Yearbook 2017

Y E A R B O O K

Yearbook 2017 Department of Architecture and Built Environment Editor: Alisdair Russell Designers: Daniel Norman & Luke Reveley

Introduction by David Short

Published by Tongue & Groove 2017 Department of Architecture and Built Environment, University of Nottingham / individual authors, unless otherwise stated

No part of this production may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system without permission in writing from the publisher. The views expressed as part of the individual projects are those of their authors and may not reflect the views of the publisher.

ISBN:

Department of Architecture and Built Environment University of Nottingham University Park Nottingham NG7 2RD UNITED KINGDOM Tel: +44 (0) 115 951 4882 www.nottingham.ac.uk/sbe

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natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Nullam mattis accumsan nunc, vestibulum vestibulum nulla ullamcorper vitae. Donec eu faucibus ipsum. Phasellus ac justo ac eros efficitur sodales vitae non elit. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Curabitur luctus vehicula tincidunt. Aenean accumsan mauris id mollis convallis. Sed blandit, tortor auctor imperdiet molestie, lacus nibh pellentesque leo, in ultricies ligula sem eu mi. Suspendisse potenti. Nunc et vehicula dolor. Sed volutpat dignissim sem, quis blandit dui consequat nec. Nulla id nisl nunc. Donec orci ante, blandit blandit molestie sed, rutrum vitae massa. Ut imperdiet quis neque in dictum. Quisque eu turpis ultricies, gravida odio dapibus, hendrerit ipsum. Praesent sed ornare leo. Sed nec mauris in elit auctor maximus. Aenean nec risus vitae magna elementum pretium. Morbi lorem turpis, ullamcorper non est eget, malesuada consectetur sem. Curabitur dapibus odio in risus gravida aliquam. Mauris at tempus tellus, at feugiat sapien. Suspendisse velit arcu, rutrum in maximus id, eleifend vel augue. Nullam a dictum urna. Curabitur ante odio, semper eu purus vel, euismod ultricies velit. Praesent volutpat, justo sed finibus sagittis, purus dolor vestibulum felis, a pellentesque justo dolor ac tortor. Mauris sollicitudin aliquet odio at iaculis. Suspendisse potenti. Sed a quam in tellus imperdiet vestibulum. Maecenas eu sagittis justo, at tincidunt elit. Curabitur nec nulla ante. Nullam dignissim ornare tortor vitae tincidunt. Nullam ut pretium nisi. Maecenas rutrum euismod enim. Mauris in cursus nulla. Fusce lobortis rutrum ip-

Foreword 5

Thanks to Alisdair Russell for organising this yearbook; and to Daniel Norman (Unit 1a) and Luke Reveley (Unit 5b) for its design and compilation.

A special thanks to our sponsors: Canary Wharf Saint Gobain Blueprint Hoare Lee Purcell Gensler Carapiet Family Benoy Urban Design Group Price Myers CPMG NDSA North East Timber /NETA

I hope you enjoy the contents of the 2017/18 yearbook as much as I have. It provides a flavour of who we are as a Department and maps out a year of intense activity. As you will see, the challenges set at the start of the year were diverse in terms of their focus, but what unites the work generated in response, is a thread of creative excellence. The yearbook presents only a fraction of the work that has been produced and it is difficult in a short publication to communicate the extent and breadth of the design research, experimentation and innovation undertaken in the Department. I would like to congratulate the entire student body on a job very well done and thank all of the staff in the Department for the enthusiasm and hard work that provide the environment for delivering excellence. Dr Robin Wilson Head of School

Content 7 Yr 1

Name

Tutor(s)

14-23

S.Douglas & A.Gywnne R.Grigor & A.Thomas L.Bromley D.Trowell J.Keays

1 2 3 4 5 Yr 2-3

Name

Tutor(s)

1a 1b 2a 3a 3b 4a 4b 5a 5b

Forgotten Places The Janus Condition Project Myemyela Shipshape Bristol Homes/Museums + The City Dancing Shadows Ghost Stories New Town Utopia Brink Territories

A. Russell J. Hutchinson J. Ramsay R. Diamond W. McFadden M. Strong, A. Harmer M. Lall A. Davies F. Makki

24 40 54 64 76 90 102 116 134

Yr 6

Name

Tutor(s)

1 2 3 4

Urban Mediations Ivory Tower Situations Biophilic

K.Borsi D.Jarman J. Morgan N.Porter

Yr 5

Name

Tutor(s)

1 2 3 4 5

Art Knowledge Craft Performance Civic

C.Snow J. Morgan L.Gaskell, M.Ramwell M.Strong A.Russell

Name

Tutor(s)

1 2 3 4 5

Urban Design Sustainable Tall Buildings Environmental Design Digital Architecture & Tectonics Theory & Design

T.Heath, Y.Tang D.Nicholson - Cole B.Lau, L.Rodrigues C.Niblock, P.Beccarelli W.Qi, L.Hanks

Other

Event/Trip

Location

1 2 3 4 5

End of Year Show Summer Ball Field Trips Harlow Exhibition Sponsors

University Campus Goosedale Various Harlow, Essex

# 152 162 168 180

198 204 210 218 222 # 230 236 244 254 262 #

266 268 270 274 276

RIBA Introduction Presidents by David Short Medals 2017

Year 3 Student Kangli Zheng wins the Prestigious RIBA Bronze Medal for the first time in the 181 year history of the awards The awards ceremony took place at the Royal Institute of British Architects (RIBA) in central London on 5 December 2017 and is an evening dedicated to recognising young talent in Architecture.

`Castle in the sky` is a response to London`s housing crisis. Identifying the failure of strategies such as decentralisation and high-rise, it proposes an alternative model: flexible `room - boxes` plugged into the available space above London`s terraces. Space function is no longer fixed, it becomes a product occupants can replace and change.Alternatives for enclosure define family homes, co-housing, archive storage and public gardens, combined to create communities in the sky.

Kangli Zheng of the University of Nottingham, tutored by Alison Davies, received the RIBA Bronze Medal (for the best design project produced at RIBA Part 1 or equivalent) for his project ‘Castle in the Sky’. Kangli’s project offers an alternative response to London’s housing crisis and involves the use of flexible room boxes installed above London’s terraces. Its occupants are able to customise the space for use as residential homes, storage properties, or shared public gardens for example.

This is the first time that a student from the University of Nottingham has won a RIBA medal. This year has had the most submissions on record from institutions around the globe and participation is by invitation only therefore highlighting what a fantastic achievement this is for Kangli, the Department of Architecture and the Built Environment, and the University. An exhibition will showcase the designs at the RIBA in London until Saturday 10 February, and at RIBA North in Liverpool until 24 February 2018 or for more information on the awards and other winners, please follow the link: Kangli’s work can be seen at the RIBA website. http://www.presidentsmedals.com/#

Awards DABE Architectural Engineering Design Dingming Liu, Yuan Gao, Yu Xia, Qing Liu DABE Architectural Engineering, Dissertation BEng Yuqing Fu DABE Architectural Engineering, Dissertation MEng Patrick Sharpe

Alkiki Community Interest Prize Maria Fernanda Barranco Skewes Benoy Best 1st Yr Portfolio Thomas Walker DABE Best 2nd Yr Portfolio Conor Vale (U1B) Purcell Best 3rd Yr Portfolio Hayley Crone (U5B) & Joshua Watts (U1B) Gensler Best MEng Portfolio Thomas Parker

Hoare Lee Engineering Graduate of the Year Danwei Jiang (BEng Yr3) Aecom Architectural Engineering 2nd Yr of the Year Beatrice Acquistapace Blueprint Sustainability Award Nuansa Atika Kusumastuti & Maria Fernanda Barranco Skewes

CPMG Best 6th Yr Portfolio Jack Broad & Andrei Negrea LEONARD Best 5th Yr Portfolio Andrew Jowitt DABE Best MArch Student Maria Fernanda Barranco Skewes DABE Student Contribution Tom Parker & Fiona Johnson

DABE Best use of Tectonics / Materiality Ryan Boultbee Netta Timber Award Elfed Samuel Latham/Urban Design Group East Midlands Urban design and Context Award Kathryn Thomas

Price Myers Best Implementation of Environmental Design in a Project María González Córdova St Gobain MSc Student of the year El mheirat & Ghaleb Mashhour

Canary Wharf Best Sustainable Tall Building Shima Banaei, Maria Gonzalez, Ali Habibi, Julian Pazmino RIBA Bronze medal nomination Kangli Zheng U5A Ross Burns U4B RIBA Silver medal nomination Chloe Thirkell & Josh Sharp Nottingham & Derby Society of Architects Part 3 Student of the Year Peter Blundy Matthew Carapiet Award Nefeli Kouroushi St Gobain Integration of Advanced Engineering Thomas Parker OeAD Austrian scholarship Guamani Rodriguez Canon UK Best Integration of 3D Printing in Model Making Rory Wood

Introduction 13

The BArch Course at the University of Nottingham produces some of the most sought-after graduates of any UK School of Architecture and this year has been no exception with our graduates securing placements in top UK and international practices. As an example we now have 5 Part 1 students working in Rogers Stirk Harbour + Partners; 2 from this year’s cohort of students, 2 from last year who are staying for a second year out and 1 from the previous year. The fundamental philosophy of the programme is to promote individual creativity through thinking, questioning and study and thereby to foster an ability to conceive and create an architecture that has a special and particular quality and skilfulness. This creativity is reinforced by a rigorous approach to the application of technical knowledge. We want to teach and encourage students to become inquisitive, interested in their subject areas, confident in their ability and interesting rounded young people who can think for themselves and have a real desire to make a difference. Through the diverse studio units on offer in years 2 & 3 of the course there is a great breadth in the range of work produced. Building on an excellent year 1, students are well prepared to find their feet and flourish in their middle and final years. Again this year we have seen some of the best ever work in all studio years culminating with 89% of our students graduating with either a 2:1 or 1st class degree. Uniquely year 2 students can chose to design and build a small school project in South Africa. The South Africa Project has been running since 2009 with the first school built in Jouberton, a Township in Johannesburg.

Since then we have completed 7 additional projects in 9 years working in the Limpopo region with the charity Education Africa. Students who select this studio unit will spend Semester 1 designing and detailing the project before going out to South Africa to build in the Easter vacation period. This is also a charitable venture and students are tasked with raising money to fund the work. We support what we do by running three architectural exhibitions in each academic year. These exhibitions showcase the work of some of the UK’s and international leading practices. These Architectural Exhibitions, the Beginnings Middles & Ends series, are supported by lectures and interviews. This year’s exhibitions have included the work of Walters & Cohen Architects and Rogers Stirk Harbour & Partners. Built on these foundations it was rewarding to have been ranked 5th in The Guardian League Table 2018 by subject this year and also ranked 5th by the Architect’s Journal in association with the AJ top 100 practices. We also achieved our best ever National Student Survey Results with 95% of graduating students were overall satisfied with the course. A terrific year all round and one that is the culmination of a lot of hard work by students and staff alike. David Short BArch Course Director

First Year

Year 1

Year 1 The first year is a foundation and qualifying year at the University of Nottingham for both Architecture (B.Arch.) students and Architecture and Environmental Design (M.Eng.) students. It is a studio based module within which the fundamental principles of architectural design are taught, tested and developed through a series of design projects. The studio module is year-long and runs for 25 weeks, with two full days of tutoring per week. The year is divided into five units, each unit having a full-time Unit Leader (listed below), assisted by visiting practitioners and Year 6 Diploma students. The students entering Year 1 each have very different sets of skills and levels of understanding related to the study of architecture. The foundation year is designed to be a gradual process of learning and development, with each project building on the project before, and being designed to test the students’ skills in each of the key areas of architectural education. The academic year starts with the ‘Tour de Pasenville’, a project created by our former Visiting Professor, Ted Cullinan, of Edward Cullinan Architects. The ‘Pasenville’ is a fast paced, action packed design project in which students from Years 1, 5 and 6 work together to produce the design for a building in two days. It is an exciting project and a great introduction to the world of architecture for Year 1 students.

Tom Walker, Journey Image

The studio programme comprises five stages: Stage 1 - ‘Foundation One and Two’ - is an initial five weeks of observation, drawing, sketching, model making and skills development, based on short practical exercises, and culminating in a six day field study trip to either Amsterdam or Paris Stage 2 - ‘Design Integration One’ - applies and tests the skills acquired in ‘Foundation One and Two’ in a five week exercise to design a studio and optimal living working space for an artist or sculptor. Stage 3 -‘Semester One Portfolio Review’ – assess how well the student has progressed in the first semester. Stage 4 - ‘Design Integration Two’ - is the final project of the year. It is a thirteen week design project that integrates all the knowledge and experience of all the previous stages in the design of a building in the City of Nottingham. Students choose from one of five projects whose themes are all based on ‘community’ to bring likeminded people together to share an interest and ‘fostering enterprise’ to help people starting out in their careers.

Stage 5 - ‘Semester Two Portfolio Review’ - assesses how well the students have progressed in the second semester and whether they have acquired the skills needed to pass to the second year of their course. In addition to learning the fundamental architectural principles of creating a building that responds to the needs of a specific client and a given site, the studio module also places great emphasis on teaching students to communicate their ideas and design intentions clearly and effectively through drawings, models and verbal presentations. The integration of taught modules within studio plays an important role in Year One, with Environmental Design, Architectural Humanities, Construction, Structures, and Integrated Design in Architecture contributing to and being tested within the studio projects at various points throughout the year. The projects shown on the following pages display student’s work for Stage 4 – the Comprehensive Design Project – undertaken in the Spring semester (apart from the Semester One work from Sisir Debnath).” STUDIO LEADER Liz Bromley ASSISTANT YEAR 1 STUDIO LEADER - Farida Makki. UNIT LEADERS Unit 1 – Susie Douglas & Alison Gwynne, Unit 2 – Rachel Grigor & Andy Thomas, Unit 3 – Liz Bromley, Unit 4 – Derek Trowell, Unit 5 – Jeffrey Keays. VISITING PRACTITIONERS Unit 1 – Philip Etherington & Chris Goodwin, Unit 2 – John Newbery and Anya Sutton, Unit 3 – Matt Fielding and Tom Bradley, Unit 4 – Kristian Bjerre and Mina Tahsiri, Unit 5 – Tom Bennett and Steve Riley. EXTERNAL REVIEWERS Dhiran Vagdia, Balveer Mankia and Ben Youd. YEAR 6 STUDENTS Unit 1 – Joshua Dobson, Andrei Negrea and Fiona Johnson, Unit 2 – David Whitehead, Chloe Thirkell and Ryan Kelly, Unit 3 - Amy Turner, Jack Broad and Aimee Gyorvari, Unit 4 – Kathryn Thomas, Joshua Sharp and Matthew Hiu Yuen Yip, Unit 5 – Trina Bandyopadhyay, Hannah Deacon and Rory Wood.

16 16

ALEXANDRA FRANCIS

First Year

Year 1

SISIR DEBNATH

Year 1

First Year

LAUREN LEYVA

JENNIFER WILSON

First Year

Year 1

First Year

Year 1

TOM WALKER

Forgotten Places

Unit 1a

Thamesmead in South East London formed perhaps London County Councils most ambitious Post War Housing Programme, as we emerged battle scarred from World War 2 a spirit of optimism and excitement was universally embraced by politicians, architects and planners to provide good standards of housing for all. Indeed the post war rebuilding programme can be seen as the most ambitious, forward thinking and egalitarian of any recent period in British architecture and architects relished the opportunity to design for the greater good. Inner city housing was cleared en-masse through slum clearance programmes and mass housing projects were created all over London to provide spacious, light and modern housing for all. Thamesmead more than anywhere captured the spirit of the age, and its utopian ideals were reflected in the boldness and ambition of its architecture. Occupying a significant area of some 3 miles in width it sits immediately adjacent the River Thames on what was part of the vast Woolwich Arsenal dating back to mediaeval times. A flagship project of the LCC, Thamesmead was heavily promoted as a benchmark for offering a solution to the housing crisis; tenants were vetted and carefully chosen, and the privileged few had the opportunity to become part of a forward looking and highly prized new community. Indeed Thamesmead was seen to be `the` model of community housing and a celebrated template for future living.

LOCATION: Thamesmead, London

TUTORS Alisdair Russell, Stuart Buckenham, Andrew Cross

A shift in political ideals in the 1970s and 80s, Thatchers `Right to Buy` programme and the desire to own one`s own home in the upwardly mobile 1980s heavily impacted upon council housing, no longer was it considered desirable, it rapidly became heavily stigmatised as no longer housing for the greater society, but as housing for the poor, for the rising levels of unemployed. The once vibrant working River Thames, a place of thriving industry came to a standstill and the area and its communities lost their sense of worth. Four decades of degradation have seen Thamesmead slide into a state of decline, battle scarred and forlorn, it now represents a place of abandonment, a relic of a forgotten past and not a place for the future. For years it was considered as a `sink` estate, devoid of infrastructure, suitable connections to the city, and insufficient employment, it became a place where the worst council tenants were decanted to in the outermost reaches of the city, a place you would be sent to live, but never a place to choose to live...

The time has now come for Thamesmead to have its second chance, to flourish and become the place it should have been all along. Widespread gentrification across London has resulted in mass forced economic migration, as with last years site, Tilbury and the Thames Gateway, London has nowhere else to go, astronomic rents and property values are forcing out London`s working class population. Vast mass housing estates such as the Heygate and Aylesbury are being demolished and rebuilt, to cost, by private developers. Therefore very few sites offer a chance of allowing the ordinary man to continue to live within London. As a result of this Thamesmead has its chance once again to flourish, to reinvent itself and indeed to expand; with Crossrail the infrastructure is now in place along with employment and education, most of the architecture still stands proud amongst the decay and Thamesmead is once again `on the radar`. Allies and Morrison architects in conjunction with the Peabody Trust are beginning to Masterplan its rebirth, and it formed a study focus in the 2014 British Pavilion at the Venice Biennale (A Clockwork Jerusalem). Our students were given the opportunity to reimagine, to reinvent, to build afresh, to stitch and repair, and to form new polemics for this powerful socially and architecturally charged context, to be bold where needed, to be sensitive where needed, but most importantly to create a sense of place and belonging. CRITICS Christopher McCurtin (Corstorphine & Wright), Gordon Reavley (University of Oxford), Guvenc Topcuoglu (Buro Happold), Adrian Friend (Friend and Company/RCA), Laurence Neal (Allies & Morrison, Neal Tanna (Heatherwick Studio), Andrew Edwards (Heatherwick Studio), Daniel Paigge (Simpson Haugh, year out), Matthew Drewitt (AHMM, year out), Matthew Mitchell (UCL year 5), Ryan Kelly (UoN year 6) YEAR 3 STUDENTS Eric Atkinson [MEng], Ellen Faulkner, Ruchita Gurung, Adelina Ruxandra-Gutu, Bradley Hague [MEng], Cong-Hoang Nguyen, Yavor Ivanov, Christian Kennedy, Alex Kolar, Kai Hin Law, Alex Murarescu, Priya Nahal, Daniel Norman, Mike O`Reilly, Alexandra Orfanou, Chae Park, Thomas Parker [MEng], Jack Parmar, Edwin Wong [MEng] YEAR 2 STUDENTS Georgia Allen, Geena Bains, Harriet Beale, Holly Conway, Tom Cran, Evelyna Hadass, Jonah Harvey-Crowe, Zhaoxuan Ma [MEng], Yara Machnouk [MEng],Tim Newcombe [MEng], Sedayah Simpson, Joshua Taylor [MEng], Gabrielle Wellon, Stephanie Wilson

Unit 1a

Forgotten Places

GABRIELLE WELLON, Year 2 GEORGIA ALLEN, Year 2

GABRIELLE WELLON, Year 2

GEORGIA ALLEN, Year 2

Unit 1a

Forgotten Places

HOLLY CONWAY, Year 2

The Assembly, ALEXANDRA ORFANOU—The Assembly aims at tackling the new typology of an exploded town hall,which in turn will create a new heart for Thamesmead in the middle of the new and old developments, literally bridging them together at a point where a cluster is created. The aim being for more interactions to be encouraged HARRIET BEALE, Year 2

that will bring to surface the rising issues of the new community that is being formed and the Assembly being the threshold, to accommodate for their discussion and solution. In this project, I will procceed assuming my Project 2 High Line is in place, creating a new straight path that leads to the future cross rail station.

Alexandra Orfanou, Year 3

Forgotten Places

Unit 1a

ď Žď&#x20AC; The Synergic Brewery, YAVOR IVANOVâ&#x20AC;&#x201D;The Synergic Brewery is based on the site of an existing sewage farm in Crossness which is where the wastewater from all of South London is treated before being emitted into the Thames. It proposes a reclamation of the industrial site through a transition of the processes to passive methods of water treatment whereby the landscape starts to filter the water

and the energy from the process is captured to power the site and essentially make it autonomous. Thus, the industrial processes become invisible in the landscape, and the industrial site becomes a remediated fenland which sits in between the Crossness Nature reserve and the Joseph Bazelgette Pumping Station and therefore starts to be populated with pockets of public programmes.

Thamesmead Housing Expo, THOMAS PARKER— The Thamesmead Housing Expo explores themes of urban regeneration using modular technology by positioning a housing factory in an expo parkland. This juxtaposition of industry, education and culture aims to challenge pre-conceived notions

Forgotten Places

of ‘pre-fab’ and build on Thamesmead’s system built heritage, with a forward looking project. Thamesmead is a system built town which has fallen into disrepair. This expo could reposition this forgotten place at the forefront of a housing revolution and allow Thamesmead to expand in a considered and responsive way.

Unit 1a

Doctrina Salutem, JACK PARMAR—An adaptation of ‘The Doctrine of Salvation by Bricks’, a quote by Reinhold Niebuhr, used to describe the self deception we have when we justify that the creation of good shelter will automatically work family and social miracles. This project aims to present a solution to the ever increasing British Housing Crisis via a process of reviving and reinventing an existing housing estate in South-East London. By protecting one of the great housing estates of the 20th century, Thamesmead, the project intends to breathe a new lease of life into the town, providing existing residents with services and infrastructure they were promised half a century ago, and increasing the housing density to meet modern day demands.

ď Žď&#x20AC; Robotic emediation, EDWIN WONGâ&#x20AC;&#x201D;Robotic remediation is a research facility that aims to remediate brownfield sites across London, transforming disused sites into public green spaces while remediating them for future use. The concept includes sending out automated packages of crawlers that would roam brownfield sites while being connected to the research facility via satellite. The design of the crawlers are sensitive to the landscape leaving little tread behind, minimising soil compaction to maximise organism growth. Partnered with a University the facility with give one of a kind specialisation in both robotic and green-science areas of research, creating a database of information which is open source to.

Forgotten Places

Unit 1a

Forgotten Places

Unit 1a

The Meadow Wetland Research and Conservation Centre, ALEX KOLAR—The wider concept for the project was to reintroduce a sense of pride and identity to Thamesmead. Therefore, the masterplan sees the reintroduction of reed bed systems which will replace the mechanical

Transport hub, ELLEN FAULKNER—My proposal brings back the boat and creates a new transport hub combining both boats, a tram link, cars and the pedestrian to kick start investment into Thamesmead. The hub sits on the Thames edge connecting London and Thamesmead. It also makes use of a current widespread issue of algal blooms in open waters which kill thousands of fish. The design is flexible for future endeavours whether this be the addition of an extra ‘transport’ island, or the addition of another ‘algae’ island.

methods of water purification currently used at the Crossness Wastewater Treatment Plant. The scheme also includes a main Visitors Centre built into 6 existing concrete silos for public education as well as private laboratory spaces for testing the waste water as it travels through the site.

A Framework for Living, DANIEL NORMAN— A Framework for Living proposes a new housing model that offers inhabitants a flexible dwelling that can change use and privacy over time, through the use movable furnishings and partitions. It draws on the ideas of co-living, providing accommodation that promotes sharing whilst maintaining the ability to have privacy. Service cores and

Forgotten Places

an inhabited ceiling offer a permanent infrastructure, allowing the rest of the space to be freely adapted. The modular furniture can be rearranged to suit the desired layout of the inhabitant and can be used for a variety of functions. Boundaries can be created using the moveable cupboards and partitions, allowing the dwellers to easily alter the privacy and connection of space.

Unit 1a

The Janus Condition

LOCATION: Edinburgh, Scotland

TUTORS Jim Hutcheson, Ben Smart, Steve Riley, Alex Lipinski

Unit 1b

Janus is the Roman god of beginnings and transitions. He is most commonly represented as looking in two directions simultaneously – both to the past, and to the future. As such, Janus embodies the notion of change – representing a present which enables our transition from the past to the future. Our Unit considers the role of architecture in these terms, looking to the past to inform the future, with a particular focus on an understanding of context in its broadest sense. One of the critical challenges for architects practicing today is to address the notion of contextual continuities in a whole series of ways. Architecture and society exist in an on-going cultural continuum. This work of this Unit is concerned with introducing contemporary interventions harmoniously into their immediate physical, as well as larger socio-historical contexts. To achieve this, we research the historical, physical, cultural, and social circumstances of each project, integrating this information with a considered response to the brief, to the environmental and other technical parameters which apply, and with our own ambitions, which ‘stand in’ for those of the clients whose aspirations we hope to translate into physical reality. Each year the Unit provides both Year 3 and Year 2 the opportunity to study in detail a historically and geographically significant site in an urban context. This year our investigations have centred on the Old Town in Edinburgh (3rd year), and Castle Boulevard, Nottingham (2nd Year). Our role begins with site selection, analysis, and the emergence of feasibility proposals. We assess the cultural, philosophical and geographical location and context, looking specifically at the potential for continuities inherent in the existing condition. Our investigations continue with the formulation of strategic

ambitions for the sites, which inform on-going design propositions. We progress, looking at the programme, the volumetric composition of proposals, space planning, urban design opportunities, and the development of the physical fabric of our proposals, leading to the eventual resolution of a complete, coherent design proposition founded on a relevant, appropriate and poetically transformative idea. CRITICS Aidan Hurley, Matt Greenhalgh, Tom Dichmont, Jeffrey Keays, Steve Banks YEAR 3 STUDENTS Sebastian Chambers (MEng), Wai Chun (Michael) Chan, Chan-An Chu, Ayoyimika Edun, Nada El Kateb, Andreas Fasoulis, Tessa Haugh, Qianhui (Mandy) Hong, Parisa Kanabar, Spyridon Karavasilis, Sze Pui (Jacqueline) Lam, Siu Yiu (Jeff ) Lau, Jiequi (Lena) Liu, Oyunbileg Sambuvnayam, Nicholas Parker, Edison Poon, Angelica Sacrepaye, Wesley Stone (MEng), Liva Suna, Joshua Watts, Andrew Williamson, Lijun Wu, Hapsa Isa Galaudu YEAR 2 STUDENTS Karen Chin, Laurence Culliford, Sophia Esoimeme (MEng), Yanru He, Kenneth Kong Jia Rong, Soo Pek Kwan, Matthew Skelding, Edward Stark, Conor Vale

Unit 1b

The Janus Condition

EDWARD STARK, Year 2

CONOR VALE, Year 2

EDWARD STARK, Year 2

CONOR VALE, Year 2

The Janus Condition

Unit 1b

Urban Retreat Complex, SPYRIDON KARAVASALIS—The aim of my thesis project was to propose an Urban Retreat Complex within the complex urban site in Edinburgh that was previously explored. The scheme includes spaces for contemplation, relaxation and exercise as well as rooms for counselling and art therapy. Accommodation is

also available on site making this proposal a well-thought design. The building covers a big area of the site but is designed with plenty of urban breaks, internal voids and other openings that make it permeable and beautiful. Controlling the light and providing plenty of garden levels and vegetation evokes a calm and serene atmosphere within such an urban, busy environment.

Edinburgh Centre for Urban Agriculture, JOSHUA WATTS—The new Edinburgh Centre for Urban Agriculture is a facility where nontraditional methods of food production can take place, new breakthrough methods of non-traditional food production can be developed and a place where the public can be exposed to these discoveries in an

The Janus Condition

uplifting manner yet is also made aware of the global food concerns of today to gain a head start in preparing for the approaching global food shortage burden. The question of the modern day is: As everyone is continuing to move into the cities, where will our food be grown and how will the logistics and food distribution models cope with this urbanisation?

Unit 1b

Sitopia, ANDREW WILLIAMSON—The Sitopia project was inspired by the green movement of the same name, which strives to alter the unsustainable food cycle that we see rife in cities, by reinvigorating urban food markets. This ultimately aims to create sociable local communities focused around the production, distribution, and recycling of produce. The project itself was an exploration in how we can apply, and consequently teach, these principles at a local scale. This was especially appropriate given that the site bordered onto Edinburgh’s Grassmarket – the historic food centre of the city – which further the made the project a scheme to rejuvenate the identity of the area.

The Janus Condition

Unit 1b

Edinburgh Community Arts Centre, WESLEY STONE—The ECAC is a community arts centre with the intention of providing support for local artists; improve access to the arts for the local community, and provide space for a local arts council and other funding organisations within the Edinburgh arts scene, Studio and workshop spaces are provided for the artists; gallery, exhibition and auditorium

The Janus Condition

spaces are accessible to the public, and accommodation for arts organisations are also included. Urbanistically the scheme provides connections between Cowgate and Victoria Street, both outside of the building and through the scheme itself, using the central courtyard space as a stepping stone between Cowgate and the newly designed courtyard garden to the rear of the site.

Unit 1b

Coalesce, TESSA HAUGH— “Coalescence’ is derived from the Latin coalescere, combining co, (together) and alescere (to grow up). The word is relevant in a range of contexts, for example to describe different forces uniting together to reach a common end or goal, implying that a range of views or forces in unison brings about more impact than the forces would produce individually. The building I have designed is intended to be the main headquarters and production house of the “Coalesce’ magazine, housing the entire magazine process under one roof in order to demonstrate the ability and possibility of having an impact and creating a finished product from scratch.

Space Museum and Learning Centre, Qianhui Hong —

The Janus Condition

Unit 1b

Project Myemyela

Unit 2a

Unit 2A is a unique experiment in alternative methods of architectural education. It is open to students in second year studying for the B.Arch and M.Eng degrees. The pedagogy explored in the unit is known as “Design/ Build Studio” or “Live Projects Teaching”. Students who participate will then select from one of the other studio units for their third year. The unit is particularly popular with M.Eng undergraduates. Students are asked to volunteer to design, fund and build a pre-school building in rural South Africa. The entire project is contained within an academic year – in fact from inception to completion is usually less than nine months.

LOCATION: Limpopo, South Africa

The advantages of working in South Africa are many – construction costs are low as there is a culture of selfbuild in the rural areas, and the climate requires less complex technical solutions that, for example, Northern Europe; the legislative processes of planning and building control for delivering a building in the rural areas is simpler than in the UK; and there is a very significant social impact from the projects – the villages are very poor with only basic educational provision, especially at pre-school level. Students benefit from making a real building for real people in a real community, in one of the most fascinating and complex nations in Africa. The local, client community benefits form a facility they otherwise would never have been able to provide. The university benefits from the public interest in the initiative, and the academic team benefit from carrying out cutting edge, real life problem based teaching and learning, considered to be the most ambitious of its type in the UK.

TUTORS John Ramsay, Peter Russell, John Newbery

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During the Autumn semester students undertake group research work and individual concept designs. Their “teams” are then asked to develop one scheme (either the best concept in their group or one drawing on the best elements in each concept) to be part of a selection process over the Christmas recess. The winning

scheme is built during the Easter recess in Limpopo Region, in the Republic of South Africa. Sites in local villages are selected working in cooperation with South African NGOs the Thusanang Trust and Education Africa. In the Spring Semester students in the unit revert to a more typical year 2 programme, undertaking the equivalent of projects 3 and 4 in the studio module K12DSA. Project construction takes place at Easter, with two phases of two weeks working flat out to complete the project. The student team carry out all fundraising for the project, and the initiative each year spends over 90% of these funds within 50km of the chosen site. The project for academic year 2016/2017 was called Project Myemyela – “myemyela” means “smile” in Sesotho Sa Leboa, the language spoken in the villages around Tzaneen. With the exception of some roofing work to be carried out by a contractor over summer, it was completed successfully at the beginning of May 2017. CRITICS Steve Wickham, Lois Plaistow, Sam Critchlow,Sam Diston, Thomas Pearson,Ione Braddick,Rosie Jones,Alison Pressley,Ryan Boultbee. YEAR 2 STUDENTS Emily Atkinson, Yuriko Baneke, Emily Blanchard, Elizabeth Borland, Qiwen Cao, Poojah Chikhlia, Safwah Chowdhury, Elise Colley, Joe Copley, Mahla, Farrokhi, Jemima Fasakin, Tamsin Gamble, Zena Gammoh, Vaishnaivi Gore, Asha Nicholson Gringinger, Hannah Hart, Charlotte Hodgson,Chelsea Keeley, Andrew King, Sheel Kothari, Louise Jones,Rachel Levy, Emma Lewis, Johanna Lynn, Jaymee Malkan, Stephanie Mervild, Rachael Milliner, Aidan Prosper Mwombeki, Emily Page, Rebecca Palmer, Lilla Porkolab, Olivia Psara, Elizabeth Ryall, Emmanuel Rufai, Vickie Tang, Laura Walker Beaven, Ellenor Ward, Lucy Wren, Grace Yu.

Unit 2a

Project Myemyela

Model of the built project

Site plan

Elevations

Render of the built project

Project Myemyela

Unit 2a

Project Myemyela

Unit 2a

Project Myemyela

LUCY WREN

ELIZABETH RYALL

LUCY WREN

Shipshape Bristol

Unit 3A

Unit 3a This year Unit 3A has been working in Bristol, which has reinvented itself, post industrial, post trading seaport, post slavery (it was the world’s largest slave trading city) post 1980 St Paul’s anti-racist riots. Bristol has a steep topography, a compelling history of its development as a sea port, a dark history as the World’s biggest slave trading port and a vibrant present. These conditions and events shaped Bristol physically and socially. We have been using its history as a trading port to make projects which consider new ways of working, and how they can reshape our sustainable and cultural lives. It has a population of approximately 450,000 It has the UK’s highest percentage of university students remaining in the city after graduation. Bristol is making itself sustainable. In 2015 it won the European Green Capital Award. It has its own currency, the Bristol pound which can be exchanged for local goods and services. Bristol has compelling topographical conditions and technical feats which have shaped its development. It has steep gradients with the claim to have the steepest street in England. Its river the Avon at the Severn estuary has the world’s second largest tidal change. In 1809 Bristol dammed part of the river with locks, leaving the tidal river Avon cut in a gorge through the city. This created a ‘floating harbour’ so that ships sailing in at high tide did not get trapped at low tide, but stayed afloat

LOCATION: Bristol

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The projects have all been sited around the Floating Harbour. They have investigated private, communal and public aspects of urban living. They have considered the civic in the context of water edge and Bristol’s topography, with the following themes Trade/ connections. The city which was dominated by trading things has shifted to new technologies, creative industries and different localised forms of exchange. Many of Bristol’s existing buildings have and are being reinhabited with different working practices. In new ways of working how do we describe the concept of trade? They still depend on dissemination between people and places.

A topic to question The floating harbour was bounded by wharfside warehouses filled with trading goods: sugar, tea, tobacco and wine. Many buildings were destroyed during WWII. Bristol’s city centre has a typical mix of buildings for living working and entertaining. Why have the floating harbour’s edges been developed into segregated areas of functions: leisure and tourism as old heritage (warehouse conversions), low rise unintegrated housing, with workshops and more small industry at the west end. This is something the thesis projects addressed. In their thesis projects, Working Life = civic architecture year 3 students have developed their ideas of trade on three sites, considering the civic in the context of Bristol’s topography and water edge and asking ‘What makes civic architecture in a renewing city?’ The proposals included a street art building to house the festival and artists’ interventions, a building to house the BFI Bristol with cinemas etc, a children’s centre with housing, a transport and infrastructure museum, an academy of dramatic art, with a public theatre, a market hall with raised public garden and housing CRITICS Thanks to Carolina Bartram Structures/construction consultant + Guests Peter Karl Becher Catherine O’Leary Shamoon Patwari Karin Templin Prisca Thielmann YEAR 3 STUDENTS Anna Bira,Samuel Browning,Jack Chamberlain, Natalie Du Preez,Jennifer Qiyu Ge,Joseph Hall, Tom Howard,Chay Innocent,Rishi Patel, Charitini Syllouri,Robert Winslade,Yue Ying , Max Zambo YEAR 2 STUDENTS

TUTORS Rosamund Diamond, Aidan Hodgkinson, Calven Lee, Helen Thomas

One of our themes this year has been permanent and temporary, considering what this means in terms of changes to the way we live, and how we might re-use existing buildings to accommodate different kinds of homes. Bristol is well set up for co-living projects. It has reinvented itself as a place of new kinds of businesses, small start ups, and flexible adaptations of existing buildings. Within building propositions, investigations of the temporary and permanent will be tested.

Allison Au,Aisha Cajee,Yiye Han, Kreshma Karimi,Joelle Kwuo,Helga Osorio Ho Rachel Tsz Yan Wong,Yunlu Wang, Roy Yuanzi Wang, Frank Zhongan Tan, Hans Binhan Wang

Unit 3A

Shipshape Bristol

Allison Au, Year 2

JIANG YUANZHI, Year 2

BINHAN  BINHAN WANG WANG, Year 2

TSZ YAN WONG, Year 2

未命名文件夹, Year 2

Charitable Children’s Centre, JENNIFER GE— The scheme is a charitable children’s centre funded by 15 residential flats. The main architectural idea of the scheme is having separated layers of the functions as solid and clear. The order of space from the bottom is cafe and lobby (G/F; clear), children centre (1/F; solid), external children playground (2/F; clear), residential

Shipshape Bristol

flats (3/F; solid), residential roof garden (4/F; clear). The solid layers are treated in white concrete while the three clear layers are being treated differently. The bottom layer: cafe and lobbies is treated with glazing, middle layer: external children playground is treated with metal mesh, and the top layer: residential roof garden is treated with columns and beams as the frame.

Unit 3A

Y3, RISHI PATEL—Y3 is an up and coming trainer brand, belonging to Adidas. The proposal for this project is a building that houses Y3ís research headquarters. Situated on the Floating harbour, within the innovative city of Bristol, the building caters for both the sports research and development, and retail that Y3 requires. This involves research labs, a bespoke studio, a shop floor, a dance studio and a rooftop bar.

Engine House Cookery School, CHAY INNOCENT—The Engine House Cookery School tackles the increasing local and nationwide shortage of skilled chefs. The project allows a flourishing Bristol delicatessen and cookery school business, Papadeli, to expand and continue to thrive. A restaurant element within the project has also been incorporated into the scheme in order to grant cookery school students the opportunity to gain valuable hands on experience working alongside professional chefs.

Shipshape Bristol

Unit 3A

Upfest HQ, THOMAS HOWARD— Upfest HQ - the new headquarters for the organisers of Upfest street art festival, is a building that is in essence, a living piece of artwork for the street artist’s of Bristol to use freely as they wish. Bristol only currently hosts its street art festival for one month in the summer every year, afterwhich all the backing and develope-

Shipshape Bristol

ment for the art is lost. Therefore my design is a building that gives street art the yearround support and attention that it needs. It is to be open all day to be worked on, and then shuttered and lit up at night, so that it can become a spectacle for all of Bristol to see. Spread over 6 floors, the building provides a specialised space for each use of street art, with a gallery, tutorial space, studio space, and dark room.

Unit 3A

Working Life Food Market Yue Ying Starting from humans basic need for food, I explored how to enclose the neighborhoods’ bond by food-related growing activities, how to bring more greenery to people’s daily life and enhance people interaction and communication by creating a shared public space. With the deep research about food supply, food self-sufficiency and local food stores in Bristol. My design contains a food market on ground floor, a roof garden on first floor which invites local residents to have a sniff of fresh vegetables and plants and two residential towers start from first floor connected by common terraces.

Shipshape Bristol

Unit 3A

W-SHED, JACK CHAMBERLAIN— W-SHED BFI Bristol will be a building to be enjoyed from outside, but experienced from within, and will provide stimulation of the senses, physical and emotional. My choices to include design references to Bristol, and in particular the iron ships built and launched from these docks are evident in the use of Corten weathered steel cladding and riveted fixings. Concrete imprinted with oak railway sleeper timbers and rope, and cinema walls covered in woad blue carpet provide subtle historical references to the trading history of Bristol. It is also important to provide reference to the more modern development of the area, in the form of the Wapping Wharf residential area.

Homes/Museums + The City

Unit 3b

But if the museum is to flourish in the 21st century, it cannot afford to be solely a place of retreat from society. It must stimulate, provoke and engage, as well as offering a place for contemplation or consolation. It must be a place in which we can share in a commonwealth of ideas. Museums must widen the ways in which they serve their audiences to reflect new forms of social interaction Exploring architecture through the lens of museums, galleries and particularly what Florian Kossak terms the productive exhibition, preoccupied us again this year. At the same time, our conversations time-travelled back through theories and histories from Dean Hawkes to Sir Christopher Wren, and from Nicholas Hawksmoor back to James Stirling and beyond – all under the evervigilant Fred Scott.

LOCATION: The City/Golden Lane, London

TUTORS Warren McFadden, Gary Butler, Fred Scott, Katherine Skellon

The first two projects were woven together to equip the student to think simultaneously at human, building and city scales. Working first at an urban scale we explored how one might begin to read a context as complex as the City of London. We began on the threshold of Somerset House, straining to “see-again”, Wren’s City churches as Canaletto had painted the view in the 18th century. The Tate’s Switchroom 10th floor terrace offered a different perspective before students crossed the Thames and into the City to seek out a Wren church spire to measure, whilst using the church as a base to carry out an ethnographic survey of it’s context. And thus, a certain mapping emerged collectively of the City, enabling some students to find their final degree project site. At the same time students envisioned at the human scale the interaction between viewer and exhibit, with a speculative drawing of a museum/gallery space in which they would show their found Wren spire. This in turn led into Project 2 at a building scale where each student grappled with altering and intervening with the ruins of Christ Church Greyfriars. The programme was a ‘temporary’ pavilion to celebrate the construction of Wren’s City churches as part of the wider 350th anniversary of the Fire of London.

For their final degree project students were expected to research, develop and write a brief on a subject of their choosing that they deemed worthy of exhibition so they may eventually design a small museum, gallery or archive. At this point it’s worth reiterating the significance of the asterisk in our working title Homes/Museums + The City* denoted the possibility for our Y3 students to choose contexts, (under close supervision), beyond the City so they may enrich the pedagogical experience of the whole unit in presenting exhibitions from where they are from or work in places they are very familiar with. Appropriate expertise was brought to bear with lectures and workshops from Florian Kossak, Jonathan Hale, both contributors to the Museum Making publication, as well as conservation expert Gary Butler. We were particularly indebted to Katherine Skellon, designer of the Museum of London’s Fire Fire exhibition – without her support we would have floundered. CRITICS Laure Ledard,Ryan McStay,Daniel Olafsson,Florian Kossak, Laura Wardak (Arups), Adrian Bull (Arups) Darren Deane, John Burrell,Russell Light, John O’Mara YEAR 3 STUDENTS Lu Dai, Samuel Davies, Hannah Distin, Mia Fewing, Ajai Freeman-Lampard, Duncan Graham, Thomas Greenhill, Lucas Johnson, Victoria Johnson (MEng), Nicholas Law, Yedarm Lee, Aslan Lewis, Guy Mills, Charlotte O`Dea, Tolu Ogunsimi, Tong Ouyang, Joshua Quinlan, Thomas Rose (MEng), Jonathan Ryley, Anna Sawey, Kiran Shah (MEng), Ashleigh Simpson (MEng) , Charity Whitehead, Frank Wood, Jiaxin Wu YEAR 2 STUDENTS Mike Arthur, George Billington, James Campbell, Josh Harlow, Xin Yuan Li, Alice Purcell (MEng), Rachel Renak, Harry Webb, Emma Williams, Zheng (Myra) Yu

Homes/Museums + The City

Unit 3b

Xue Zheng, Year 2

Emma Williams, Year 2

Xinyuan Li, Year 2

House of Hawksmoor, CHARLOTTE O’DEA— House of Hawksmoor is a museum designed to exhibit Nicholas Hawksmoor, his work and his approach to architecture. Hawksmoor’s architectural career has been completely overshadowed by that of Sir Christopher Wren and Sir John Vanbrugh, however in recent years, it has started to come to light how much of an impact Hawksmoor really had. The Museum is programmed based upon the seven Chapters within Kerry Downes Book ‘Hawksmoor’ with the intention of encouraging people to think about Hawksmoor’s architecture: Past, Present and Future with the aim of ensuring his legacy is more widely received.

Homes/Museums + The City

Unit 3b

London Food Museum, TOLU OGUNJIMI—The project concerns the design of a small museum, gallery or achieve. Moving away from the ideas of museums as old stores of information, Project 3 looks for a new contemporary museum that can redefine what it means to exhibit. My scheme is a museum of London’s food history, incorporated with the Museum of London’s relocation to the infamous Smithfield market. Encompassing a range of exhibits, my project aims to inform users of London’s rich history of food trade, exploring current food culture and educating on how the decisions we make as consumers affect the global food industry.

Homes/Museums + The City

The Museum of Mass Production, SAM DAVIES—The Museum of Mass Production, is an art museum that focusses on highlighting the area of Spitalfields as a place founded by immigration and industry, with the intention to celebrate the organic development of a network of cultures that have sculpted the local cityscape. The site also houses a collaborative studio space that

mainly occupies the basement level, run as a way of funding the project by renting out display units in the museum’s ‘shop windows’. The works of Gottfried Semper and Marcel Duchamp have influenced my approach to my scheme to also question the role of the Industrial Revolution in altering the nature of art into the contemporary form as we know it.

Unit 3b

From the Shadows, THOMAS ROSE— In 1890 Nicholas Hawksmoor’s St Mary Woolnoth was destined to be demolished to build a new underground station for the City and South London Railway. Public outcry ensued, the church was saved and instead underpinned, a ticket office built in the crypt and the Northern line lifts still in use today installed directly under the church. Fast-forward to 2017 with “From the Shadows”, (borrowing its title from Owen Hopkins’ attempt to situate Hawksmoor’s myth in proper historical context), traces an architectural journey of intervention from the darkness of the Tube’s tunnels to the light above in a museum dedicated

Homes/Museums + The City

to the 19c Underground construction. A glaringly obvious MattaClarke move echo’s No 1 Poultry’s void in taking away the church’s tiled floor and structure to reveal the ‘fanciest’ tube exit in London. Those passing through Bank unwittingly become exhibits in this new exhibition that weaves from below the church, up into the adjoining office building, which is appropriated for London Underground’s heritage department. The journey culminates at roof level in a new unfinished museum all the while eavesdropping on a conversation between James Stirling and his English Baroque equal.

Unit 3b

Homes/Museums + The City

Plan for Portsmouth, DUNCAN GRAHAM— The aim of this project was to exhibit the Plan for Plymouth, the scheme for rebuilding the city following the bombing of the Second World War. Designed as an intervention in and around the Civic Centre, a symbol of the post war architecture in Plymouth, the

project aims to explain the decisions made during reconstruction and the impact they’ve had on the city today. Visitors view the city in different ways as a designer would, and can form their own opinions before being encouraged to have their say on the future development of the city and dark room.

Unit 3b

Camden Cutting, ASHLEIGH SIMPSON — My final thesis project is inspired by the London & Birmingham railway, London’s first main line and the largest civil engineering project attempted in the country at the time, in the 1830’s. Engaging with an urban scale context, my primary focus is on the initial journey beginning at the Euston Terminus and terminating in the heart of the Camden Goods Yard. With a unit ethos focused on museums in the city, my project engages with both the cityscape of

Homes/Museums + The City

miscellaneous high-rise buildings at Site A, Euston, and the residential Camden Town at Sites C and D. The heart of the scheme lies within a heritage site I discovered during research, The Stationary Engine Winding Vaults, currently abandoned and removed from the public realm under the over ground railway lines by Regents Canal. The vaults were used to haul the trains up the Camden incline using an endless tarred hemp rope.

Unit 3b

Dancing Shadows

Unit 4a

The work of Unit 4a is rooted in the poetics of architecture; poetics that start in texts and narratives and finish in highly individual building projects, fuelled by a process of observation and speculation. Students are encouraged to find and develop their own architectural vocabulary through making and drawing. Early thoughts and conjectures are interrogated through a series of touchstone made pieces and exploratory speculative drawings, with the slower pace ‘of the hand’ offering space to think, question and adapt. The ethos of a project is established, interrogated and developed into an individual piece of architecture.

LOCATION: Welbeck Estate, Nottinghamshire

TUTORS Amanda Harmer, Matt Strong, David Short

The unit works by interrogating present and particular conditions of the location. Readings on the city, Georges Perec and Louis Aragon in particular, are brought into the mix. We use Perec because of his forensic and microscopic observations and his disciplined way of writing and his ability to make the extraordinary, or as Perec calls it the ‘infraordinary’, out of the ordinary. Aragon lends us the tools of a voluptuous imagination. Perec, in particular, tells us that if we are not seeing anything interesting then we are not looking hard enough. The ‘moment’ becomes a key condition within both our process and projects; if we can create architecture that can move people in some way, as well as helping people to live and coexist, then we have succeeded in a small way. Individual students find their own lines of interest and enquiry in order to develop architectural ideas throughout the year. Unit 4A tends to work outside the main metropolitan centres in the UK. We observe and comment in order to prod and provoke a discussion that might have a relevant outcome within those communities. To avoid the charge of imposition and being conscious of the brevity of the study, the propositions require both a seriousness in their intent and a slight ‘wink’ at something else.

This year the unit worked on the Welbeck Estate throughout. Located within Sherwood Forest in Nottinghamshire it is one of the great traditional landed estates. Welbeck has constantly evolved over the centuries – from a Premonstratensian Abbey founded in 1153, to a Cavalier residence in the 17th century; from English Gothic to the New Works of the nineteenth century with their mysterious labyrinth of tunnels. The MOD used many of the estate buildings as a Sixth Form College from 1954 to 2005. Layered with narrative the place gives a good base for the units work and will allow us to test ideas in a semi rural semi-designed environment. The estate has worked with the unit, particularly year 2 students, as the projects we have developed moved forward. They have acted as a ‘live client’ for us on some of the projects. The estate has had an involvement with architecture and architectural study previously; Rem Koolhaas related work on the Venice Bienalle to the Estate and Seville University have based projects here. CRITICS Alex Abbey [Cullinan Studio], Hugh Avision [CPMG Architects], Nathan Breeze [Cullinan Studio], Samuel Critchlow [RD Architects], Jonathan Marfleet [Carver Haggard], Amy Turner, Jorgen Fisker [Harmerfitz], John Norfolk [Associated Architects], Mark Stevenson [Truby Stevenson], Andy Truby [Truby Stevenson] YEAR 3 STUDENTS Chrystalla Argyrou, Georgia Ball, Katerina Christodoulou, Emily Rose Cowles, Liam Donaldson, Luke Draper Jemima Harold-Sodipo, Mark Katona Anghelcev, Edith Langford, Amelia Maresca, Sebastien Mathewson, Monika Potomska, Jake Robinson, Dovile Seduikyte, Adam Stacey, Thomas Stanley, Eleonora Tucci, YEAR 2 STUDENTS Lamia Bendali Braham, Samuel Beattie, Ruvarashe Jemima Chipato, Max Hargrave, [Blair] Jiatong Lv, Abigail McHardy, Irene Moisis, Olivia Kate Needham, Muhammad Rusydi Azmi, Molly Walsh, Qianhui Xu, Muchen Yan, [Chloe] Yunshu Ye, [Judy] Rongdi Zhu

Unit 4a

Dancing Shadows

MAX HARGRAVE, Year 2

SAM BEATTIE, Year 2

MOLLY WALSH, Year 2 CHLOE YE, Year 2

A Secular Congregation, LUKE DRAPER—The Brief for my scheme was to create a New secular Welbeck Abbey, The Abbey houses twenty Monks and a Abbot that work on a four month cycle to create a book, Tapestry and to perform a play all based on a local story that the community are invited to tell at the beginning of the cycle. The Abbey aims to tie itself into its context through this involvement in the community however the inner workings of the scheme will remain a secret until the culmination of the cycle with the performance where the local community are invited back to see their story brought to life.

Dancing Shadows

Unit 4a

Dancing Shadows

Unit 4a

The Memory Archive, GEORGIA BALL—Sitting at the edge of a vast and dynamic landscape the Memory Archive responds to the site’s curious history, an estate left with traces of an eccentric Duke through its landscape and architecture. The building takes forward an architecture that challenges the way we view life and death through curiosity and creative thinking. The institute deals with the notion of death and remembrance, extracting memories and stories through sentimental objects connected to the lives of the deceased. These objects are brought into the archive through a series of stages in which their personal memories are donated and collected, forming a harmonic collaboration between the objects and the writers who retreat to the building who contribute texts inspired by the lives and memories of everyday man.

The Theatre of Apple Wine, CHRYSTALLA ARGYROU—Theatre of apple wine; a winery and a place of community, thought and discussion. The building is set within Welbeck estate’s walled garden; a place where history repeats itself with the growth of an apple orchard. The idea behind it came from Ancient Greece’s symposium, a key social institution; where men would gather in a special room known as the

“andron” to talk, plot and debate on poetry, politics and philosophy. These types of symposium were more than merely the act of drinking wine but a source of community, a performance, and a philosophy of life. That is why, intoxication was controlled by the “symposiarch”, responsible for deciding how strong the wine should be depending on the length and seriousness of discussion.

Dancing Shadows

Welbeck’s Colliery Brass Institute, EMILY ROSE COWLES— Welbeck is an old estate in the heart of Nottinghamshire’s countryside. In history, the estate has made much of its wealth through the mining industry and this is not prominent when visiting Welbeck. My project looks at opening Welbeck’s hidden community and creating a connection with the surrounding mining villages. The building

in itself acts as an instrument for the modern-day miner’s community, the scheme specifically celebrates the exminers involvement in brass bands. The building allows the ex-miners to make their own instruments through the provision of workshops. The intent is to install a sense of pride back the mining communities through celebrating their crafts and talents which can be enjoyed by all.

Unit 4a

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Dancing Shadows

Unit 4a

101

The Welbeck Institute of Military Decompression, ADAM STACEY—The Welbeck Institute of Military Decompression is a scheme that provides a space to break down the drastic shift between a tour of duty and civilian life whilst providing a familiar environment

The Welbeck Conservatoire for Music & Theology, EDITH LANGFORD—The Welbeck Conservatoire embraces the importance of music and worship in everyday life. It functions as a music and theology college for long term groups of students, as well as hosting church communities for weekend retreats. The building itself is designed as an architectural composition. It expresses a crescendo from the living accommodation, through the school and finally to the worship space, which is the most important and dominant space. A spine of music rooms provide a constant musical dialogue along the building, projecting sound throughout the Conservatoire.

that enables reflection before returning to their families. Whilst offering facilities that encompass positive principles from the military, such as: regimentation, repetition and routine, it also allows for a freedom and responsibility that will be unfamiliar in everyday life.

102

Ghost Stories

Unit 4b

The intangible…what and where are the Ghosts? What is implied yet so ethereal that it is beyond immediate definition but suggests, contains and proposes so much? To develop an understanding of the Unit and projects through exploratory investigations of intangible elements, which reveal and suggest proposals for further investigations and tectonic responses. Through making and crafting of objects, which explore and reflect conditions or states between elements within and of the built environment. Through models, drawings, photography and film that will unravel the topographical tapestry, expose events and reveal intimacies that are the essence of place, object and dialogue. LOCATION: Whitby Cliffs, Whitby

What are the mythological, ritualistic and temporal significance’s of this place and time, which could be explored to develop a nuanced investigation and proposal? How will this be considered? Where and when is or was this event? What could happen now…? Where do the delicate threads of the glimpse, the moment lead to? Questions such as these and similar shall instigate initial explorations, to unravel the weave and initiate a dialogue that will encompass projects. Finally to propose and develop a body of work which becomes the overarching narrative through which the investigations, explorations and proposals have been considered, revealed and presented.

TUTORS Mani Lall, Smaranda Ghinita, Charlie Simpson

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The Unit aims to explore the intangible influences Lincoln and Whitby. These are considered through elements such as Myth, Ritual and the idea of Ghost Stories.

The 2nd year explored the relationship of The Cathedral and The Bishops Palace, exploring issues of topographical relationships, historical and contemporary states; and how these conceal and embody the notion of the intangible. The 3rd Year explored the larger site of Whitby Cliffs, taking into consideration the ruins of The Abbey, the Cliffs and the existing Church. All of this is again considered through elements of Myth, Ritual and Ghost Stories yet with the design of a functional built proposal. The topographical state and cultural elements are also developed through design explorations. CRITICS Dik Jarman, John Edmonds, Jonathan Hale, Nitesh Magdani, Stephen Whitaker, Roy Maitland YEAR 3 STUDENTS Morenikeji Animashaun, Emmeline Kos, Jasmine McKenzie, Niall O’Hara, Harriet Parr, Matthew Poon, Ng Cheuk Yin YEAR 2 STUDENTS Ross Burns, Yajie Chen, Abigail Cotgrove, Han Dai, Matthias De Veer, Li Xian Durant, Stephen Edmett, James Fagan, Yutao Fang, Zhao Mu, George Newton, Louis Peralta, Barry Wong, Jade Yakutiel, Lin Zhu

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BARRY WONG, Year 2

LI XIAN DURANT, Year 2

STEPHEN EDMETT, Year 2

ABIGAIL COTGROVE, Year 2 LOUIS PERALTA, Year 2

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ROSS BURNS, Year 2 (RIBA Presidents Medals nomination 2017)

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Whitby Afterlife Chamber, CHEUK YIN NG—Whitby Afterlife Chamber holds funeral ceremony where souls of the deceased depart their bodies to the afterlife dimension. The crematory service is a sorting process of the souls either heading to heaven above or Dracula’s ruins of pain and darkness within Whitby Abbey. Families and Friends meditate, witness the soul separating cremation and confess their sins within their journey inside the building. The architecture acts as an amplifying instrument for the town of Whitby with each funeral transposing the souls and commemorating the late citizens.

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New Town Utopia

Unit 5a

Harlow was one of the first post-war New Towns to spring from the Abercrombie ‘Greater London Plan’. Originally conceived in 1947, the town was part of a radical proposal to address the post-war housing crisis and decentralise industry and community from the ‘slums’ of central London. Born of the optimistic post-war zeitgeist, the town has been described as ‘an adventure in social construction’, its form ‘steeped in the motives, economics and dreams of the 20th Century’. Seventy years later, studio Unit 5A has spent the year examining the social, physical and economic impacts of this experiment in place-making, the domestic politics surrounding it, the lessons to be learned from its visionary ambition and its place in 20th Century architectural genealogy. LOCATION: Harlow, Essex

After a period of collective research, second year students have explored what a new neighbourhood might look like, comprising a small social housing development, a community hatch and a primary school – all located on a ‘green wedge’ site adjacent to the early 1950s Pennymead neighbourhood by Graham Dawbarn which we are calling ‘Quarrymead’. Third year students have been invited to develop their own theses in response to their study of the town, initially with a temporary ‘pop-up’ proposal, subsequently developed into a more substantial proposition generally located in the Town Centre.

TUTORS Alison Davies, Richard Woods, Dan Greenway

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Projects consider: Sculpture Town’s cultural legacy; the demise of the job-for-life and the rise of the kitchen table entrepreneur; Harlowitis and support for the domestic disquiet often ‘hiding in plain sight’; end of life consideration for the original Pram Town’s ageing population, seventy years on; an alternative to the mid century, ‘nuclear family’ housing model; a critique of the New Town decentralisation model, recognising London’s enduring housing crisis.

Project 1 was a short research project looking thematically at the Harlow context. Themes include Radical Essex and the wider cultural context, architectural geneaology and Harlow’s significance in C20th architectural discourse, the Gibberd masterplan, the role of sculpture and public art, ‘green wedges’ and the landscape strategy. Project 2 was a place-specific but not site-specific ‘pop-up’ proposal for Harlow, responding to the P1 research themes. The pop-up is designed to betemporary and/or portable, and might be stand-alone or parasitic. This as a ‘warm-up’ project and confronts the notion that architecture is necessarily fixed and permanent. Project 3, the comprehensive design project, built on P1 and P2 lines of enquiry. Projects respond to the condition of Harlow as individually observed / researched, but the choice of site and programme is defined by each student according to their own developing ‘thesis’ which may be a more permanent manifestation of P2. CRITICS Louise Mansfield, Graham Williams, Amanda Moore, Nick Keen, Ben Tynegate, Tommy Seddon YEAR 3 STUDENTS Ryan Boultbee, Bethany Griffin, Maria Karali, Karl Leung, Jessica Tyson, Kangli Zheng YEAR 2 STUDENTS Imogen Bryce, Natalie Chan, Poppy Chinn, Samuel Emmett; Zhenduo Feng, Yining Gao, Zimeng He, Ryan Jonathan, Nicole Korta, Shiyi Li, Tianlong Mu, Patrick Sharpe, Emily Sutcliffe-Braithwaite, Lucy Woodward

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RIBA Presidents Medals 2017 KANGLI

ZHENG, WINNER RIBA PRESIDENTS MEDALS 2017, RIBA BRONZE MEDAL Kangli’s work can be seen at the RIBA website. He is pictured here with Alan Jones, FRIBA and Board Trustee, Council and Vice President of Education (left)

The Castle in the Sky, KANGLI ZHENG— The challenge of overcrowding in the capital is a long term issue, one that the NewTown movement sought to mitigate. 70 years on, London’s continued population growth and limited land resources suggest the failure of such strategies (decentralisation and high-rise living). In 2015 the population in London hit 8.6M. Meanwhile, gentrification and investment purchasing exacerbate its unaffordability. Given most of the ordinary people are struggling to live in London, it is urgent to introduce a new architectural mode to relieve the population.

Kangli Zheng (Photo by Alan Hendry) ‘The castle in the sky’ is a project designed to explore vertical living, and also try to find a new balance between heritage preservation and city expansion. A new concept - ‘room box’ will be introduced, so space function is no longer a fixed object. It instead becomes a product occupants can replace and change. From that, four different typologies of house skins will be explored – co-living, typical family house, archive space and garden. Additionally, there will be various strategies applied to the house skins, such as solar energy collection and rainwater harvesting systems.

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RYAN JONATHAN, Year 2

TIANLONG MU, Year 2

YINING GAO, Year 2

IMOGEN BRYCE, Year 2

ZIMENG HE, Year 2

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Facing The Inevitable, KARL LEUNG—Harlow was designed in the 1940s as part of the New Town movement with an emphasis on bringing a youthful workforce into the town. With a recruitment strategy heavily weighted towards young families, it quickly earned the title “Pram Town”. Meanwhile, with our societal fixation on youth, death is widely ignored. Being uncomfortable with the concept, we have the tendency to hide it away. Yet it is an inevitable part of life, part of being human. The scheme aims to normalise death by making it part of everyday life, bringing it closer to the city and allowing people to encounter it and have conversations about it for a richer understanding. It also becomes a northern gateway to the town, drawing people from the station through the Town Park and into the Market Square.

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site maste t rplan 1:200

to town park.

cafe Phase 0 The Tourist. garden

body treatment cold store Phase 1 The Departure.

bridge

arrive with body

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dressing 1 flame viewing individual grief experience waiting 1 Phase 2 The Celebration.

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waiting 2 ceremonial exit

individual grief experience

out to wake. mechanical transportation

bottling

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Phase 3 The Return. garden

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Harlow Arts Centre, JESSICA TYSON—HARLOW ARTS CENTRE – Jessica Tyson Harlow Arts Centre as a permanent proposal follows the temporary intervention made by Harlow Film Festival. Both projects occupy areas of the abandoned Odeon cinema, a significant and celebrated building in Westgate. The conservation and transformation of the existing architecture is designed to respect its history whilst enivsaging an exciting cul-

New Town Utopia

tural hub for the town; creating a new street presence on Kitson Way will introduce an active frontage to what was once car-parks, service yards and an un-used back road. By joining forces with Gatehouse ARTS and connecting them to the new building via new public worshops, the Centre aims to engage the community in numerous art processes, thus strengthening their relationship to local art, film and performance.

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Harlow New Town - The Urban Utopia, RYAN BOULTBEE—

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The Flection/ The Hive, RYAN BOULTBEE—My work focuses on a series of interventions encouraging entrepreneurial activity within Harlow. The projects seek ultimately to combat economic decline and recognise the demise of the ‘job-for-life’ and the rise of the kitchen table entrepreneur. The Flection provides temporary infrastructure to showcase local skills and translate an invisible workforce into the physical realm: a simple response to the lack of appropriate

RYAN BOULTBEE

New Town Utopia

infrastructure required to support micro industries. The Entrepreneurial Hive will co-ordinate micro enterprises in Harlow. Functionally the programme will extend beyond the remit of a business incubator, additionally recognising the vulnerability of the entrepreneur. Provision of crisis support, counselling, and advice will help to combat the highrisk, high addiction, and emotionality fragile world of entrepreneurship.

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Unit 5b

Brink Territories

Unit 5b

To find places and people on the edge, forgotten and ignored, always by water. We then observe through a particular lens, this year the place is the Lincolnshire Coast, and the lens is the brink condition. Origin of the word brink: 1. the edge, border, or verge of a steep place the brink of the precipice 2. the highest point; top the sun fell below the brink of the hill 3. (Earth Sciences / Physical Geography) the land at the edge of a body of water 4. the verge of an event or state the brink of disaster ‘If I have seen further than others, it is by standing upon the shoulders of giants‘ – Ulysses by Alfred Tennyson, 1809-1892 Lincolnshire

LOCATION: The Lincolnshire Coast

We will study the top of the coast at Grimsby formerly hosting the largest fishing fleet in the world moving south to Gibraltar Point one of the most important National Nature Reserves. Always looking east and edged by the Wolds. Thinking about ‘brink + territory’ and the unusual qualities of this place Unit 5B will tread gently; delicately inserting well researched and designed structures responding to flood, food, future and forefathers. We will be responsive to society and future economies; to coast and tide and inspired by the Dutch Floriade and landscape urbanism we will propose projects to present a future view of this forgotten and isolated backwater.

TUTORS Farida Makki, Anna Mill, Negin Ghorbani, Mike Reade

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We will continually seek to connect sea to coast and inland to draw together the treasures that can be explored throughout the area.

We will be supported by East Lindsay District Council who will host our presentations and we will support them to share the work within their communities. CRITICS Alan Beveridge [RCKa Architects], Joseph Augustin [Studio Augustin], Alex Barretta [Croydon Council Design and Feasibilty Team], Elizabeth Sinha [ M u l l i n s Dowse & Partners], Chris Burman [Artist/Designer], Adam Shapland [Alma-nac], Jamie Hughes [Project Orange], Louise Armour [Cottrell & Vermeulen Architecture], Toby Neilson [BDG Architecture and Design], Catrina Stewart [Office S&M], Katherine Hegab [Niall Mc Laughlin Architects], Henry Svendsen [Bartlett Unit 17], Elleanor Figueiredo [Bartlett Unit 21], Alexander Chapman [Bartlett Unit 11] YEAR 3 STUDENTS Anya Heath, Hannah Millar, Fern Roberts, Joe Wareham, Anna Rennison, Mhari Stevenson, Toma Sova, Nefeli Kouroushi, Sheila Gowin, Katie Hackett, Tom Dobbins, Ryan Geoghegan, Aanisah Chowdhury, Priyanka Sakthimohan, Kathryn Goligher, Claire Devanney, Myra Kandiyoti, Betty Owoo, Hayley Crone, Quincy Haynes, Tom Hadfield, Tom Riddle Webster, Luke Reveley, Ryan Jakes YEAR 2 STUDENTS Isabel Briggs, Sonia Cunningham, Zoe Tang, Valentine Lezius, Elfed Samuel, Abigail Mansion, Sze Yu Pius Yeung, Bethany Rawsthorne, Justin Smallwood, Stewart Somerville, Arshana Rajaratnam, AneBelen Nunez

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ISABEL BRIGGS, Year 2 ISABEL BRIGGS, Year 2

BETHANY RAWSTHORNE, Year 2

ELFED SAMUEL , Year 2

BETHANY RAWSTHORNE, Year 2

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HAYLEY CRONE, Year 3

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Recycled Self-Build Housing, HAYLEY CRONE—A self-build community housing project based in Grimsby. Providing for the need of housing ownership whilst also dealing with the world’s waste epidemic, and current waste culture. Divided into 6 sub waste groups, each collects, sorts, builds and teaches the city of Grimsby to see waste in a different light, finding less energywasteful solutions for dealing with the problem through architecture. All housing components are made from waste material in the workshops, components range from melted plastic framework to scrap metal screws. Materials are then brought to housing plots to be assembled by the community.

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Haile Island, TOM HADFIELD—Haile Island is an extreme sports resort on the shores of the Humber Estuary. Located in and around the existing Haile Sand Fort, the island is host to a multitude of water sport experiences. With the existing fort at the centre of the scheme, visitors are encouraged to explore the island through a vast climbing frame that encapsulates the southern sector of the site. Private holiday dwellings, dotted around the central hub provide accommodation for enthusiastic visitors, willing to challenge themselves to the extreme. The architecture is ambitious and playful in its approach, providing what truly is a unique tourism attraction along the North Lincolnshire coast.

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The Anderby Creek Theatre SchoolLUKE REVELEY— The school is a place where theatre students and members of the public come together to share stories and write plays which, in turn, preserve the memories of the town. This school is built on the site of an historic brick yard. Clay from the Roman Bank is excavated, formed into bricks onsite and fired in the large hall which will become the main theatre space. This allows the architecture to embed itself within Anderby Creek and become a part of the town even before the first students arrive. Activities within the building are linked via an underground route to be used by students and a stepped landscape over the Roman Bank for public use. The steps and irregular form are inspired by the current routes over the bank and the experience one has when interacting with this historic landform.

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Sutton-Under-Sea, QUINCY HAYNES— Sutton-Under-Sea is a conceptual project that stems from the Lincolnshire coastlines susceptibility to flooding. The project hypothesises a future context where sea levels have risen drastically and the likelihood of severe flood

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events is inevitable. The town through a series of phases prepares for a lifestyle with the water by: building roof extensions, preparing infrastructure and eventually breaching the Roman Bank. The focus of my architecture is to create a town hall, filled with mobile repurposed depart-

ments, inspired from the existing town hall structure, which float throughout the town and respond to new issues that community may face. My scheme also incorporates a new High street, University of the Flooded Age and a leisure space within the civic architectural framework. .

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A Threshold Between Land And Sea, MHARI STEVENSON—Using theatre as a means of communication and therapy for fishermen and their families in an effort to reduce mental health problems and relationship issues caused by the difficult life of being a fisherman in Grimsby. An educational theatre is suspended like a boat in a workshop where students can implement skills learnt in woodwork, script writing and performing arts. An informal seating area resembling a dry dock sits below encouraging communication. The fisherman’s theatre is opened as the roof raises at high tide, also acting as a welcoming signal to returning fishermen. Audience members are exposed to the wind and sea enabling them to be transported to the context of the fishermen’s stories.

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 Innogy Innovation Collective, Tom Dobbins- A campus for sustainable, everyday design. It sits amongst the rich landscape of Anderby Creek, where a large off-shore windfarm is due to make landfall, and the scheme aims to create a tangible link between the large energy companies and the local community, whilst magnifying the context’s biodiversity. With the use of a cyclical plan the program is reflected through its architecture, while several green platforms create continuous paths throughout the campus and along the Roman Bank. Corten steel cassettes line the facades of the city-esque streets and squares, that themselves encourage efficient creativity within the spaces inbetween.”

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The Amphibious Sanctuary, KOUROUSHI NEFELI—The ambition was to create an amphibious building with nature at its heart. Creating a community environment by weaving the various elements of the programme into a villagelike cluster, could enable collective healing and sharing. The housing is designed as individual towers for each family. These are then laid out closely with paths and bridges meandering around them and courtyards between them. Different thresholds and openings allow for the balance of privacy and openness, enabled by the layering idea and especially in the design of the screens for adjustable permeability. The building responds directly to the site by occupying the existing water tower and extending out over the pond which lends it its amphibious nature.

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Lincolnshire Hub of Renewable Energy, ANNA RENNISON—Grimsby port is currently awash with depreciation as it struggles to recover from the downfall of the fishing industry. The introduction of warm farms along the Lincolnshire coast has created a new sense of optimism in the area. The ‘Lincolnshire Hub of Renewable Energy’

plans to bring this new found sense of prosperity linked to the renewable industry to the struggling local population. The building will incorporate teaching, manufacturing and research, as well as creating a fun attraction to integrate the public. The hope is that the building will provide a catalyst to help transform the docks.

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MArch RIBA Part 2

Academic Staff John R. Morgan Katharina Borsi Dik Jarman Nicole Porter Alisdair Russell Matt Strong Chris Snow Laura Gaskell Michael Ramwell With special thanks to the following for their technical tutorials:

Structure

Construction

Environmental Design

Will Arnold, Arup Tara Clinton, Arup Tom Clelow, Arup Jeroen Potjer, Arup Simon Bateman, Arup Billy Field, Arup Jan Topololski, Arup Adam Buchanan, Arup Dr Paolo Beccarelli

Tom Pearson, Arup Façade Maela Allegretti, Arup Façade Tania Milinkovich, Arup Façade Tim Collett, 6a Architects Graeme Barker Peter Russell John Morgan Graham Ford, G. Ford Architects

Dr Sergio Altomonte Dr Robin Wilson Dr Ben Jones Dr Parham Mirzaei Dr Peter Rutherford

Year 5 Students

Year 6 Students James Morris Onyekachi Igbokwe Yaling Li Jack Mayger Chloe Thirkell Thien Huong Tran Amy Turner Nicolas Yiasemis Di Yuan Trina Bandyopadhyay Josh Bull Aimee Gyorvari Herbert Lee Hodgetts Fiona Johnson Ling Lee Andrei Negrea Josh Sharp Christina Stavrou Kathryn Thomas Esti Urquidi Yufan Wang David Whitehead Philip Win

Long after the graduation ceremony, this document remains as a memento of a year in the life of our school of architecture. Here is a record of the work that Nottingham students have produced at a given moment in time. And while that does not diminish individual academic achievements, here is an enduring testament of the collective craft and graft of this generation of aspiring architects.

Vivien Cheung Lucy Edwards Stephanie Ioannides Ryan Kelly Victor Lam Tingting Li Chen Man Yi Dong Sophie McHale Akshey Shah Orthodoxia Varnava Katherine Whitehead Rory Wood Matthew Hiu Yuen Yip Choi, Pak Hei Benjamin Nally, Yasmin Patel, Deepan George Alexander Ahjeev Ananthasivam Jack Broad Raymond Chung Hannah Deacon Joshua Dobson

Rachel Clubb Alice Dammery-Quigley Max Eastwood Ross Elliston Timothy Fentem Sam Homer Andrew Jowitt Hiu Ching Leung Toan Nguyen Karim Rouabah Haya Zabaneh Ahmed Zidouri Chen, Zhenzi Elamin, Ahmed Ge, Yitao Geevarajah, Vaishnavi Hou, Shijing Hutchinson, Lorna Kwan, Hoi Shing Li, Dominic Savio Lin, Pui Yiu Lo, Long Yin Wyatt, Joseph Xu, Zihao Yang, Xianming

Jessica Booth Sandra Fonseca Faaizah Hosein Hattie Littlewood Dan Maguire Simas Ozolincius Jason Passmore Josie Reining Olly Reynolds Colin Smith Afifah Abdullah Leah Bingham Laura Brain Jack Cambridge Emily Danou Chin Ee Stavros Georgiou Benjamin Gess Nicholas Jackson Sam Kirk Theo Mortimer Nicolle Skett Ana Tuica Nicola Wernham Zhang, Ruijing

Let us celebrate the projects, but let’s remember that what lies behind them is also key. As educators, we are prompted to reflect on the purpose of an architectural education - not only whom we serve and what is the ultimate end destination, but should schools produce specialists or generalists? Competent professionals who work to acts and codes or independent thinkers and designers? During the past year, a team within the department completed the quadrennial submission to the Architect’s Registration Board (ARB) for Renewal of Prescription. While that in its own right is not an edifying topic of conversation, this is a necessary take to ensure the continued recognition of architecture degrees awarded at Parts 1, 2 and 3 by the profession’s keeper of the register. Part of the process includes a mapping of the ARB’s Criteria and Graduate Attributes against the curriculum on offer. This serves as a timely check to demonstrate how the courses are each compliant with the range of professional competencies that a graduate should possess, design through to technical and professional studies. In following those criteria to the letter, it would suggest that our mission is to produce professionals who can operate competently within the demands of practice. That’s not up for debate. One of Nottingham’s strengths

is the employability of its graduates. But the quality of the buildings produced that constitute the built environment is contingent upon setting the bar higher. In his book, The Reflective Practitioner, Donald Schön, notes that some professions such as Lawyers can easily work within the regulations set by statute. He then goes on to argue for a more elevated form of practice, or artistry, in which the practitioner is trained to navigate through the “swamp” of unknowns. A masterful lawyer, and so too an architect who masters their own powers of reasoning and research (and indeed design) should be able to develop extraordinary outcomes. In our case, such artistry is not purely artistic; rather, it is the skill of being able to work through processes, whether research or design, creatively, in order to arrive at proposals that exceed ordinary expectations. That suggest that purpose extends to enabling our students to find their working method. On the pages that follow, the examples of Thesis and Comprehensive Design Project are just such a vehicle. These are but two forays into realising a complex project, which starts with unknowns and ends with real architectural proposals. Such experience is not always quantifiable, but over the longer term, this is an important step towards both competency and developing personal autonomy. An architectural education is a lifelong endeavour. It is a work in progress. That is why I am very interested to revisit this yearbook in ten or twenty years’ time, if only to reflect on how this cohort fared as an established generation of practising architects. John R. Morgan, Course Director, MArch Architecture (ARB/ RIBA Part 2)

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Urban Mediations

Jam: Chloe Marie Thirkell

TUTORS Dr Katharina Borsi, with Tim Collett & Graeme Barker

Studio 1

The studio is concerned with an in-depth investigation into the urban condition and the response of architecture as a catalyst. It understands architecture and urbanism as series of interlinked spaces, interstices and voids that deliver platforms and infrastructures for multiple, changing scenarios of occupation. The studio is a laboratory that seeks to explore how to draw, notate, model and diagram ideas, concepts and performances of architectural and urban spaces across scales. Our research project in 2016/17 was “Bloomsbury: Knowledge Types and Innovation Districts”. We explored ‘typologies of knowledge’ and their agency in urban innovation and transformation. Innovation districts thrive on urban intensity, strong links to higher education and research facilities, the access to a highly skilled workforce and, increasingly, a distinct offer of place. Bloomsbury exemplifies the characteristics of an innovation district in that it provides the right mix of ‘economic assets (universities and research institutes), physical assets (including public realm, transport and a diverse mix of buildings), and networking assets (formal and informal arrangements for knowledge exchange and collaboration).’ (Katz and Wagner in Hanna, 2016 p.13). Current research into the spatial form of these innovation districts emphasize permeability and connectivity; an inclusive, active and vibrant public realm; a fluidly evolving groundscape, interconnecting external and internal spaces which blur the public and private, inside and outside, and a differentiated range of massing and urban forms. (Clare Melhuish, UCL Urban Laboratory September 2015; UCL East, Final Draft Masterplan Exhibition Boards, 2016).

By contrast, our research focused on how architecture contributes to the formation of an urban innovation environment. Rather than the generic notion of place, graphic analyses, notations and mappings presented the formal and spatial specificity in which ‘knowledge types’ articulate an urban innovation environment. Case studies identified varying degrees of intersecting public realms; the sectional integration of inside and outside spaces; and layered thresholds, all in the service of promoting communication and collaboration. In conjunction, they illustrate how an urban groundscape has evolved which is not only fluid and permeable, but also articulated as a series of nodes of spatial, programmatic and social intensity. In each case, this is delivered through architecture’s capacity of formal articulation and spatial organization. The collective body of research provided the theoretical and conceptual grounding for individual design theses that are presented in the following pages. Critics Nick Haynes, Weston Williamson Chris Schulte,Matt Hopkins, Will Beeston, Publica Year 6 Students George Alexander Ahjeev Ananthasivam Jack Broad Raymond Chung Hannah Deacon Joshua Dobson Yi Dong Onyekachi Igbokwe Yaling Li Jack Mayger Chloe Thirkell Thien Huong Tran Amy Turner Nicolas Yiasemis Di Yuan

Year 5 Students (Semester 1) Rachel Clubb Alice Dammery-Quigley Max Eastwood Ross Elliston Timothy Fentem Sam Homer Andrew Jowitt Hiu Ching Leung Toan Nguyen Karim Rouabah Haya Zabaneh Ahmed Zidouri

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CHLOE MARIE THIRKELL, Year 6

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Jam: Intersecting Edges, CHLOE MARIE THIRKELL—‘Jam: Intersecting Edges’, explores the creation of place through an intersection as opposed to boundaries formed by edges. London’s Knowledge Quarter, which emerges as a result of intersections and overlaps between functions, typologies and organisations, is a clear example of the value of interconnecting networks. Four mechanisms, constellation, membrane, assemblage and gradation, were identified as valuable urban conditions that break down the application of binary edges, hence promoting exploration and interaction. Utilising the fabric of the Western Distributor, which is seen as a boundary within the city of Sydney, aims to prove that through the application of constellation, membrane, assemblage and gradation, an edge is not actually a boundary but can be an area of intense interaction and productivity: a border zone where people are brought together.

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JACK BROAD, Year 6

St. Vincent’s of Sheffield: Makers House, JACK BROAD—The thesis is an exploration into understanding what activist architectural practice is, and could be, to enable worthwhile urban engagement. As a spine to the project the area of St. Vincent’s, a city quarter within Sheffield, was selected as an urban platform from which to the themes explored within the thesis research due to its high number of

derelict and vacant sites, questionable proposals and rich history of making. The architectural outcome of this is the St. Vincent’s Makers House, a civic scheme that supports an alternative urban strategy to oppose current approaches, and promotes St. Vincent’s making once again.

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JACK MAYGER, Year 6 Somers Town Co Living, Hub JACK MAYGERA thesis project aiming to retain the place-related social identity evident in the inner-city London community of Somers Town, through a counter-proposed masterplan integrating existing residents with new demographic groups. The mixed-use scheme combines a community hub with a shared housing model known as co-living; a direct response to the predominantly residential context and to help meet the demand for housing. With many community groups and individual housing estates within Somers Town, the Co-Living Hub mediates between private residential and public community spaces, whilst creating an active public realm that enhances the ‘heart’ of the neighbourhood.

JOSH DOBSON, Year 6

The Arts Junction, JOSH DOBSON— There is strong precedent for how the introduction of high speed rail networks between major cities can lead to significant economic growth for the towns and cities involved. My thesis explores why this occurs and how the benefits can be maximised through the architectural and urban strategies of the station and its context. Key findings from this research included the design of a ‘transit orientated

JOSH DOBSON, Year 6

development’ surrounding the station and the integration of ‘magnet buildings’. This research has been used to selectively analyse Sheffield to identify an appropriate site for the proposed HS2 Station in the Victoria District and to select a magnet building which reflects both the culture and needs of the city, an arts college.

PAK HIUNG CHEUNGWith urban vitality being an important component in the resilience of cities, my thesis explored the relationship between the high street and mixed-use developments based on the creation of vitality. Following the discovery that there is a dependency of the high street on mixeduse developments, the design ambition focuses on the revitalisation of a “dead” high street through a series of mixed-use interventions.

PAK HIUNG CHEUNG, Year 6

Using theories gathered from key urbanists in addition to my personal arguments, the proposed design solution would bring back life into Stratford high street by maximising its physical, social and economic benefits.

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The Workplace Forest, IGBOKWE ONYEKACHI— The thesis explored the perceivable role of biophilic interventions and its potential to be a modifier of behaviours within a selection of workplaces. Key biophilic interventions were identified from interviews and observations of the workplaces The proposal is situated within the Bankside Urban Forest framework which proposes an intensifying of the greenery in the urban-

IGBOKWE ONYEKACHI, Year 6

AMY TURNER, Year 6

‘Home, Fragments’, Identity and Belonging in Leicester Market, AMY TURNER—The thesis makes a case for the definition of home to expand in response to modern conditions of migrancy, positing home as a process of negotiation that is enacted and cultivated within local territories through modes of inhabitation and social routines. The proposal is for a new covered market in the Leicester’s diverse city centre. Using the existing historic fabric, strands of social and enterprise programmes are combined across different levels of the

scheme, encouraging integration between them. The architecture is conceived as a robust framework within which inhabitation and expression is accommodated as a form of accretion and layering.

scape of Bankside. The Workplace Forest, creates a publicly permeable ground floor to extend the Bankside Urban Forest into the building and improve connectivity between fragmented green spaces around the site. Within the office component, a series of immersive biophilic spaces which will ameliorate stress in a typically highstress environment were created.

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Ivory Tower

Studio 2

Ivory Tower – A secluded place that affords the means of treating practical issues with an impractical often escapist attitude; especially : a place of learning. The term Ivory Tower is typically used in a negative manner referring to places of higher education as places of unworldly isolation, where there is a disconnection (deliberate or otherwise) between the academics and the real world outside. Ivory is the term as although it is considered a fine material it is not practical for building towers. For this studio we looked the civic role of universities and asked them to consider design solutions which strengthened this aspect. To do this we explored the context of the global university campus environment, its history, its issues and its possible future incarnations to give a base to react to.

The Sixth Years were asked to develop a response to the changing nature of universities and to put forward a position of which way they think university education and research should go in the future. This could explore the cultural, civic, technological or other aspects of the university, in the area of research or teaching or both. We considered what type of knowledge is fundamental and necessary to the completion of the individual and the process of individuation and alternative views of ways of becoming. The students were asked to particular consider the civic role of the university and to create solutions that helped promote this role.

Critics Mani Lall Charlie Harris Aaron Marriot

UAL, Camberwell Tower, Deepan Patel

TUTOR Dik Jarman

Year 6 Students

Year 5 Students (Semester 1)

Pak Hei ( Benjamin) Choi Yasmin Nally, Deepan Patel

Zhenzi Chen Ahmed Elamin Yitao Ge Vaishnavi Geevarajah Shijing Hou Lorna Hutchinson, Hoi Shing Kwan Dominic Savio Li Pui Yiu Lin Long Yi Lo Joseph Wyatt Zihao Xu Xianming Yang Ruijing Zhang

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YASMIN NALLY, Year 6 Institute of Mental Health and Wellbeing – University of Wolverhampton, YASMIN NALLY— Mental health affects the majority of University students. Why is this? This is from anxiety about grades, money and over expectations. How can this be reduced? There is endless research into the affects of learning spaces on the health and wellbeing and attainment of its users – both students and teachers. Can designing better learning environments reduce the mental health of its users and increase their wellbeing within a University setting? Using precedents of creative cultures created within collaborative working environments, can experimental learning spaces focussed on the collaboration between

students, teachers, researchers and mental health professionals benefit the mental health community of Wolverhampton whilst encouraging learners to use varied teaching spaces? The idea behind the Institute of Mental Health and Wellbeing at the University of Wolverhampton is to build a creative, comfortable building which provides a collaborative environment for all members of the University and local mental health community groups to use at once, encouraging interdisciplinary discussions that wouldn’t usually happen, encouraging greater research to be undertaken around learning spaces and there effect on the mental health of their users.

UAL, Camberwell Tower, DEEPAN PATEL— The diversity of Camberwell is one of the boroughs greatest strengths. However, the University typology is one which advocates elitism, threatening the community strength of Camberwell.

Ivory towers are ever evolving, and are in need of integration into local communities. This project looks at offering up well equipped civic opportunities and mixed housing within Camberwell. It works in conjunction with

local galleries, the university, local gyms, sports clubs and the council; to provide new important infrastructure, which will act as a catalyst for social cohesion between students and the residents they once rejected. The new tower will be a beacon

for Camberwell, representing the enriched community.

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Hong Kong Food Genetic Laboratory & Exhibition Centre, BENJAMIN CHOI— Many modern cities in first world countries are facing the imminent threat of global warming, Hong Kong is one of the most polluted cities among them. Deforestation and greenhouse gases are two of many the major contributors to the destruction of natural habitats and ozone layer. Sustainable architecture (to merely maintain at zero input & output) is no longer the best solution to help our environment. Productive architecture is the practice which engages every level of the society. It responds to and utilizes the living and natural systems and aims to make positive impacts to the community. In the social

Ivory Tower

perspective, my project aims to improve the quality of food by modifying the existing genes of the sourced cattles and get rid of the natural diseases like mad cow disease and any other food borne illness due to the quality control of the lab. In terms of ethical principles, this concept can stop cattles from being slaughtered while meat lovers can still enjoy the food they like. In the environmental perspective, Hong Kong is known for its scarce land for agricultural uses and the environmental pollution. The reduction of farmland and the release of greenhouse gases would help this improve these This project aims to solve these issues in a wider context rather than just to provide an immediate solution

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of saving energy by genetically developing and to EDUCATE the public about this futuristic technology, helping them to understand and appreciate the value of this technology.

BENJAMIN CHOI, Year 6

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Situations

Studio 3

The city is both a physical and mental construct. In this stage,the latter is our focus. What we are interested in is the experience of spaces, be that streets or public spaces, and how there are comparative approaches to representation through mapping techniques and frameworks or structures.If we look back a century ago, in the fiction of Baudelaire and Zola, the city was described through language (a mental picture); in the theory ofCamillo Sitte, it was through a analytical diagram of the figure ground (a picture of a mental construct). The latter’s idea was that the folds and turns of ‘crooked streets’ of medieval urban form was more suited to capturing memories and experiences when compared to the grid organisation of the then emerging metropolis.When compared to the urban rooms of church squares, Sitte anticipated the idea that the city was an interconnected network of spaces that the observed would inhabit in their daily lives.

Andrea Negrea: The Spectacle of Displacement

TUTORS John Morgan with Samuel Critchlow

That thinking was later picked up in the C20th by a number of prominent urbanists who were concerned that the authentic experience offered by the city was being eroded by universal space that was espoused by CIAM’s theories about modernist town planning. While they differ significantly from Sitte’s theory, what is interesting is that within the time span of a decade, there emerged on the scene Guy Debord (and the Situationists),Kevin Lynch and Gordon Cullen.In their own ways, each was attempting to engage with the fabric of cities as lived space, one which relies on an the fabric to provide enclosure or to frame the sequence of experiences. For Cullen, this was the idea of Serial Vision, in which the streetscape was to be explored as a pictoral sequence of vignettes with varied visual qualities.By contrast, Lynch, being deliberately more objective, developed a method of notation in order to construct a mental map to represent the navigationof the city. For Debord, a Marxist reactionary, his idea about ‘unitary urbanism’, was contingent upon the collective consciousness of the populace.As a result, the Derive (or

drift) was intended as a loose idea of promenade that would be driven by experience rather than consumption. Our work over the course of the semester has attempted to synthesise findings from each analytical approach towards investigating the means of creating appropriate event interventions within the found public realm that Leicester has to offer. Critics Julian Lewis, East Alun Jones, Dow Jones Jonny Pugh Jõao Baptista

Year 6 Students

Year 5 Students (Semester 1)

Trina Banerjee Josh Bull Aimee Gyorvari Herbert Lee Hodgetts Fiona Johnson Ling Lee James Morris Andrei Negrea Josh Sharp Christina Stavrou Kathryn Thomas Esti Urquidi Yufan Wang David Whitehead Philip Win

Jessica Booth Sandra Fonseca Faaizah Hosein Hattie Littlewood Dan Maguire Simas Ozolincius Jason Passmore Josie Reining Olly Reynolds Colin Smith

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JOSH SHARP, Year 6

Archaelogical Museum: Urban Stratification of Deva_, JOSH SHARP—Can Chester’s elevated ‘Row’ walkways be perceived as an adequate routing construct, when considering their potential on a new site? A literal pastiche of these promenades in a new location may serve to devalue both the new site and the original architecture. The rich heritage of the city’s conflicting street axes and unique archaeology could be promoted by transposing the key characteristics of the Rows into a contemporary

building. With a focus on twisting axes and one’s shifting perception of the ground plane, the Roman’s influence on the Medieval Rows has in turn influenced the key ethos for this thesis proposal.

JOSH SHARP, Year 6

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Connecting Communities, JAMES MORRIS— Cities are the natural creators of diversity, this diversity forms edges where communities touch. These areas are often voids within the urban realm, with little or no attraction. This thesis explores how these edges within a city can be softened. Focusing on the city of Leicester, a connection is forged between the city centre and the Golden Mile towards the north.

JOSH BULL, Year 6

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The Regeneration of the New Walk, KATHRYN THOMAS— In this thesis, the role of the architect is to facilitate the debate between clinical environments and home. Architects must create environments with a genuine haptic consideration and a program which stimulates the mind, body and soul. This thesis focuses on facultative decline as a product of ageing with particular attention paid to the needs of the elderly suffering from disorders such a Dementia. The final ambition was to define a form of universal design appropriate to the current social, economic and cultural needs of the population of inner Leicester through the use of intergenerational learning.

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Urban Sublime, DAVID WHITEHEAD— ’The Sublime’ teaches us that something seemingly unpleasant/ overwhelming can lead to a higher and more fulfilling experience - Can we design similar unpleasant yet experiential encounters, to invigorate our bland public realm? This project bases itself around two existing sites of ‘Urban Sublime’, and reaches out from them to encircle a piece of bland public realm design around the

Civic Utopia Typology, ANDREI NEGREA— Exploring the relation between the social sphere and the build environment, the thesis project proposes a Civic Centre in Leicester with the scope of reorienting public opinion towards matters of community participation, public speaking and debate, and away from a consumerist oriented agenda.

ANDREI NEGREA, Year 6

Broadmarsh Shopping Centre. 8 Pavilions are realised from 8 unpleasant sensations, intended to provoke a more experiential reaction than the usual comfort we seek.

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FIONA JOHNSON, Year 6

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Birmingham Smithfields Project, LEE HODGETTS— This thesis explores density as a qualitative measure, with a focus on complexity, intensity and urbanity and how this can be achieved through the use of a ’finer’ urban grain. The project establishes a series of density rules, which form the basis of a wider critique of placemaking. Based on the site of the former Wholesale Markets in Birmingham, the scheme responds at a variety of scales; masterplan, urban block and building, demonstrating how these rules can be applied at a multitude of scales in order to create sustainable and contextually sensitive places.

Co-operative individualism – Stitching together the public sphere, FIONA JOHNSON Can institutions act as a catalyst for the rejuvenation of British Cities?The thesis examined how institutions can act as tools to re-activate the declining public sphere in Leicester. Collectivist and individualist approaches were compared and an institution embodying co-operative individualism is proposed; where individuals can come together whilst maintaining their identity. Craft is used to re-skill the public in co-operation. Weaving and mat buildings embodied these principles architecturally to form a workshop and exhibition centre on an inactive island site between the new and old city centres. The building has the horizontal emphasis of the mat allowing individual drifting (in conjunction with the warp and weft structure). Key nodes such as the café and courtyards encourage gathering.

The Urban Palimpsest of Borough Bankside Borough Arts Library and Printworks, ESTIBALITZ URQUIDI FERREIRAThe city is a constantly evolving and metamorphosing entity, emerging over time, with many intertwining narratives and histories to be explored and experienced. The metaphor of the palimpsest is employed due to the inherent layer and trace factors; the importance of text and literature is embedded deeply into the BoroughBankside context, adapting and evolving with sociocultural and temporal changes. The proposed Borough Arts Library and Printworks connects with past and present practices in the area, whilst forming similar connections with site and context to draw on the traces left behind of the many visible and invisible layers.

ESTIBALITZ URQUIDI FERREIRA, Year 6

LEE HODGETTS, Year 6

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The Harmonic Essence of Dance, PHILIP WIN—The thesis proposes the use of dance and its mystical qualities in mediating against an entrenchment of cultures brought on by the fast pace of globalisation. The research focuses on the ‘ephemeral’ bonding qualities of dance and discovers the ‘harmonic properties’ which are associated with the Art. This same ‘harmonic essence’ is carried over to the realms of Architecture in producing a tectonic language which is ‘harmonic’ in both ‘form and movement’.

PHILIP WIN, Year 6

The resulting design is a proposal for a Kinetic Architecture which, with the use of strategically placed keyframes and harmonic algorithms, manages to create movements from the built environment which are both wondrous and contextualised to some form of legibility.

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Biophilic Design Studio

Rory Wood: Fort Walney Cancer Care Retreat

TUTORS Dr Nicole Porter, with Julian Marsh & Matthew Vaughan,

Studio 4

Biophilic relationships with nature offer the hope of enchantment, delight, respect, and a deeper sense of our place in the world. This studio explores how biophilic design can enhance human health and wellbeing, encourage deeper connection to ourselves, facilitate meaningful relationships between people, and connections to our environments. Wellbeing serves as the overarching theme which guides critical building typology investigations in the studio, based on the principles of holistic integrated health and human flourishing. What characterises a salutogenic place, one that can encourage (bio) diversity, healing, retreat, collective identity, and connectedness? How can the application of biophilic design principles at the object / room / building / site / landscape / urban scales lead to healthier places, including and beyond conventional health care settings? Biophilic design foregrounds the importance of numerous design attributes, including but not limited to the presence of vegetation. Other attributes such as environmental features (water, sunlight), natural shapes and forms (arch, tree-like columns), patterns and processes (fractals, sensory variability, ecological processes), place (history / temporality) and spatial qualities (indooroutdoor relationships, prospect + refuge) are also fundamental. The studio encourages the exploration of these through theory, direct first-hand engagement and design application. Multi-disciplinary enquiries that synthesise ideas and methods from environmental psychology, ecotherapy, landscape and human geography and architectural / urban theory inform these explorations. Methods include fieldtrips to Guys Cancer centre (London)

and Derby Multifaith centre, live user / client consultation, primary research such as conducting qalitative assessments and user surveys of existing sites, as well as drawing, diagramming and 1:1 prototyping.

Critics Valentina Nullo, CPMG Chris White, CPMG Martin Noutch Richard Pulford, Cullinans Jane Findlay , FIRA landscape architects Juliet Gooden, artist Year 6 Students

Year 5 Students (Semester 1)

Vivien Cheung Lucy Edwards Stephanie Ioannides Ryan Kelly Victor Lam Tingting Li Chen Man Sophie McHale Akshey Shah Orthodoxia Varnava Katherine Whitehead Rory Wood Matthew Hiu Yuen Yip

Afifah Abdullah Leah Bingham Laura Brain Jack Cambridge Emily Danou Chin Ee Stavros Georgiou Benjamin Gess Nicholas Jackson Sam Kirk Theo Mortimer Nicolle Skett Ana Tuica Nicola Wernham

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The Hale: Community Mental Well-being Centre, CHEN MAN— Stigma is a socially constructed concept. It stems from the majority view of normality, the categorisation of it and the devaluing of what is deemed abnormal. This project seeks to understand the role architecture has played in defining stigma and can the architecture itself challenge it. The resultant project is a community mental well-being centre, focused on the prevention of mental ill-health; located in Tottenham Hale, London an area deprived of access to healthcare and community dissatisfaction with regeneration schemes. Through multiple scales, from the master-planning of the proposed High Street to the design of interior retreat places, the design addresses the role of a building’s access, façade, threshold spaces and interior organisation as veritable means to challenging stigma.

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Biophilic Design Studio

RYAN KELLY, Year 6

The Seeding City, RYAN KELLY— The Seedling City project seeks to challenge the current norms of pre-fabricated house building and bring their production into the locality in which they are needed. Situated in the historically industrial North-East fringe of Manchester City Centre, the proposal facilitates the manufacture of Cross-

Laminated Timber which ultimately forms the structural and architectural framework of the building’s modular housing output. It is then envisaged that these dwellings will begin to populate the immediate and, over time, more widespread brownfield sites earmarked for residential development in the area.

Student Sitopia, AKSHEY SHAH— Student Sitopia mitigates some of the common environmental issues associated with Agriculture and Housing schemes, implementing innovative permaculture techniques and exploiting synergies to shift from linear to a closed loop resource model. This Biophilic Urban Farm

helps to sustain the local ecology whilst the Student Housing scheme promotes environmental life skills and ethos for healthy eating through food production intractions.

AKSHEY SHAH, Year 6

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VIVIEN CHEUNG, Year 6

Intergenerational Conversations, KATHERINE WHITEHEAD— The sustainable rehabilitation of at risk historic building is key to both capitalising on our historic building stock and maintaining our architectural and cultural history. This thesis project explores how taking references from all aspects of a buildings context, alongside other key biophilic ideas, can

Studio 4

Biophilic Design Studio

create a viable solution for a growing group of underutilised buildings. A programme of cross generational living through a mix of elderly and student accommodation and shared facilities translates the idea of learning from older generations from architecture to occupant, creating intergenerational conversations across the scales.

Retreat Centre for Children, VIVIEN CHEUNG— The focus on treating patients is not solely based upon the science of medical drugs, in reality, people require more than just medicines. Children are too often neglected in architectural planning within medical field. However, when they are faced with a diagnosis of cancer, they are seen more

fragile and vulnerable than adults, thus, a more sympathetic approach towards the healing environments must be pursued. Ultimately, healing children goes hand in glove with places, this presents the opportunity to provide an architectural response to help children who have recovered from a chronic illness to regain confidence through play in Bristol.

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The Flamingo Project, ORTHODOXIA VARNAVA— Though my thesis project I wanted to explore how architecture can provide a place for wellbeing that can prevent and heal addiction, a major social problem of our times. Being influence by a relatively new adolescents’ addiction problem arising in Cyprus, I have decided to place my project there. My proposal is the development of an ‘Addiction Prevention and Rehabilitation Centre for Teenagers and Young Adults’, which will consist a place for mainly hosting outpatient programmes with a low capacity residential unit. Following the new model for addiction rehabilitation centres proposed, this place aims to fuse the patients following alternative treatments methods, to the members of the public that wish to exercise their hobbies by providing spaces for common art, drama, fitness, and dance classes.

ORTHODOXIA VARNAVA, Year 6

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RORY WOOD, Year 6

Fort Walney Cancer Care Retreat, RORY WOOD— The thesis hypothesised that historic buildings could provide similar healing qualities as art- and heritage-inhealth interventions through their ineffable qualities, connection with the past and ability to create positive distractions. The scheme converts and extends the former observation tower of

Fort Walney, a World War coastal artillery battery off the coast of Barrow-in-Furness to create a cancer care retreat and drop-in centre. Terraforming the existing surrounding golf course enhances the natural environment and the resulting biophilic qualities provide further healing benefits to users. Dual-aspect accommodation is sunk into the new

duneland landscape and the centre provides facilities such as therapy rooms, a library, a greenhouse and a workshop allowing users further positive distraction and the opportunity to read, grow and craft objects with items found within the wider natural environment.

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Biophilic Design Studio

LUCY EDWARDS, Year 6

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The Urban Craft Collective, LUCY EDWARDS— The Urban Craft Collective is a craft centre in the heart of Derby which aims to improve well-being through the activity of mindful crafting and through the creation of a place

that expresses the continuous narrative of the site and wider context of the city. The program and design of the scheme takes inspiration from research into the idea of continuity in architecture; in particular the expression of human

use over time. The form of the building responds to the immediate surroundings of the site while the tectonics and construction reflect both the internal program and the local historic context.

three zones looking at individual and collective memory of Liverpool and also memory at different scales. The public zone addresses the trade and manufacturing history of Liverpool

through public street markets and workshops, with an intermediate zone of a Public Square, Park and café enabling a social integration point of meaningful activity for public

and residents. The residential zone reminisces Liverpool’s traditional housing of terraced rows and a vibrant and lively Street life with a central sensory garden.

MATTHEW YIP, Year 6

Leven Road Community Forest, MATTHEW YIP— Urban loneliness is a growing issue, particularly for the digital generation, as screen-based technological consumption often propels the vicious cycle of loneliness. As the human social brain developed in parallel to biophilic tendency, the thesis project examines the strong relationship between positive social capital and the natural environment. Designing from MATTHEW YIP, Year 6

the urban to the human scale, Leven Road Community Forest aspires to stitch together the fragmented urban landscape of the Lee Valley through the activation and connection of green spaces; restoring nature deficit by nurturing biodiversity and ultimately, disrupting the loneliness loop by creating a stimulating socio-biophilic environment.

STEPHANIE IOANNIDIS, Year 6 Retreat Centre for Children, VIVIEN CHEUNG— My project looks at architecture as a form of reminiscence therapy for Alzheimer’s. The design works with

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Comprehensive Design Projects

Year 5 Birmingham Birmingham: City of Reinvention The spring semester’s studio project challenges all year 5 students to create relevant designs for an architecture that integrates a complex, mixed-use building programme with the conditions of their site’s urban context. Behind the final proposals presented on the pages that follow is a structured process of investigation and design development. That method is worth explaining here, along with some thoughts about the influence of context and observations about outcomes. The emphasis on delivering buildable buildings is intentional. This is partly due to an obligation for all accredited courses in the UK to demonstrate their curriculum’s compliance with the official criteria as proscribed by the profession’s regulatory bodies ARB and RIBA. Instead of treating that as a restriction on creativity, as others might do, this is seen as an opportunity. This project draws on real aspects of architectural practice – studio works alongside its co-requisite technical and professional studies modules so that together, they enable the realisation of comprehensive design proposals. That the design development is structured around defined work stages and the rules and regulations that apply to real projects are two examples of strengths. This may sound dry, but care is taken to avoid being overly prescriptive. The project brief that is assigned has been designed to serve as a performance specification. There are certain core expectations about working with the physical context and the socio-economic composition of the local community, but the mix of uses, key spaces and the programme’s area are all given as targets to be met. To retain focus, the year group joins one of the thematic groups on offer (the five for 2017 were Art, Civic, Knowledge, Making and Performance), and in working with their tutor, each student is assured reasonable freedom to pursue their concept and to complete the detail of their building programme. This is what I refer to as Common Threads, Unique Variations.

Throughout this process, it is expected that key decisions can be justified on the basis of the findings that have been yielded from the locale in which that year’s project is situated. This is the point where the city of Birmingham becomes a pertinent variable. Its urban condition was the key contextual reference point for 2017’s studio projects. Just as with Glasgow (2016), Birmingham is a remnant of an industrial age that grew on the back of British trade and industrial expansion at the height of its Empire. The urban form is characteristically metropolitan. The inner city is comprised of clearly demarcated districts for commerce and industry, and interlaced with a supporting infrastructure of waterways and rail viaducts. On the ground, today the urban condition reflects the stark impact of de-industrialisation and capital flight that has decimated such cities in recent decades. What now exists is a city that is undergoing a slow and cautious regeneration. It is evident that the decline and revival is not uniformly spread across districts. At the city’s heart, the Bullring and its eponymous shopping centre has recently been boosted by the adjoining reconstruction of Birmingham New Street train station. But immediately to the east, Digbeth, seems abandoned. Once the home to the central produce market and many prominent factories, including Typhoo Tea, there appears to be as many cleared lots as there are buildings. New ventures here are in education, artists’ spaces and creative start ups. Evidently, planned development and the accompanying gentrification hinges on the construction of the HS2 train line and station nearby.

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Year 5 Birmingham There was also interest in the Jewellery Quarter to the north. It too is a former industrial district, the relatively finer scale of buildings reflects the lighter forms of industry and artisanal trade that once propagated this area. Here, the transition has already started. Unlike Digbeth, the district has already been subjected to regeneration through construction of residential and office accommodation. And although this has the feel of a thriving gentrified part of the city, there are still some notable sites that have yet to be developed. Both areas offered a compelling yield of sites and contextual issues with which to engage. But instead of choosing one over the other, we decided that we could look at both. The students chose their site from approximately six on offer for each district, on the understanding that it would be useful to see how the manifestation of similar building programmes would respond to the as found urban conditions of physical and social and economic issues that constitute the local context. The projects that are shown in this section are the outcome of that approach.

The brief also made a point of asking each student to engage with the public realm. How this was achieved was

open to interpretation, but considering that the building programme was part affordable housing and part public institution, the provision of suitable amenity space was hard to ignore. As it transpired, this requirement prompted some very careful thinking about the more sociable aspects of architecture, whether as something about how a building serves the people that occupy it or how architecture contributes to making a shared public space. The implication is that peopleâ&#x20AC;&#x2122;s needs are not an abstraction; this is very much part of crafting amenable public spaces. This outcome offers hope. At a time when prominent architects are lamenting the over-commercialisation of their projects, our students are perhaps resisting this trend. They are aware of an obligation to something bigger than mere real estate assets. The element of hope is that as our students will remember such learned experiences as good practice. By effecting this as common sense â&#x20AC;&#x201C; better cities emerge out of thinking beyond the site boundary and offering amenity to the wider city, then a key aspect of this teaching will have served its purpose. John R. Morgan Course Director, MArch Architecture (ARB/ RIBA

ART

KNOWLEDGE

CRAFT SPACE

PERFORMANCE

CIVIC

Tutor Chris Snow

Tutor John Morgan

Tutor Matt Strong

Tutor Alisdair Russell

Year 5 Students

Tutors Laura Gaskell & Michael Ramwell Year 5 Students

Year 5 Students

Jessica Booth Rachel Clubb Emily Danou Yitao Ge Faaizah Hosein Nick Jackson Hattie Littlewood Simas Ozolincius Jason Passmore Zihao Xu Nicola Wernham

Alice Dammery Quigley Max Eastwood Vaishi Geevarajah Tianqi Guo Shijing Hou Andrew Jowitt Josie Reining Oliver Reynolds Colin Smith Maria Tsvetkova

Zhenzi Chen Chin Yuan Ee Ahmed Elamin Stavros Georgiou Ben Gess Lorna Hutchinson Long-Yin Lo Tahima Rahman Karim Rouabah Joseph Wyatt Xianming Yang Ruijing Zhang

Afifah Abdullah Shaun Davey Ross Elliston Sandra da Fonseca Sam Homer Billy Hoi Shing Kwan Vanessa Hiu Leung Dominic Savio Li Peggy Pui Lin Peter MacNaughton Toan Nguyen Ahmed Zidouri

Leah Bingham Laura Brain Jana Channing Jack Cambridge Tim Fentem Sam Kirk Dan Maguire Tom McLean Theo (Oliver) Mortimer Alex Wilkinson Ana Tuica Haya Zabaneh

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Art

Digbeth Art Colony, NICHOLAS JACKSON— Digbeth Art Colony comprises a proposal for an integrated live, work, and exhibition space for artists within the Birmingham City Centre Quarter of Digbeth, a former industrial district under reinvention as a key creative and cultural hub within the city.

A functionally differentiated conceptual approach is taken within the scheme, in which building masses with distinct functions, such as gallery, residential, and public spaces, are afforded separate architectural treatments.

NICHOLAS JACKSON, Year 5

The scheme includes the creation of a public square within its urban block, with connections to the street facilitated through the Art Colony.

NICHOLAS JACKSON, Year 5

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Art

 The Basin Gallery, HATTIE LITTLEWOOD— The aim of my proposal is to provide Gallery, Studio and Workshop space in order for the students of University College Birmingham to produce and exhibit their work. The scheme is based in Birmingham’s historic Jewellery Quarter and sits alongside the Birmingham and Fazeley canal. The original concept stemmed from a need to create a through route or miniature ‘street’ cutting through the site and provide space for social interaction along the neglected canal frontage. The Studios offer generous amounts of space for students to work, whilst the Gallery features a double height exhibition space and subtle northlighting.

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Art

 The Creative Collective, JESSICA BOOTH— There is a wide variety of artistic education available in Birmingham, however, there are very few galleries in which the work of locally educated artists can be exhibited, particularly in the Jewellery Quarter; an area of the city with a strong creative and cultural heritage. The scheme aims to benefit artists, sculptors and painters who have recently left education, yet do not possess a sufficient body of work in order to curate a debut exhibition. The scheme will facilitate further refinement of skills, in an environment which allows them to find their creative voice by exhibiting smaller bodies of work, therefore removing the creative and financial pressures of a major debut exhibition. The environment aims to facilitate interaction between different artists and their mentors, as well as between young artists and the public through exhibiting their work in a more informal environment than is usually experienced in an art gallery.

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Year 5

Group Knowledge

Digbeth Library and Makerspace, ANDREW JOWITT— A place in which people with shared interests can gather to work on projects while sharing ideas, equipment, and knowledge. An architectural response to the rising trend of alternative creative spaces provided by local and regional libraries, the scheme provides “makerspaces” for the growing creative community in Digbeth. The development provides a number of collaborative spaces for new businesses and startups. A library incorporates shared spaces for co-working that foster creativity and community, providing flexibility for those starting out. A bustling ground floor café and residential common area form active frontages for a creative corridor through the site, encouraging the engagement of passers-by. ANDREW JOWITT, Year 5

ANDREW JOWITT, Year 5

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Group Knowledge

Faculty of Brewing Sciences ,ANDREW JOWITT— Digbeth, Birmingham. A university, research led brewery and hop greenhouse with a public bar and beer garden. An external render taken at night, showing the occupation of the project at different times of day. The greenhouse will be illuminated at night to maximise the growth of the hops, whilst acting as a beacon for the local area. Two rendered sections, cut through different bays showing lab spaces, the brewery and the hop greenhouse.

MAX EASTWOOD, Year 5

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Birmingham, Craft Library ,OLIVER REYNOLDS— Based on the history of craft industries in the Jewellery Quarter, my project forms a place for new craft industries to develop and a learning resource for local people with spaces for both researching craft techniques and participating in craft activities. A complex programme of spaces including a workshop, housing, a library and an on-site dockyard and public event space together respond to the needs and opportunities of the canal-side site.

Birmingham Craft Library, OLIVER REYNOLDS, Year 5

OLIVER REYNOLDS, Year 5

Year 5

Group Knowledge

The programme aspires to firstly stimulate the learning of craft theories and techniques, secondly create a new boatbuilding industry to enliven the canal system and thirdly spread the knowledge held within the site via pageantry boat exhibitions which travel around the city.

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THOMAS MACLEAN, Year 5

Automotive Design Institute, THOMAS MCLEAN— The proposed scheme is for an automotive design institute to educate students and exhibit their work. The space will also work as a place for larger automotive companies in Birmingham to connect to the greater public from exhibitions and community schemes. The proposed project consists of four key spaces, Accommodation and facilities for ex-offenders in the way of an approved premises. Student/Apprenticeship training facilities for both Birmingham City University and NAPA. Public exhibition spaces used as a way of the users of the craft space to engage with the community. Outdoor spaces embracing the canal.

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LEAH BINGHAM, Year 5

Year 5

Craft Space

The Digbeth Upcycling and Upskilling Collective LEAH BINGHAM— The Digbeth Upcycling and Upskilling Collective is a shared craft workshop space where makers and crafters of both private artists and the public come together. The 6 in-residence artists teach members of the public the skills in wood and metal working, necessary for upcycling unwanted items into usable pieces of furniture or art. The site is on the former Fairbanks Works, on the end fork point of the old industry’s transport system along the canal. The scheme ties into potential future pedestrian links along the canal, as a landmark building, before continuing into the Creative Quarter of Digbeth.

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Craft Space

Cycle Manufactory, HAYA ZABANEH— A cultural intervention in the chosen strategic location will represent the creative quarter Digbeth will be transformed into, by designing a cycle hub. Set in the heart of Digbeth, a vibrant promotion centre that celebrates the Birmingham bicycle heritage as a historical forgotten asset of the metal industry back in the 1900s. This intervention is aimed to reduce the dependence on vehicles in Digbeth by promoting the use of a bespoke customised bicycle and designing a source of attraction in that area of the city. The scheme will provide a public piazza and a roof garden as opposed to the current use of the site as a car park. It will also encompass one of the first cycle stations in the city allowing more connectivity from and throughout Digbeth. The process of the bicycle craft is to be displayed and transparent throughout the building as a celebration to the heritage and promotion to the sustainability of the city. The intervention as a whole will present a living museum taking the visitor through time with an evolutionary sequence of galleries and spaces.

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HAYA ZABANEH, Year 5

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Year 5

Craft Space

Bicycle Hub, JACK CAMBRIDGE— Bicycle production had steadily risen throughout the late 1940s to mid-1950s, with Birmingham a hub of trade. Cycle-making became concentrated in Birmingham, Coventry and Nottingham; where mass-production techniques had already been applied to the manufacture of textiles, sewing machines and clocks. Famous cycle manufacturers in Birmingham included Dawes Cycles, New Hudson, Hercules, The Sun Bicycle Company. JACK CAMBRIDGE, Year 5

British markets began to decline with the increasing affordability and popularity of the motor car, causing several cycle manufacturers to fold or merge. Hercules was the largest manufacturer of cycles in the world, before being taken over by Nottingham based Raleigh in the 1950s. The cycle industry in Birmingham slowed and many are now unaware of its significant history. Today, the focus of transportation infrastructure in the City is now shifting away from the car, back towards the more sustainable bicycle. With environmental targets and rising levels of obesity, it is the obligation of city councils to improve infrastructure and promote cycling. As such, the proposition of an intervention that reinvigorates the craft of cycle manufacturing and the activity of bike riding within Birmingham is most suitable.

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Year 5

Performance

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Freefall Dance Company, TAHIMA RAHMAN— Freefall Dance Company is a group of highly gifted dancers with severe learning disabilities from Birmingham. With aspirations to expand, the highly successful ballet troupe has a vision of opening a new dance specific performance venue with adequate facilities for dancers and audience members. Freefall wish to expand their involvement with audiences that have special requirements, by running workshops and performances that will have higher levels of accessibility. This project aims to promote equality among people of all abilities by providing an inclusive space to experience and practise ballet.

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Year 5

Performance

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Centre for Choreographic Research, EE CHIN YUAN — The Centre for Choreographic Research and Performance is located in Digbeth, Birmingham, which will be developed into a “creative and cultural hub for the city”, according to the Birmingham Development Plan 2031. Midlands-based dance organisation, DanceXchange, is the client of the project. As a forward-looking group, DanceXchange both produces and promotes UK as well as international dance. The site of the former Fairbanks Works next to the Digbeth Branch Canal was decided upon, in hopes that the re-adapted factory building, with its pitched roofs, and its waterfront location would complement the activities taking place.

Charlotte Street Peoples Theatre, STAVROS GEORGIOU — Birmingham is currently the second largest city in UK, after London, with a population of 1.1 million in 2014. As someone would expect this increased younger age structure population, and the fact that Birmingham has become a major city in the UK, could provide the foundations of the issue of increasing large amount of homeless people to be present. Charlotte St. People’s Theatre, will be the home of a new theatre of dancing and performing arts and will also provide opportunities to homeless people, as well as the public, to explore their potentials and talents through dancing, singing and performance arts as well as the mental health benefits gained from them. The scheme will provide solution to the immediate and long-term issues associated with homeliness such as accommodation, food, job opportunities as well as improvement of high mental health issues, seen across homeless communities.

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Year 5

Civic

Digbeth Bicycle Shed, SHAUN DAVEY— Digbeth is set to see huge changes in the coming years with the arrival of HS2 and the association with Birmingham’s Creative Quarter. This proposal aims to create a warm and friendly community resource centre which focuses on providing spaces the missing from traditional, efficient urban living. Situated on the Digbeth branch canal, the site is perfectly suited to be a hub of cycling transport connecting the suburbs with the city centre and the new HS2 station. The spaces will be a warm retreat from Digbeth’s postindustrial landscape.

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Civic

Digbeth Bike Services and Leisure Centre, HIU CHING (VANESSA) LEUNG— The proposed project is to convert an existing factory block in Digbeth to a civic bike services and leisure centre. It promotes cycling in Birmingham and help share population pressure from the public transportation. This proposed project, together with another new regeneration development, sited on the opposite side of our site, across the canal basin, to reactivate the Tyhpoo Wharf. The Digbeth Bike Services and Leisure Centre will become a key landmark of Birmingham and acts as a transition hub for local green transportation.

Digbeth Bike Services and Leisure Centre, HIU CHING VANESSA LEUNG, Year 5

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Third Place, HOI SHING KWAN— The program of the building works in conjunction with University college building . The aim is to create a leisure and education facility where students and public in the Jewelry Quarter could use and enjoy throughout the day. And at the same time enhancing the pedestrian links between Charlotte Street and Fleet Street while creating a natural and pleasant environment for the surrounding hotels and residential.

HOISHING KWAN, Year 5

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Digbeth Civic Hub, SAM HOMER— The scheme engages with three scales of spatial problem resolution: 1. The Urban - the proposals will act as a catalyst in the wider regeneration of Digbeth from a post-industrial wasteland to the new ‘Creative Quarter’ envisioned in the Birmingham Big City Plan. 2. The Building - the layout of the scheme aims to combine different uses and user groups within a holistic plan, providing opportunities for workers, residents, bars, cafés, shops and artists to come together in unexpected and intriguing ways. 3. The Tectonic - the scheme relies on layers of visibility through the façade; the different building types clearly express their activity and function onto the public realm whilst retaining required degrees of privacy. Living Lab for Creative Industries, PUI YUI (PEGGY)LIN — Situated on a vacant brownfield site in central Birmingham the scheme focuses on creating a centrally-located civic for the public to get involved in the booming creative fabrication industry in Birmingham. Although seemingly a well-established typology in central Birmingham creative hubs are too scattered and without strong links. Therefore this generously-sized central site is a perfect fit for a new creative civic centre, offering the public centralised access to highdemand fabrication technology. Members of the public who wish learn more about the creative industries may book a tour of the facilities, including the fabrication hall and an auditorium for lectures given by professionals.

Digbeth Civic Hub, SAM HOMER, Year 5

Living Lab for Creative Industries, PUI YUI PEGGY LIN, Year 5

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Urban Design

MArch

The Urban Design studio is comprised of one studio per semester and is a core module for the one-year specialised MArch Sustainable Urban Design programme and also an elective for MArch Design students. Over the two semesters, the projects examine the various scales and contexts of urban design projects by focusing upon detailed urban blocks and also broader scale masterplanning. At the heart of the projects is the desire to use innovative and creative design to achieve vital and viable places in our towns and cities. The projects encourage design experimentation to explore both theoretical and pragmatic challenges and opportunities for mixed-use, sustainable, active, safe and exciting place-making within a defined context. Project I: Reinvigorating the City - Primark Urban Block, Nottingham Unit Tutors Professor Tim Heath,Samantha Worrall

Group 2 Perspective

TUTORS Prof Tim Heath, Dr Amy Tang, Samantha Worrall,Wesley Bray

The ‘Urban Design: reinvigorating the city’ design project is concerned with the creation of a lively mixed use quarter that is well connected to its surrounding environments and sensitive to the city centre context. The opportunity is to face up to the challenge of the disconnected places and underused parts of the city centre. This project offers the opportunity to create a vibrant mixed use quarter with a positive public ream and strong urban connections. A public realm that creates a striking and strong new identity for this important part of the city centre, so it’s clear to employees, residents and visitors that ideas and energy are what Nottingham is all about. The city centre of Nottingham has a richer story to tell than its streetscape might currently make you think – and the public realm is the place to tell that story. The aim of the urban design project is to transform the urban block containing the Primark building on Long Row into a thriving sustainable, mixed‐use, walkable, and transit‐accessible quarter by taking advantage of the site’s proximity to the Old Market Square and the Victoria Shopping Mall together with excellent public transportation.

STUDENTS Maria Fernanda Barranco Skewes, Sruti Venkatakrishnan, Sean Khun Tan, Divya Mundhra, Elena Papachristodoulou, Evangelia Pavlaki, Rodosthenis Georgiou, Shikha Mehta, Gowthami Satyavarapu, Baolong Feng, Yang Gu, Yutong Liu, Weiwei Tang, Yuhao Wang, Perla Cordova and Ayse Meyra Bas. Project II: Enhancing the City - Bath Riverside Masterplan Unit Tutors Amy Tang,Wesley Bray The ‘Urban Design: Enhancing the City’ design project is concerned with the recreation of a sustainable mixed use waterfront development in Western Riverside of Bath that is well connected to the historical city centre of Bath. The World Heritage City, Bath is looking for challenges that can bring sustainable mixed use developments along its banks with the creation of amazing architecture, the advanced and creative industry and the inclusive urban dwelling for all age group, which reflect the unique character and opportunities for the future. Students Ayse Meyra Bas,Perla Cordova,Baolong Feng,Rodosthenis Georgiou,Yang Gu,Yutong Liu,Shikha Mehta,Divya Mundhra,Elena Papachristodoulou,Evangelia Pavlaki Suruchi Sambhaji,Gowthami Satyavarapu,Sean Khun Tan,Sruti Venkatakrishnan,Yuhao Wang

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Project 1, GROUP 2, Year 6

Urban Design

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Urban Design

Project 2, GROUP 2, Year 6

Project 1, GROUP 1, Year 6

Project 2, GROUP 2, Year 6

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Sustainable Tall Buildings

MArch The megacities of today have growing populations, increasing land values, pressures for economic growth, and developing mass transit systems. These have caused the necessity for tall buildings for working, shopping, education and residential. The suburban dream of the house with garden,two cars, and endless freeways is a totally unsustainable urban form for the next century. Tall buildings are now the reality for millions of citizens in Asia. With giant concentrations of buildings, traffic and people, we are seeing increasing anxieties about urban pollution, rising temperatures and sea levels, delivery of food and water, generation of electricity, disposal of waste, stressfulness of travel and living. The physical, social and mental health problems of living at high density cannot be met just by building profit making stacks of concrete floor plates, nor by a small number of spectacular supertallglass towers.

Semester 2 Tall Buildings: Manchester Our experience with Hong Kong and with more recent precedents since 1997 is that tall buildings are not just a ‘tall multiplication of floorplates on a plot’. They are part of a radical new urban designphilosophy that is highly three dimensional, with connected towers, ‘ground-scrapers’, differentstrata of public and transport movement, inhabited bridges, rooftop parks and habitation, high speed vertical travelation, overlapping or stacking typologies, leisure spaces at altitude and ingenious ideas to provide sustainable urban living. Concepts of master planning and phasing canalso be applied to vertical space. Higher densities of workspace, shopping, residential and cultural space can be achieved without sacrificing the quality of life, if designed with great skill, care and inspiration. STUDENTS

The majority of ‘working’ tall buildings must provide a variety of functions, meeting their economic targets, but also meeting social, cultural, nutritional, environmental needs, permitting families tobring up children and make a living, and love their city. The urban environment around them must also be landscaped for the citizen not the motorcar, andthis landscape can be brought into the buildings, including agricultural production. The studio considers ‘Innovative, Mixed-use, Bioclimatic, Energy-active Tall Buildings’,connected to transport, and serving the need of many citizens, not just the wealthy. RNE Group Perspective

TUTORS David Nicholson Cole, Samantha Worrall, Akhil Kapadia

Semester 1 The Pocket Tower: Hong Kong/Kowloon The tall building that contains many fine qualities, serving mixed uses but working to a tight footprint is called by us a ‘Pocket Tower’. Just as a ‘Pocket Battleship’ has the fighting guns of a large ship on the hull-form of a smaller, faster one, a ‘Pocket Tower’ combines many city functions within its boundary, and even needs to build its ‘open space’ within the vertical structure. This is a fascinating challenge for the Tall Building designer. The Challenge: This studio seeks to explore the themes outlined above in order to find alternative design approaches for tall buildings. In the first semester of teaching in Nottingham, we look at the Pocket Tower ideal, searching for ways of building tall in the discipline of an urban grid with neighbouring buildings, a very tight footprint, and tight limitations on lines of light and view,considering urban ventilation, low energy consumption, achieving a result that promises a sustainable future for the city.

MArch Melina Antoniou, Ahmed Abdelsalam,Shima Banaei Abha Bangia, Theshani Chandrasena, Xiaofan Deng, Jiuxuan Ding, María Gonzalez, Andres Guamani, Fengjun Guo, Anjul Gupta,Ali Habibi, Hao Hao, Jiahui Huang, Mohan Huang, Isha Kumar, Karl Leung, Nilofar Moeinianbagheri, Divya Mundhra, Julián Pazmiño, Donqi Piao, Michelle Sido, WeiWei Tang, Miloni Vora, Razan Yousef, Ruinan Zhang

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Sustainable Tall Buildings

NoMa GROUP, MArch

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Sustainable Tall Buildings

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RNE GROUP, MArch

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ASHBY GROUP, MArch

Sustainable Tall Buildings

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Environmental Design Studio I

MArch

Postgraduate Centre: Spatial delight & the influence of climate and context on the learning environment and the wellbeing of the users. The built environment has a huge and growing impact on the natural environment. Knowledge of environmental design principles and how they can be applied is essential to the practice of architecture. The integration and application of this knowledge from an early stage in the design process is not only relevant for practicing architects, but has also become a pre-requisite for students wishing to demonstrate competence in design. However, the acquisition of this understanding is one of the most problematic elements of architectural education. Environmental design principles can provide a springboard for invention in the design studio.

Maria Gonzalez, Postgraduate Centre.

TUTORS Benson Lau, Prof Brian Ford and Juan Vallejo.

This module is intended to demonstrate how this can be achieved by providing stimulating introduction, handson practice and professional guidance to the principles and practical integration of environmental design in architecture.

The main objective of this design project was to investigate a problem that required the integration and resolution of particular environmental control issues, as part of the architectural programme. The purpose was to explore the implications of integrating environmental control strategies at the formative stages of a design proposal, to test strategic options (using physical and computer based modelling), and to refine the proposal in the light of critical analysis. The parallel lecture based module (Advanced Environmental Design) provided the theoretical background and underpinning in the principles of environmental design. STUDENTS Nuansa Kusumastuti, Maria Gonzalez Cordova, Neeraj, Nijampurkar, Suruchi Patil, Miloni Vora, Abha Bangia, Isha, Anjul Gupta and Vani Gopalakrishnan.

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KUSUMASTUTI NUANSA ATIKA, MArch

MARIA GONZALEZ, MArch

MArch

Environmental Design Studio I

UoN Postgraduate Centre, MARIA GONZALEZ— The site is located in the University of Nottingham Park Campus. The proposed project is an Architecture Postgraduate Centre next to the Architecture facilities. The project incorporates design studios, a library, a computer room, a critique room and an exhibition area dedicated to show the work of the students. In the design, it was important to understand the basic environmental

design principles and use predictive methods for exploring the environmental performance of the building. It was necessary to put emphasis on selective use of performance prediction tools like computer simulation and physical model testing to enhance the decision-making process. These tools are used to study the daylighting, thermal and ventilation aspects of the proposed architectural design.

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Environmental Design Studio II

MArch

The work of the Environmental Design Studio II is focused on addressing the complexities of designing and delivering a more sustainable and resilient built environment.

frameworks, the unreachability of affordable land, more demanding costumers, the difficulties with providing lifetime performance and financial pressures.

Projects developed in this unit must promote sustainable development. The integration and application of environmental design principles from an early stage in the design process is therefore essential to ensure comfort and energy efficiency, and expected to provide a springboard for invention in architectural design.

The idea behind SOUL (Sustainable Optimised Urban Living) was for students to take a transformational approach to designing and delivering sustainable urban social housing by holistically integrating environmental, societal and economic solutions in a 44-home development that must be not only carbon neutral but also citizen centric. The Eastglade, a 2.4ha brownfield site in Nottingham that was a former school land was used as a vehicle for exploring these issues. The solutions designed were expected to be affordable, replicable, scalable and flexible so they could be exported to other geographies. The site is due to be developed by Nottingham City Homes, who were the clients.

The aim of the studio this year was to develop a holistic sustainable approach to housing design. The overall goal was to produce homes and communities that outperform the current norm in the widest possible sense, spatially, technically, environmentally and socially. Through design, students engage with issues of sustainable design and community resilience in two scales:

Nuansa Atika Kusumastuti : Project S.O.U.L

Community scale: students were expected to carefully develop their site layout and public realm to allow not only for the integration of energy efficient homes, but also to encourage public interaction, develop a sense of place and belonging, and support sustainable lifestyles and wellbeing. Building scale: through design of the homes, students were expected to manipulate environmental design variables to achieve high quality spaces that are comfortable, delightful and energy efficient. The demonstration of meeting the required performance levels was key, not only as a means to demonstrate compliance with standards, but more importantly as a way to help evolve the design solution.

TUTORS Dr Lucelia Rodrigues, with Dr Lorna Kiamba, Laura Alvarez, Professor Nick Ebbs, Professor Mark Gillott, Chris Parsons, Andrew Minson,Dr Renata Tubelo

Project S.O.U.L.: Sustainable Optimised Urban Living Eastglade, Nottingham Urbanisation, climate change and demographical and psychographic changes have created enormous pressures on our complex and interdependent social, economic and technical urban infrastructure systems. As a consequence, the housing sector around the world is undergoing significant changes due to these and other issues such as housing shortage, changes to regulatory and welfare

The projects involved the development of masterplans and the design of energy efficient housing and community facilities that should be demonstrably sustainable. In this project, students explored how urban design and architecture can contribute to city regeneration and community resilience, and what is meant by â&#x20AC;&#x2DC;sustainable developmentâ&#x20AC;&#x2122; in this context. This studio was part of the UK Passivhaus Student Competition so projects were expected to integrate Passivhaus principles into their design. Support from the clients and expert help was available throughout the semester and the winning schemes will be on display at the UK Passivhaus Conference in October 2017. STUDENTS Maria Fernanda Barranco Skewes, Mario Andres Guamani, Neeraj Nijampurkar, Nuansa Atika Kusumastuti and Vani Gopalakrishnan.

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Project S.O.U.L., NEERAJ NIJAMPURKAR— Formulating this design for one of the most deprived area of Nottingham required an understanding of the main issues and concerns of its target occupants. My design used a holistic approach, which allowed good integration with the neighbourhood. The project not only balanced the socioeconomic structure but also creates income generation opportunities to the whole community. My individual design was based on the provision of accommodation for elderly people. The orientation of the apartment block was determined by the angle of solar radiation and views of the surroundings. The design encourages passive design strategies with optimum daylight, natural ventilation and thermal performance.

MARIA BARRANCO, MArch

MArch

Environmental Design Studio II

Project S.O.U.L., MARIA BARRANCO— The project was located in Top Valley, Eastglade, Nottingham. Top Valley started its decadence in 1967 when the site became very economically inactive after the closure of its coal mine and ironworks. According to statistics,

Top Valley is within the most deprived areas in Nottingham in terms of crime, education, health and employment. The aim of this project was to create a resilient development, focused on improving the connectivity with the surroundings, and to recover and enhance the site by creating an inclusive, healthy

and self-sufficient neighbourhood, a vibrant and lively place. A community able to sustain itself and support the wellbeing of its inhabitants. My development included 44 dwellings and major public realm. I deployed BREEAM (Building Research Establishment

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Environmental Assessment Method) communities to assess the scheme and PASSIVHAUS to assess the dwellings. The National Policy was thoroughly integrated, which added further constraints. Where I felt these fell short, I used the Igloo Footprint Sustainability

Assessment to complement the comprehensiveness of the scheme. The resultant design focused on 4 strategies: Connectivity, Selfsufficiency, Recovery & Enhancement, and Vibrancy & Liveliness.

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Environmental Design Studio II

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Project S.O.U.L., NUANSA ATIKA KUSUMASTUTI— Urbanisation has led to the increasing amount of people living in cities and consequent high housing demand in urban areas. This has resulted in shortage of housing and land, which in turn impacted on affordability and also created further environmental challenges. Heart Valley is my proposed new urban development located in Bestwood, one of the most deprived areas in Nottingham, UK. It was designed to deal with the most pressing urban challenges by providing a connected, inclusive, healthy, lively and self-sufficient neighbourhood in which the people would feel welcomed and happy. The proposed dwellings, located just

MARIO ANDRES GUAMANI RODRIGUEZ, MArch

Project S.O.U.L., MARIO ANDRES GUAMANI RODRIGUEZ— The clients Nottingham City Homes have obtained a site to develop 44 homes, surrounded by public realm, allotments and community

gardens. The site is in Bestwood, which is a deprived crime-ridden area of Nottingham. My first objective was to remove the boundaries of the site and integrate it to the surrounding areas, increasing the green coverage and accessibility. The

housing blocks were placed on the top part of the site facing south to maximise the benefit of solar gains. The design of these affordable homes aimed to be zero carbon. In order to deliver to this target, I designed the homes to the Passivhaus

standard and integrated photovoltaic panels on the facades and roofs of the homes. A communal battery was provided in the development to store and allowed the sharing of electricity generated on site. The aesthetics reflect UK design heritage but

also meet modernity. The homes meet the Lifetime homes requirements and have been designed to optimise thermal and visual comfort.

NUANSA ATIKA KUSUMASTUTI, MArch

north of the allotment areas, were designed to the stringent Passivhaus standards to maximise the occupants’ comfort and minimise energy use. The homes are also designed to meet the Lifetime Homes standards.

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Digital Architecture and Tectonics

MArch

The Digital Architecture and Tectonics course focuses on the role and application of digital technologies, and advanced materials and construction methods in the creation of contemporary architecture. This year, the course welcomed international applicants from all over the world, including: Denmark, Dominican Republic, India, Cyprus, China and Jordan. The Digital Architecture studio, in the first semester, comprised of two design projects; a birdfeeder and a visitor centre at Lincoln Cathedral. Studio work is supported by specialised lectures, research seminars, and digital modelling and digital fabrication workshops. The early weeks are treated like a ‘boot camp’ helping students to familiarise themselves with the University of Nottingham campus, and it’s analogue and digital making facilities, guided by experienced staff at the Centre of 3D Design.

Liana Al Habash: Digital Architecture Visitors Centre

TUTORS Chantelle Niblock, Dr Paolo Beccarelli and Tom Bennett.

During each design project, students are encouraged to research recent technological developments in the fields of structures morphology, performance orientated design, digital modelling, rapid prototyping technologies, advanced materials and construction methods and to provide innovative solutions that are supported by appropriate technical evidence, testing and modelling. They are encouraged to develop a multidisciplinary approach to exploring façade design through opportunities offered by novel materials and structures, and develop the integrated design skill derived by considering both structural and environmental performance.

Project 1 - Birdfeeder During the first project - to design and make a full-scale prototype for a birdfeeder- students were encouraged to conceptualise their design using Rhino 3D software, and to prototype it using timber lamination and steam bending techniques. Each student developed an individual response to the birdfeeder brief; they designed the feeder for different bird species, and explored a combination of fabrication techniques in the prototyping stage. Project 2 – Lincoln Cathedral Visitor Centre The second project - to design a visitor centre at Lincoln Cathedral – was supported by Lincoln Cathedral Connected. As a group, students conducted analysis of the cathedral and its surrounding site; individually they surveyed and digitally modelled an architectural feature within the cathedral, whilst creatively engaging with digital modelling and digital fabrication techniques in the analysis and exploration of design. With the help of Dr Lukasz Bonenberg, from the Nottingham Geospatial Institute, students had the opportunity to utilise 3D laser scanning technology used to survey and model the historical building. STUDENTS Liana Al Habash, Michelle Sido Hawli, Melina Antoniou, Rachana Depa, Sandra Petkute, Salih Kochchat

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Digital Architecture and Tectonics

MELINA ANTONIOU, MArch

SANDRA PETKUTE, MArch

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MELINA ANTONIOU, MArch

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Digital Architecture and Tectonics

MICHELLE SIDO HAWLI, MArch

LIANNA AL HABASH, MArch

MICHELLE SIDO HAWLI, MArch

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Theory and Design

Exhibiting the Past, Nottingham.

TUTORS Dr Laura Hanks, Dr Wang Qi, Dr Yanhui Lei, Stephen Greenberg, Robert Harris and Richard Fallon.

MArch

In the autumn semester of 2016-2017, the Exhibiting the Past live project challenges student teams to design a dinosaur exhibition in the Angear Gallery on Nottingham’s University Park campus.

The March students’ works have been well transplanted into the real construction of the Angear Gallery exhibition and enriched their Nottingham experience in a fruitful way.

The students were paired to work with collections from the Life Science Department, two Dinosaurs from China - Dilophosaurus and Alxasaurus - and a real Ichthyosaur fossil requiring a secured showcase. To celebrate the topic of Paleo-Art – the special kind of art works that combine artistic imagination and scientific research evidence together to restore the prehistoric fauna and flora, this gallery is a satellite show of the much larger Dinosaurs of China – Ground Shakers to Feathered Flyers in Wollaton Hall.

STUDENTS Project Team One — Liyana Lekamalage Chandrasena Theshani and Pazmiño Yepez Julián. Project Team Two — Jiuxuan Ding and Deng Xiaofan.

The students need to create a coherent narrative that works with the existing campus site, gallery and auxiliary spaces is critical here, as are the dissemination of information and the creation of a compelling atmosphere. They were also challenged to extend the design task beyond the Angear Gallery to an extension of the University Museum. Considerations include: how to lead people physically and conceptually from the dinosaur exhibition to the museum space beyond; how to signal the entrance from the Angear Gallery; how to utilise the long linking space between the Angear Gallery and the Museum, and how to deal with the bounded site restrictions of road and tramline.

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Project Team One, MArch

Project Team Two, MArch

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End of Year Show

Other

End

The final few weeks in June see a frenetic transformation of the Department from a place of teaching and learning to one of exhibition. We would like to thank everyone who helped to make it happen this year and all those who joined us in an evening of celebration. The show this year was officially opened by Robert Evans of Evans Vettori Architects with a brave and thought provoking speech about recognising and ultimately overcoming his own mental health challenges. It contained sage advice for us all. Our sponsorsâ&#x20AC;&#x2122; generosity, both financial and time, supported a prize ceremony that had hidden in amongst it a RIBA Presidentâ&#x20AC;&#x2122;s Bronze Medal winning project. It may seem a little strange to friends and family who finally get to see what their loved one have achieved over the course of the year, but the Show is the first time we as a Department get to see the final product

of a yearâ&#x20AC;&#x2122;s endeavour. The opportunity to see the work of the Department on display underlines not only how challenging it is to select prize winners but also the challenges of short listing. Finally, we would like to thank practices, local and national, who help to make the Show such a valuable networking opportunity and for the mentorship they provide our graduates as they transition through their educational journey. Dr Robin Wilson Head of School

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Tongue & Groove Summer Ball

Summer

T&G (or Tongue & Groove) is the official Architecture society at the University of Nottingham. The student-run society holds several academically-focused and social events throughout the year, with its members consisting of students, staff within the department and external practicing architects. This creates a platform for enabling all parties to come together to share in architectural discussion, research, and critique, fostering in particular a working relationship for students between their peers, their tutors and potential prospective employers and work colleagues.

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Ball

The society also formally represents members’ interests to the Department in all aspects of university life, in addition to working with the local branch of the RIBA, the Nottinghamshire and Derbyshire Society of Architects. This ensures that students have a voice within the department, and an ability to give feedback and suggest new ideas; whilst links with external bodies ensure access to the latest developments in professional practice.

T&G provides a point of contact for both new and returning students at the start of each academic year, whether it be at the university’s Fresher’s Fair or during the ‘Tour de Passenville’ event for first-years held during Fresher’s Week, where society members take active leadership roles. For all years, the society holds a social event during the first week where those within the department can meet and get to know each other within a more relaxed setting.

T&G provides a point of contact for both new and returning students at the start of each academic year, whether it be at the university’s Fresher’s Fair or during the ‘Tour de Passenville’ event for first-years held during Fresher’s Week, where society members take active leadership roles. For all years, the society holds a social event during the first week where those within the department can meet anengage with those from within the industry directly.

Throughout the year, the society seeks to hold a number of these social events, culminating in the Architecture Ball, which is held towards the end of each academic year. This is always an eagerly-anticipated event, and a chance to celebrate the successes of the past year for all. In addition, the society seeks to continue to run a number of academically-focused events, during which visiting architects, engineers and artists are invited to speak about their work or a particular area of

architecture that may interest them. These presentations are always insightful and inspiring, and again give students the chance to engage with those from within the industry directly. T&G aims to enhance the experience of all students as they progress through their studies at the university, and students are very much at its heart – whether this be through memberships, which help to support the society and ensure that these types of events can continue to be run, or through direct involvement with the committee itself, to which anyone is invited to join. Whether you’re a prospective or current student, staff member or external practitioner, we hope that this has given you an insight into what your architecture society can do for you at Nottingham. The 2017/18 Committee

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Field Trips

Other

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Berlin + Bauhaus Dessau, Germany – UNIT 5a

Seville, Spain – UNIT 4a

Berlin + Bauhaus Dessau, Germany – UNIT 5a

Harlow, Essex – UNIT 5a

Seville, Spain – UNIT 4a

All students in Years 1 & 3 of the BArch course and Year 6 of the MArch course have a free European Field Trip to a location determined by their Unit Leader. The Field Trip locations and areas of study are intended to compliment the themes and areas of focus of each particular studio. Additionally two field trips are provided in the UK to allow each studio to visit the particular locations investigated in studio projects. This year Year 1 Students visited the Netherlands (Amsterdam, Rotterdam, Delft and Utrecht). Year 3 Students visited Cologne,(U1A), Rome, U1B, Porto U3A, Seville, Spain (U4A), Sicily (U4B), Berlin + Bauhaus Dessau, (U5A) and Amsterdam & Rotterdam (U5B).

Field Trips

Year 6 students visited Porto, Portugal. Cologne & the Ruhr Valley– UNIT 1a

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Field Trips

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Rome – UNIT 1B

Porto, Portugal – YEAR 6

Rome – UNIT 1B

Porto, Portugal – YEAR 6

Rome – UNIT 1B

Porto, Portugal – YEAR 6

Field Trips Porto, Portugal – YEAR 6

Rome - UNIT 1B

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Harlow Exhibition

Other

In June 2017 Unit 5A mounted a pop-up exhibition of student work in Harlow at Eastgate Gallery, a disused shop unit in the centre of town managed by Gatehouse Arts, one of the Unit’s collaborators during the course of the year. Students invigilated the exhibition and presented their work to local residents and partner organisations. Local resident and chair of the Harlow Civic Society John Curry, commented: “Harlow Civic Society was delighted to host a visit from your group of architectural students from Nottingham University. The results of their studies - using Harlow as a template - was, by the evidence of the show at the Gatehouse Art gallery, most rewarding. Thank you for choosing Harlow.” 1. 2. 3. 4.

House of Lighting: Tian Long Mu (yr 2) Harlow School of Art: Ryan Jonathan (yr 2) Quarrymead Primary: Yining Gao (yr 2) Gibberd learning centre: Patrick Sharpe (yr 2)

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Longstanding local resident Moira Jones commented: “Congratulations for your great exhibition. Each of the students produced exciting, imaginative and detailed work, beautifully produced. Harlow is now looking rather shabby and worn - government cuts have had bad effect - but the work gives hope for Harlow. Thank you.” Film and print work from the exhibition was subsequently selected for inclusion in two other town centre exhibitions celebrating Harlow’s 70th birthday, including ‘Culture Exposed: Spotlight on Harlow’ at the prestigious Gibberd Gallery.

New Town Utopia +70: Harlow Revisited

Harlow was one of the first New Towns to spring from the Abercrombie ‘Greater London Plan’. Originally conceived in 1947, the town was part of a radical proposal to address the post-war housing crisis and decentralise industry and community from the ‘slums’ of central London. Born of the optimistic post-war zeitgeist, the town has been described as an adventure in social construction, its form steeped in the motives, economics and dreams of the 20th Century. Seventy years later, architecture students from studio unit 5A at the University of Nottingham have spent the year examining the social, physical and economic impacts of this experiment in place-making, the domestic politics surrounding it, the lessons to be learned from its visionary ambition and its place in 20th Century architectural genealogy. After a period of collective research, second year students have explored what a new neighbourhood might look like, comprising a small social housing development, a community hatch and a primary school – all located on a ‘green wedge’ site adjacent to the early 1950s Pennymead neighbourhood by Graham Dawbarn which we are calling ‘Quarrymead’. Third year students have been invited to develop their own theses in response to their study of the town, initially with a temporary ‘pop-up’ proposal, subsequently developed into a more substantial proposition with the Town Centre. Projects address Sculpture Town’s cultural legacy;

Sponsored by Allies and Morrison RIBA East Midlands Evans Vettori Architects

the demise of the job for life and the rise of the kitchen table entrepreneur; Harlowitis and support for the domestic disquiet often ‘hiding in plain sight’; provision for the original Pram Town’s ageing population, seventy years later; and alternative models of housing, two generations on from the assumed ‘nuclear family’ model.

New Town Utopia +70: Harlow Revisited Exhibition Catalogue 23–24 June 2017

New Town Utopia +70: Harlow Revisited is an exhibition of the resulting work.

Unit 5A Head: Alison Davies Contributors: Richard Woods, Dan Greenway, Louise Mansfield, Graham Williams, Amanda Moore, Nick Keen, Ben Tynegate, Tommy Seddon Students: Ryan Boultbee, Bethany Griffin, Maria Karali, Karl Leung, Jessica Tyson, Kangli Zheng (year 3) Imogen Bryce, Natalie Chan, Poppy Chinn, Samuel Emmett; Zhenduo Feng, Yining Gao, Zimeng He, Ryan Jonathan, Nicole Korta, Shiyi Li, Tian Long Mu, Patrick Sharpe; Emily Sutcliffe-Braithwaite; Lucy Woodward (year 2) With special thanks to: David Devine, Moira Jones, John Curry, Sarah Bracey, Matthew Byatt, Amanda Westbury, Jim Brown, Gatehouse Arts, The Gibberd House and Garden, The Gibberd Gallery and Harlow Town Museum for their generous welcome in their town. And our sponsors: Allies & Morrison, RIBA East Midlands, Evans Vettori Architects.

H AR LOW

THE EXHIBITION UNFOLDS

Nottingham University School of Architecture | Studio Unit 5A | Alison Davies

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Other

Sponsors We would like to extend our sincere thanks to the following organisations: