sit on our laurels. Our Curriculum Development Group is constantly upgrading the content of our modules – this year witnessed substantial changes in terms of drawing skills, environmental and social sustainability, and of the better representation of hitherto underrepresented sections of society. Much happens behind the scenes, and I’d like to thank Chloe Street Tarbatt for her work on our planned Foundation year in Design, Prof. Samer Bagaeen for his involvement in the Creative Estuary project, and to John Letherland and Samer for their engagement with our incipient Higher Degree Apprenticeships (in Architecture and Planning). I’d particularly like to thank the students, for rising to the occasion. I am particularly grateful to KASA, the student association, in particular to Izzy Adams and James Vincent (outgoing co-Presidents) and to Robert Keen and Mark Thomson (incoming co-Presidents). I also greatly appreciate the selfless input of the student reps, for giving up their time to be part of the Student Voice Forum: Anjolaoluwa Akinyemi, Alexandra-Stefania Barbu, Anske Bax, Christopher Caballero, Judah Detty, David Johnson, Samantha Kanu, Josie Kassapian, Nirav Malde, Tracy Okundia, Nirav Patel, Stefanija Shavaldina, Hui Wen Tan and Mark Thomson. How will we live together? I cannot but concur with the sentiments of this year’s Biennale curator, Hashim Sarkis, in his uplifting statement: …architects are called upon to propose alternatives. As citizens, we mobilise our synthetic skills to bring people together to solve complex problems. As artists, we defy the inaction that comes from our bottomless well of optimism to do what we do best. The confluence of roles in these nebulous times can only make our agency stronger and, we hope, our buildings more beautiful.

PROFESSOR GERALD ADLER HEAD OF SCHOOL 18

Stage One BA students in their life-drawing class in the University Gulbenkian Theatre, tutored by Tim Meacham

KASA

FOREWORD FROM THE STUDENTS BY 20/21 KASA CO-PRESIDENTS Firstly, we would like to congratulate every KSAP student for everything they have achieved this year, despite the huge adversities they have all faced. It has not been a typical school year, but we’re sure you’ll find that this catalogue is a testament to all of the incredible work produced in spite of all of the national restrictions. Although this year has been unlike any we have seen, we have made huge efforts to ensure that our community remains as close as possible. This has included rejuvenating our social media platforms to promote more student work, welcoming students to Canterbury with a specialised tour series and just the one obligatory lockdown quiz! We also turned our hands to a small upcycling project - updating Patrick Crouch’s box of tricks into a new mini-bar and storage unit. Although we haven’t brought it out too much this year - look out for it at future KASA events! This year also welcomed new KASA initiatives to showcase the diversity of our industry that can often, unfortunately be overlooked. In 20

the summer of 2020, our VP, Matt, along with Amy Gillespie, came to us with fresh plans to address the lack of representation of people of colour and females in our profession. This quickly became KASA POC and KASA FEMME, which was also accompanyed by KASA LGBTQ+ at launch, and became a weekly feature on our social media, showing our students that no matter who are are, you have the potential to do great things. This was also accompanied by our most diverse lecture series yet, which took advantage of our new online format to invite speakers from overseas. The series was incredibly enjoyable and informative, and we must thank Reegan for taking the time to organise each one. However, we are very aware that there is still a lot of work to do in order to make our community as inclusive as we would like. We are incredibly proud of the work that Matt, Amy and Ana have done to lay the foundation stones, and hope that this can only be built upon in the years to come. We are incredibly grateful to our wonderful committee and show team for all of the hard work they put into celebrating all of the accomplishments of KSAP as this unparalleled year comes to a close. We have been truly shown that constraints are not barriers, merely new challenges, the overcoming of which has resulted in some truly special end of year festivities! We would also like to extend our thanks to our fantastic sponsors, without whom, none of this would be possible! From all of us at KASA, we hope you enjoy looking through the catalogue!

IZZY ADAMS & JAMES VINCENT 20/21 KASA CO-PRESIDENTS ROBERT KEEN & MARK THOMSON 21/22 KASA CO-PRESIDENTS 21

MArch 20/21

MArch FOREWORD

MASTER OF ARCHITECTURE ARB/RIBA PART 2 & LAM, BoASg acred. In the MArch, we teach design and integrated technology, in Stage 5, through a series of parallel, ‘vertical’ teaching groups called ‘Units’ which are a mixture of Stage 4 and 5 students. Each Unit has its own theoretical and pedagogical position, dedicated design, and technical teaching team, and allows students choice in their education. To create choice, and to offer continuing students something fresh, Units re-focus their evolving interests annually, and the diversity of our students’ recent national achievements surely reflects this. Since our last recognition in the RIBA President’s Silver Medal, with the Serjeant Award (2016), KSAP’s MArch students and graduates have been busy garnering national success in the SPAB Philip Webb Award (2016); 3DReid Prize, both winner (2017) and runner-up (2018); featured in the RIBA Fresh Perspectives Exhibition (2018); and won the IHBC Gus Astley Award (2019). It’s gratifying then, that since the publication of our last End of Year Catalogue, this trajectory of success for the MArch Programme continues with Lisa Edwards (MArch Unit 4 2020) receiving a Commendation in the 2020 RIBA President’s Silver Medal competition. Outside the Unit system Stage 5 students choose between three parallel options to a classic Dissertation – Artefact (research though Practice – ‘making’) and Architectural Pedagogy, an initiative that differentiates KSAP’s MArch as unique amongst all UK schools of Architecture. Here participating MArch students become involved in the teaching of design and communications to Stage 1 beginning design students. You can read about these ‘Options’ and their 24

outcomes elsewhere in this catalogue. Meanwhile Stage 4 students follow three Lecture-based modules, Employability (professional practice and management), Cultural Context (discourse in mid-20th century+ architectural theory), and in the Spring, Technology_4 (case studies of exemplar innovative technologies). Special mention this year must go to the enhancements we’ve made to the teaching of technology in the MArch. The climate is changing, and so is the world and architectural education needs to change with it. The imperatives for a low-carbon future, a net carbon-zero build environment, carbon literacy, necessitate that education needs to prepare its graduates for practice in the most pressing way. Into this imperative we welcomed the return to the MArch, and promotion to Professor of Sustainable Architecture, of Henrik Schoenfeldt. Sequested to the restoration of the Palace of Westminster in recent year, as this continues, we have enjoyed Henrik’s return to convene Stage 5 Module Technology_5 – and you can read about the innovations elsewhere in this catalogue. I’d also like to thank Matthew Woodthorpe, and Oliver Watson, for their contributions to Technology this year in curating and coordinating a series of Master Classes – and of course to the participants: Kieren Eldsden / Michael Popper - P3r; Dominic Meyrick - Hoare Lea; Martin Waters – eHRW; Sean Cohen – HTS. We believe that design and technology are intrinsically bound together; a virtuous and critical vortex of creativity. Our finalists’ work is redolent with the complexities of what real architecture is. Recent months have given us all pause for thought, difficult challenges, and for some, bereavement. So it is appropriate to acknowledge the extraordinary achievements of the MArch Class of 2021, who have both produced some great work through a transition to e-learning, but also, as I think almost everyone would agree, found an even stronger sense of studio culture from their study-bedrooms, shared houses, parental homes, or Government Quarantine. The MArch feels very collegial and consolidated this year, as it did last year in these extraordinary times. This is certainly because of our students, but also enabled by our MArch Lecturers, and Design, and Technology, Tutors, who have embraced the opportunity and added enhanced, extraordinary levels of support to their respective Modules, Units, and students, whilst reconciling the difficulties of what for many, are complex, twin careers.

MARCH PROGRAMME DIRECTOR Michael Richards RIBA CURRENT TEACHING STAFF (MC = Module Convenor) Employability: Peter Wislocki (Module Convenor) Cultural Context: Ambrose Gillick (Module Convenor) Technology 4: Giridharan Renganathan (Module Convenor), Lawrence Friesen MArch ‘OPTIONS’ MODULES Architectural Pedagogy: Chloe Street Tarbatt & Rebecca Hobbs (Module Convenors) Artefact: Silvio Caputo (Module Convenor), Howard Griffin, Michael Richards, Ronald Yee Dissertation: Silvio Caputo (Module Convenor), Gordana Fontana-Giusti, Ambrose Gillick, Howard Griffin, Manolo Guerci, Rebecca Hobbs, Nikolaos Karydis, Marialena Nikolopoulou, Alan Powers, Giridharan Renganathan, Michael Richards, Chloe Street Tarbatt, Richard Watkins, Ronald Yee MArch UNIT-TAUGHT MODULES Design 4A, Design 4B, Design 5A, Design 5B, Technology_5 Unit 1 Michael Richards (MC), Manolo Guerci, Phil Baston, Ben Godber Unit 3 Michael Holms Coats, Lee Jesson, Oliver Watson Unit 4 Matthew Woodthorpe, Yorgos Loizos, Ben Corrie Unit 5 Tim Ireland, Chris G Jones, Mark Coles

MICHAEL RICHARDS PROGRAMME DIRECTOR 26

STAGE 5

STAGE 4

MArch UNIT 1

EXTRA-TERRESTRIAL MICHAEL RICHARDS DUNGENESS HEADLAND, KENT; AND RYE, EAST SUSSEX Necessarily having to allow for the contingency to teach design online only, during this passed academic year, Unit 1 anticipated two key questions: 1) How might we better explore, experience, learn from, and even capitalise upon a degree of isolation or social distance, and what are the precedents? 2) For a Unit that is committed to an engagement with critical regionalism and cultural landscapes, where might we turn our attention, and where might we be able to journey? Throughout the year our theoretical position was informed by a series of seminar-format ‘Coffee-Mornings’, to critique a series of required watching, related to these themes. EXTRA-TERRESTRIAL With our interface with the world increasingly mediated through online technology, digital (Google) Maps will take us - as far as the Moon (and even Mars), whilst here, in our own county of Kent, there is an analogue ‘lunar landscape’, the UK’s only official ‘Desert’, a cuspate foreland, that is the world’s second largest shingle bank – Dungeness. It is phenomenologically, paleo-environmentally, and quite literally, Extra-terrestrial or ‘beyond the earth’. A series of projects evolved from a consideration of micro (Shingle) to macro (Cartograph), and thence through urban and building case-study analysis (Learning from Dungeness) to the design of an ‘Observatory’ TERRESTRIAL If Dungeness is our lunar landscape, then just beyond the county boundary, the ancient coastal hill town of Rye in East Sussex, is our 32

Mission Control. Rye is in some ways the very antithesis of Dungeness, its prominent geological resoluteness gave forth to a town, once dynamic, now, almost hermetically sealed, as if in a previous century, one steeped in complex constitutional, military, legislative and economic history. After a group-work research and analysis exercise (Learning from Rye) here we set out individual thesis projects as a critique to this condition. This year’s thesis projects included: A Hotel for Ghost Hunters as an Annex to Rye’s Mermaid Inn, a Museum of the Smartphone and its component antecedents, ‘The Haunting of Lamb House’ – a mirrored apparition of Lamb House in its own garden, populated by literary ghosts from Joan Aiken’s eponymous novel, a Bath House for Women in St. Mary’s Church Yard, an Avian Research and (Improvisational Jazz) Music Centre within the remains of Rye’s Ypres Castle, Hawkhurst Inc., a workshop for covert replication of Rye’s heritage buildings with modern low-carbon materials and illicit sale of the salvage, a new Parliament for the ‘Ancient Town’ of Rye, an Art School, A Forum for Public Discussion, a Heritage-Propaganda Film Studio for the Corporation of Rye, a Spoken-Word Histories Centre, Conjoined Houses and Studio for principle characters from Terrance Malick’s ‘Tree of Life’, and Mike Cahill’s ‘Another Earth’ (both 2011), a Neutronium for Rye, an artisanal Paper Mill, Allotment Gardens Health Food Apothecary, Rye’s new Fish Mongers’ Hall. TUTORS Michael Richards & Manolo Guerci. With technical tutors Philip Baston, Ben Godber. GUEST LECTURERS & CRITICS Rob Pollard (RX Architects), Mark Coles, Ben Corrie, Michael Holms Coats; Tim Ireland, Lee Jesson; Chris G Jones, Yorgos Loizos, Khalid Sedki, Oliver Watson; Matthew Woodthorpe. SPECIAL THANKS TO Simon Condor Architects, Holloway Architects; Rodić Davidson Architects; Johnson Naylor, Michel Schranz (MS-DA), for their assistance with our case studies of the Dungeness Beach Houses.

MICHAEL RICHARDS UNIT LEADER 33

Geological Isolation Process and Resolution

Ripples in Time Refraction

Situation of Timeless Rye

Ripples in Time Reflection

James Hatton, Stage 5 Hawkhurst Inc. aims to question the future of heritage preservation against advances in building technology. The building acts as a facility on the boarder of Rye’s preservation area to restore and repair its buildings whilst updating their carbon efficiency. A metaphor derived from Rye’s historical smuggling is used to introduce modern technology with replaced parts being “smuggled” out. A scenario of the sorites paradox was used to explain this gradual integration which generates two buildings: one functional and one recreated off site from the original parts. The outcome then questions which is the official building?

Internal Perspective of Justine’s Bath from the concrete staircase, third floor.

Internal Perspective of Claire’s Pool , second floor.

Internal Perspective inside the old St Mary’s Churchyard Cistern pool, ground floor.

Internal Perspectives of the Bath of Spring Water, ground floor. Left: Detail partial section through Bath-house Tower

External Sketched Perspective of Bath-house Tower next to St Mary’s Church, Rye.

External Sketched Perspective of Bath-house Tower from St Mary’s Churchyard.

Farrah Morgan, Stage 5 Unit 1 began by investigating themes of isolation in an extra-terrestrial landscape, Dungeness. The importance of all that is around us is revealed and carried forward to the final project as Rye celebrates its forgotten wonders, Women and Water. A bath-house tower sits at the top of Rye, dedicated to women in memory of women. Following the ritualistic nature of the flooded observatory on Dungeness, water continues to be a symbol of life, death, and rebirth. 37

Chun Yin Ng Jonas, Stage 5 The building functions as a museum that displaces time experientially and builds characteristics for each individual spaces. The museum showcases time in relation to space- the fourth dimension and building form can be treated dynamically in order to re-interpret the static context of Rye. The inclination alters visitors’ perception of space within the era of time- light and the built environment- structure and material.

Partie Drawing - Based On The Surrrounding Geometries Of Rye.

Model - Geological Silt Walls Protecting The Site.

Visual - Basement Window Facing Water Wheel.

Early Conceptual Visual - Maximiseing The Sites Potential To Water

A - Art Gallery Space Submerged Into The Ground Facing The Geology Of Rye.

± 4.65

AV. HIGH TIDE ± 3.85 ± 3.52

BRIDGE

MIST RESERVOIR POND GRAVEL

AV. LOW TIDE FFL ± 0.85

PAPER MILL

SILT + CLAY SILT POCKET

± -1.85

WATER - POWERED WATER WHEEL

CLAY + MUDSTONE

ALLUVIUM + SILT SEABED

± - 3.45

CLAY + MUDSTONE SILT + CLAY SILT POCKET

CLAY + MUDSTONE

SANDSTONE (ASHDOWN FORMATION)

Water Wheel Section - Including Basement Sump And Foundation Construction.

Ground Floor Plan

Kehinde Pereira, Stage 5 The tidal force of the moon makes paper for Rye, were a water powered technology drinks water into the building and responds to the tidal fluctuations of the River Brede. The Paper Retreat existing’s in a void of water, sunk into the ground, removing the horizon from the visitors and papermakers as an attempt to promote Rye’s mundane beauty. Fundamentally, playing with the elements of water and geology to solidify the town’s economy. 41

The Eastern facade featuring the main entrance which incorporates stone from the town wall.

Ground floor plan.

The model-diagram illustrates how the site is divided.

The houses observed from the West.

First floor plan.

The terrace belonging to Rhoda’s house.

A view into the gardens.

Section cut through Jack’s office.

A view towards the shingle garden from the West.

Section cut through Rhoda’s house.

The shared passage.

Rhoda’s garden.

Lilyana Popova, Stage 5 Situated in Rye, East Sussex the two houses provide living and working space for two fictional characters. The site is divided in two uneven parts by the town’s historic wall. The larger part of the site is occupied by the houses and their private gardens, while the smaller part towards the West is occupied by a shared shingle garden inspired by the shingle beaches of Dungeness to which the characters are connected through an earlier project. 43

Caption text template (move to where necessary below each image)

Reuben Powell, Stage 5 Once upon a time in Rye ‘the Corporation’ (its earlier ousted bureaucracy) seeking to regain local dominance and public support, reinvented itself by combining their nostalgic and superficial retellings of town history with their love of the glamour and charisma of classic Hollywood cinema. The ‘Analogue Demagogy’ narrates the creation of a new film-production studio sited over the town’s last remain section of its ancient wall. The project develops questions about the infallibility of perspective, power and propaganda in film and architecture. 45

Dungeness and Rye map

Concept photomontage

Dungeness Observatory

Existing / Proposed Music centre in Rye

Plans 3d

3D View

3D View 3D Section

Bird Aivary 3D view

Elevation 1

Elevation 2

3D Section 2

Outdoor performance

Grace-Marie Spencer, Stage 5 This portfolio explores and interprets the extra and terrestrial environment to a human scale. The vast power of nature is explored by looking from the micro to the macro, which is interpreted through the sense of sound within architecture. The initial tasks explore the harsh extra-terrestrial of Dungeness whereas the final project looks at the terrestrial in Rye. This building combines Jazz with a starling breeding programme. Humans will coinhabit with birds in a building which will never sleep; it will live, sing, and breathe alongside nature providing the connection between nature and humanity.

Guild Tower Development Concept

Parliament Interior Views

View from Landgate - Exterior Render

View from below - Exterior Render

Jacob Viner , Stage 5 Guilded Parliament of Rye Located on the edge of the historic citadel of Rye, the site acts as an observer to Rye’s past. Currently stuck in a period of disassociation, Rye is lost to its own identity and the future is decided by others. With the aim of taking this identity back, this project designates a parliament for Rye’s future through the engagement of the historic guilds making up Rye’s past. 49

Essential Oils Production, Planter Atrium Display ,Building approach and Structural Axonometric

Michelle EICHELLE ETIEBET, Stage 4 The Rye Apothecary is at the forefront of healing technology, evolution in medicine and treatments are celebrated and health is the most expensive commodity as pandemics, wars and other events continue to plague the world. A place where people seeking healing from ailments, procure bespoke treatments for improved quality of health. Non- surgical and noninvasive procedures now replace the procedures which took place in the past 50

Interview Rooms

Communal Reading Area

Filip Ferkovic, Stage 4 This project aims to create a spoken word centre that focuses on recapturing the potential lost histories of Rye. This was inspired by the discovery of the dissolution of the Rye live cattle market. Despite running for 143 years, there was almost no record of it ever existing. The project invites the local public to be interviewed in an attempt to record and display Rye history as it happens.

Section through gallery and foundation studio

George James , Stage 4

An artistic re-education centre for the age of AI. As automation closes jobs, the arts will become a sanctuary for the displaced.The centre through a monastic lifestyle encourages the occupants to pursue artistic endeavours through a semi structured foundation course, which aims to help re-establish their personal identities, through the development of individual expression. The project explores the morphology of churches and monasteries combining these elements with the requirements of a residential art school. encouraging an insular and reflective lifestyle and way of thinking for the occupants. A level of Public engagement was also developed to reflect the activity of the occupants without disrupting them.

The Debate Chamber

Symbolic Transparency Highlighting Circulation

Section AA

Christopher Mahoney, Stage 4

Main North Entrance with Glazed Circulation Links

Component Hierarchy Investigation & Concept Model

We live in times where individuals have greater platform than ever to publicise their opinions, yet these views have little forum for proper discussion. An opportunity for the much-needed discussion is given with the project acting as a microphone to voice opinions, a centre for local lobbying. Conceptually the scheme draws inspiration from the hierarchy found within structural components, offered by the context of the Austin Friary Chapel adjacent. Whilst characteristics of height, scale and presence are noted, the symbolic meaning of transparency in discussion is played with through the circulation. 53

A digital render of the front perspective of the extension, this provides detail as to how the building may possibly look in an existing space.

Jack Newman , Stage 4 This project was focused on creating an extension to the Mermaid Inn, a 15th century coaching inn. The design was inspired by the historical culture of Rye, as well as the design philosophies of Carlo Scarpa. As requested by the owner of the Inn, the project aims to address the difficulties using the outdoor courtyard, by creating an extension that better integrates the businesses capabilities in providing outdoor services, as well a flexible interior with multiple accommodation suites. The following pages demonstrates the illustrations created and used in the presentation of this project.

Billy Swindell, Stage 4 At the confluence of the Brede and Rother, Rye slow fish market and biogas fuelling station provides a systems building architecturally driven by its analogy to fish. The building respirates, expands, contracts, filters, and breathes to provide six chilled air changes an hour. A tidal body of water is held within a labyrinth and the mouth of the structure inhales triggering a simultaneous series of events. Air bellows pump, biogas filled balloons rise and fall, a diaphragm roof contracts and expands and Rye bay fish is as fresh as it gets. 55

YULIN YAN, Stage 4

Headshot photo B&W on white background

Land of gravity-Cultural center: Due to the unique geographical environment, Rye is surrounded by cliffs and mountains. This project focuses on how to activate the abandoned and desolate mountain site in the town. How to combine the existing terrain design building space while strengthening the connection between urban culture and history has become the focus of this project.

Abdulwahab Yunis, Stage 4 The haunting of Lamb House is a project which explores the use of fictional narrative within the design process. The narrative is taken as the initial design brief and its multiple understanding of the spirit world’s need to connect and communicate with the living world. The design takes the general outline of the existing Lamb house which is further scrapped off of it’s interior partitions and recreating this complex spatial arrangement that aims to recreate the spaces where the ghosts resided. 57

MArch UNIT 3

(DIS)COMFORT MICHAEL HOLMS COATS Guided by making and drawing, Unit 3 aims to challenge modes of thinking and broaden the architectural ‘toolkit’ of each student. This year we began the first in a series of studies on neglected aspects of architecture, putting ‘comfort’ in the spotlight. ‘A chair is never as comfortable as when you’ve been standing up all day.’ If comfort is personal or statistical or a standard set by someone else, how can it be adequately defined? And how can we design for it? Comfort is often highly dependent on circumstances and may be more easily categorized by its opposite, discomfort – and its context is always a key factor. So under the headline of (Dis)Comfort, the unit’s focus has been on how materials, systems, combinations, spatial arrangements, urban configurations, management and design procedures can be adapted or transformed to create quality environments for occupation and enjoyment – while noticing the useful levers of friction and unease. And by investigating by design, students have revealed how spaces can be created for different kinds and qualities of comfort, from an urban scale down to the individual elements of each project. As the current context of the climate change emergency is uppermost in our thinking, the unit has investigated how comfort/discomfort can assist to make an architecture fit for now and alert to the future – repurposing existing built fabric where possible. After an exploration of everyday personal experiences of comfort and discomfort and studies of ‘other spaces’ (guided by Foucault’s text on ‘heterotopias’), 58

students moved on swiftly to the design of a ‘comfort wrapper’ pavilion. And then, by considering existing social practices in their locations and the use of existing materials and built form on their chosen sites, a range of response types and ‘other spaces’ have been created in their final ‘production of comfort’ projects in the Kent market towns of Ashford and Tenterden. A ‘library of things’ in Tenterden, has absorbed a former cinema and offers a rest from consumerism; and on the opposite side of the town’s High Street, beyond the portal of a coaching inn, the framed spaces for a local art gallery have been invented, old and new, indoor and outside. Meanwhile, the positive ‘hot air’ of public debate has been captured and spatialized in the heart of Ashford, and public conveniences have stepped away from cliché and into a place of transformation and repose. On the town’s outskirts, under an origami wrapper emerging from the existing building fabric, counselling and touch therapy are provided for and a cluster of mircopubs, in reworked and new volumes, have created a new urban courtyard, offering relative privacy and intimacy. Adjacent and nearby, a bustling cycle hub has a ‘staircase (and climbing wall) to heaven’ and a hostel and therapy ‘forest’ has rescued a chunk of history at risk of demolition, while linking itself to the neighbouring municipal park. Comfort can be realised in surprising ways! The circumstances of the pandemic have impacted on the whole of this academic year and we have been impressed by the mature and constructive response of all of our students. TUTORS Michael Holms Coats, & Lee Jesson. With technical tutor Oliver Watson. GUEST LECTURERS & CRITICS Marie Brunborg (senior architect, Sheppard Robson Architects), Kyriakios Katsaros (principal, Studio C102), Dominic Meyrick (partner, Hoare Lea), Mervyn Rodrigues (director, Rodrigues Associates), Susanne Tutsch (director, Erect Architecture), Prof. Katharine Willis (School of Art, Design and Architecture, University of Plymouth), Philip Baston, Mark Coles, Ben Corrie, Manolo Guerci, Tim Ireland, Chris Jones, Yorgos Loizos, Michael Richards, Matthew Woodthorpe

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Izzy Adams, Stage 5 As human beings, we each have our own threshold of comfort, especially in respect to physical touch and intimacy. Far too often, this is breached by others without consent, and I have used my own experience of sexual assault to develop a hall for the rehabilitation of physical intimacy. The therapy is split into three key aspects addressing the reclamation of nontactile, semi-tactile and tactile intimacy which is reflected in the enclosing architecture. The hall itself is a retrofit of Ashford’s Lap Lounge, inversing the comfort it used to provide. 61

VERTICAL CIRCULATION

PUZZLE PIECES

STACKING UP

WRAPPING AROUND

CIRCULATION

FREE UP CIRCULATION

ROOF OUTLINE

FITTING ROOF GARDEN

PLAN - VIEWING FROM DIFFERENT ANGLES

SECTION -VIEWING FROM DIFFERENT LEVELS

Concept Diagrams - Circulations & Interactions

North Facade

Section AA

Iso Structure

Section BB

Facade Model

Heidi Chan Lok Hei, Stage 5 The proposa - the Kaiteki (Japanese for “comfort”) Centre, is developed based on the Japanese concept of “Ikigai”, stemming from the Japanese words “ikiru”, meaning to “live”, and “Kai”, meaning to “have sensation of hope”. The concept of ikigai help individuals maintain a happy wellbeing and discover their own purpose in life, through following the 10 principles of Ikigai. The development follows the primary comfort aspect of ‘goodfit’ and touches upon the ideas of heterotopic principle of Michel Foucault. 63

East Facing Elevation

Bired Eye Render Of Site With Context

Street Side Approach

East Facing Section

Opcupied Sketch Section Of The Building

Entering Reception

Courtyard Looking Back On Reception

Entering The Pool

Jordan Harris, Stage 5 This project was designed to reimagine the bathhouse and public toilet and heavily draws from Roman and Renaissance architecture with a modern and contextual twist added to the styles. The building at its core was intended to be functional and also thoughtful by accommodating those who are LGBTQ+, disabled or of ethnic or religious minority. I wanted to create a safer and more approachable space than a stereotypical public bathroom by creating permeable sight lines and open space. 65

Bays - Light Corridors - Screens - Gallery

The Urban Courtyard

Hempcrete Block Infill Panels and Polycarbonate Cladding

View from the Galleried Courtyard

Screen ( Privacy between spaces and rainwater harvesting)

Collective Courtyard Space and Intimate Internal Space (Micropubs and Retail)

Micropubs and Cafe

Basement Extension of Existing Building (Private Wine Bar)

Zu Jing Lee, Stage 5 Defining architectural privacy in urban context - Privacy is finding our own place in a place away from home while absent presence speaks about the hidden and unassuming place around us which could use a touch of ‘architecture’. The research is then applied to the reinvention of pubs and the use of courtyards. It is a retrofitting project with retaining the existing building from the late 19th century and new built which supports micropubs and local business startups while reclaiming urban space. 67

Unpacking Tenterden, and highlighting ‘local frames’

The new, (Dis)Comfortable entrance into the proposal with underlying tones of curiosity

Nothern elevation showing relationship of ‘new barn’ to ‘obscured lounge’

Watercolour sketch illustrating moment of stepping into the frame (highlighted) to view the church

Exposing the structure

Placing the moment

Testing the moment

Part Model of the obscured lounge expressing at 1:50 the inner structure of the space. Internal Box frame becomes the threshold of the ‘moment’ where one steps into the space (denoted by change of material), to view the church. Light is received through roof light and window placed on the west.

Morning

Midday

Afternoon

Part Model of the obscura chamber. Moment lends itself to the ideas explored with the earlier Kahn model. Space features a single statue in darkness illuminated by a single beam of sunlight from the south. This will move through the day makeing different parts of the statue and space legible to the visitor.

Adarsh Madhewoo, Stage 5 To break familiar preconceptions, go beyond the threshold of discomfort and rediscover existing beauty. Situated in the heart of the Tenterden townscape, the proposal presents a scheme that principally frames objects, views, and plays on ideas of familiarity, legibility, and invitation. It is a sensory museum nestled amongst the existing fabric with an obscured lounge framing views of the St. Mildred’s Church, an experience offered to those willing to go beyond discomfort. 69

Internal Perspective of the Collaborative & Configurable Housing

External Perspective of the Bike & Bin Store

Section CC through the Collaborative & Configurable Housing

External Perspective of the Communal Courtyard

Internal Perspective of the Library of Things

Section BB through the Library of Things

Exploded Axonometric of the Structure

Aerial Isometric of the Scheme

Section AA through the Public Living Room, Library of Things and Collaborative & Configurable Housing

Nirav Patel, Stage 5 Georges Perec coined the term the ‘infra-ordinary’ as a means of questioning and interrogating the habitual and banal aspects of everyday life. The proposal seeks to explore how the ‘infra-ordinary’ can influence the way in which humans interact with each other, in relation to this year’s Unit theme of (Dis)Comfort and my own investigations into the juxtapositions of backgrounds and foregrounds. Through the retrofitting of a former cinema in Tenterden, namely the Embassy House, the scheme comprises a public living room and library of things, along with new associated collaborative and configurable housing to the rear.

Proposed Axonometric Drawing

Proposed Perspective Section

Perspective View - Supercelestial Plane

Perspective View - Celestial Plane

Perspective View - Terrestrial Plane

Diagramatic Exploded Axonometric Drawing

Proposed Model Construction

Reuben Tozer, Stage 5 The Ashford Welcome Centre provides mental health services to the public as well as on a personal level. The centre is located on the corner of the town centre, central to the more deprived areas that are more likely to be effected by mental health issues. It is a gateway that is welcoming to all, connecting the public realm to the memorial garden behind. The centre provides a moment of peace for those who need to escape their busy or stressful lives. 73

Exploring Unfamiliar Moments of Intimacy and Activity

The Enjoyable Discomfort Escape

The Hidden and the Exposed

Unfolded Section - Unwrapping the Spaces Inbetween

‘Non-Place’ of Ashford

Exploring the (Dis)Comfort of the Hidden and the Exposed

James Vincent, Stage 5 Whist providing a space of ‘escape’ within the familiar, Marc Augé defined ‘non place’ of Ashford, the proposal seeks to bring the divided citizens together with the local authority to ‘reclaim the city’. The scheme additionally explores the demand of Lefebvre’s ‘anthropological foundation’, whereby the citizens have the right to be ‘hidden’ as well as ‘exposed’ within this hub of social interaction and how these juxtapositions are required in order for the space to survive. 75

Luciana Gagliardi My autumn term analysis of fragrance brought me to think about how certain smells can ignite certain memories in everyone, taking us back to different times and spaces. Set in Ashford, this project focuses on providing comfort for all ages and aims to generate memories of childhood. It also provides a pedestrian focused path from the railway station to the high street, as Ashford is currently very vehicle focused. Design elements such as height levels and repetitive thresholds are used to create a playful narrative. 76

Red Room with Blue Corner

Circulation Space

Yellow Room

Main Entrance

Bana Haddadin, Stage 4 Insert student work synopsis Inspired by colour field painting the following design of the ‘Comfort station’ pavilion, at The University of Kent, optimises the use of colour emotionally and spatially. By adjusting the hue, value and intensity of colour, colour can be used to strategically orchestrate spatial sequences or to visualise tectonics, it can support light and shadow. Colour can make surfaces an optical and haptic experience and much more. 77

‘Covering and Uncovering’

Final Project - Perspective Section

Final Project - Front Elevation

Concept Collage - ‘Familiarity and Being Welcome’

Final Project - ‘Privileged Point’

Kira Hill, Stage 4

My work this year has revolved around the idea of control and creating a ‘privileged point’, also focusing on the idea of covering and uncovering, the uncovering often being of different forms of architectural heritage. My final project looked at creating ‘heart’ of the town and somewhere visitors can feel welcome and inducing a sense of familiarity by using a traditional timber frame building and creating a new timber frame extension to the building. 78

Axonometric and Elevation of the welcoming Pavilion

‘Being Welcome’ and human connection collage

Axonometric of the Ashford Age UK Centre and Museum

Georgia Laing, Stage 4 The main comfort aspect I focused on was ‘Being Welcome’. At first, I explored ways in which human connection can create a sense of being welcome and how this can be expressed spatially. I designed a pavilion that could facilitate these connections through messages and memories. This led me to explore how comfort can be found in connection to the past. I designed a new Age UK centre intergrated with the Ashford Museum to create a welcoming space for the elderly and to allow the past to be celebrated rather than forgotten. 79

Long section demonstrating the ‘lifted street’ element to knit the programme together.

Interior colonnade.

Approach from south.

Populated detail through one of the workshop pods.

Approach from north.

Section through workshop pods and ground floor colonnade.

Mark Thomson, Stage 4 An intervention into the future Ashford TV studio development. A crafters’ colonnade, designed to diffuse tensions between varying actors in a setting that actively attracts new demographics to Ashford. This proposal invites increased interaction between these new actors and the existing ones. A human scaled proposal focused on an investigation of surface as the primary architectural medium mediating these social tensions and discomforts. 80

Albert Willsmer, Stage 4 This project aims to bring the surroundings together by creating a link between Tenterden Train Station and the Old Dairy Brewery that sits beside it, which the two are otherwise disjointed. The ideas behind movement, time and good fit have been comfort aspects that have driven the form and materiality of the project. The tension of the fabric reflects the energy of the movement inside. The proposal provides key views into the brewery and train station to assist the tours that take place within. 81

HIN CHING WONG, Stage 4

Headshot photo B&W on white background

Juxtaposition to Connect This project is a further exploration of Michel Foucault’s theory on structuralism. It is designed as a public building which offers the community brand new perspectives to connect with the Cathedral, the landmark of the town, under the research lens of texture. Various programs are designed along the proposed routes for different user groups to encourage them to climb up to the top of the building.

Exterior Rendering

Structure Rendering

AXO Drawing

Framing room Rendering

Ningjing Yang [Nikki] Stage 4 Now that the pressure on adults is increasing, people will have the idea of fleeing the city. The project provides people with a “paradise” so that people can experience nature and enjoy a peaceful life to relief. Its functions mainly include: market, bazaar, observation deck, farming studio, etc.

Memorial and Craftsman South Elevation

Memorial’s Idle Clay Stones

Reflection Point 1

Craftsman Workshop

Memorial 1:50 Sectional Model

Deviatian Momentos’ Roof Plan

Mahmoud Yusuf, Stage 4 Based in the heart of Ashford’s leisure hub, Deviation Momentos acts as a series of ‘idle’ spaces that deviate the public from the fast paced consumer context. Dramatic reflection moments welcome visitors on either side of the market through the warmth in materiality and subtle walkways. These reflection spaces are connected through underground links and at the centre lies a memorial space that commemorates loved ones with personally distinctive clay stones. 84

MArch UNIT 4

NET-ZERO COLLECTIVES MATTHEW WOODTHORPE Following on from last year’s success, Unit 4 has continued our sustainability-led design programme, looking at the social context of London’s Shoreditch, the circular economy, net zero (whole life carbon) and collective enterprise. The outcome of which is a broad range of delightful, user-orientated and authentic projects – many looking in detail at sustainable re-use and embodied carbon. The core brief of this unit draws upon the current imperative to change the way architects think about sustainable design: exploring the re-use of existing buildings and social context to greater depths and embracing the need to embed the RIBA’s Sustainable Outcomes 2030 into everyday practice. Inspiration has been drawn from core resources such the Ellen Macarthur Foundation (circular economy) and Kate Raworth’s seminal book on sustainable economic theory - Doughnut Economics, with an emphasis placed on the collective identity of the user (s).

This year’s technical programme ‘Tech 5’, led by Professor Henrik Schoenefeldt, introduced research-led reflective practice, environmental modelling, data analysis and passive design principles, leading to some truly excellent and innovative outcomes in architecture and technology. More information about Henrik’s innovative module can be found in his entry further on ‘NET ZERO 2021 - Establishing the foundations for climate literacy in architectural education within MArch. TUTORS Matthew Woodthorpe, & Yorgos Loizos. WIth technical tutor Ben Corrie GUEST LECTURERS & CRITICS Philip Baston, Mark Coles, Manolo Guerci, Tim Ireland, Lee Jeeson, Chris Jones, Michael Richards, Matthew Woodthorpe

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Reni Animashaun, Stage 5 This project is centered around a small group of fashion school students in Shoreditch who are working to restore a circular textile economy in the fashion industry. The proposal explores the idea of a process-oriented programme that houses the entire sustainable fashion process from start to finish. The design uses low-carbon, repurposed materials, in keeping with the client’s programme and unit brief’s circular ethos.

Front Facade Perspective

South West Axonometric

Front Elevation

Model of Moving Bridges

View of Moving Bridges in Atrium

View of Basement Nightclub (Moving Bridges Above)

Spiral Staircase surrounded by pot display

Henry Blazey, Stage 5 A ceramics studio, ceramic market and a nightclub in Shoreditch which already has a vibrant art/night-time economy. The building uses recycled pottery materials and an existing structure. It also incorporates moving walkways to control access for different uses within the building. The Concept was to use the existing structure whilst also breaking it up to create interest.

Himmang Chemjong, Stage 5

The design is influenced by vernacular Indian architecture that embraces passive strategies to achieve thermal comfort whilst interweaving the intricate details of craftsmanship throughout the facade design. The spatial qualities conform to the movement of dance and evoke a dramatic or quiet sense of emotions through the play of light and openings.

Retrofitting & Material Re-use: Paperwood lattice

Tall timber: Hybrid Glulam/CLT/Papercrete construction

Protected Archive

Public Foreground

Internal Courtyards

Section Through Retrofit

Front Elevation

Reegan Howles, Stage 5 Located adjacent to the Finsbury Market Substation, the Publisher’s House looks to celebrate the East End Cultures past and present and provide a place for learning and empowerment for the local community. With various internal spaces including an archival store for local publishing, a printing workshop and an event space, the proposal looks to address the RIBA 2030 sustainability targets through an exploration of material re-use and retrofitting. Instagram: @Howles.r 95

Main Entrance - External Panel Cladding

Cinema Room - 1

Wall Panels - 1000x2000mm - Wedge Slot System for Assembly

Outdoor Kiosk - Semi Internal Area

Existing Graffitied Wall During Night

Floor & Roof Panels - 1000x2000mm - Wedge Slot System for Assembly

Ely’s Yard Cinema - Aerial View

Ely’s Yard Cinema Graffiti Wall Experience - Day/Night

Hon Nip, Stage 5 Located in Ely’s Yard, Shoreditch, the ‘design-for disassembly cinema brings a new function to the area. Celebrating the different forms of media in Shoreditch from photography and film to street art surrounding Shoreditch as a whole. Consisting of spaces from cinemas to café, to an outdoor garden, the building aims to address the outcomes from the RIBA 2030 Sustainability targets from the use of low-embodied carbon materials and proposing a lightweight structure designed to be assembled/disassembled on-site. Instagram: @hon_arch (HonNip Arch)

ORTHOGRAPHICS

ORTHOGRPAHICS

TOBECHUKWU JEREMIAH OBIEKWUGO, Stage 5 The Climate Pavlion proposes the investment of alternative meat agriculture enriching the populations of 1st world developed countries health as they switch to a plant based diet thus reducing the demand and pressure to increase animal farming output from developing countries like Kenya and Brazil. in turn cutting down on the release of methane and other GHG produced each year. giving the climate a chance for it to repair its self bringing the temperature back to normal in the long run. 99

Abstract Public Plaza plan & Elevations

Public Plaza Elevation Typologies

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Public Plaza with Busking Performance

Plastic Material Experimentation & Development

Main Stage With Sound Clash Battle

Sophie Ryder, Stage 5 The problem with plastic in the world is highly publicised an yet 91% of plastic still isn’t recycled. This project aims to utilise plastic as a key structural component. 48% of a buildings embodied carbon is in the super structure, therefore if waste plastic can be developed into a suitable structural solution it would go a long way to reducing waste plastic and the embodied carbon within the construction industry. Located in Shoreditch this new age music hall is designed to rebuild the split community. 101

Front elevation from Rivington Street

Interior tea room displaying aspects of tea processing, graphic render

Street entrance, graphic render

Robert Ashworth, Stage 4 A factory that produces tea; this project explored principals of low carbon building, closed looped processes and circular economic systems. The processing of tea and making ‘pop-up’ tea stalls is used to encourage conversation and interaction within the building. Different behaviours relating to tea culture were used to inform the social spaces in project. The project retrofitted a building that was originally made for timber seasoning. 102

Section through reimagined timber yard site showing internal courtyard and first floor access to public shoe-making workshops

Internal courtyard

Shoe-making workshop

Facade model palimpsest - Casting the old into the new

Charlotte Cane, Stage 4 Design for an artisan cobbler’s shoe-making workshop and gallery, celebrating traditional handmade craft and the resurrection of the ‘age of authenticity’. The project explores methods of working with existing urban fabric in Shoreditch, retrofitting an ex-timber yard. Inspired by the organic fall of leather and the shoe-making process, thwe suspended ceiling of the workshop is formed from weaving laminated timber and acts as a light control device below a large sky light.

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Long Section showing the context of Hoxton Timber Yard.

Section showing the concept of live/work.

Co-Making environment for Joiners.

Aspiring Joiners in the Joinary School.

Joshua Cordrey, Stage 4 The collapse of the Furniture trade in Shoreditch has allowed much of Shoreditch today to become gentrified and made it impossible for local joiners to return with less demand for Furniture and the cost of living. My project, Hoxton Timber Yard, is an area of shared economy and local joiners that acts as a stronghold to upcycle furniture waste and encourage a sense of community for the shared collective of Joiners.

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Section through Site

Level 3 - Shoreditch Social History Gallery

Split Axonometric - Shoreditch House Museum

Level 5 - Workshop and Artists Studio

Daniel Drabble, Stage 4 Shoreditch House Museum is a Gallery celebrating the social history, past and present, of Shoreditch. There are different exhibitions dedicated to various aspects of Shoreditch, such as contemporary street art, digital art and social history. At the top level of the Museum is a workshop and studio where art can be made and sold. The building serves as a focal point for the community, bringing together all social classes in a vibrant environment. The Museum is also a dedicated architectural archive that seeks to preserve the fast disappearing urban history of Shoreditch and London. 105

Internal Workshop Lift

Front Elevation from Great Eastern Street

Workshop Layout & Circulation

The Public Viewing Deck

The Communal Garden

Rainwater Collection & “Filter Fins”

Molly Myers, Stage 4 With the expansion of the ULEZ in October 2021, this building will increase the capacity of Hackney Car Club and provide a combustion engine to electric motor conversion workshop - removing polluting cars from the streets of Shoreditch and increasing people’s access to green transportation. Using a variety of environmental strategies, this building will act as a precedent for other towns and cities to become net zero and encourage the use of sustainable transportation methods. 106

Long Section showing the context of Hoxton Timber Yard.

Front Perspective

Courtyard Perspective

Internal Perspective, Micro House

Internal Perspective, Studio Flat

Shilong Wang, Stage 4 Various personal and social factors have caused people to become homeless, and homelessness has become a significant issue nationwide. The project proposed various types of housing, providing temporary and permanent homes for people experiencing homelessness in the local area. The project also proposed educational and medical facilities to help homeless people stay in good condition while support is provided to help them starting a new life. 107

MArch UNIT 5

DESIGNERS OF WORLDS DR TIM IRELAND Stepping off from last year’s Unit 5 theme of The Hitchhiker’s Guide to the Galaxy, we looked to the Magratheans (a race of beings that specialise in the design and construction of planets), and Slartibartfast in particular; who designed earth, but mostly, because mostly all the Magratheans went into hibernation. All that is except Slartibartfast. Having experienced lockdown, and the effects of isolation brought about by social distancing one’s immediate environment becomes (or is emphasised) as a positive or negative agent to wellbeing. The setting of our individual lockdowns has been an active agent and fundamental constituent to our personal physical and mental health in these constrained times. What if one had the ability to alter their setting? To change the very character of their environment, to shift aspects of, adapt the form, background or atmosphere allowing control of one’s environmental settings to enhance their mood or effect a change in sense of being?

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Slartibartfast likes fjords. His job involved him in the construction of coastlines of continents on planets manufactured by Magrathea; in particular, he specialised in fjords. He won an award for his work on Norway. Rebuilding Earth (version 2.0), after the Vogons destroyed it to make way for a hyperspace bypass, Slartibartfast decided to remodel the African coastline, with plenty of fjords because they give a “baroque” feel to a continent. Becoming Magrathean, and looking to film and literature for inspiration, Unit 5 2020/21 was tasked with becoming Designers of Worlds. Fundamental problems were identified (ranging from climate change, pollution and societal issues to political dilemmas), to which responses were formulated and propositions developed to counter these problems and imagine how we might live and how our worlds might be. Technological responses were proposed and the students developed idiosyncratic propositions and formulated schemes envisaging their positions. Rather than fanciful and fleeting proposals of dreamlike landscapes, as might be expected of the Magratheans, the students approached the undertaking with maturity and sensibility; choosing to undertake contemporary themes and to tackle concerns such as mental health and well-being, misogyny, surveillance, covid and individuality. The schemes are therefore insightful and contemporary responses to tangible issues of everyday life, which seek to define considered architectural responses that propose alternative, and responsible, ways of living through architecture. TUTORS Dr Tim Ireland & Chris Jones. With techical tutor Mark Coles. GUEST LECTURERS & CRITICS Marco Fiorino (Mooradian Studio), Melanie Perkins (PDP:London), Tom Bush (Foster + Partners), Brian Constant (Constant)

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Front View of the Vaccine Centre

View from the bottom of Cliff

Front Facade

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BSL-4 Laboratory

Reception Area

External work space

External Amenity Space

Ser Justine Agon, Stage 5

The Invisible War: Covid-19 have affected everyone’s lives. This vaccine centre has been designed to defend against the invisible enemies. The vaccine centre focuses on research into biological threats, finding information which may be needed in the event of a mutation. The design will allow highly trained scientists to carry out their research in the even of a pandemic within a holistic space that provide suitable environments for each function. 111

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Karen Pelin Astley, Stage 5 As a solution for the overconsumption of textile, the Textile Recycling Hub proposes a route of circular economy. The project located in east London, contains market stores which sell recycled clothing, an industry where unsellable clothing will get upcycled, a textile school and services such as tailors, stylists, and rental stores. As the programme of the project contains vast amount of textile, a tensile membrane structure has been added over the stores which would create colourful market spaces. 113

View from south-west

Market

Rooftop

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Arcade

Site Plan

Long section

Tze Chun Andy Chiu, Stage 5 The project aims to create a canal city in Lea Valley, London, and to increase the capacity of canal living and expand the narrow boat culture. Lea Valley Cultivation Centre is a multifunctional communal and agricultural building, aiming to encourage and enhance the canal lifestyle and also help integrate the canal and urban communities.

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Central Street

Central Street Bazaar

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Level 1 Workshop

Level 2 Market

Level 3 Market

Level 4 Cafe

Short Section

Ming Chi Nathan Liu, Stage 5 Located in Fawe Park Road, Putney, London, the proposed project is a mixed-use development in the form of an artisanal high street with an emphasis on creating spaces for artisans to teach, design, build and sell their crafts. The project comprises of northern residential units and southern market/workshop units, bisected by a central street and connected through public roof terraces, utilising the abandoned railway on site to create connectivity with the local community. 117

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Ben Warner, Stage 5 “The School of Ascension” is an off-grid rehabilitation campus for misogynists (specifically “incels”, a sect of online woman-haters). Its cut-off location on the British Territory of Ascension Island inspired an invented architectural vernacular using local materials in a 3D-printed construction process. With no way to leave the island and no internet access, clients work the land for sustenance between therapy and educational sessions. Once successfully rehabilitated, their 3-month stays culminate in a ceremonial graduation. 119

a new parliament for Swale

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Fort Republic, the exhibition of new kent

Alice Young, Stage 5 Over the past year I’ve embarked upon an imagined future that sees the County of Kent pull anchor and declare itself independent from England, redesigning a Republic to explore the follies and freedoms that isolated independence provides.

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Site sectional perspective

Night view perspective

Chris Caballero, Stage 4 For this year, I explored the theme of living on the water as an opportunity for a circular lifestyle. Floating communities such as Amsterdam inspired this project, later named ‘Project: Oase’. Sustainable techniques such as aquaponics were used to aid a self-generating community and circular economy. As we head towards the point of no return with climate change, the prospect of living on the water becomes more realistic yet freeing.

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Perspective from Water Feature

Perspective from Roof Garden

Perspective from Bridge

Exterior Road Perspective

Inès Combalat, Stage 4 This proposal incorporates a post covid-19 wellbeing center which is a part of a bigger scheme to improve the connectivity, green spaces and public areas of Camden Town, London. The interior of the project includes facilities for the residents to help them get back to their daily lives after contracting covid (physiotherapy, occupational therapy…), and the exterior, which is reminiscent of Camden’s past, helps improve the urban landscape through new green spaces and pedestrian circulation. 123

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Robert Keen, Stage 4 The Goodsyard Infectious Disease Centre questions traditional high rise commercial development on a prominent brownfield site in Shoreditch, where a proposed masterplan is currently in development. It draws inspiration from the altered working patterns seen during the Covid-19 Pandemic, as well as Bio-safety research and development issues, to propose a combined scheme. A biotopic utilitarian addition to the ruined Goodsyard allows a unique urban green space to provide wellbeing relief whilst vaccines are produced. 124

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Eugene Lim, Stage 4 Designing for Health and Wellbeing The Covid-19 pandemic has affected everybody. Soon when restrictions are lifted and normality resumes, we may reconsider how we have lived out our lives reflecting on neglected opportunities. Design 1 aimed to implement places of reflection and a reminder of what we can achieve - a beacon of hope. Design 2 looked to connect reflection spaces while promoting healthier travels in the form of a cycle park. 125

Group Counselling Dance/Movement Therapy

Art Therapy

Wholeness Health Center

Jessica Odinwankpa, Stage 4 I have taken a health approach for this project. The aim is to prevent addiction by using different therapeutic strategies. To support this project, I investigated The Transtheoretical Model (Stages of Change) as a theory that demonstrates the stages people can take in changing behaviour quickly. Along with this, Peter Zumthor book: Atmospheres: Architectural Environments, Surrounding Objects and Gernot Böhme book: Atmospheric Architectures: The Aesthetics of Felt Spaces was also used. 126

Freda Odonye, Stage 4 To reduce the impact of a pandemic on operations and the general public, it is important for the commencement of a continuity plan. An Isolation pod primarily catering to the causalities from the Covid pandemic. These pods are aimed for temporary or short-term basis. Typically a two weeks isolation period, meant to prevent the spread of the virus and as well treatment.

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Christine Wong Wen Gin, Stage 4 Proposed alternative sustainable agriculture methods to be embedded into the heart of Whitstable. An educational catalyst to encourage more sustainable ways of living, a place where people connect learn and ‘GROW’.

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MArch

NET ZERO 2021: ESTABLISHING THE FOUNDATIONS FOR CLIMATE LITERACY IN ARCHITECTURAL EDUCATION WITHIN MArch. PROFESSOR HENRIK SCHOENEFELDT 2020-21 was a challenging academic year. The pandemic has disrupted established modes of teaching and learning, but it also revealed our incredible abilities to adapt to radically new ways of working under emergency conditions. A much more far reaching disruption to architectural education and practice, however, is still ahead of us. It is the climate crisis, another emergency that requires us to change current practices in fundamental ways. Greta Thunberg’s message also is also shaking up the architectural profession. It requires educators, students and practicing architects to establish new, more specialist bodies of knowledge and also familiarise themselves with new methodologies and design tools. In 2020 the RIBA has finally made a formal commitments to tackling the climate emergency, as outlined, amongst other, in the RIBA Sustainable Outcomes Guide and in the 2030 Climate Challenge report and the RIBA also expressed a commitment to promoting principles of sustainable development within the architectural profession, using the UN’s Sustainable Development Goals as a basis. In another report The Way Ahead (2020), which focused on the future of architecture education, the RIBA has identified climate literacy as one out of four key competencies to become mandatory for architectural education. It acknowledges the need for change in both 130

architectural education and professional practice, and stresses that even qualified and experienced architects, need to engage in further learning to acquire the required level of climate literacy. The climate crisis is also an educational crisis, which affects students, educators and practitioners around the world equally. In this academic year I have led the development and implementation of a new curriculum for climate literacy for the Master of Architecture (MArch) at Kent. The focus was on stage 5 but at the next stage it is to be extended to become part of an integrated curriculum for stage 4 and stage 5. The purpose of this initiative was to embedded climate literacy and skills into the teaching of design and technology. This curriculum was delivered through the module AR647 Technology 5, which is taught in parallel to AR839 Design 5B in the spring and summer terms. This new programme is to enable students to acquire a new cannon of knowledge and working practices and integrate them into the design process. Students were also introduced to tools and methods that allowed them to estimate the climate impact of their own projects, looking at the emissions associated with the operation of buildings as well as the embodied carbon of their construction.

Diagram of the programme for climate literacy, 2020-21 (Schoenefeldt) 131

The model began with a core programme of five half-day seminars, which combined lectures with practical workshop sessions. In these seminars I introduced students to new knowledge and working methods but also took part in practical exercises looking at their application in design. These seminars were followed by weekly group tutorials, which focused on the themes (a) reflective practice (b) embodied carbon and the circular economy and (c) operational carbon. Whilst it was my responsibility to deliver the core programme, the delivery of curriculum for climate literacy was a collaborative effort. This core programme was complemented by four masterclasses, which were given by guest tutors with different technical specialisms studio tutorials delivered by the tutors in the design units. The MArch has four design units, and the students and tutors in each unit were encourage to explore ways of embedding the new climate curriculum into their unit that is sympathetic to its ethos and theme. This yielded a diversity of different approaches to addressing the net-zero carbon challenge. In each unit was a significant number of projects that were about adaptive-reuse of existing structures, whilst others were concerned with design for disassembly and the re-use of salvaged materials in the construction of new buildings. In Unit 3, which was led by Michael Holms Coats, the theme was Discomfort and several students critically engaged with standards of thermal comfort and its implication for energy use. The focus of Unit 4, which was entitled ‘Net-Zero Collective’ and led by Matthew Woodthorpe, was on the circular economy. In Unit 1, which was led by Michael Richards, students explored the idea of a closed-loop economy within a fictional future where the county of Kent becomes a self-sufficient and locally-governed state. In Unit 5, in contrast, which was convened by Dr Tim Ireland, several students explored low-carbon solutions for new buildings Each unit has three design tutors, one of which is a dedicated technology tutor. Their involvement was critical in enabling students to apply principles of net-zero carbon design in their individual projects. To achieve a good integration of the new curriculum into the units, it was necessary to have weekly meetings with tutors from all units. During these meeting we discussed how the core programme can be successfully complemented by the teaching delivered by each tutor at unit-level.

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Much of the emphasis this year has been on reflective practice and the changing in the nature of the architectural design that is driven by the requirements of net-zero carbon. In diaries and short essays, which were submitted alongside the portfolio, the students documented their engagement with the principles of low-carbon design and also provided personal reflections on their experience with these principles. These submissions has revealed that students were embracing the challenge, many engaging deeply with the implications of net-zero. The same applied to all involved in the delivery of the teaching this years. We also had to undergo a learning process. My view is that climate change requires architects, educators and students to embrace the virtue of humility as it will allow them to be open to acknowledge the limitations of their knowledge and to engage in new learning. The changes undertaken this years are an important yet only first step in this transition and the next two years will provide opportunity to built on the foundations established this year. WITH SPECIAL THANKS TO OUR MASTERCLASS CONSULTANTS Kieren Eldsden / Michael Popper - P3r - Passive design principles Dominic Meyrick - Hoare Lea - Daylight Martin Waters - eHRW - structural Engineer Sean Cohen - HTS - structural Engineer

PROFESSOR HENRIK SCHOENFELDT MODULE CONVENOR 133

MArch

DISSERTATION MArch ACADEMIC RESEARCH DR SILVIO CAPUTO Dissertation has a special place in the MArch architecture programme. It is an atypical module due to its duration, stretching across two academic years with several seminars, during which students are supported by supervisors in their dissertation’s development. Dissertation is a module that is part of both Part 1 and Part 2 curricula. Typically, this particular delivery of the module has yielded excellent results, and some of the best dissertations are truly solid pieces of academic writing. This is all the more the case for MArch students, benefitting from prior skills acquired with the BA course of studies. For them, dissertation is about honing, rather than acquiring, research skills. These skills are crucial in the architectural profession, as they enable the development of those investigations which usually generate the evidence base necessary for practitioners to successfully justify design ideas and architectural projects. They also enable the organisation of research findings in a clear and structured way, which 134

is easy to communicate. Indeed, the process of writing a dissertation bears similarities with that of design development: both are carried out in a structured way, following a sequence that articulates complex concepts, elaborates them and reaches a conclusion. Learning to write a well-structured dissertation will inevitably help to develop good and convincing design schemes. In spite of the exceptional period in which we are living, and the disruption the pandemic is having on the delivery of teaching, the overall quality of the dissertations submitted this year is very good. Although we encourage the choice of topics that focus on architecture, urban design and planning, and climate change, students are free to propose any topic for their investigation, leading to some unusual and fascinating choices. There is great value in exploring topics that are seemingly not directly connected to the issues typically debated in the architectural world, allowing new connections to be made and new perspectives to be developed. This year, students developed investigations on a wide range of topics, from History and Theory (Modernism in Nigeria) and also, inevitably Urban and Building Design, and disease control. In a school of architecture, visualising concepts is important. In our dissertations, text is usually complemented with beautiful images, sketches and diagrams. This year, I have seen great efforts poured into illustrating and graphically composing text and images, resulting in engaging dissertations that are beautiful to watch. A dissertation on vernacular Anglo-Saxon Houses and their relevance to contemporary environmental strategies for building is beautifully illustrated with original drawings from the author.

DR SILVIO CAPUTO MODULE CO-ORDINATOR 135

MArch Dissertation - Academic Research Anglo-Saxon House: Extracting Wisdom from the True English Vernacular This dissertation joins with the many voices it cites in arguing that if humans are to survive long into the future, architects need to look long into the past. They need to set aside their prejudices, retire their pursuit for monumentality, and be inspired by the anonymous “non-pedigreed architects” of the world’s aforementioned distant civilisations which Sustainability is a highly localised affair, and as such, in this dissertation, English architecture, in particular the typical Anglo-Saxon house (c. 500-800 AD), is studied in order to develop a contemporary sustainable technological application to roof construction. Text, diagrams, photography, academic literature review and field trips are used to elucidate upon the subject.

‘How roofs were’ Typical Anglo-Saxon construction

Benjamin Warner 136

Disease control through the physical environment: A comparison between London & New York This paper sought to trace the historical and theoretical foundations of health and the urban built environment and compare the cities of London and New York in their capacity to control disease throughout history, up to and including the COVID19 pandemic. This investigation aims to identify how the physical environment can and has impacted the spread of both chronic and infectious disease and looks to speculate principles of design that can help to shape the future of healthy, safe urban

Principles of disease control

Reegan Howles 137

MArch ARTEFACT

RESEARCH THROUGH PRACTICE DR SILVIO CAPUTO Artefact is an option for students who prefer developing a designbased investigation rather than a dissertation requiring ‘conventional’ academic writing skills. Students who choose this option are asked to investigate through making, with the artefact being an opportunity to capture in a model, installation, or any other form of visualisation and shape creation that possesses some key reflections on a particular topic. Clearly, model making, which is so important in the architectural profession, is one of the most common ways for students to assemble and deliver the final artefact, although not the only one. Over the last years, students have designed installations, films and, more recently, digital artefacts. This year, for example, students proposed as an artefact in the form of a smartphone app that can be used by homeless people to seek support. In fact, limited access to the school workshop due to the pandemic has reduced opportunities for students to use our model-making machines and 3D printers. This 138

has not prevented them delivering good projects, either by using alternative model-making facilities or documenting the artefact through drawings, sketches, and other media. Many of these artefacts were socially and environmentally motivated. For example, two of the most notable artefacts explored new ways for people to co-habit with corals which are beneficial to both species, and the design of a wearable head-gear that can help people with Autism Spectrum Condition create a place in which they feel safe. In other words, these explorations were aimed at developing solutions to important social challenges, demonstrating that the Artefact option can be used to test experimental hypotheses. Regardless of the nature of design-based investigations – whether socially, environmentally or aesthetically oriented – these have been developed using traditional research tools. The research reports accompanying the artefacts provide robust evidence of the relevance of the artefacts proposed, broad understanding of work developed in the area of investigation and – in some cases – consultation with experts that provided important advice on the making of the artefact. Such results are incredibly encouraging, and the impressive nature of the projects continues to grow.

DR SILVIO CAPUTO MODULE CO-ORDINATOR 139

MArch Artefact - Research through Practice Mutalistic Symbiosis: A reformed relationship that unites human & coral The evolution of humanity has only been beneficial to itself with little regard to the effects on the planet, including the decline of the coral population. This is due to the reduction of an endosymbiotic algae that is hosted in the coral’s endoderm layer of flesh. There are many groups of people who rely on coral as a source of income and food. The most direct dependency is derived from the indigenous tribes who live in the seas around Indonesia, Malaysia and the Philippines, such as the Bajou. The current evolution of their dwellings involves direct destruction of reefs. Therefore, the objective of this project is to formulate a solution of mutualistic symbiosis between the Bajau and the coral.

Final artefact

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Developing a temporary architectural intervention to facilitate the comfortable occupation of individuals with Autism Spectrum Condition (ASC) within a sub-optimal space. ASC is a condition that is poorly understood by the construction industry, yet this industry has a major negative impacts on the lives of people with ASC. Sensitive to many aspects of the built environment those with ASC can find navigating the world around them a constant struggle, and only in the last few years have any noticeable movements toward more inclusive design really began. This project is affectionately named the Pangolin after a small shelled animal that rolls into a ball to protect itself. Like the animal, the design of the mask developed here offers people with ASC respite from many of the environmental stimuli surrounding them, in addition to creating a secure shell that can protect them.

Testing the final mask

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MArch PEDAGOGY

RADICAL EDUCATION REBECCA HOBBS & CHLOE STREET-TARBATT This unique module aims to provide a formal programme in the teaching of architectural design and communication. Fifth year students develop an understanding of the general principles of architectural pedagogy, through practical experience teaching on the stage 1 undergraduate programme alongside tutors and through research in the field of higher education. The focus is on historical and contemporary teaching and learning models that are specific to architecture including studio-based tutorials, seminars and design crits. The teaching and assessment of this module is divided into two components; ‘Theory and Reflection’, and; ‘Practice and Evaluation’. Through the combination of pedagogical theory and research alongside direct teaching experience, the module seeks to promote its students as active ‘agents for change’ in the Kent School of 142

Architecture & Planning. Key Methods and strategies developed and will be disseminated through the School, working with Stage 1 tutors, presenting to staff and students at crit sessions. This year the pedagogy students brought knowledge, enthusiasm and experience to the stage I tutorials and have been invaluable to both stage I students and tutors alike. Their research, essays and interventions explored the role and taxonomy of representation in architectural design; how the practice of ‘play’ could enhance student well-being, and; how students could be supported to make the ‘punishing leap between education and practice’. A book was produced titled ‘Exploring relationships between structural design, anxiety and creativity’ in architectural education, while the importance of precedent analysis and associated design thinking was researched and tested. An examination into how phasing and kinesthetic learning could impact on technical knowledge was carried out and finally, an exploration was undertaken into how utilising a grid could inform student’s architectural design and thinking. The projects spanned an extraordinary range of pedagogical thinking, and the research undertaken will help equip these students in tutoring our architectural students of the future.

REBECCA HOBBS & CHLOE STREET-TARBATT MODULE CONVENORS 143

MArch Pedagogy - Radical Education Building Confidence in Students: A very brief guide on preventing anxiety amongst architecture students “…. if you are new to a situation, you may not know what to look for….” Graham Gibbs, 1998 Although architecture students spend three to five years in education, their readiness for practice is often questioned. Whether this is a question of professionalism or time management varies student to student, however, as discussed, the question of graduates’ technical ability is universal. The majority of this study has been almost auto-ethnographical and stems from my own first week in practice. I was tasked with drawing up the construction details of a small tennis pavilion in Wymondham, Norfolk. I floundered, and spent my lunch hours in the loos in tears not knowing where to begin, or even how to go forward once I had begun. I felt utterly let down by my education, and found myself questioning my own self-worth in the workplace, as well as what ability I might or might not have. As time progressed, I persevered and some things got better, although construction details remained by biggest weakness. As a KSA(P) graduate returning to study the pedagogy of the course, I felt very strongly that this was an area that desperately needed addressing and felt fortunate to be in a position to do so. This resulted in the writing and illustration of a guide book that showed building details by sequentially introducing each building element. The guide was also peppered with advice from MArch student and mental health professionals in managing stress levels as the anxiety epidemic continues to grow in architecture students.

Izzy Adams 144

Final submission booklets

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Preparing Students for the Future Throughout the course of its modern existence architecture has never been without some kind of deep-rooted, contradictory, self-deprecating debate. Today there is at least some kind of consensus between the profession’s practitioners, its educators, and those being educated: the output of architecture graduates need to be better prepared for a rapidly changing professional landscape. There is, of course a substantial range of opinions for how to achieve this - from suggestions of an AMBA (Architectural Masters of Business Management), to a complete dismantling of the existing institutions and relationships between student and teacher - in what is essentially a return to the time-honoured debate in architecture - is it a profession or an art? How can we, hoping to ‘update’ the profession’s education, create long lasting change whilst holding true to the core tenets of what architecture is and means to society? In recent years the RIBA has released a number of studies (and recommendations) and been provoked to implement a fundamental reform of the continued professional development (CPD) of chartered architects, most recently introducing mandatory competency tests in September of 2020.

Reuben Powell 146

Although these developments look far into the future, attempting to develop a better learning culture inside practice, outside educational institutions, they lack provision for students who still require help making the punishing leap between education and practice. Through a review of the wider context of the debate and an understanding of recent developments in educational psychology and pedagogical theory we can establish the direction of possible solutions towards preparing students for ‘lifelong learning’, with a focus on transparent, explicit curricula, to create motivated, selfdirected learners. ‘...the workplace may now offer the greatest educational challenge to the student’ Judith Farren Bradley

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Towards a Taxonomy of Representation Methods to aid the Design Process “Architects do not make buildings; they make drawings for buildings” Robin Evans, 1996 The conversation between the designers mind and the language of representation produced, allows for the development and progression of design ideas in the absence of tangible space. This study observes and studies the use of representation within architectural education and questions whether there is a taxonomy of representation methods which can aid the design process. The research identified that students, studying architecture from stage one to five, do not have full control over the tools and types of representation they adopt to overcome design barriers and develop design intentions. A lack of awareness regarding different learning styles and representation types which aid different learners maybe preventing design progression. Furthermore, a lack of knowledge and experience students have with regards to the tools of representation denotes that they are unable to extract the unique qualities of the specific representation and thus cannot test and critique their work; consequently suggesting inefficient design development The aim of this study explored the potential of introducing a ‘representation taxonomy guide’ to aid all students in adopting tools and types of representation to efficiently unlock design challenges along different points of the design process. The guide benefits all different types of learners throughout the specific stages of the design process and provide the students with knowledge concerning the tools of representation they can adopt which aid in efficient design development.

James Vincent 148

Mobile app screens

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AWARDS 20/21 SHORTLIST NOMINATIONS

AWARD NOMINEES RIBA Part one - BA (Hons) RIBA WEST KENT BRANCH PRIZE - SHORTLIST

LANDSCAPE PRIZE SHORTLIST

Alexandra Barbu

Ian Angelas-Canlas

Nuriye Izem Celik

Sam Crow

Kayley Gibbons

Jack Lutz

Rebecca Jilks

Helen Oloyede

Ik Hui Lam Zhi Yeoh

DISSERTATION PRIZE - SHORTLIST

BOND BRYAN PRIZE SHORTLIST

Simona Iorio

Technical intergration Stage 3

Ayako Seko

George Bamford

Matthew Maganga

Alexandra Barbu Nuriye Izem Celik Kayley Gibbons Rebecca Jilks Ik Hui Lam

GRAVETT PRIZE Awarded to Stage 2 Students for best observational drawing(s) of existing buildings or structures TBC

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Rebecca Jilks

SUSTAINABILITY PRIZE - SHORTLIST George Bamford Rebecca Jilks Silvia Simeria

STAGE 3 ARCHITECTURE PORTFOLIO PRIZESHORTLIST

RIBA WEST KENT BRANCH PRIZE - SHORTLIST Ian Angelas-Canlas

George Bamford

Sam Crow

Nuriye Izem Celik

Jack Lutz

Rebecca Jilks

Helen Oloyede

Ethan Kitto Ik Hui Lam Carys McVicar

RIBA BRONZE NOMINATIONS SHORTLIST George Bamford Nuriye Izem Celik Rebecca Jilks Ethan Kitto Ik Hui Lam

AJ PART 1 NOMINATION Nurikye Izem Celik

RIBA Part two - MArch PURCELL PRIZE SHORTLIST

WRITING PRIZE SHORTLIST Karen Astley Dissertation - ‘Comparison of the Structural Techniques used in Asia Minor, Greece and Italy in the 2nd Century A.D.’ James Hatton Artefact - ‘Mutualistic Symbiosis: A Reformed Relationship that unites Human and Coral’ Adarsh Madhewoo Dissertation - ‘Understanding authenticity in restoration, and how architects have given historic buildings a new quality of meaning’ Sophie Ryder Dissertation - ‘Building Material Re-Use: Assessing the viability of building material re-use as a means of cultural and environmental preservation’

Henry Blazey Adarsh Madhewoo Grace Spencer 153

PEDAGOGY PRIZE SHORTLIST

DRAWING PRIZE SHORTLIST

Izzy Adams

For an abstract drawing, not directly communicating the design of a finished project.

Reuben Powell James Vincent The following four prizes may be awarded to both Stage 5 & 4 students.

DESIGN PORTFOLIO PRIZE - SHORTLIST James Hatton Adarsh Madhewoo Sophie Ryder Alice Young

TECHNOLOGY PORTFOLIO PRIZE - SHORTLIST James Hatton Nirav Patel Sophie Ryder Ser Agon

MAKING PRIZE SHORTLIST

Daniel Drabble Billy Swindell James Vincent Christine Wong

RIBA SILVER NOMINATIONS SHORTLIST James Hatton Adarsh Madhewoo Sophie Ryder Alice Young

RIBA DISSERTATION NOMINATION Benjamin Warner, ‘Anglo-Saxon House: Extracting Wisdom from the True English Vernacular’

Izzy Adams

AJ PART 2 NOMINATION

Henry Blazey

James Hatton

Billy Swindell

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AJ SUSTAINABILITY NOMINATION Morenikeji (Reni) Animashaun

3D REID NOMINATION SHORTLIST Henry Blazey Tze Chun (Andy) Chiu Nirav Patel Kehinde Pereira

HEAD OF SCHOOL PRIZE TBC The following two prizes may be awarded to students throughout school by KASA

KASA MODEL OF THE YEAR Margo Woollard Stage 1 - Model of the week 30th April (Easter Week 3) KASA DRAWING OF THE YEAR Christine Wong Stage 4 - Drawing of the week 18th December (Week 12).

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BA (HONS) 20/21

BA (Hons) FOREWORD

BACHELOR OF ARTS WITH HONS ARB/RIBA PART 1 EXEMPTION The BA programme has risen to the challenge of a ‘difficult’ year – the evidence is at hand in the work the students have produced, in the face of considerable challenges. The BA organised itself as a collective of academics in the School – the Stage Coordinators Howard Griffin and Gerry Adler (Stage One), Rebecca Hobbs (Stage Two) and Ambrose Gillick (Stage Three), ably supported by Marialena Nikolopoulou, the Deputy Head. Autumn term was conducted in part in our Marlowe Building studios, with lectures and seminars online. Matters were complicated by varying numbers of our students being remote from Canterbury, and so a mixed-mode of socially distanced and bemasked studio teaching with parallel Teams meetings was enacted. In a way, things were simplified from January, with all teaching being online. From the end of spring term students were able to book in to studio, workshop and computer spaces. We decided that all our project sites should be within Canterbury. Students resident on campus or in the city could easily get to these, and students remote from the School would either have a reasonable idea of the sites, or could access online information, or make use of tutor-produced images and videos to get a good feel for their qualities. This also allowed students to engage with our host city in a meaningful way. Projects ranged from a Boat House, ‘Tiny House’, and building to house the Canterbury Art and Craft Gallery (Stage One), to designs for housing and an urban productive landscape (Stage Two), to redesigning the fringes of a CO2-free city, and a new model of civic amenity, engaging with the city wall in a triad of grow-knowgather the production of ‘stuff’, knowledge and culture. 158

We welcomed some new Practitioners to our teaching staff: Joseph Eyles, working with Ron Yee in Stage Two Form & Structure, and a number of new colleagues in the studio: Simon Barker, Philip Baston, Robert Brown, Catriona Burns, Chris Burrows, Matt Gisbey, Shaun Huddleston, Victoria Lourenco, Jess Lumley, Rebecca Muirhead, Edward Pryke, Andy Macfee, Rebecca Muirhead, Andrew Reader, Dimitris Sofos, Chloe Young. Joining Ron Yee in Stage Three Technology we welcomed Andrew Reader and Dimitris Sofos. In the spring term Dr Manolo Guerci was appointed as incoming Programme Director and took over the role at the start of the summer term. Manolo has served the School in various roles since he first joined it in 2010. He takes this important role after five years as Director of Graduate Studies and will work with all constituencies so as to continue the excellent work done thus far and as we progress into the future. We would like to thank the Stage Coordinators and the extended School Strategy Group who, together with the (Covid) Task Force, have ensured the smooth running of the Programme during these extraordinary times. LECTURERS AND PHD STUDENTS Prof Gerald Adler, Georgios Athanasopoulos, Anske Bax, Dr Silvio Caputo, Benedetta Castagna, Prof Gordana Fontana-Giusti, Dr Ambrose Gillick, Howard Griffin, Dr Manolo Guerci, Rebecca Hobbs, Dr Nikolaos Karydis, Bernardo Lopes, Tim Meacham, Prof Marialena Nikolopoulou, Dr Alan Powers, Fiona Raley, Sukanya Ravi, Dr Giridharan Renganathan, Huda Elsherif, Sukanya Ravi, Michael Richards, Jef Smith, Chloe Street Tarbatt, Dr Richard Watkins, Peter Wislocki, Ronald Yee. PRACTITIONERS Simon Barker, Philip Baston, Robert Brown, Catriona Burns, Chris Burrows, Joseph Eyles, Lawrence Friesen, Matt Gisbey, Shaun Huddleston, Tara de Linde, Ivan Del Renzio, Victoria Lourenco, Jess Lumley, Rebecca Muirhead, Patrick O’Keeffe, Edward Pryke, Jo Merry, Andy Macfee, Rebecca Muirhead, Patrick O’Keeffe, Andrew Reader, Dimitris Sofos, Hooman Talebi, Benjamin Wood, Chloe Young

GERRY ADLER & MANOLO GUERCI HEAD OF SCHOOL & BA PROGRAMME DIRECTOR 159

BA (Hons) STAGE 3

FOREWORD DR. AMBROSE RUFUS GILLICK The final year of our BA (Hons) Architecture programme was a tale of two halves, with Autumn Term affording us the opportunity for a blended approach to studio teaching, but with remote learning once more imposed in the Spring. We have seen the year out in this way and students and staff have begun to adapt to this abstract world with customary aplomb and no little fortitude. Two design projects explored intersecting issues of sustainability, urbanism, architecture and social growth, on plots throughout Canterbury. Design work was, as ever, supported by diverse but focused offerings in professional practice and twentieth century architectural history, whilst the students also got to develop their own learning through the dissertation module. Always challenging, Stage 3 is that wonderful final stage in students’ education, before they step out into the wide and wild world of professional architecture; it’s intense, flat-out preparation and fine-tuning with bigger projects, more complex ideas and greater responsibility. Perhaps even more than in previous years, students have once again engaged with 160

impressive dedication and no little skill, collaborating and supporting each other across the digital seas. In the Autumn Term, Dr Nikos Karydis and a team of eager tutors oversaw the first major design module of the third year, AR557 Urban Intervention. The module focused on sustainable urban design and introduced students to the art of designing groups of buildings, urban spaces, and landscapes in ways that addressed contemporary environmental challenges. The module focused on the redevelopment of three selected sites in the ‘fringe belt’ of the city of Canterbury, and were asked to engage with several aspects of the life of the city, from the way people move through it, to their activities and the way in which space is used. At the same time, students completed their AR597 Dissertation module, exploring a research-led topic of their own choosing over many weeks, either producing a long illustrated essay, or a designed artefact. The work was as varied as ever, produced despite the best efforts of that most horribilis of annus, 2020. This theoretical study was complemented by Professor Alan Powers’ magisterial AR556 Twentieth Century Architecture module, which introduced students to the global story of modern building culture. In the Spring Term, students were guided through the design of a new civic amenity for Canterbury for the AR558 Architectural Design module. On the site of the bus station, and responding to the fourteenth century city wall, the module responded to the needs of third sector groups delivering social and cultural support to vulnerable communities in Canterbury, including homeless, refugee, mental health, ecology and religious organisations. Students responded as ever they do, with great creativity and vision, designing buildings which enable new social and cultural activity based around three principal goals of growing, knowing and gathering. Simultaneously, Peter Wislocki ran his ever-excellent AR555 Architectural Practice module throughout the term, alongside Tara De Linde, with lectures and seminars complemented by an host of additional inputs from alumni and practitioners. From the winter of despair, through the spring of hope, to this summer of promise renewed, we all have journeyed. Well done us, everyone.

DR. AMBROSE RUFUS GILLICK STAGE 3 CO-ORDINATOR 161

STAGE 3

Site Plan

Ground Floor

Courtyard

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First Floor

Co-working Space

Social Kitchen

Building and Structural Conceptual Moves

Nana Adwoa T Agyemang, Stage 3 My final design is the culmination of a term’s worth of research into creating healthy environments for care. The Canterbury Bus station has been relocated in favour of a purpose-built mental health community centre for the Umbrella Centre, Canterbury with surrounding amenities. The site continues the language and character of the Dane John Gardens, and the City Wall becomes a public gallery/balcony, framing an internal courtyard.

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Anise Kaz Ahmad Kamal, Stage 3 The Green Corridor Network and Canterbury Road West(images 1 & 2): Restoring biodiversity to the city of Canterbury - where the community care about the natural ecosystem of all that is living as well as the rich culture and history of the city. The Moving Animation Factory (images 3 - 10) : The Canterbury Creative Education Centre rooted from the Young Animator’s club philosophy of non-mainstream education by cultivating the youth’s minds through an organic and creative experiential process. 169

7. COURTYARDS 8. LANDSCAPED ROOFTOP 9. SPIRAL STAIRCASE 10. MIXED LEISURE SPACE 11. ALLOTMENTS 12. PROTOTYPE 13. PROJECTION SPACE 8

9 8

11 12 13

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8 10

5 6

1. LECTURE THEATRE

2. SOUND ROOM

3. CLASSROOM 4. WC 2

5. RECEPTION 6. ATRIUM 7. THEATRE ROOM

8. TRAINING FACILITY 9. STAFF ROOM 10. GEOFOAM FILLING 11. ROMAN WALL

Nabil Allaoui, Stage 3 Building upon my concentric scheme for AR557, I created a pattern spanning the site that codes both building and landscape. The pattern ripples around focal points: public square, amphitheatre and tower. These ‘ripples’ always connect to exisiting geometries and become pathways that emphasise people, ‘lines of desire,’ and movement through the site. This fit well with my 2040 scenario for an annual Animation Festival as the main path sweeps people into the site in a procession up to the historic wall and through sequenced activities. 171

AXONOMETRIC AND NIGHT VIEWS OF PAPER TRAIL: Growth Centre

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INTERIOR VIEWS OF PAPER TRAIL: Growth Centre

Mohammed Alsafi, Stage 3 A proposal in place of an existing bus station in Canterbury. Celebrating pedestrianisation, the ripple effects of crop growth and sustainable paper making. The centre acts as a bridge between Canterbury’s city centre and city wall with multiple walking platforms, public realm and branched activity sectors. The project includes a primary gardening space, a paper making laboratory and rock climbing features. As well as an art studio, a public cafe and miniature library. 173

Mobile workshop prototype: occupying a bus to provide a range of spaces for creative activities.

Top Right: Exterior perspective depicting the flexibility of outdoor space. Above: Interior perspective depicting an occupied tiered-seat classroom.

Above: Site plan explaining how a journey is created between each building as users are taken through. Growing- through collecting, understanding and justifying materials. Knowing- through creative education programmes. Gathering- through the exhibition and celebration of produced work.

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Exploded Isometric: Exploring a notion of flexibility and demountablilty. The large canopies provide shelter to enable outdoor workshops to informally expand and occupy the public space between buildings in varying weathers and time of year.

George Bamford, Stage 3 Riding Gate Craft and Community Centre, Canterbury. This project seeks to develop a prototype mobile workshop, into a multifaceted scheme comprising of an equipment ‘library’, workshops/classrooms and an exhibition building. The scheme aims to encourage a sense of community and engage local people with young refugees around Kent through alternative, creative education. The development explores the notion of demountability and flexibility- by encorporating the mobile prototypes as a changable framing for the semi-sheltered community spaces between buildings.

Headshot photo B&W on white background

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Prototype elevation

Prototype construction section

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Community Gardens elevation

Community Gardens section

Caption text template (move to where necessary below each image) Unity Square section

Phoebe Bix, Stage 3 Through the design of the prototype ‘Raising Voices’ I intended to create a platform for the organisations KRAN and Canterbury Umbrella to express their stories and voices through a combination of activities. As well as, for them to be heard in the wider community through social engagement. Through Urban Intervention I intended to regenerate the entrance to the city from Canterbury west station to create a place for visitors and locals to get the essence of the city’s landscape whilst creating an environment for community and all people to feel a place in the city.

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Elevation and precedent of the facade detail for the calligraphy space

Air-protein flour production space

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Development of the building volume

Section through the building

Alexandra- Stefania Barbu, Stage 3 In the MID-Air, the past is celebrated by a calligraphy space in which people have the opportunity to discover & conserve this ancient practice in an era of technology-driven superficiality. It values the present while commemorating the past. The future, translated by the protein flour production, is a high-tech production which produces protein flour out of CO2. The past and future meet up in the MIDdle, in an eating space in which the smell of freshly baked bread spreads throughout the building. 179

The Black Bird

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Alexandra Bobirnac, Stage 3 The Black Bird. This project is looking to change the atmosphere of the current local bus station. The design is interacting with the public through indoor and outdoor activities. It offers a restaurant that will become a monthly income generator for Canterbury Food Bank to support them to continue their mission to help those who can not afford to buy food for themselves and their families. The proposal is bringing together people from different background to celebrate food culture and change the perception around using a food bank. 181

Perspective view of a proposed Civic Amenity. A space for knowing, growing and gathering.

Perspective View of a flexible Prototype, for gathering.

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Plans and Elevation of the Civic Amenity.

Plan and Elevation of proposed Student Accommodation .

Diagram of a Masterplan, shaped around pedestrian movement through the site.

Alessio Roy Capri, Stage 3 The Civic Amenity that engages with the old city wall on the current city centre bus station site, is a space for Knowing, Growing and Gathering, shared between the Umbrella Centre and Canterbury Society. The building provides a library, a theatre, allotments, quiet rooms, counselling and restaurant with cooking courses, where members of the Umbrella Centre affected by mental health are supported. The project acts as an expansion to a previous Urban Intervention project, which is connected through the sustainable transport link of cycle routes, to reduce the vehicle congestion and enable emphasis to be drawn on historic landmarks.

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PATTE R N B O O K

M A S T E R P LA N

LO N G S E CT I O N

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S O UTH E L E VATI O N

CI TY WALL LEVEL

LO N G S E CTI O N A A

Nuriye Izem Celik, Stage 3 Urban Intervention (left) – Modern interpretation of Canterbury’s ‘fringebelt’ enlightens and brings back the city’s historical meanings. The proposal attempts to enhance the area by a mixed-use development accompanied by the missing student link. Architectural Design (right) - Canterbury Alliance Centre purposed for the sequence of growing, knowing and learning spaces to establish and elevate social interaction between the locals and new-arrivals. The project consists of individual blocks stretched along the 14th century historic wall accommodating lecture halls, classrooms and workshops to offer diverse activities for people of all ages and backgrounds.

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Charlotte Lousie Clark, Stage 3 This scheme proposes a Craft Training and Pottery Centre on the fringe of Canterbury, with a kiln prototype being the genises of its creation. Peering over the city wall, the towers create a sense of curiousity, whilst reinstating the vertical element of defensive towers that once occupied the site. Intended for the use of Canterbury Umbrella Centre, this scheme reinterprets the client’s desire to break the the stigma of mental health in the community. Rooted in its setting and inspired by kentish oast houses, it transforms Canterbury bus station into a bustling place of making and doing. 187

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Victoria Dolfo, Stage 3 The project combines together an exhibition, rooms for workshops, a cafe, offices and an auditorium. The aim of the proposal is to promote people to engage with surrounding nature and people (asylum seekers). The exhibition showcases the lives of asylum seekers, their stories and the skills which makes them part of society. At “KRAN’s Story Telling Museum” nature has a central role, both for the building and the people, indeed parks are the main idea of “meeting space”. The building has a central park where the exhibition can also be displayed. This central space connects and invites people into the building erasing the boundaries of inside-outside.

Headshot photo B&W on white background

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Site Axonometric National Identity

Access Core

Observation Platform

Glulam Framing

Trellising

Floor Access

Tower Detail Axonometric

Footbridge Elevation

VR Cafe Perspective

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Framed Perspective- New Routes

Framed Perspective- Watchtower

Demographic Key Children Young Adult Elderly

Longitudinal Sectional Pespective Solar Shading

Glulam Gridshell

Glazing/ Framing

Seating

Wallscape Perspective Kitchen Island Turntable

Prototype Perspective

Prototype Elevation

Prototype Exploded Axonometric

Lewis David James Dryden, Stage 3 Wall Along the Watchtower: This community centre, designed to enhance the wallscape experience, houses a range of functions which service Age UK, as well as local communal activities. By promoting intergenerational interaction, a stimulating daily routine and locally, communally grown food, the centre aims to mitigate the onset of Alzheimers disease. This therein accomadates for the aged population that the UK is forecasted to expeience by 2040. Design features and motifs are specifically utilised to promote a symbiance between the building and it’s cultural and historic environment, including a reference to historic defensive fortifications for the design of the watchtower.

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Gardens in Canterbury

Canterbury Food Hub and Learning Centre

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Short Section

Long Section

Exterior Perspective

Learning Centre Interior Perspective

Site Model Perspective

Site Model

Lydia Duursma, Stage 3 The aim of Canterbury Food Hub is to help combat climate change and the biodiversity crisis by encouraging local food production. The scheme includes two buildings: the Food Hub, a central hub for people to buy fresh produce or sell their own produce back to, and the learning centre, to encourage people to grow their own food at home, with classrooms for groups. I was inspired by the randomness of garden shapes, for the design of the irregular glazing pattern and allotment geometry. 193

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Leung Yan Lok Felix, Stage 3 Due to COVID-19, lockdowns were implemented in many cities to prevent the spread of the virus. As a result, the food chain was interrupted and the food supply and distribution in Canterbury were affected. The operation of the Canterbury Food Bank was also upset. In view of this, the aim of this project is to better prepare and equip Canterbury with the technology and facilities to deal with possible pandemics in the next 20 years.

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AR558: Perspective of Courtyard

AR558 Architectural Design: Axonometric of Site

AR558: Elevation Facing East

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AR558: Perspective of Greenhouse

AR558 Architectural Design: Exploded Axonometric of Site

AR558: Perspective of Whole Site

AR558: Exploded Axonometric of Interior

Details of bridge- Left: Sectional Perspective. Right: Detail of Gridshell Joints

Kayley Gibbons , Stage 3 For this project, I set out to create a centre for young parents in crisis, the largest demographic served by my client, Canterbury Food Bank. I proposed spaces that attend to their most pressing needs: a nursery for childcare, a wellness centre and café for mental and social health, and a farm and distribution space for job and food security. My proposed design prioritises pedestrian movement through Canterbury. I proposed moving the existing bus station across the road and connecting it back with two grid shell pedestrian bridges. The proposed building is a walkable earth shelter that connects Canterbury’s Highstreet to its historic city wall.

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Interior spaces facilitate casual and organised study

Adjustable table prototype

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Exploded structural diagram

The masterplan includes private allotments, cycle paths and a public park

Samantha Green, Stage 3 This proposal for Canterbury’s homelessness charity, Catching Lives, focussed on improving people’s employability to restore their self-worth, responsibility, and community. My prototype of an adaptable table would enable the charity to provide a mobile and immediate response to work with the local homeless. The proposed building will incorporate training spaces for expanding job sectors including gardening, IT, and hospitality. By providing spaces to showcase the homeless’ work and skills it could help them to reintegrate into society. 199

Masterplan

Exploded View

Isometric View

Section

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Mini Traditional Tea Exhibition

Cultural Market Space

Tea Growth on the Ramped Walkway

Tea Production and Cafe Outdoor Area

Sila Hatipogullari, Stage 3 KRAN Centre- This proposal aims to strengthen the bond between KRAN (Kent Refugee Action Network) members, under 18 asylum seekers and the local community. The main concept of the project is based on traditional tea growth, production and sharing, and the locals are encouraged to participate in this process. By designing a market space, performance centre and numerous social spaces, creation of a more diverse community is aimed. The proposal is located at the Canterbury Bus Station. 201

Rendered Masterplan for Architectural Design

Rendered View of Proposed Rooftop

Rendered View of Proposed Hospice for people with dementia

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Rendered Masterplan for Urban Intervention

Rendered View of Proposed Student accomodation

Sectional Perspective of Proposed Student accomodation

Kyriakos Ioakim, Stage 3 The right side illustrates a hospice for people suffering from dementia. It is a scheme focusing on inclusive design due to the location of the project and is part of a scheme “designing for the future”. For these reasons, I designed a theatre and gardening facilities along with the hospice. On the left side an analysis of the urban fabric of the Northern fringe of Canterbury is shown. Close attention on the master planning is given and the main concept is movement -a concept inspired by Frank Gehry-.

Headshot photo B&W on white background

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View from bridge onto market

Environmental strategy

Site axonometric

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Site analysis

Oliwia Januzik, Stage 3 The proposal of the new Repair Cultivation Centre in Canterbury. This project focused on sustainability and encouragement of people to get involved in a number of workshops to repair, upcycle or simply learn a new skill. The scheme is self sufficient as there is a vertical farm on the site which grows produce for the café and the textile workshop where people can make their own pigments from plant waste.

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Community Hub - Perspective from Wall Side of Building

Community Hub - Perspective Inside Classroom

Community Hub - Exploded Axonometric

Community Hub - Night Axonometric

Community Hub - Sectional Perspective

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Community Hub - Prototype A Axonometric

Community Hub - Axonometric

Community Hub - Prototype B Castle Theatre

Urban Intervention - Canterbury East Train Station Masterplan

Urban Intervention - Canterbury Museum Axo

Urban Intervention - Canterbury East Train Station Perspective

Rebecca Jilks, Stage 3 The KRAN (Kent Refugee Action Network) and the Young Animators Club hub takes inspiration from both Kentish and Middle Eastern Architecture. Within the heart of Canterbury, it holds a safe, accessible space for the whole community to learn, grow and gather.

Headshot photo B&W on white background

Within the Urban Intervention project, I redeveloped three sites in Canterbury, along with adaptations for a better connected, greener city. 207

A perspective through Watling Lanes, showing a new key route around the city.

Skilled volunteers teach Catching Lives clients, promoting new social interactions and practical skills.

Tourists eat before visiting the Cathedral, collegues hold an informal meeting and a client receives help writing a CVs.

An axo to show how the intervention creates new spatial relationships in and around the historic city wall.

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Josie Kassapian, Stage 3 The Watling Lanes development expands the city centre of Canterbury to create new social and economic relationships beyond the ring road and historic City wall. The proposal supports two local charities and provides public amenities that welcome people into the city. A sense of discovery can be found in the landscape. A pre-emptive set of modular foundations provide the potential for labyrinth gardens, workshops or studio apartments according to the demands of the city. 209

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Ethan Kitto, Stage 3 The Age UK Community Arts Centre aims to expand on current activities available for their elderly clients, whilst also increasing interactions between age groups. This is achieved through creative art forms and the sharing of knowledge between traditional and contemporary artwork. The craft studios specialise in hands on, tactile experiences, whilst the technology studios aim to educate the public in the future of art forms and technology with interactive sessions demonstrating contemporary equipment and machinery. 211

Celebrating Canterbury’s Roman Past - The Canterbury Roman Historical Center Complex

Canterbury Bus Station Proposal for a new civic center with educational and sports facilities and accommodation for people in need.

‘The Classical Language of Architecture” sculptural artefact

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The Programmatic Sunken Reservoir Garden

Nikola Kirekchiev, Stage 3 The Canterbury Roman House Museum aims to popularise Canterbury as an important Roman heritage destination. The historical center complex is inspired by Medieval Italy’s urban design achievements. The complex also includes mixed use buildings with housing to serve the local community. ‘The Classical Language of Architecture” sculptural artefact is part of my Dissertation asignment that explored the importance of representative figural sculpture in Classical architecture, focusing on Ancient Greece. The artefact allegorically represents the principle Greek orders, - those intially basic architectural devices which became absolutely crucial for the development of Western architecture. The Sunken Reservoir Garden aims to reduce the annual risks of flooding caused by the River Stour The Reservoir controllably filles with water at several levels throughout the different seasons, functioning as a gathering square with an auditorium, a lake park or an ice rink.

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Maja Kurantowicz, Stage 3 Canterbury City Museum & Residential Complex (left) - The design creates public courtyards and a view of St Augustine’s Abbey ruins. The project is a part of the newly designed, car-free transport system for Canterbury. Canterbury Cathedral Hub & Hostel (above) - The design is providing accommodation, gathering and eating spaces for visitors and pilgrims; with the addition of on-site food production inspired by the Benedictine monks, who used to reside in the cathedral. 215

Exterior View - Outdoor Area as Temporary Second-hand Market/ Gallery/ Performance Space

Exterior View - Building Entrance

Masterplan - Site Overview

Axonometric View of the Proposed Site

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Exterior View showing the relationship with Canterbury City Wall

TWO MODULES OF PROTOTYPE STRUCTURE

Exploded Axonometric of the proposed building

Concept Diagram - development of Prototype Structure into a Building

Interior View - Clothing & Textile Repair Workshop

Section showing Internal Activities & the relationship with Existing Context

Ik Hui Lam, Stage 3 The project brief is informed by the identity of the client, Canterbury Repair Café, along with the intergration of response towards the concern of consumer culture at the Canterbury City Centre. The proposal aims to demonstrate and cultivate the culture of circular economy with designated programmes, which include teach & learn repair workshops and second-hand shopping activity, as a way to promote sustainable benefits to the Canterbury’s community. The final architectural proposal is a modular design developed from the tree-like timber prototype structure, supporting the idea of ‘design for disassembly’ and enable the proposal for future expansion.

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Jack Lovell, Stage 3 Located on the site of Canterbury bus station, Riding Gate House is a new community hub for the city centre that transforms existing hard landscaping into an extension of the neighbouring Dane John Gardens public park. Designed to create safe environments that promote community spirit and provide shelter to the homeless of Canterbury city centre, enhancing what it means to be a citizen of Canterbury along with creating a positive environment for future generations. 219

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Matthew Ngelela Maganga, Stage 3 AR557 (Images 1-3): A city reconnected - Canterbury is again made a city for the walker through the pedestrianising of key routes. The main site is designed as an homage to the abbey - creating a new city museum which functions as a new cultural destination. AR558 (Images 4-8): Repairing Canterbury’s History. The Canterbury Institute of Contemporary Arts creates a multi-use performing arts building where Canterbury’s full history can be re-contextualised for the twenty-first century and beyond. 221

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Jaiyeola Olaleye, Stage 3 The aim was to create an urban garden, a new job center, and to reintroduce homeless people back into society. I wanted to play on the public and private accesses in the design which was why I made the building accessible from the wall. The public entrances are the reception on ground floor level and the public horticulture library on the first-floor level. Private entrances into the production spaces and sleeping areas are hidden through gestures such as smaller doors and longer pathways. Instagram: @lola_art_world LinkedIn: Jaiyeola Olaleye

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ARCHITECTURAL DESIGN, A CANTERBURY TALE

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URBAN INTERVENTION

Chidinma Joyce Oligbo, Stage 3 Both projects aim to improve the economy, boost community interaction and provide solutions to the environmental situation in Canterbury through various design strategies put in place. A Canterbury tale offers asylum seekers and the community a space to learn through multiple crafts while giving each individual a voice. Urban Intervention improves the transport connection in Canterbury while increasing biodiversity.

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Top Left: Ground Floor Plan Above: First Floor Plan

Above: Exploded Axonometric depiciting the connection of the historical wall to the new proposed building.

Above : A night time perspective showing the connection of Whitefriars and the new front facade of the building.

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Danny Perrier, Stage 3 The architectural development of Canterbury relies on two elements, interaction and purpose. Underlining the issues related to the Canterbury Food Bank, the ideology of connecting different experiences to each individual users is inherant to change the apparent bus station to a lively, sustainable project. The operation of the civic amenity is to promote the aim of the food bank through avaliable cooking sessions, vegetation landscapes, and places to distribute the food parcels. 227

Architectural Design

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Urban Intervention

Felicity Pike, Stage 3 Architectural Design: The proposal provides creative outlets for children, to learn collobaratively and in a cross curriculum manner. A pop-up arts workshop, formed the basis of this scheme, and from which a more permanent proposal emerged. Urban Intervention: The scheme aims to celebrate agriculture throughout Kent by bringing aspects of it to Canterbury. The redevelopmental consists of a market garden, spaces for trade and a series of educational buildings.

Headshot photo B&W on white background

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Exploded axonometric showing each component of the scheme

Cross section showing different spaces being used

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Encouraging interactions between the wider community and the homeless

2020

Perspective through community space

2030

2040

Axonometric showing how the permanent portal frame structure can be utilized in 2030 to produce bio plastic at a larger scale and can then be converted into a museum in 2040 that would showcase the history of how plastic filled our seas in the past.

Mariam Pinto-Rodriguez, Stage 3 This proposal aims to merge the process of potato plastic with the reintegration of the homeless into the wider community for a greener future. An ‘indoor street’ was created in order to reduce social bias by encouraging interactions between the homeless community and the wider community. This interior/exterior space at ground level, is created through sliding rooms that open during the day and close at night. The second level is comprised of a series of safe spaces which are used as emergency sleeping rooms in the night. 231

Concept diagram looking at key terms and themes.

Unfolded section through main building.

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Anais (Anna Maria) Pitsaki, Stage 3 THE ARRIVAL A community center in the heart of Canterbury, designed to house the two organizations, KRAN and Young Animators Club. Designed with the circle of life in mind, THE ARRIVAL is a proposal which is meant to enhance and extend the Roman wall both in a metaphorical and a literal sense. A kinesthetic journey, an urban sanctuary, a gathering place, a space of knowledge, where creativity can be explored, and art can be exhibited. 233

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Nicole Reginiano, Stage 3 The site is a potager garden that is used to stimulate students in a biophilic environment to encourage an indoor-outdoor relationship for future educational environments. A learning by doing philosophy is implemented by using the maintenance of the crops as the medium for teaching. The aim of the proposal is to place an emphasis on nature and different growing techniques to ultimately provide a stronger basis on how to live more self-sustainably in the future. 235

Site Plan

View Towards Growing Area

View Towards Outdoor Eating Area

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Exploded Construction Axonometric

Interior Perspective

Kai Rose, Stage 3 My AR558 project focused on mental health in Canterbury and communal eating. My client was the Umbrella Centre, an organisation that helps people with mental health disorders. I developed a prototype which was a small communal kitchen where people could cook and eat together. I expanded this idea into a Community Kitchen, a place where people can cook and eat together on a larger scale, to improve wellbeing and community engagement in Canterbury. 237

Orthographics

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Sectional Perspective

Abbarnah Sabesan, Stage 3 Nestled within the centre of Canterbury, this project designed for Age UK and Canterbury Food Bank, creates interactive and pleasant communal environments with the key intention of encouraging the interaction of people from all ages and backgrounds in society through growing, knowing and gathering. The development was built purely for social purpose which is achieved with the variety of activities offered within the amenity as well as the spaces created in the surrounding civic landscape. 239

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Ayako Seki ,Stage 3 My intention for the project was to improve intercultural communication among generations, gender and classes, with the ideas of using a forum as a platform for this. The building represents the past, present and future and generates activities using the forum. To improve discussions taking place, a fireplace was designed for the centre. To personalise the internal space, the roof has been constructed in a way that will cast a variety of shadows throughout the day. 241

Architectural Design Project - Interior perspective of the intersection between the Art Workshop and the Greenhouse

Architectural Design Project - Winter perspective of the proposed Well-Being Centre .

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Urban Intervention Project - Elevation of the newly proposed affordable housing scheme.

Urban Intervention Project - Perspective showing the urban square created.

Silvia-Raisa Simeria, Stage 3 Architectural Design Project- My proposal for a Well-Being Centre, incorporated Care-farming as well as other activities in order to promote the well-being of Canterbury’s residents. Urban Intervention- This project’s main objective was to design an inclusive and sustainable urban proposal for the redevelopment of Canterbury’s Train Station and the surrounding urban space.

Headshot photo B&W on white background

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Sectional Perspective

Site Plan

Mushroom Pavillions for Community Activities

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Perspective

Site Axonometric

Site Elevations

Ellie Sparkes, Stage 3 The Portobello Centre Inspired by natural forms, with a modular concept The Portobello Centre uses sensitive landscaping and careful design to address needs of local Foodbank clients. The Centre addresses their anxieties by creating various safe and relaxed spaces for community bonds to form. Nestled within the landscape, Mushroom shaped Pavillions provide social hubs for outdoor activities such as cooking classes and temporary art installations. 245

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Yiannis Taliotis, Stage 3 Located on the current Canterbury Bus Station, my proposal aimed to reintegrate the city’s youth and educational institutions by providing a place for social gathering and cultural exchange - thus attempting to address the current issue of today’s education system. By rejuvinating the historic city wall, the site becomes a place for active inspiration through diverse activities and community involvment.

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Catching Lives Civic Centre

Catching Lives Civic Centre Urban Gateway

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Catching Lives Civic Centre Theatre/ Kinetic Space

Catching Lives Civic Centre Viewing Platform

Catching Lives Civic Centre Market/ Kinetic Space

Luke Tampling, Stage 3 Catching Lives Civic Centre By reducing the social divide between the rough sleepers and other members of society will create a vibrant community and enhance mental health. Through the application adaptable architecture enhancing expressive arts within the Catching Lives Community Centre. This will provide employment in addition to a safe space to gather, sleep and learn. 249

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Anthony Tse Stage 3 The design seeks to address the social and environmental issues of the current paint industry by using urban cultivation and food waste to produce natural pigments free of volatile organic compounds. Production and community spaces are intertwined, encouraging people to be involved with the process. Whilst the form reflects the cultural heritage of Canterbury with the faceted ceiling structure, similar to the Cathedral and the vertical farms help regenerate the neglected city wall. 251

ROOF PLAN

SECOND FLOOR

FIRST FLOOR

MEZZANINE FLOOR

GROUND FLOOR

Site Plan

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Front Elevation

Back Elevation

Exterior Visualisations

Interior Visualisations

Jasmin Kaur Virdee, Stage 3 This project encapsulates the theme of pilgrimage. Canterbury has a rich historical importance; this proposal aims to retain this heritage and create a sense of place for pilgrims. A new three floor building has been created for the client (Canterbury Cathedral), it provides ways of generating income, learning about pilgrimage, and reflecting on one’s journey. This design formulates a new destination point in Canterbury which will be recognised worldwide. 253

Above: Axonomentric of Site and First Floor Workshop Building, Below: 1:200 Whitefriars Elevation

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Above Left to Right: 1:20 Section, Corresponding Elevation, Exploded Axonometric. Below Left to Right: Whitefriars Street View, Self-Build Kit

Rebecca Woolich, Stage 3 ‘Over the Wall’ - A building that grows with its inhabitants, this communitybased learning and cultural centre unites rough sleepers with the residents of Canterbury and provides a way in from the cold fringes of society, back to the heart of it. Inside this large timber structure, there are opportunities to build a home, join in workshops to learn skills and engage with the residents of Canterbury through self-build elements, follies, and meeting places. As needs and seasons change, so does this project. 255

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Zoey Yeoh Zhi Yi, Stage 3

@modelsnotmodel

Co-Creator’s Collective- It explores the journey of a refugee. This project draws focus on the regeneration of Canterbury through market stalls. The development supports local communities in the social, environmental, and economic situation due to Covid-19. The building is raised above ground level to connect the existing shopping centre and the market space. It also allows allowing the buses to remain to provide accessible transportation for the community. 257

Rendered exterior human POVs

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Environmental strategies section

Aerial perspective section

Concealed gutter detail

3D axonometric

Technical detailing section

Masterplan in context

Michal Zapletal, Stage 3

www.michalzapletal98.myportfolio.com

Centred around breadmaking, the Canterbury Collective Bakery engages the elderly community with social groups such as school children. The spaces combine educational grain fields with germination labs, raised bed allotments contained in a public open space, a farm store, and a foot spa next to a sourdough vault. Among other strategies, the proposal harnesses rainwater for internal use and upcycles heat from the ovens. All nested in a village like proposal based upon the architectural grain of Canterbury, the scheme rises next to the City Wall, just like the bread in a bakery. 259

BA (Hons) DISSERTATION

BA (Hons) ACADEMIC RESEARCH DR SILVIO CAPUTO Dissertation has a special place in the BA Architecture programme. It is an atypical module due to its duration, stretching across two academic years with several seminars, during which students are supported by supervisors in their dissertation’s development. Typically, this particular delivery of the module has yielded excellent results, and some of the best dissertations are truly solid pieces of academic writing. Dissertation is about developing and refining research skills. These skills are crucial in the architectural profession, as they enable the development of those investigations which usually generate the evidence base necessary for practitioners to successfully justify design ideas and architectural projects. They also enable the organisation of research findings in a clear and structured way, which is easy to communicate. Indeed, the process of writing a dissertation bears similarities with that of design development: both are carried out in a structured way, following a 260

sequence that articulates complex concepts, elaborates them and reaches a conclusion. Learning to write a dissertation will inevitably help to develop good and convincing design schemes. In spite of the exceptional period in which we are living, and the disruption the pandemic is having on the delivery of teaching, the overall quality of the dissertations submitted this year was very good. Although we encourage the choice of topics that focus on architecture, urban design and planning, and climate change, students are free to propose any topic for their investigation, leading to some unusual choices. This year, we had a dissertation exploring the animalhuman relationship across history, and how this generated diverse approaches to the design of zoos; one that focused on the underinvestigated topic of feminism and architecture, a profession that was overwhelmingly practiced by men until recently; a dissertation about architecture used to celebrate power; and many other fascinating topics. There is great value in exploring topics that are seemingly not directly connected to the issues typically debated in the architectural world, allowing new connections to be made and new perspectives to be developed. Finally, in a school of architecture, visualising concepts is important. In our dissertations, text is usually complemented with beautiful images, sketches and diagrams. This year, I have seen great efforts poured into illustrating and graphically composing text and images, resulting in engaging dissertations that are beautiful to watch.

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BA (Hons) Dissertation - Academic Research Animals & Humans Inside the Zoo: An analysis of the interconnections between humans and animals. This dissertation investigates the relationship between men and animals, how this has changed in history, and how different ways to interpret such a relationship informed the design of zoos. Relationships between humans and animals across the history can be identified by studying predominant philosophical theories. These theories are examined together with attitudes, and scientific and pedagogical approaches which have contributed to the modern design principles of zoos and to their progressive attempt to conserve and protect the biodiversity. The dissertation promotes the need to establish a balance between humans and animals by presenting models that respect animal welfare.

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Alexandra - Stefania Barbu 262

Co-housing Design Strategies: Reducing loneliness during a pandemic. This dissertation identifies the key design strategies for co-housing developments to encourage and enhance social interaction and reduce loneliness. Three UK suburban, multigenerational cohousing communities are investigated as case studies: Cannock Mill Cohousing in Colchester, Marmalade Lane in Cambridge and Lancaster Cohousing in Halton just outside Lancaster. The design of communal space, surveillance and shared pathways are identified as the key element determining the good quality and effectiveness of co-housing developments.

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BA (Hons) ARTEFACT

RESEARCH THROUGH PRACTICE DR SILVIO CAPUTO Artefact is an option within the dissertation module for students who prefer developing a design-based investigation rather than a dissertation requiring ‘traditional’ academic writing skills. Students who choose this option are asked to investigate through making, with the artefact being an opportunity to capture in a model, installation, or any other form of visualisation and shape creation that possesses some key reflections on a particular topic. Clearly, model making, which is so important in the architectural profession, is one of the most common ways for students to assemble and deliver the final artefact, although not the only one. Over the last years, students have designed installations, films and, more recently, digital artefacts. This year, for example, a student developed an interactive digital architectural guide for school design. Other topics investigated include post-disaster temporary shelters, tactile maps for visually impaired people, and the design of a memorial for the victims of the 264

pandemic. Many of these artefacts were socially and environmentally motivated, aimed at developing solutions to important social challenges, demonstrating that the Artefact option can be used to test experimental hypotheses. Regardless of the nature of design-based investigations – whether socially, environmentally or aesthetically oriented – these have been developed using traditional research approaches. The research reports accompanying the artefacts provide robust evidence of the relevance of the artefacts proposed, broad understanding of work developed in the area of investigation and – in some cases – consultation with experts that provided important advice on the making of the artefact. Such results are incredibly encouraging, and the impressive nature of the projects continues to grow.

DR SILVIO CAPUTO MODULE CO-ORDINATOR 265

BA (Hons) Artefact - Research through Practice How architects address privacy, security, management & aesthetic issues in the design of temporary post-diaster dwellings. This artefact and accompanying research report explores the role of architecture in humanitarian aid, and the need for this to enhance privacy, security and supervision and in post-disaster temporary dwellings. The research report looks at how global standards are set, accountability of authorities and existing legal frameworks for emergency shelters. It compares case studies in Europe and Japan as well as construction technologies for this particular type of architecture. Appropriate materials, technologies, and user-centred design principles for a Japanese context are identified, and the design of a temporary cluster of emergency dwellings is developed. Final critical reflections identify positive and negative outcomes of this process. Due to the pandemics, not all the design was tested on models although a beautiful set of timbe joinery was tested.

Models of joints

Ayako Seko

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Mapping the invisible: Developing a design guide for universal tactile maps While maps for the sighted are accessible on any digital device, maps for the blind and visually impaired are not designed tob e portable, let alone available in a digital format. Currently, design approaches for tactile maps – maps to be explored through touch – are limited and not very well known to tactile map makers worldwide. This project examines the existing tactile mapping and uses findings to develop a prototype of an innovative tactile map informed by interviews with representatives of the community of visually impaired people. The final outcome of this research is an innovative tactile map and a map key that serves as a design guide. Additionally this project suggests the use of digital fabrication methods to make tactile maps more accessible.

Tactile maps

Michal Zapletal

267

BA (Hons) STAGE 2

FOREWORD REBECCA HOBBS 2020-21 has been a very challenging year for our stage 2 students. In the autumn term, teaching combined face to face and for those unable to join in person, on Teams and One note. In the spring term, tutorial were all on line. The modules contributed to a greater understanding of Renaissance to Neoclassicism, 19th Century Architecture, Form and Structure, and Climate. The two design modules, Architecture & Landscape and Collective Dwelling challenged students to re-imagine the city, in its landscape and in the lives of its dwellers. ARCHITECTURE & LANDSCAPE The relationship between a building and a landscape, the threshold between a working landscape and a building to support it, was located on the beautiful Grey Friars site in Canterbury. Students were challenged to site a building within this historical setting, create a landscape for growing produce and illustrate an understanding of elementary planting design. The architecture and landscape were to 268

be fully integrated spatially, conceptually with sustainability and the environment at its heart. COLLECTIVE DWELLING This second design project of the year was again located within the city walls. A car park sandwiched between Castle Street and Castle Row offered students the opportunity to explore the site’s rich history, its relationship with the Norman Castle Keep, the historical Wincheap Gate, and Worthgate, together with long views of the cathedral formed a fascinating context for the brief. Its proximity to the Dane John Garden and a footpath leading to Bingley Island encouraged students to integrate landscape as part of their masterplan. City living, live/work opportunities, apartments, almshouses, two and three bed dwelling with associated community provisions formed the basis of this challenging module. TUTORS Anske Bax, Rob Brown, Catriona Burns, Benedetta Castagna, Huda Elsherif, Joseph Eyles Gordana Fontana-Guisti, Matt Gisbey, Manolo Guerci, Rebecca Hobbs, Victoria Lorenco, Jess Lumley, Patrick O’Keeffe, Alan Powers, Fiona Raley, Sukanya Ravi, Jef Smith, Richard Watkins, Ben Wood, Ronald Yee, Chloe Young.

REBECCA HOBBS STAGE 2 CO-ORDINATOR 269

BA (Hons) Stage 2 - Bachelor of Arts Collective Dwelling

Dominika Kowalska

Solenn Maillard 270

Thea Steiro Mikkelsen

Samuel Crow 271

Architecture & Landscape

Alex Wilson

Samuel Crow 272

Freya Eugenie O’Donoghue

Freddie Robinson

Ian Canlas 273

BA (Hons) STAGE 1

FOREWORD GERALD ADLER & HOWARD GRIFFIN We all really felt for our new Stage One students. Most of them, as school-leavers, had experienced the confusion of A-level grades and were keen to finally get to the University. Some of the new intake never arrived in person – largely overseas students stuck at home. But we strove to make the studio experience as authentic and ‘real’ as possible, with increased spacing in the studio and more controlled access to the workshop. We wondered how we would deal with teaching drawing skills in the new stringent set-up, but Chloe Street Tarbatt and her team in Folio, comprising Tim Meacham, Howard Griffin and Georgios Athanasopoulos rose to the occasion. We had use of the first floor of the Sports Pavilion, and this allowed us to teach orthographic drawing to larger than usual groups of students, with good natural light and cross-ventilation, while Tim ran his life drawing classes on stage in the Gulbenkian Theatre. Autumn term design projects began with a series of short exercises, concerned with scale and levels, followed by more prolonged projects, all set within Canterbury. The first of these, Boat House, introduced 274

the concept of function while dealing with a constrained site, while the following project, Tiny House, expanded on these ideas, introducing a series of repeat dwellings to form a community. Spring term was devoted to a single project for an Art and Craft gallery in Canterbury city centre. Students had to deal with a number of different makers and propose suitable settings for their work. This was the term where we reverted to lockdown, conducting all our teaching on-line. The other non-design modules adapted to the new conditions. Jef Smith (with Bernardo Lopes) saw Modern House to a successful conclusion, with Kevin Smith’s valuable workshop tuition. We have another fine collection of 1:100 scale models! Nikolaos Karydis (with Anske Bax) gave a series of lectures and seminars in Ancient and Medieval Architecture that started the chronological study of architectural history, with students deploying their sketching skills to good effect. As for technology, Richard Watkins and Ron Yee oversaw Light & Structure and Building Envelope, modules which interlinked with parallel work in the design studio. We would like to record our thanks to Rebecca Hobbs who helped us assume the role of Stage One Coordinators and assisted us whenever we asked. We are also grateful to our Practitioner colleagues who adapted to the changed and changing conditions, and to our technician colleagues, in particular Chris Jones and Brian Wood for training us and facilitating the different teaching delivery. TUTORS Simon Barker, Philip Baston, Rebecca Hobbs, Shaun Huddleston, Victoria Lourenco, Andy Macfee, Jo Merry, Patrick O’Keefe, Edward Pryke, Hooman Talebi, Ben Wood, Jef Smith, Richard Watkins, Colin Cresser, Bernardo Lopes, Kevin Smith, Howard Griffin, Tim Meacham, Nikos Karydis, Anske Bax.

GERRY ADLER & HOWARD GRIFFIN STAGE 1 CO-ORDINATORS 275

BA (Hons) Stage 1 - Bachelor of Arts Modern house

Yoanna Kostadinova - 21 Lina Bo Bardi House Lina Bo Bardi Sao Paulo, Brazil 1951

Andre Mihalache - 8 Poli House Mauricio Pezo, Sofia von Ellrichshausen Coliumo Peninsula, Chile 2005 276

Form Finding: Tiny House

Andrei Mihalache

Building Design: Art & Craft Gallery, Canterbury

David Johnson 277

Building Design: Art & Craft Gallery, Canterbury

Jasmine Fu

278

Ben Lovell

Margo Woollard 279

POSTGRADUATE

ARCHITECTURAL VISUALISATION HOWARD GRIFFIN In 2020, the school welcomed its largest cohort of students (MAAVers) to the course, with a number of them taking timely advantage to join the class remotely, continuing with a blend of online and faceto-face learning. The course, now in its second decade, has certainly learned from the experiences of the last academic year. This year saw the introduction of two new members of staff to the course. Delivering Film & Architecture, former MAAVer Rafaella Siagkri developed students’ understanding of the relationship between film and architecture in a variety of film genres. The seminars presented and papers written by the students were very high quality, with some identified to be submitted to conferences. Also joining the team was David Norman, teaching Architectural Photography. Through the module, David taught the principles of the topic in a series of weekly tasks, such as 1-point perspective, colour, natural/artificial light, etc., each engaging with the built environment in different ways. The strength of photographic work was evident during portfolio reviews with employers this year. Paul Roberts returned to continue his teaching of Digital Architecture Portfolio. This foundational module provides the students with the fundamental knowledge and skills base to develop their modelling, lighting and texturing, and ultimately their final portfolios. We also welcomed Joseph Robson of AVR London and Olga Banaszyk of Hayes Davidson, both of whom assisted the students with their portfolio development. This year, the work has been excellent, providing the 282

basis for students to gain work placements at AVR London, Glass Canvas, VMI Studios and Wire Collective. In Virtual Cities, this year, students were given a site in the historic city of Rochester, creating augmented reality installations through projection in the Castle grounds. Unfortunately, events transpired that the anticipated Medway Light Festival did not take place. However, students adapted well to using virtual projectors in virtual models to create content for use at the ‘actual’ festival in February 2022. Recently, the MAAVers have explored the use of Unreal Engine and virtual reality, working once again with English Heritage. On this occasion, students were tasked with creating a virtual model of Dover Castle, paving the way for further collaborative work with future students. So, as the MAAVers start their work placements or begin their research projects, there is perhaps now time to reflect of the few months that have passed. This year, like the previous year, has been a testing time for both students and University staff. The restrictions in place have certainly altered the way we teach and learn on this programme. However, all of us have adapted to the new ways of working, delivering excellent work throughout. I would like to thank Paul, Rafaella and David for their help in teaching this programme, as well as the students for adapting to enforced changes when needed. Good luck to all of you with the rest of your work! TUTORS Howard Griffin, Paul Roberts, Rafaella Siagkri, David Norman STUDENTS Yasmin Adam, Reena Bhica, Danny Braund, Jean-Clement Caphane, Mikayla Cater, Philippe Chateauneuf, Vincenzo Damato, Isis Dapling, Eleanor Fowler, Francesca Garton-Adams, Felix Jordan, David Ladapo, Prashant Lamgarde Sunar, Faye Lee-Brown, Gizem Maci, Adrian Prince, Dominic Sutton.

HOWARD GRIFFIN PROGRAMME DIRECTOR 283

MA Architectural Visualisation Visualisation

Danny Braund

Eleanor Fowler 284

Gizem Maci

Isis Dapling 285

Vincenzo Damato

Mikayla Cater 286

Philippe Chateauneuf

Architectural Photography

Adrian Prince 287

Felix Jordan

Frankie Garton-Adams 288

Faye Lee-Brown

Yasmin Adam 289

ARCHITECTURE & URBAN DESIGN PROF. GORDANA FONTANA-GIUSTI CANTERBURY & PARIS 2020/21 Despite the difficult year behind us, MA in Architecture and Urban Design students have faced the challenge and produced work of high quality while learning a great deal about cities, life and urban design. Against all odds, we successfully combined lectures and seminars online with studio teaching on Canterbury campus, and in our associate partner’s office in Paris, delivering blended teaching of high quality.

290

Our MA in Architecture and Urban Design thus offered a distinctive perspective on how quality research into everyday life can address the dynamic circumstances of our cities and of the environment today. Population growth, climate change and the pandemic were the latest conditions we have addressed in our urban design studies in both Canterbury and Paris. The desire to design quality urban spaces and to consider how best to achieve well-balanced life for everybody in relation to the built environment have been the central precepts of our strivings. STUDENTS Mengdi Liu Holly Macmahon Paolo Luparello STAFF & TUTORS Gordana Fontana-Giusti John Letherland Alan Powers with external consultants Arte Charperntier Studio, Paris

PROF. GORDANA FONTANA-GIUSTI PROGRAMME DIRECTOR 291

MA Architecture & Urban Design Urban design project for the improvement of the pedestrian routes and public spaces at the Barbican London.

Context map

Barbican, Moor Lane entrance

292

Barbican, Fore Street

Masterplan

Holly Macmahon 293

Proposal for pedestrian and cycling routes in Paris

Aerial Render

Masterplan

294

Visualisation

Mengdi Liu 295

MSc

ARCHITECTURAL CONSERVATION DR NIKOLAOS KARYDIS Based in the historic town of Canterbury, this programme combines the study of conservation theory and philosophy with an exploration of the technical aspects of repair and reconstruction. The city’s stunning cathedral and medieval monuments give students the opportunity to learn from the conservation of a World Heritage Site. Case studies and workshops carried out in collaboration with the Cathedral and the Society for the Protection of Ancient Buildings (SPAB) introduce students to the properties of historic building materials and the techniques employed in the repair of historic buildings. This year, visiting and surveying historic buildings was difficult due to the pandemic. To help us overcome these difficulties, the SPAB shared with our students its digital, laser-scan model of St. Andrews Chapel, a major medieval building in Maidstone, and the Society’s current ‘Old House Project’. This 3D model helped the students to study the building’s fabric and analyse its current condition prior to finally visiting the building. In addition to this, the director and technicians of the SPAB shared information about the current repair project with the students, and provided feedback on the students’ work. Collaboration with the SPAB combined with the use of new digital tools not only made a unique monument more accessible during lockdown, but also gave the students the opportunity to work on a ‘live project’, receiving feedback from leading conservation experts. According to our student, Rosalind Webber, ‘collaboration with the SPAB has given us a unique insight into working in the heritage sector’. 296

The SPAB ‘provided us with invaluable information about the chapel during lockdowns which restricted us from visiting the site in person. It’s been an absolute honour to work alongside the SPAB, discussing the future preservation and function of the chapel, investigating the heritage of the building, its phases of construction and historical context...’ Guided by our expert tutors and SPAB specialists, our students researched the history of the building, analysed its significance and drafted conservation strategies. This material was then synthesised in a new conservation plan, which will be submitted to the SPAB with the aim to contribute to the future conservation of this magnificent building. In the meantime, we are excited that Fiona Raley joined our programme this year, sharing with our students her knowledge and expertise in architectural conservation. Inaugurated with a field trip to Margate, Fiona’s module looked at conservation policies and their impact on historic towns. Our students also explored the principles of conservation with Dr. Manolo Guerci, and Ron Yee introduced them to the methods of structural appraisal. The students also benefited from exclusive lectures delivered by Jonathan Deeming, the surveyor of the fabric of Canterbury Cathedral. Presenting recent work at the Cathedral, Jonathan provided our students with detailed technical understanding of one of the most fascinating conservation projects in the UK. TUTORS Fiona Raley, Nikolaos Karydis, Manolo Guerci, Ron Yee STUDENTS Megan Endersby, Rosalind Webber, Sarah Baidoun, Chandler Hamilton, Steven Tyson, Joel Hopkinson, Alexander Moojen, Mayler Colloton, Ross Crayford, Wayne Head

DR NIKOLAOS KARYDIS PROGRAMME DIRECTOR 297

MSc Architectural Conservation St. Andrews Chapel, Maidstone

St Andrews Chapel. Intervention Proposal, cut-away perspective view, Steven Tyson 2021

St. Andrews Chapel, Maidstone. Reconstructed views, Steven Tyson 2021

298

Circled Letters Indicate relevant plates contained in initial survey

3: South Elevation Inspect ridge and main roof covering and replace locally where required with suitable peg tiles*

RENDER/INFILL (CEMENT/LIME)

Re point chimney stack

Detruded western area and lower roof to be opened (see notes:1 and DWG-07A)

Possible cementitious flaunched weathering to stack, inspect and replace with lime if required

Inspect ridge and roof covering and replace locally where required with suitable peg tiles*

STRUCTURAL TIMBER

Inspect Wing roof covering and replace locally where required with suitable peg tiles*

Re point chimney stack Hipped detail of Wing roof

PROMINENT WORKED STONE

Western Gable (see DWG-06,07) NOTES.

Temporary support to subvening gable as engineer’s requirements. Careful removal of tiles and coverings, set aside viable tiles for re-use. Allowing for inspection of second phase roof timbers and detruded wallplates. Additionally, opening will allow for close internal inspection of main roof and catslide (timbers and battening) alongside assessment of wall top condition at western gable end. Wall top to be consolidated as required. second phase Wallplates to be replaced/repaired with material to match existing (air dried oak),second phase rafter trusses to be repaired if required and reset. Tile battens and membrane to be renewed and tiles replaced. Lower roof to be opened to allow inspection of wall plates, sprockets and rafter feet, Repair as required. Renew tile battening and membrane as needed, re-fit peg tiles.

open up lower couses of roof, set aside tiles and inspect rafter feet, wallplate and sprockets, repair/replace sprockets as required to reestablish roof line and hold new guttering.

Open western gable roof of lodging (see notes:3)

1. Opening up of western and lower main roof:

Renew guttering throughout

Renew window to existing detail (see notes:4) Inserted Window

2. Timber framed roof and window: Cementitious render to be carefully removed from infill panels, substrate and timbers to be inspected. Timbers to be patch repairedas required with matching material (air dried oak) to extant detail. Substrate to be repaired/replaced as appropriate and infill to be 3 coat lime plaster. Window to be removed, serviced with replacement oak sill to extant detail and re-fitted

Rough, loose masonry

3.Opening up of western Lodging roof.

Repair lower door leaf

First courses of roof coverings to be removed and set aside for re-use. Allowing for inspection of western terminal rafters, wallplates and removing direct load on western gable, repair as required (sequenced with repairs to gable DWG-06A)

Timber Framed roof structure and window (see notes:2)

Displaced masonry

SEE DWG-07A

4. Small window. Decayed window frame to be remvoved and replaced with new oak frame to match extant detail.

Local removal of cement mortar repairs. Loose and degraded mortar to be removed and masonry to be repointed with lime matching existing, gallets extracted to be retained and re-inserted to pointing locally in wider joints

Substantial crack to masonry joints

SEE DWG-05A

* New peg tiles of matching detail to be used where extant are insufficient,

1.0 m

10.0 m St Andrew’s Chapel Boxley

1: 100 @ A4 TO BE READ IN CONJUNCTION WITH PLANS,PLATES AND SCHEDULE

Repairs as proposed

Date:

27/03/21

Revised: Drawn by: JH

DWG-05

St Andrew’s Chapel, Maidstone. Joel Hopkinson 2021

St Andrews Chapel. Mapping of significance, Joel Hopkinson 2021

299

MSc

ARCHITECTURE & SUSTAINABLE ENVIRONMENT PROF. MARIALENA NIKOLOPOULOU Undoubtedly this has been a challenging year, due to the COVID-19 restrictions and blended modes of teaching. With our programme, we decided to run it virtually only, which meant the students did not have to travel to the UK. Despite the challenges, this offered some unexpected opportunities, enabling the participants to engage with wider resources and study more in-depth other climatic contexts. At the beginning of the year, although lectures were pre-recorded, coordinating the time zones (from Canada to Norway) for the live online seminars and workshops provided the initial challenge. Flexibility on everyone’s part ensured sensible time-frames for all, which allowed engaging discussions. The lack of physical access to archives in the UK became an opportunity, with students in different countries discovering online archives to study buildings in their home countries. For example, the digital repository of the National Library of Norway, provided an important resource for the module ‘Rediscovery - Understanding Historic Buildings and Past Environmental Technologies’ by Prof. Henrik Schoenefeldt. The module culminated with the students presenting their research to the Chartered Institute of Building Services Engineers (CIBSE), specialist Heritage Group, where they 300

received feedback from the professionals. An annual event, where students normally present at the CIBSE HQ in London, this year was equally successful online via Zoom. The module ‘Principles of Environmental Design’ by Dr Richard Watkins also provided an interesting range of case studies and climates, while the brief for the ‘Sustainable Design Project’ by Dr Giridharan Renganathan, a ‘Mental Health and Wellbeing Centre’, pertinent during the pandemic, provided additional opportunities to engage with their urban locality. My own module ‘Monitoring and Modelling of Environmental Performance’ provided yet another opportunity for engaging with different climates, which would have been impossible in a typical year. With monitoring being an essential component of the module, we sent all our students the different sensors and dataloggers required. Instead of monitoring different buildings in Canterbury, as was the case in the past, the participants surveyed their own homes. This provided a unique opportunity to study, comparing and contrasting different housing conditions, standards and climatic contexts from London and Edinburgh, to Kristiansand in Norway. As they are currently embarking on their dissertations, we also celebrate the work of one of our alumnae, Leire Dominguez-DeTeresa, who did her dissertation on one of our research projects. Leire’s work was included in the conference paper “Climate change adaptation and retrofit of a Victorian townhouse in Margate: the five-year living lab” for the Passive and Low Energy Architecture International Conference, in A Coruna, in September 2020, where it received a commendation. In a year like no other, it has been inspiring having our students’ engaging with local concerns in different regions, through the crossdisciplinary approach in sustainable architecture promoted by the programme and supported by our staff. Bridging the traditional boundaries between humanities and sciences, research and practice, along with the strong analytical and research skills our students develop, they are well equipped to face the challenges in their professional life in the post-pandemic era.

PROF. MARIALENA NIKOLOPOULOU PROGRAMME DIRECTOR 301

MSc Architecture & Sustainable Environment

Zero Carbon Strategy

J. Anne Ainley

302

Sustainable Design

Thomas Houlton

303

MSc

BIO DIGITAL ARCHITECTURE DR TIM IRELAND Based in the historic town of Canterbury, this programme combines the study of conservation theory and philosophy with an exploration of the technical aspects of repair and reconstruction. The city’s stunning cathedral and medieval monuments give students the opportunity to learn from the conservation of a World Heritage Site. Case studies and workshops carried out in collaboration with the Cathedral and the Society for the Protection of Ancient Buildings (SPAB) introduce students to the properties of historic building materials and the techniques employed in the repair of historic buildings. This year, visiting and surveying historic buildings was difficult due to the pandemic. To help us overcome these difficulties, the SPAB shared with our students its digital, laser-scan model of St. Andrews Chapel, a major medieval building in Maidstone, and the Society’s current ‘Old House Project’. This 3D model helped the students to study the building’s fabric and analyse its current condition prior to finally 304

visiting the building. In addition to this, the director and technicians of the SPAB shared information about the current repair project with the students, and provided feedback on the students’ work. Collaboration with the SPAB combined with the use of new digital tools not only made a unique monument more accessible during lockdown, but also gave the students the opportunity to work on a ‘live project’, receiving feedback from leading conservation experts. According to our student, Rosalind Webber, ‘collaboration with the SPAB has given us a unique insight into working in the heritage sector’. The SPAB ‘provided us with invaluable information about the chapel during lockdowns which restricted us from visiting the site in person. It’s been an absolute honour to work alongside the SPAB, discussing the future preservation and function of the chapel, investigating the heritage of the building, its phases of construction and historical context...’ Guided by our expert tutors and SPAB specialists, our students researched the history of the building, analysed its significance and drafted conservation strategies. This material was then synthesised in a new conservation plan, which will be submitted to the SPAB with the aim to contribute to the future conservation of this magnificent building. In the meantime, we are excited that Fiona Raley joined our programme this year, sharing with our students her knowledge and expertise in architectural conservation. Inaugurated with a field trip to Margate, Fiona’s module looked at conservation policies and their impact on historic towns. Our students also explored the principles of conservation with Dr. Manolo Guerci, and Ron Yee introduced them to the methods of structural appraisal. The students also benefited from exclusive lectures delivered by Jonathan Deeming, the surveyor of the fabric of Canterbury Cathedral. Presenting recent work at the Cathedral, Jonathan provided our students with detailed technical understanding of one of the most fascinating conservation projects in the UK. TUTORS Fiona Raley, Nikolaos Karydis, Manolo Guerci, Ron Yee

DR TIM IRELAND PROGRAMME DIRECTOR 305

MSc Bio Digital Architecture

Stigmergic Ecologies

Federico Spiga

Emergent spatiality from biological complexity

Sanwal Ghani

306

Hypotrochoids

Akshada Deshmukh

Architectural scope of polarisation patterns in schooling fish

Kaveh Dadgar

307

URBAN PLANNING & RESILIENCE PROF. SAMER BAGAEEN The School & Programme Director, Professor Samer Bagaeen, is delivering the ‘Cultural Co-location’ stream within the Creative Estuary project which the University is managing as part of the Thames Estuary Production Corridor work in partnership with the UK Government – Department for Culture, Media and Sport – and the Thames Estuary Growth Board. CULTURAL CO-LOCATION: PUTTING CULTURE AT THE HEART OF PLACEMAKING The Creative Estuary’s Cultural Co-location project is about testing and demonstrating new practice in the role of culture in planning, resilience and placemaking, through co-locating cultural facilities within planned civic infrastructure in different development scenarios. There are three elements to the project overall; two pilots projects, one in Ebbsfleet and one in Purfleet and a programme of learning, sharing, influencing and behaviour change with the aim of long-term impact for the delivery of sustainable cultural infrastructure. 308

The following are on the project’s advisory group: • • • • • • • • • •

Max Farrell (Chair) Founder and CEO, The LND Collective Prof. Samer Bagaeen (Project Manager) Kent School of Architecture and Planning Alastair Upton, Creative Folkestone Selina Mason, Lendlease Rachael Roe, Greater London Authority Dr Elanor Warwick, Clarion Housing Group Lisa Dee, London Borough of Barking & Dagenham Sherry Dobbin, Future City David Waterhouse, Ministry of Housing, Communities & Local Government Olaide Oboh, First Base

PLANNING & RESILIENCE The programme’s team believes that the need to build resilient and sustainable cities & infrastructure is urgent, even more so on account of the Pandemic in 2020-2021. Climate change is also disrupting life on the planet, something that is unlikely to change even if the world manages to come out of the pandemic stronger and more resilient. A set of global alliances are also working to meet global climate and sustainable development goals. In the face of increasing risks to communities and their environments, resilient cities & infrastructure will play a key role in shoring up community, health, infrastructure, energy and water systems and ensuring that communities can survive shocks & stresses and recover from them more quickly. In doing so, cities & infrastructure are not just a means of delivering services; they are a critical enabler and guardian of sustainable development. The MA Urban Planning & Resilience, the only urban resilience programme in England based in a built environment faculty, provides students with the academic and professional core knowledge, understanding, skills and experience that are necessary to practice professionally as urban planners and help cities address and find solutions for 21st century challenges. The programme enables students to articulate how we, as a society, need infrastructure that is sustainable and resilient acknowledging that the alternative would mean a severe detrimental effect on human health, wellbeing and economic development. Kent, now effectively the border between the UK and the EU, provides a living lab for what resilience challenges look like on the ground in 309

terms of disruption (lorries parked on the motorway), new customs clearing centres (Dover), challenges for ports (Dover), and crossings into Europe (the Channel Tunnel). Kent also has social and economic challenges made prominent during the pandemic in the shape of the Sars Cov-2 Kent variant which took hold in some of the most deprived communities in the county. The county also faces challenges around migration and security which present in different forms, more recently as a refugee holding facility (converted barracks) made the headlines due to fires and Covid outbreaks. The county is also a hub for innovation, including but not limited to the UK’s second hydrogen production hub in the UK outside the north east. PROGRAMME CONTENT IN 2020-2021 Our programme content in this academic year is being delivered in partnership with industry via Teams. This deepens our already strong relationship with various parts of the planning, finance, development, government sectors alongside global organisations and consultancies working in this space. Our sessions are also open to external stakeholders where we see a benefit to the practitioner community.

PROF SAMER BAGAEEN PROGRAMME DIRECTOR 310

311

MA Urban Planning & Resilience

Diversity of programme speakers & work

312

313

PhD

in ARCHITECTURE DR MANOLO GUERCI As I leave this role after five years of continuous service, I welcome Prof. Henrik Schoenefeldt, who takes over from me so that I can take up another important position, that of BA (Hons) Architecture RIBA Part 1 Programme Director. And while, as it were, I exit one door to enter another within the same building – that is, I shall happily continue to support our postgraduate students in other ways, not least as an active supervisor and supervisory chair – I can confidently state that the PhD programme has grown from strength to strength, and has continued to thrive in spite of it all, and, at times, perhaps because of it all. Our students have indeed shown remarkable resilience and inventiveness, and have helped each other while continuing their research. The spirit of community has been quite extraordinary. We currently have 31 PhD students, 6 of whom joined us in 2020/21, while a further 8 are confirmed to join us in the next academic year. One student has successfully completed, while our Kent/Rome cotutelle student has submitted and will soon have his VIVA. KSAP students are members of one of our three research centres, CREATE (Centre for Research in European Architecture), CASE (Centre for Architecture and Sustainable Environments), DARC (Digital Architecture Research Centre), and actively participate in the school’s life. Some are involved in teaching; others with special occasions and events including the organisation of the school’s biannual conferences. This ever growing and diverse community is very active in our own professional and academic networks, and join their supervisors at international conferences and in the national amenity societies in 314

which they are themselves involved. Indeed all PhD students are invited to attend the annual conferences organised by the research centres, which are often major international events. The school has a wide range of expertise, from the history and theories of both polite and vernacular buildings and landscapes from across the centuries, through planning, resilience and urban design in the twentieth century, to thermal and environmental comfort, urban environments and housing sustainability and digital architecture. This is informed by our constantly developing research that addresses wider concerns for the individuals, society and the environment and incorporates health, heritage and climate change agendas as imperative for all centres in the rapidly changing world. This year was also marked by a renewed, very active and, because of the virtual mode of delivery, extremely well attended Research Seminar Series in which our students informally presented their work to staff and peers, and kept contacts with each other. The seminars are an excellent platform to bounce ideas off, share knowledge and expertise whilst getting important feedback alongside gaining some experience to present publicly. With the unique challenges brought by the pandemic, KSAP can be proud of its level of dedication from both academic and admin staff, as well as student representatives, all of whom contributed to helping and making our community stronger. This included continued coffee mornings, whereby students could keep in touch and support each other. At the end of last year we also said farewell to Rianne Dubois, KSAP’s longstanding Graduate Assistants (both for taught and research programmes), who has been instrumental in enhancing the student experience and supporting my role. I should like to thank her personally and on behalf of our postgraduate community for all her work. Equally, I thank the PhD students themselves for their extraordinary contribution, particularly this year, and for all the innovative and interesting research they continue to carry out. As they say, per aspera – or through adversity – one can reach the stars!

DR MANOLO GUERCI PROGRAMME CO-ORDINATOR 315

PG Dip ARCHITECTURAL PRACTICE PETER WISLOCKI The Kent School of Architecture and Planning’s Postgraduate Diploma in Architectural Practice (Part 3) course is prescribed by the Architects Registration Board (ARB) and thus provides a direct route to independent professional practice in the UK. The University offers well established and highly regarded RIBA Part 1 (BA Architecture) and RIBA Part 2 (MArch) courses. The majority of graduates of the MArch programme continue to sit their Part 3 examination in order to complete their professional training.

316

The course has been designed to: • • • • •

Provide a gateway to professional practice, complementing Kent’s established courses in architecture Enable current Kent students to complete their professional training at the University Offer graduates of other universities to complete their professional training in Kent Be the only course of its kind offered anywhere in the county Draw on the academic and professional knowledge and contacts of existing University staff

The course runs over a 12-month period from January, is modular, and is delivered in two intensive block study sessions (one in January, the other in May) and tutorials throughout the year. The core curriculum is based directly on the RIBA/ARB criteria for Part 3 graduates, and the proposed schedule of lectures and seminars is derived directly from these criteria, which are common to all equivalent courses in the UK. The Programme Director has extensive personal experience managing projects and businesses in the UK, France, Poland, Russia and many other countries, particularly in Central and Eastern Europe. Other senior members of the teaching team manage design and construction businesses in Germany and the UK. The number of students enrolled on the course has grown since its launch, and the current cohort has a diverse range of impressive professional experience and previous academic studies, providing an excellent basis for group discussions and case study submissions.

PETER WISLOCKI PROGRAMME DIRECTOR 317

RESEARCH & COMMUNITY

Outreach 2020-21

REBECCA HOBBS The Outreach programme has been very much curtailed by the effects of Covid. We are however, hoping to run a one-day summer school in July both in the School and in Medway. The Canterbury brief is to design a small pavilion in the Dane John Garden and the Canterbury ‘school’ will be a one-day event and will include a desk top study of the Dane John Garden, a mini ‘lecture’, and a drawing and modelling exercise. Students will be asked to design a pavilion, to include a place to meet and a space for a small cafe. We hope to be able to run it in one of our design studios within the University Covid guidelines. We are awaiting confirmation of the Medway event which will be looking at the regeneration of Chatham High Street and its relationship with Rochester High Street. We very much look forward to running our usual programme in 2021 and 2022.

REBECCA HOBBS PROGRAMME LEADER 320

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CASE

CENTRE FOR ARCHITECTURE & SUSTAINABLE DESIGN DR GIRIDHARAN RENGANATHAN The CASE researchers continued to conduct collaborative research and development during the last academic year and contributed significantly towards the Research Excellence Framework (REF) both in terms of output and impact case studies. However, the pandemic had an unavoidable impact on our collaborative and outreach activities. Still, the centre was able to secure a prestigious EPSRC PhD scholarship funding to the school. However, our MSc students on the Architecture and Sustainable Environment course (MASE) could not take part in the usual outreach design project. This year, taking pandemic and mental health as core issues, the students developed a design proposal for a mental health and wellbeing centre for their respective locality using sustainable principles. Students really enjoyed the project! Further, students from our MA Urban Planning and resilience programme were investigating planning issues in Kent County area, especially in the context of climate change. This programme is making great impact among the local planners. 322

As a group, we are open to new ideas and collaborations. As part of this ethos, we continue to invite eminent persons in the field of sustainable design to deliver lectures at the KSAP open lecture series. Last year we had eminent scholars like Prof Alan Short (University of Cambridge) and Prof Catherine Noakes (University of Leeds) as well as practitioners such as Ms Esther Kurland (Urban Design London). An EU funded Marie Sklodowska-Curie ITN European Industrial Doctorate project has added two new highly talented PhD students to our centre. The project is called Solutions for Outdoor Climate Adaptation (SOLOCLIM). As part of the European universities cum industries collaboration, members of the centre delivered lectures to ITN European Industrial Doctorate students. We continue our collaboration with universities in Brazil, China, India, Sri Lanka and Mauritius. One of our team members was invited to deliver a keynote speech at the international conference, ICON BEST 2021 in India where leading researchers across the globe participated (https:// www.srmist.edu.in/icon-best-2021/). Further, two of our members were inducted into the journal editorial boards. Although the urban albedo project was greatly hampered by the pandemic, the project was able to secure extra EPSRC funding to cover an extension period. This project will formally come to an end by July 2021. FEW meter and House of Commons projects are also nearing their completion. CASE will be acting on the ‘organising for success’ programme initiated by the university and drive towards funding opportunities. In this scenario, the centre is looking for highly motivated and dynamic PhD candidates to join our scholarly team to contribute to our ever growing research portfolio. We wish our 2020-21 graduates a bright future!

DR GIRIDHARAN RENGANATHAN CASE DIRECTOR 323

CREate

CENTRE FOR RESEARCH IN EUROPEAN ARCHITECTURE PROF. GORDANA FONTANA-GIUSTI CREAte is Kent School of Architecture and Planning foundational research centre that has supported academic staff and doctoral students research activities from 2007 focusing on all aspects of architectural design and humanities including: theory and history of architecture, architectural and urban design, regeneration and conservation, planning and resilience, as well as visualisation and visual culture. It has been instrumental in promoting evening lectures, conferences, research seminars and local events such as exhibitions and projections. 324

This year’s CREAte evening lectures comprised the presentations from: Neil Thomas, creative engineer and founder of Atelier One and visiting professor at Yale and MIT, who presented a variety of projects including the Singapore Gardens by the Bay, an iconic award-winning project; Carolyn Steel, who lectured on her book Sitopia: How Food Can Save the World, the sequel to Hungry City that explores the idea of food shaping our lives and how can this help us to lead more sustainable lives in healthier environment; Sophia Psarra, who presented thought-provoking research from her book The Venice Variations - Tracing the Architectural Imagination; and Susannah Hagan who gave an inspired lecture on Designing London’s Public Spaces raising questions such as: What should public space ‘design intentions’ be today? Who is ‘the public’ of public spaces? What can/ should designers do to protect the ‘publicness’ of public spaces? The evening lectures audience included both students and staff who have taken part in lively debates. The latest CREAte sponsored conference was held in late June 2020 in collaboration with Architecture Media Politics Society (AMPS) research organisation that seeks to define and debate the built environment and other social, cultural and political discourses. The conference was called Connections: Exploring Heritage, Architecture, Cities, Art, Media. Carried online, it has attracted presenters from twenty-six countries, representing over ten discipline areas arranged around common themes. Presenters in each thematic strand represent a range of perspectives on: architecture, urban design, history, archaeology, heritage, art, design, technology, communications, media, film and cultural studies. Howard Griffin, the University of Kent conference organiser has presented on ‘The Future of the Past: Reconstructing St Augustine’s Abbey, Canterbury’ along Gerald Adler who introduced a paper titled, ‘Script, Nondescript’ and Gordana-Fontana-Giusti who delivered a paper ‘Cities, Countryside and Heritage: Biopower and New Values in Designing Public Spaces’. Rafaella Siagkri (a PhD candidate) presented her research on ‘Understanding and Preserving Cultural Heritage in Expressionist Architecture Using Virtual Reality’. In the past year, Ambrose Gillick has been awarded the prestigious British Academy award for the research project titled, ‘Covid-19 – ‘Making-Unmaking-Remaking Home in Lockdown Margate‘ while Chloe Street Tarbatt won the funding for the ‘Urban Room’ initiative that provides for a creative design hub in an existing shopfront on 325

Chatham Intra High-Street, thus providing a physical outpost for the architecture-based creative network to operate. Similarly, Nikolaos Karydis and Samer Bagaeen have been active regionally, where they have been engaged in promoting the KSAP activities within Creative Estuary and other projects. Alongside these main events, the members have been involved in giving papers at numerous national and international conferences including: Ambrose Gillick and Chloe Street Tarbatt presenting at the Architecture Humanities Research Association (AHRA ) conference ‘On Housing’ at Nottingham University, Manolo Guerci giving a talk at the ‘Lord Burghley 500’ conference in Cambridge and taking part in a workshop at the University of York with a presentation on ‘The Strand as the locus of Whitehall’s satellites of architectural conspicuous consumption in the Tudor and Jacobean period’. Gerald Adler has been active with the Tessenow Society, Alan Powers gave public lectures at several amenity societies including the Architectural Foundation, while Fontana-Giusti presented at the UCL European Institute’s Conference on ‘Parliament Buildings: The Architecture of Power, Accountability and Democracy in Europe’. These events were often accompanied by publications that members produce regularly in their quotidian research. We are looking at an even more exciting year to come!

PROF. GORDANA FONTANA-GIUSTI CREate DIRECTOR 326

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CREate Centre for Research in European Architecture CREAte AMPS conference 2020

Julien Soosaipillai

CREate Lecture Series

Professor Sophia Psarra - ‘Variations and Venetian Inspiration in the Le Corbusier’s Venice Hospital and the architecture of Carlo Scarpa’. Credit: CREate blog 328

Carolyn Steel - ‘Food and Cities: Sitopia – How Food Can Save the World’. Credit: CREate blog

Professor Neil Thomas MBE, Founder and Director of Atelier One - ‘Why Not?’. Credit: CREate blog

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DARC

DIGITAL ARCHITECTURE RESEARCH CENTRE DR TIM IRELAND The Digital Architecture Research Centre (DARC) is focusing on the application of digital technology in architecture. DARC looks to explore the creative use of digital technologies to enhance design and fabrication possibilities for architecture and the built environment. DARC promotes an innovative interdisciplinary research environment exploring intersections between architecture and digital technologies, to open up and expand the schools research agenda and funding possibilities.

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The centre aims to promote a fundamental shift in architecture and design thinking to develop design methods for the utilisation of computational technologies in architectural design, fabrication and assembly. This year Georgios-Spyridon Athanasopoulos (lecturer in digital architecture), and research students Richi Mohanty and George Rhodes joined the team. Richi is investigating tensions between digital and public space and George refinement of tactile language. Georgios has become integral to teaching digital skills at both UG and PGT level, on the MSc Bio Digital Architecture programme, as well as being design lead on a new innovative structures installation. Submitted to the International Association for Shell and Spatial Structures (IASS) competition the installation is due to be exhibited at the Medway Gaming & Creativity Festival. An eggcellent innovative structure student competition was held, which informed the structures installation and students Hasin Zahin and Mohammed Mohammed Fawaz are integral members of the installations detail design team: Kevin Smith, Julien Soosaipillai, Howard Griffin and Georgios. The Centre is a new interdisciplinary direction for KSAP, founded on members’ expertise and international research profiles to open up new avenues of research activity. DARC draws on expertise university wide and attracts knowledge and research in the field of digital architecture through collaborations, adding to its high quality research output, and looks to enhance the faculties Digital Humanities theme, principally in the areas of Digital Creative Arts and Digital Heritage.

DR TIM IRELAND DARC DIRECTOR 331

DARC Digital Architecture Research Centre

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DARC installation 20/21 333

KASA

KENT ARCHITECTURAL STUDENT ASSOCIATION KASA 20/22 CO-PRESIDENTS

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KASA has been an active part of KSAP since its beginning in 2005. Since then we have grown to become a large part of the school, with the hope of enriching the student experience, with inclusivity and community at our heart. We also aim to provide a platform for students to go beyond their studies in order to be become well rounded individuals by the time they leave us. Part of this is providing a lecture series each year which are provided by architectural practices, research bodies and professional societies. We hope that this allows our students a view into the professional world, whilst continuing to conjure inspiration for their own studies. We have also taken increasing steps to showcase more of our student’s work during the year. “Drawing of the Week” and introducing “Model of the Week”, feature on our Instagram account each week. We are also launching next year a high turnover exhibition space outside CREate Café. Presenting work in-progress that highlights the multitude talents possessed by all of our students during the year, not just at final end of year show. In order to continue to inspire and hopefully empower our fellow students, we are continuing the brilliant work of Amy Baker, Matt Maganga and Ana Ordas Prieto in the curation of our POC, Femme and LGBTQ+ channels on our instagram: Showcasing the achievements of Architects and designers who better represent the student body and their experiences. Although KASA has had to adapt, as have we all, due to the global pandemic of COVID-19, we could not be prouder of our students. The effort put into the catalogue has been incredible. We must thank Jacob Viner for providing such a beautiful catalogue cover – despite the fierce competition! As well as the trail map graphic for the city wide show. We are looking forward to hopefully coming together in the autumn term as one of the largest KASA committees ever before. We want to thank all the KASA committee or their work with both the show and catalogue and all the fresh plans to come in September!

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OUTGOING 20/21 KASA COMMITTEE MEMBERS: Vice President: Matthew Magana Treasurer: Reegan Howles Lecture Co-ordinator: Reegan Howles Head of Media: Helena Danial Head of Events: M. Can Aytek KASA POC Co-ordinator: Matthew Magana KASA Femme Co-ordinator: Amy Gillespie KASA LGBTQ+ Co-ordinator: Ana Ordas Prieto 20/21 Co-Presidents: Izzy Adams & James Vincent _______ INCOMING 21/22 KASA COMMITTEE MEMBERS: Vice President: Sarah Gardner Treasurer: Charlotte Cane Create Exhibition Co-ordinator: Chris Caballero Lecture Co-ordinator: Robert Ashworth Events Committee: Erica Beale, Katie Bunyan & Nirav Malde POC Co-ordinator: Omar Malick Femme Co-ordinator: Hui Wen Tan LGBTQ+ Co-ordinator: Zach McCarthy Ent & Events: Solenn Maillard Incoming 21/22 Co-Presidents: Robert Keen & Mark Thomson

IZZY ADAMS & JAMES VINCENT 20/21 KASA CO-PRESIDENTS ROBERT KEEN & MARK THOMSON 21/22 KASA CO-PRESIDENTS 336

NAME POSITION 337

ACKNOWLEDGEMENTS KSAP ACADEMICS & PHD STUDENTS

Jef Smith

Prof. Gerald Adler

Dr Richard Watkins

Georgios Athanasopoulos

Peter Wislocki

Anske Bax

Ronald Yee

Dr Silvio Caputo Benedetta Castagna

Chloe Street Tarbatt

PRACTITIONERS

Prof. Gordana Fontana-Giusti

Simon Barker

Dr Ambrose Gillick

Philip Baston

Howard Griffin

Robert Brown

Dr Manolo Guerci

Catriona Burns

Rebecca Hobbs

Chris Burrows

Dr Nikolaos Karydis

Ben Corrie

John Letherland

Joseph Eyles

Bernardo Lopes

Lawrence Friesen

Yorgos Loizos

Matt Gisbey

Tim Meacham

Michael Holms Coats

Prof. Marialena Nikolopoulou

Shaun Huddleston

Dr Alan Powers

Lee Jesson

Fiona Raley

Tara de Linde

Sukanya Ravi

Ivan Del Renzio

Dr Giridharan Renganathan

Victoria Lourenco

Huda Elsherif

Jess Lumley

Sukanya Ravi

Rebecca Muirhead

Michael Richards

Patrick O’Keeffe

Prof. Henrik Schoenefeldt

Edward Pryke

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Jo Merry

Gillian Lodge

Andy Macfee

Sharmini Mahendrasingam

Andrew Reader

Charlotte Malkin

Dimitris Sofos

Ben Martin

Hooman Talebi

Marie Mason

Benjamin Wood

Amanda Ollier

Chloe Young

Jo Pennock Jess Ufton

DIVISION OF ARTS & HUMANITIES

Julie Watkins

These are the key Arts & Humanities colleagues who have been particularly instrumental in engaging with the School this past year

Matthew Whittingham

Angela Whiffen

TECHNICANS Colin Cresser Neil Evans

ACADEMIC LEADERSHIP

Christopher Jones

Dr Helen Brooks

Kevin Smith

Dr Wissia Fiorucci

Brian Wood

Prof. Ben Hutchinson Prof. Simon Kirchin Dr Antonio Lazaro-Reboll Prof. Juliette Pattinson

STUDENT BODY CATALOGUE TEAM Izzy Adams

ADMINISTRATION

Robert Keen

Matthew Bolton

Mark Thomson

Natalie Conetta

James Vincent

Kirsty Corrigan Dawn Goldstone Fiona Jones

COVER & MAP DESIGN Jacob Viner 339

‘PROJECTION’ CATALOGUE 2021

Marlowe Building Canterbury Kent CT2 7NR

01227 824689 www.kent.ac.uk/architecture-planning ksap@kent.ac.uk

Printed sustainably by:

ISBN 978-1-5272-9710-4

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