Architecture + Design Yearbook 2021 by Anastasia Karandinou

Yearbook 2021

This yearbook showcases the innovative and creative projects by Architecture + Design students of the UEL School of Architecture and the Visual Arts.

Foundation BSc Architecture MArch Architecture BSc Architectural Design Technology BA Interior Design Postgraduate Studies

Photograph: Armor Gutierrez Rivas

AVA Architecture + Design Yearbook 2021 Publisher University of East London Editors Anastasia Karandinou Claudia da Palma Romao Graphic Design Studio Jon Spencer Showcase Edition August 2021 ISBN 978-1-9989909-2-4 (printed version) ISBN 978-1-9989909-3-1 (digital version) University of East London School of Architecture and the Visual Arts Dockland Campus E16 2RD T+44 020 8223 2041 F+44 020 8223 2963 www.uel.ac.uk

@uel_art_architecture_design @uel_foundation_arch_design @uel_first_year_architecture @uel_architecture @id_ba_uel @uel_mainteriordesign @uel_landscape @unit8.uel @unit_a__uel

Contents Acknowledgements p4 Mission Statement

Welcome p7 Research & Pedagogy

p12

History & Theory

p40

Foundation p44 RIBA accredited courses

p58

BSc Architecture Year 1

p60

BSc Architecture Year 2 & 3 Unit A

p72

Unit B

p82

Unit C

p92

Unit E

p104

Unit H

p118

MArch Architecture Year 4 & 5 Unit 2

p128

Unit 5

p138

Unit 6

p146

Unit 8

p154

BSc Architecture Design Technology (ADT)

p164

BA Interior Design

p180

Postgraduate Studies MRes p204 MA Architecture and Urbanism

p206

MA Landscape Architecture

p216

MA Interior Design

p226

PhD in Architecture + Design

p242

Introduction p8

P4 Acknowledgements

Acknowledgments We would like to thank the many organisations, companies and individuals who we have had the pleasure of collaborating with, including: Ablett Architects ACMI – Thessaloniki Adrem Allford Hall Monaghan Morris (AHMM) APCOR, Portuguese Cork Association ARB

Kazan State Institute of Architecture and Engineering

Royal Institute of British Architects (RIBA)

Lendlease

ScottWhitbyStudio

Liz Waters, Sir Robert McAlpine

Shed Life

London Borough of Waltham Forest

Sir Robert McAlpine

London Legacy Development Corporation

Barton Willmore Consultancy

Louise Scannell, Weston Williamson

Batterea Power Station Development Company

MAKE Architects

BPTW

Marija Ambrasaite, Aedas

British Land Plc

Mark Lemanski, muf architecture/ art

Charles Horne

Matter Architecture

Chartered Institute of Architectural Technologists (CIAT)

Milliken Floors Europe

Daria Wong, Daria Wong Architects

Morgan Sindall Volker Fitzpatrick Nakheel Landscapes

Dezeen

Neba Sere

Eco Friendly Tiles

Newham Council

Emma Graham, RCKa

Nia Rodgers, TP Bennett

Filet Gallery

Nick Evans, Vabel

Frame Magazine

Nilesh Shah, Russian for Fish

Gareth Morris, What If? Projects

Nimi Attanayake, nimtim architects

Hobbs Group

Paul Gregory

Jayden Ali, JA Projects

Pervolarides – Thessaloniki

Jeff Tidmarsh, Sir Robert McAlpine

RCKa

Jemma Miller, Tate Hindle

RIBA East London Architects Group (ELAG)

Kalpesh Intwala, Stanton Williams

Richard Wentworth

Karina Williams, British Land

Royal Docks Development Corporation

Skidmore Owens and Merrill (SOM) Southwark Day Centre for Asylum Seekers St Helen’s Church Steve Deadman, Pollard Thomas Edwards Story Garden Sustainability Research Institute The Blackhorse Workshop The Supreme Court Tom Dollard, Pollard Thomas Edwards UEL Sustainability Research Institute Whitby Wood Engineers

At A+D we foster a broad and inspiring education to establish a rich foundation for a creative professional life. We are a career led school of Architecture and Visual Art. Our Architecture and Design programmes challenge assumptions and set new agendas for design in the 21st century. We balance the development and support of our students’ talents with the understanding that Architecture & Design is contextual, socially constructing and political. We believe that the design conversation in studios between students and staff across models and drawings is central to creative development. Our students are encouraged to undertake study trips internationally in each year of study to deepen an understanding of people and places. Our teaching balances a respect and understanding of the past and the present with an inspirational, poetic and innovative stance towards the future.

Our staff teach at the highest level and maintain an enquiring research approach to physical and intellectual contexts. We embrace real situations with passion and creativity. We believe that a depth of enquiry and poetic experimentation develops from the experience and understanding of making, drawing and materials in well-crafted output. We believe that Architecture and Design is thought, experienced and built. Our school acts as a forum for ideas and thought across a wide rage of disciplines. We host a national and international lecture series which acts as a magnet for theorists and practitioners to contribute to the discussion and debate in the school. We have extensive workshops and facilities for the creation of real and digital artefacts.

P5 Mission Statement

Mission Statement

Fragment structural model of the Saffron Hill NCP car park, inspired by Anthony Gormley’s ‘Matrix’ Vanessa Campanelli (BSc Architecture Unit B)

I am privileged and delighted to introduce this year’s edition of the Architecture and Design Yearbook. This is another exceptional year due to the Pandemic and the lockdown which incentivised us to work in new ways and more creatively. We became in a short span of time more tech-dependent, as the digital platform has been the only way to work which is a culture shift for many of us. This year, our extraordinary University has been ranked amongst the top 20 Universities in the UK for producing most CEOs, as reported by the Business Leader News in June 2021. There is no doubt that the pandemic has brought the world to a halt like nothing else could. This pandemic has forced all of us to break with the past and plan for a new world, where ways of working, studying and living will be completely different. This year’s book is full of a comprehensive range of very creative and stimulating projects developed by our talented students in partnership with world-class architecture and engineering practices. By closely working with leading practitioners, we strive to offer our students the best experience possible to ensure they are ready for the workplace and capable of providing solutions to complex design challenges. Our highly regarded staff are engaged in high impact applied research areas that shape lives and society. We are extremely proud to be situated as an anchor institution at the heart of east London and, for the last forty years, have been at the forefront of working in collaboration with broad range of design practices in order to develop a distinctive portfolio of courses in Architecture and Design. I am thrilled with the quality and standard of this year’s work which presents a comprehensive profile of our students, reflects creative thinking and a holistic approach to design. My very sincere thanks to my colleagues, practitioners and alumni who continue to work together to make architecture and Design the flagship area that it is! I take this opportunity to wish all graduates a very successful and bright future. We hope you will remain in touch with us as you forge ahead in your careers, remembering that it all began at the University of East London! Professor Hassan Abdalla PhD PFHEA FRSA Provost University of East London

P7 Welcome

Welcome

Architecture Art and Design after Unity P8 Introduction

Learning from Siena The Values of Formation and the Formation of Values

The work in this publication celebrates the work and achievements of the Architecture, Art and Design students of the University of East London. All of this work seeks to explore ideas around sustainability as a shared theme for this year. This book is by necessity the briefest assembly of many ideas, the briefest glimpse into our unfolding of knowledge and values. It assembles our experimentation that is playful yet underpinned by deeply held values. All of us have been amazed at the way the students and staff have maintained such excellent and exciting project work within the constraints of the Covid outbreak. I would congratulate you all on this achievement. This introduction looks at the secular values underpinning the creative process and how they

shape our environment and our lives. I consider how values arise out of close inspection and understanding of societal need. In this sense I suggest that we adjust our existing values and create new values based on need and an assessment of the human condition. We will look historically at how societal issues in Siena led to the formation of values around Common Good to guide the development and evolution of their society. We will also look at two contemporary issues which have given rise to new values to guide our own society. In this way we consider how the secular values of the future grow out of our careful understanding of the needs of our society. We look at how change in the values of the creative process leads to new lives and forms new cultures. We will challenge our everyday

Fig. 1

from the Gospel according to Luke to portray the Angel Gabriel visiting Mary. Duccio depicts the Angel and Mary in the same way and to the same scale, this equivalence indicating a perceived balance between spiritual and everyday life. Secondly, just a hundred yards away lies the Piazza del Campo, a large fan-shaped space with the Palazzo Pubblico (seat of government) providing a stage to this urban theatre. I am indebted to Hisham Matar’s writing for introducing me to Ambrogio Lorenzetti’s The Allegory of Good Government (1338), a fresco adorning the walls of the Sala de Novei in the Palazzo Pubblico (Fig. 1). Matar describes Lorenzetti’s depiction of the values of good government represented across several rows of seated figures. Wisdom is seated at the top alongside Faith, Charity and Hope. Below, Common Good is flanked by the virtues, with Justice, Peace, Fortitude and Prudence on its left, and Magnanimity, Temperance and Justice on its right. These figures rule over, and interact with, the citizens, magistrates and military who are depicted below. Viewing this scene in tandem with Duccio’s Annunciation, we have an explicit portrayal of the secular and religious values of the citizens of Siena. It is interesting that these values based around Common Good were literally embedded in the Art, Design, and Architecture of the city-state, assisting both the formation of their society and culture, and our understanding of it six centuries later. But what of our values? It can be argued that many of our current concerns, such as equality, are no more than the expansion of justice depicted in Siena. There are, however, two new aspects of the human condition that we need to address today that are absent from the values of Sienna: our relation to the machine, and our relation to sustainability. The expansion of our knowledge of the world and civilisation presents new challenges and a need to reassess, and perhaps replace, existing values. Here in the UK our industrial revolution began in the 1750s and we are still aligning ourselves to the impacts of the machine (and now machine intelligence) in our Art, Architecture and Design. At UEL we have been growing and developing our strength in digital fabrication with the expansion of our digital workshops and the introduction of hybrid working. These new facilities will have important changes in the expression of Art, Architecture and Design as students and staff

P9 Introduction

experience and understanding of values as permanent and fixed. Thinking about values and the creative process, I was interested to read Hisham Matar’s novel A Month in Siena which explores the small city-state of Siena as a microcosm of artistic thinking in the 14th Century.1 Sienna is built along a ridge with two principal public spaces, the surrounding buildings of which provide a deep insight into the values of Sienese citizens in the 14th Century. Firstly, the Piazza del Duomo lies with the Duomo Cathedral along its edge. The Annunciation by Duccio di Bouoninsegna (1311) is an altar piece originally situated in the Duomo, now on display at the National Gallery here in London. The painting uses a description

P10 Introduction

experiment with this new technology in project work and research. For example, our partnership with Tongji University in Shanghai has led Isaie Bloch and a group of students to design Confluence, a communication installation which uses digital fabrication as a methodology of form finding.2 Our relationship to and understanding of sustainability is much more recent. In the UK the first scientist to use the term “Ecosystem” was Arthur Tansley in 1935.3 This is not altogether surprising due to the Enlightenment legacy of categorisation encouraging the breakdown of scientific study into smaller and smaller elements. The reversal of this thinking and the recognition of the need to understand the relationships between such elements was a breakthrough for thinking and our civilisation. The next important step came with the 1949 National Parks and Access to the Countryside Act which introduced government protection to Nature Reserves.4 At this stage it was obviously thought that the protection of isolated areas of the earth’s surface would be sufficient. The publication of Silent Spring by Rachel Carson in 1962 revealed the threat posed by industrialised agriculture and changed the scale and implications of the threat to nature.5 The gradual expansion of this thinking to include oceans, air quality and climate clarified that protection was needed for the earth as a whole, not just isolated areas. This thinking has accelerated in recent years, with the UK government declaring a Climate Emergency in 2019, and the forthcoming 2021 UN Climate Change conference in Glasgow aiming to outline specific emissions targets. These governmental and international responses indicate the emergence of sustainability as a fundamental issue to which we must orient our society. The key question is thus where the figure of sustainability will sit in the fresco of 21st Century good governance. The implications of this new value on the education of Artists, Architects and Designers is fundamental. Going forwards all students will need to address sustainability in aspects of their project work and research. Our studios are realigning to the associated new core skills and content and this is already manifest in project work and research. Pollution Pods by Michael Pinsky is a good example of this thinking.6

More generally, I am also very grateful for the support given to us by many sponsors and practitioners. In particular I would mention Maria Segantini and Carlo Cappai for organising our international lecture series on the theme of Water. I would also like to thank the practitioners who contributed to the national lecture series including the Student Society lecture series, the Detour Ahead Art Lecture series and those who visit for crits and reviews. These lectures have considerably enriched the thinking that drives our work. In particular I would mention Professor David Porter who lectured on the Continuity and the work of Neave Brown. I would like to thank the students who have assisted with these societies including the president of the student Architecture and Design Society, Kathlyn Pagador, and the other members of the committee including Robert Venning, Georgia Hoggins, Rafael Ives, Riberiro Fischer, Federica Guarini, Guilherme Bressaneli, Ridwan Salman and Laila Rose Kricha. We are also very grateful to the practitioners who have been mentoring students and offering placements on the RIBA programme and on their own account. In particular we mention Sir Robert McAlpine and British Land for their continued sponsorship of the excellent Broadgate student competition. In particular I would note Charles Horne and Jeff Tidmarsh for their excellent support and expertise in leading the competition. At the core of our teaching philosophy is the relationship developed between staff and students and the play of the design process. Students are taught one to one, in small groups, in studios, workshops and lecture halls, and now online. Our project work follows a systematic pattern of setting aims and values, investigation, experiment and innovation. I would like to thank all the staff and students for their excellent work this year and for adjusting to the Covid crisis with such energy and skill. I congratulate all our students and staff for their project work undertaken in such difficult circumstances. Lastly, I would like to congratulate those students leaving us and wish them every success. Siena teaches us that we need to understand and embed our values in our Art, Architecture and Design to enrich our lives and to allow our successors to understand our thinking and actions. I am reminded that our word University

P11 Introduction

derives from the Latin Universitas meaning whole or community. Please stay in touch with us. I hope in your professional life you will be able to learn from Siena, be able understand the values of the past, and play a part in forming the new values of the future. Through harnessing history, research and innovation, you will fulfil your own potential and the potential of our new century. Carl Callaghan BA (Hons) Dipl RIBA Head of Department Architecture and Design

Notes 1 Matar, Hisham. (2020) A Month in Sienna, pp.16-17. UK: Penguin. 2 Bloch, Isaie. (2021 - work in progress) Confluence, with Tongji University Shanghai China. 3 Eco system. The term “ecosystem” was first used in 1935 in a publication by British ecologist Arthur Tansley. Functional Ecology 1997 11, 268–271. 4 National Parks and Access to the Countryside Act of 1949. This was an Act to make provision for National Parks and the establishment of a National Parks Commission; to confer on the Nature Conservancy and local authorities’ powers for the establishment and maintenance of nature reserves. https://www. legislation.gov.uk/ukpga/Geo6/12-13-14/97/contents. 5 Carson, Rachel. (1962) Silent Spring, USA: Houghton Mifflin. 6 Pinsky, Michael, Pollution Pods 2018, https://capefarewell.com/pollution-pods/ overview.html

RESEARCH & PEDAGOGY

Image: Nima Sardar

Research as Practice Alan Chandler

Practice - NOUN 1. the actual application or use of an idea, belief, or method, as opposed to theories relating to it. 2. the customary, habitual, or expected procedure or way of doing of something. 3. repeated exercise in or performance of an activity or skill so as to acquire or maintain proficiency in it.

One can argue that research and practice are, within academia two ends of a line – the former a source of knowledge and the latter its practical implementation, its habitual repetition conferring an often unstated status as a second rate academic activity. At best practice can be elevated to become ‘Research informed practice’, even ‘applied research’ but as all the REF advice says, better an IEEE paper than a building or an artwork. Within this situation a number of conditions occur some hardwired in to the system, others a product of myth. When we are looking at a sector that is radically reinventing itself under ‘public benefit; scrutiny, perhaps the tired, linear dichotomy of research and practice needs an overhaul. Research is a form of practice. It has rules, protocols, precedents and procedures that validate it as ‘proven’. Sage supervisors know habitually how to prepare for a viva, frame ethics challenges, shape a research question and design an experiment. The more conference presentations the ECR gives, the better the papers get, the better the journals who will accept their papers etc. So the ‘habitual’ and the ‘regular’ aspects of practice are intrinsic to good research - what about the ‘actual application’ part? Here practice is not a poor relation to pristine research. Here practice is the entire reason for the research in the first place. Without application, what is the point of the research? In the harsh grind of research and its publication, it can be argued that the potential for change, the impact on society, the transformation of the unacceptable and the value of investigation is often overlooked. At least that is the evidence coming form the recent and still raw REF submission.

Our research should connect directly to the professions and disciplines that, outside academia, our research feeds. Clarifying the intrinsic relationship between research and practice needs to happen so that our students can feel that their work to understand the practice of their disciplines relies on the research we, and I would argue they can do in University. Our students need to experience the activity of research to understand better their discipline, be it psychology or graphic design, and in doing so raise their own expectations that their work can in turn help shape that discipline. ‘Research as practice’ is a phrase that does not sit one on top of the other (one being ‘based’ on the other as though they were distinct), rather is merges them together – one as the other. This is important for three reasons – 1. The arts are fundamental to society as an ethical and cultural compass, the persistent undermining of their value by this and other governments in preference to technical education requires a more sophisticated discussion of academic and research (and economic) value; 2. Our students use the arts as a springborard to self-development and self-confidence – valuing ‘practice and doing’ as strongly as ‘research and publication’ reiterates their value as students and the subjects they are engaged with; 3. Demand more than a paper in an IEEE journal from researchers – where does that research lead, what is the point of doing it, how many people read it and are influenced by it? If more people attend a theatrical performance about their own heritage than read a peer reviewed journal we have to wonder which is more important? Granted, this is a provocation, but the point is clear - research needs to deliver more than a list of outputs on an ORCID account. Why? Because modern Universities need to engage and transform communities or they will cease to be funded. Stark but actually rather invigorating, particularly of engagement and transformation is in the institutional DNA as it is at UEL. I say it is in our DNA, but when

P13 RESEARCH & PEDAGOGY

Research - NOUN 1. the systematic investigation into and study of materials and sources in order to establish facts and reach new conclusions.

academics say to me they never engage their students in their own research because it is ‘not precise enough’, I know there is work to do.

P14 RESEARCH & PEDAGOGY

Initiatives to integrate teaching across ‘arts’ and ‘sciences’ are commonplace, interdisciplinary research less so. As Research groups and Centres become validated and registered, UEL has to move the ‘research as practice’ agenda forward at pace, which will be challenging for some disciplines that have never valued application and engagement as part of their practice. Supporting this shift is critical. The relation between research and practice is no longer linear. Perhaps we need to deploy the full implications of practice in a circular way - seeing our research as practice from ‘cradle to cradle’ (to paraphrase Braungart and McDonough), with staff and students generating new perspectives on new problems, delivering graduates who understand and value research as active social engagement intrinsic to their professional lives, and in turn setting them up to become knowledge generators of the future.

Leaving Home

Motivated by reports of a dramatic increase in domestic violence during the lockdowns imposed by the Covid-19 pandemic and a request from UEL colleagues in Psychosocial Studies to contribute a chapter to an edited collection called After Lockdown, Debra Shaw embarked on research to understand how home has become, for some, anything but a place of safety. A version of this research was presented at the UEL Summer Conference and as a keynote address at the Cultural Perceptions of Safety conference organized by Open Universiteit (The Netherlands) in January 2021 which took place online. The published chapter, Leaving Home: Safer Spaces Beyond the Neoliberal Family argues that the rupture created by Covid-19 offers a space in which we can radically re-evaluate how we understand the relationship between gender, violence and concepts like ‘home’ and ‘family’. Taking a critical posthumanist approach, Debra proposes that we need to take into account the symbiotic relationship between bodies and architecture and how the objects that we interact with in everyday life enable a perpetuation of ontological ideals. In this way, she suggests, we can begin to formulate a radical critique of the social structures that make a place for gender based violence to exist.

In making her argument, Debra was delighted to be able to include an analysis of an outstanding final year project by Karin Bultje, a UEL BA Photography graduate which makes use of posed scenarios to starkly reveal the everyday reality of intimate partner violence. The chapter will be published in Angie Voela and Darren Ellis (eds.) After Lockdown: Opening Up (Palgrave) in October 2021. Debra has also contributed a chapter, Posthumanism and Home to the Palgrave Handbook of Critical Posthumanisms which will be published in early 2022. This chapter is concerned with concept of home beyond the human and queries why, if planet Earth is home to the human species, are the most privileged among us so keen to leave it? In May 2021, Debra was invited to present online as part of the Urban Imagination Seminar (http:// sk.tranzit.org/en/lecture/0/2021-05-24/posthumanurbanism) based in Slovenia where she developed ideas connected with her most recent book Posthuman Urbanism (2018). In 2020, she also published a paper in Anthropocenes, an open access journal, introducing a concept which she calls the Aesthetics of Retrieval, designed to query the pleasures associated with visual representations of big data (https://www.anthropocenes.net/article/ id/666/).

P15 RESEARCH & PEDAGOGY

Debra Benita Shaw

Royal Docks Team and London Festival of Architecture’s ‘Pews and Perches’ Competition

P16 RESEARCH & PEDAGOGY

UEL MArch Unit 8 students and alumni CAST (Chutimon Suetragulwong, Austin Joseph, Sonam Dahya and Tyler Wareerinsiri) have established a collaborative team working from Thailand and London. During their studies together at University of East London, the Docks provided them with an amazing environment to inspire their work. The team wanted to give back to the community that they have been a part of and were appointed to design and manufacture an installation to reactivate the Royal Docks waterfront, as part of the Royal Docks Team and London Festival of Architecture ‘Pews and Perches’ initiative. The installation, titled ‘The Royal Resonance’ is exhibited in front of the London Design and Engineering UTC and has been actively used during the past few months. The Royal Resonance is a social distance bench which portrays our current pandemic period, despite the impact on our daily lives we can adapt utilising the potential of design and creating playful urban furniture. The project allows the public to enjoy outdoor space at a safe distance, designed to be suited for the new normal. The bench was inspired by the natural elements in the surroundings. As the Docklands are affected predominantly by wind, the design implements aluminium poles which vibrate in the wind creating a riverside instrument as well as an art form. This interactive feature responds directly to its natural windy environment. The modular design uses curving partitions reflecting the measures of the pandemic, allowing people to spend time in public spaces at a comfortable distance. This provides an inclusive solution to designing with appropriate distancing. The installation becomes a device that can promote public relationships between people, nature and isolation, fostering local interactions in the Royal Docks community.

The Festival City Research Residency, Vienna Design Week 2020

In 2020, Rosa took up the first research residency in the history of Vienna Design Week. This residency for curators from the United Kingdom was the subject of a call that formed part of the Design Connections Programme of the British Council. It is curators who enable a design event to ask questions and address subjects that go far beyond the reproduction of commercial content. From a wealth of submissions, Rosa Rogina, Programme Director of the London Festival of Architecture, was selected to experience and research the Vienna design festival. The jury was made up of Parvinder Marwaha (Design Programme Manager, British Council), Jane Withers (Founder and Curator, Jane Withers Studio), Peter Umgeher (Designer and Curator, Vandasye), and Lilli Hollein (Director and Curator, Vienna Design Week). Due to the COVID-19 situation, the curator couldn’t be physically present in Vienna and carried out her work from London and, principally, via digital channels. However, despite this distance, this view from the outside brought impressive results!

To explore ways in which festivals can act as agents for positive change in an ever-changing world, Rosa has invited 25 leading curators, designers, architects, writers, educators and spatial activists to contribute to the new glossary of terms showcasing a series of fresh visions for the role of festivals in the city with one concept or term. In a time of three unprecedented global emergencies, one of Covid-19, one of climate change and another one of protests against racial discrimination, the video series explores new relevant formats, alternative frameworks for collaboration and further engagement of festivals with the city and its residents. The project involved participants from 14 countries, including: Austria, Belgium, Finland, Guatemala, India, Lithuania, Qatar, Poland, Portugal, Spain, Switzerland, The Netherlands, Uganda and United Kingdom. All the videos can be viewed at Vienna Design Week’s YouTube channel.

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The Festival City is a curatorial research project by UEL Associate Lecturer and MArch Unit 8 Design Studio Tutor Rosa Rogina, delivered as part of her research residency at Vienna Design Week.

London Festival of Architecture Sitting Pretty Competition

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UEL Senior Lecturer and MArch Unit 8 Design Studio Tutor Armor Gutierrez Rivas was appointed to design and manufacture a set of benches made of reclaimed wooden sleepers for the London Festival of Architecture and Network Rail. Unveiled at London Bridge Station, the urban furniture is a result of a LFA initiative called Sitting Pretty, and it forms part of a larger collection of public benches exhibited in the main train stations of London. The installation, titled ‘Reclaim, Re-invent, Repurpose’ aimed to highlight railway infrastructure as the heart of urban regeneration across London. Understood as thresholds between transit routes and urbanscape, the often depraved physical borders created by railway infrastructure are now being transformed into places of social interaction, linking neighbourhoods and promoting urban life, to the extent of becoming the heart beat of the communities. Looking to highlight this newly acquired role of railways and stations as urban fabric regenerators - creating destinations and not only transition points - the proposal takes inspiration from the complex yet powerful spatial encounters between railway and urban fabric which define the shape of stations and surrounding neighbourhoods and hence shape the city.

The bench was fabricated using reclaimed wooden track sleepers combined with steam bending and digital forming techniques, allowing the wood to adapt into intriguing and unique geometries while keeping the beauty and identity of the material. The combination of wooden craftsmanship with digital fabrication methods is intended to inspire and challenge passengers to discover the potential of reclaimed infrastructure materials as design and construction solutions, creating a learning experience of the rich railway legacy of the United Kingdom while raising awareness of the importance of repurposing and re-inventing in the future of the railway stations. The design results in a series of playful and inviting geometries which re-interpret the railway infrastructure footprint and can be combined creating multiple arrangements, allowing modularity and adaptability. In a wider scheme, configurations inspired by different railways meet each other, creating a dialogue across stations.

P19 RESEARCH & PEDAGOGY Photographs: Armor Gutierrez Rivas

‘Shed Life’ collaborative community space MA Interior Design, Dr Anastasia Karandinou

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The UEL MA Interior Design ‘Urban Livingroom Studio’ collaborated this year with the Thames View Tenants Association and the Humourisk Artistic Director Susie Miller Oduniyi on the ‘Shed Life’ project; a community workshop and meeting space, to be built in Barking in summer 2021. The Urban Livingroom Studio designed the interior of the Shed Life, as a space for creation and collaboration between local people of different generations. Design has been considered as a practice that both pragmatically and metaphorically addresses everyday social and political issues. The aim of this project was to raise awareness on the issue of social exclusion, isolation and loveliness, and actively empower the local community of Barking by designing this space, with them in the centre of the process. The main activities to be hosted include a wood workshop, space for seminars, knowledge and skills exchange for small groups, computing and photography workshops, gallery wall, storage of some of the relevant equipment and tea and coffee making facilities. The interior involves elements that are flexible, removable and can be flat-packed. The users of this small space can transform it themselves into a gallery with exhibition walls for artwork, into a workshop with shelves and worktop surfaces, or into a more relaxed meeting place for them to share a tea. This project is part of an ongoing research and community engagement project, aiming at battling loneliness and social isolation through designing and creating a place that welcomes collaboration, creation and interaction between locals. The project was developed in collaboration with the group of locals, with whom online and in person workshops and consultations were organised. The interior was designed between September 2020 and January 2021, and the building is scheduled to be built in the summer of 2021.

The MA Interior Design students who took part in this project as members of the Urban Livingroom Studio are: Dalal Abdullah, Omnia Al Temnah, Siclania Barroso, Georgette Ivette Wilthew Estefan, Mohammad Farahani, Maria Gradinar, Sonia Nohemy Medina Munoz, Atefeh Sargazi, Cherine Shawa, Gozde Tuncbilek, Teinane Chibuike Jesse Warekuromo, Yesim Yumrutas, supported by their tutor and MA Interior Design Course leader Dr Anastasia Karandinou. All the students involved received the UEL Volunteering and Civic Engagement Award for their work on a real life project, meaningful and valuable for the local community. The exterior shell of the building is designed by the UEL MArch students, led by Alan Chandler. The project is being developed in partnership with the Thamesview Tennants association, the Humourisk and its Director Susie Miller Oduniyi, and it is supported by the following funders: National Lottery, Healthy New Towns & Thames Talk (Barking Riverside London), London Borough of Barking & Dagenham, Trust For London, Creekmouth Preservation Society, Barking and Dagenham Giving. For further information see also: > www.susiemiller.moonfruit.com/shedlife/4586441759 > www.tnlcommunityfund.org.uk/funding/ grants/0010351850 > www.atomised.co.uk/shed-life > www.twitter.com/anastasia_kar/ status/1361712345215606791/photo/1 > www.instagram.com/urban_livingroom/

From top: 1. Visualisation of the interior by the MA Interior Design students, showing the flexible wall which can be used for exhibition displays or storage, and part of the flexible coworking / workshop area. 2. Photo from one of our meetings with the locals; drawings with chalk on the pavement were used to communicate and discuss design ideas. Photo taken by Siclania Barroso.

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Nature & Artifact - The November Lectures A series of public lectures by top contemporary architecture academics

For the last 6 years, Carlo Cappai and Maria Alessandra Segantini have been curating the November lecture series.

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Since 2015, international speakers have been invited in London to explore the relationship between research and practice in architecture as a tool to tackle the environmental, social and economic urgencies of our contemporary times. Among them Alejandro Aravena - Elemental, Fuensanta Nieto Nieto Sobejano, Zhang Ke, Francisco Mangado, 51N4E, Labics, Sheila Kennedy & Frano Violich. This year the series has investigated the relationship between nature and artifact as a challenge/ opportunity for the architecture discipline to redefine its disciplinary boundaries.

2019 series

C&S Architects Limited has sponsored the event in substitution of the Sto Foundation. Anna Liu, from Tonkin-Liu, Pietro Laureano and Marco Navarra have presented their inquisitive and sensitive work in balance between environmental design and architecture. Carlo and Maria Alessandra believe that this is a fantastic benefit to the students - our future graduates! These lectures help to enhance our focus at this University on promoting skills and innovation among our students for Industry 4.0 readiness.

Conversations about water Tuesday

17|11 Tuesday

27|11

Marco Navarra - IT Nowa www.studionowa.com

Anna Liu - UK Tonkin Liu www.tonkinliu.co.uk

Tuesday

01|12

Arturo Vittori - IT Warka Village www.warkawater.org

Friday

04|12

Pietro Laureano - IT Ipogea www.ipogea.org

UEL School of Architecture AVA Atrium Theatre Webinar

A series of events in cooperation with C+S Architects

LECTURES START AT 1:00pm www.uel.ac.uk/ace/

Curators: Carlo Cappai Maria Alessandra Segantini

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NOVEMBER LECTURES 2020

Lectures on contemporary architecture

2021 AntePavillion Competition Winner former UEL Student Nima Sardar

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For the last 5 years, the AntePavillion competition has been held in East London. The competition outlines a brief for a small addition to a former industrial building in Hackney Wick. The brief asked for demountable and transportable interpretations of a Bartizan – an overhanging, wall-mounted addition, common in medieval buildings. Nima Sardar won the competition with the project entry AnteChamber. The design uses a Potemkin structure with minimal intervention that speaks to the honesty and rawness of the AnteChamber.

The competion organisers stated: “The winning entry is the elegant and collapsible ‘Antechamber’ by Studio Nima Sardar… It realises the recurrent camera-obscura theme from many previous years’ entries, none of which have ever been selected. It is to be hoped that this Victorian fairground theme will resonate with the Hackney planners’ concept of harmony with heritage architecture, as they apply it to the 1900s to 1960s wharf buildings now adorned with references to a rich range of historic eras. If not, it collapses nicely for transportation and safe custody.” > www.antepavilion.org/2021-winner

Outside and on approach, the defensible structure creates an almost ominous feeling, a sense of confusion perhaps. On first entering, the darkness heightens the other senses; the smell of the wood, the sounds of the birds, touch of the fabric, one can take comfort in this. Whilst in this state, an elaborate roof void and the reflected light at the very center slowly reveal itself and a true sense of awe and wonder falls.

Dezeen commented: “Studio Nima Sardar is the overall winner with its design for a collapsible camera obscura named AnteChamber… It will feature a folding fabric roof and a demountable structure made of wood salvaged from Maich Swift Architects’ Potemkin Theatre – the structure that won the 2019 commission.” > www.dezeen.com/2021/04/12/antepavilion-2021competition-two-reversible-structures/

Antechamber was a product of collaboration that began with former UEL student Pierre Bonnerjee and soon after with Syed Shah covering research, theory and technical studies.

1-2 (above), 3-4 (opposite)

P25 RESEARCH & PEDAGOGY 1 A Private Retreat with a Hidden Entrance Resurrecting from past to present, partly visible from the roof, you step down through the hidden entrance and into the AnteChamber. Inspired by the vintage camera forms, it is hoped that this Victorian era fairground theme will resonate with Hackney Planner’s concept of harmony with heritage architecture. 2 Using Potemkin structure with minimal intervention speaks to the honesty and rawness of the AnteChamber. Outside, on approach, the defensible structure creates an almost ominous feeling, a sense of confusion perhaps. Guided by the main design theme of a free standing structure hanging below parapet level with hidden access, this view was key in developing the design idea. Achieving this image dictated a lot of the structural and technical details. The object needed to be free standing.

3 From the North, as the visitors cross the arched bridge and reach the highest level, the lower nest of the AnteChamber is revealed. Slowly the pattern of the fabric and the textures become apparent. From here, one can witness the deployment of the winch system with a theatrical demountibility to allow for rapid relocation. 4 An imaginative interpretation of the Bartizan. Much like a birdbox, it is a place of rest and reflection – an AnteChamber. The image here shows a key quality of the project that needed to be maintained. It is an overhanging object that seems quite hard to reach from any side. With the entrance hidden the pavilion appears defensive, and protective of its occupants. Adding to the pavilion’s defensive quality, it has been designed such that it can be easily transported wherever it is needed.

5 (top), 6-7 (above)

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5 A non-confrontational yet non-conformist attitude Nothing more anarchitecture than a bird’s nest. but in a nonconfrontational way, the pavilion is simply ‘minding its own business’. Like a bird’s nest it appears only temporarily, when the need is there. 6 The Floating Bartizan – 3 Agile Mechanisms Using the three separate mechanisms for each component, the main design theme of an easily retractable free standing pavilion is achieved. The three systems used are winch to quickly mount or demount the nest, rack and pinion to lower or pull up the lower nest and folding hinges to extend or compress the bellow roof.

8&9 A Chapel like quality with an elaborate ceiling Following the theme of a chapel, inside the space is dark and calm, with light falling from the top. Due to low light, details become apparent slowly and people can feel a heightened sense of presence within the chamber. With the lightweight timber structures of the bellow, it slowly becomes like looking up at an elaborate roof void. Expression of Structure - External & Internal The structure is expressed both internally and externally. Externally the structure highlights the bottom of the pavilion while internally the structure fills the space floating above. In this way, it conveys the pavilion as a hand constructed object. 10 The AnteChamber is not site specific and can be transported, much like a camera, to wherever it is needed next. Representing the practicalities of the camera, the pavilion can be demounted and packed. The two components of the base structure fit into one another, while the folding fabric top structure folds down into the base – turning into a boxed item easy to transport.

8-10 (from top)

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7 AnteChamber It is a room to enter and re-orientate one’s mind through reflection, and transports one to a world away from the present. The top of the structure acts as the pin-hole of a camera obscura, projecting the sky on a viewing table below. In isolation and seclusion, occupiers can focus on the changing image of the sky, to help them calm down from daily stresses.

BA (Hons) Interior Design Guest Lecture Poster Series 2020/21

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Designed and organised by Dr Keith Winter

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Employability Panel Events and Mentoring

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Stephanie Schultze-Westrum

In a difficult year, we were able to organise virtual panel events to help the students gain a positive perspective towards their professional future. The outstanding guests demonstrated a wide range of possibilities following graduation, as well as diversity in personalities and backgrounds. The events were very enjoyable and hugely useful for the students thanks to the insightful presentations. The subsequent Q&A communicated extraordinary initiative, creativity and resilience. The events were organised and (co-)moderated by Stephanie Schultze-Westrum in conjunction with the Careers and Student Enterprise team, Patricia Stevenson, Kayleigh Gibson, Nicholas Corcoran-Jones. We are tremendously grateful to the following guests: Panel 1: Zahra Haider Rida - Enfield Council, Public Practice + Leithan Brimah - Bell Phillips + Robin Farmer - Haworth Tompkins + Nimi Attanayake NimTim Architects. Panel 2: Raheela Khan-Fitzgerald - Hawkins\Brown, H\B:ERT Coordinator + Satu Streatfield - Publica, Night-time/Lighting + Lanre Gbolade - Gbolade Design Studio, Paradigm Network, L&Q Production Innovation Lead + Nick Evans Vabel - Property Development. Panel 3: Jan Dierckx, Foster&P, robotics expert, design to manufacturing + Julie Oti, Ash Sakula, Black Females in Architecture + Brigitte Clements, LOKI Ltd, co-living + Nimi Gabrie, Formation Architects.

UEL Architecture EDI event: Ibrahim Buhari - Senior Urban Design, Kensington and Chelsea, Public Practice, RIBA Architects for Change + Mayuko Kanasugi, 6a Architects, Pauline DeSouza, UEL Architecture & Visual Arts, Diversity Art Forum. Mental Wealth Panel: Bola Lasisi-Agiri, Foster&P, Tamed Designs, Migrants Bureau + Dominika Kubieniec, ahmm, RIBA ELAG + Claudia Palma, UEL Architecture/Interior Design/HT. We are also incredibly grateful to the RIBA (Jennifer Killick, Dian Small) for organising and the following individuals for mentoring our BSc(Hons) Part1/Y3 students remotely: Brian Heron, Architect, Tidal Architects + Rishi Patel, IDL Architecture + Nimi Gabrie, Formation Architects + Sohanna Srinivasan, Karakusevic Carson Architects + Jan Dierckx, Foster&P + Brigitte Clements, LOKI Ltd + Julie Oti, Ash Sakula Architects + Elis Ascari, Purcell + Antonia Blege, Feilden Clegg Bradley Studios + Kenny Sykes, Kenny Sykes Architects + Edward Patton, Purcell + Tony Vaccarino, Formation Architects + Hilary Ennos, Shepheard Epstein Hunter + Jo Gimenez, Feilden Clegg Bradley Studios + Ines Gavelli, David Chipperfield Architects + Nanami Sakimura, David Chipperfield Architects + James Gunn, LTS Architects + Ishan Vora, LOM Architecture & Design.

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‘PROTOTYPES’ BA (Hons) Interior Design, Dr Keith Winter

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BA Interiors organized and installed two exhibitions during 2021, both under the name ‘PROTOTYPES’. It is a practice-based theme we have been developing over the last years where students are challenged to design and build their own prototypes, be it a lamp, dressing screen, sculpture or other object. Starting with the most recent first, we had a successful week-long invited residency at FILET, an art hub in a former shop unit directed by photographer and RCA Reader Rut Blees Luxemburg. We worked hard to turn this shop back into something of it’s old nature and tagged and priced up our student lamps and opened to the public. A highlight was when lateJune lockdown restrictions lifted, much of our cohort joined us for a private view and CL Keith Winter asked students to speak about the ideas behind their designs to the large public audience present. This was also twinned with the success of many lamps being sold to prestigious buyers who were delighted to purchase the originals Our other physical exhibition this year presented all our Prototypes from Year 01-03 as a complete Interior BA show in Way Out East Gallery in Docklands, curated by Daryl and Keith, where we had several crits amongst the works and a great soft opening to celebrate the Mid-Year despite restrictions. We were also joined by a few Product Design students who also presented their well-made creations. We had an article published in Dezeen in July 2021 for the second time, showcasing our next generation of lamps and student profiles to a large audience, providing us with the confidence that we have a visibility for this good work - https://www.dezeen. com/2021/07/27/universit y-of-east-londonstudents-lighting-designs-school-shows/ instagram.com/id_ba_uel

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AVA Open Studio

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This mid-year event allowed invited guests, fellow staff and students to see work in progress and share the diversity of architecture and design at UEL

We held the Open Studio Event with student presentations and a guest talk online, over two days in February 2021. The event welcomed invited guests, all students, members of staff and people who were interested in our architectural and design studies.

Equality, Diversity and Inclusivity in Architecture At lunchtime, we had a talk called Equality, Diversity and Inclusivity in Architecture with the invited guests Mayako Kanasagi and Ibrahim Buhari. Pauline Desouza organised and conducted the talk together with Stephanie Schultze-Westrum.

The Open Studio Event was again a unique opportunity to see work in progress and to share the diversity of studies. The event was organised in such a way that selected students from each Unit or Course presented their ongoing work online. As such, it was both, a ‘mid-term review’ with work in progress and a vital platform for discussion about academic work in architecture.

The session was about the diversity of the architectural world by the people involved in making those changes. Mayako Kanasagi spoke from the position of a Japanese woman who is working for 6a Architects in London. Ibrahim Buhari spoke from the position as a professional in architecture and urban design, who graduated from UEL in 2011.

Thursday 18th February 2021 Following courses presented: First Year Architecture BSc, Landscape Architecture, MArch Unit 2 (Collective Habitat, New York), MArch Unit 5 (Countryside, Sicily Italy), MArch Unit 6 (Carbon Counselling, Hackney London), MArch Unit 8 (Civic Waterfront, Royal Docks London), MRes Architecture (Understanding the Neoliberal City) and Product Design

Friday 19th February 2021 Following courses presented: MA Interior Design, BA Interior Design, Degree Unit A (Young Clapton, London), Degree Unit B (The Life of Artists, an Urban Repository), Degree Unit C (Post Pandemic Civic Spaces), Degree Unit H (Inside Out, Woolwich London) and MA Architecture + Urbanism

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House of Lords Built Environment Select Committee Inquiry into Housing Demand

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Dr Anna Minton

Following on from Big Capital: Who is London for? (Penguin 2017), Dr Anna Minton has continued to write about the housing crisis for academic and mainstream publications, in particular the Guardian to which she is a regular contributor.

Earlier in July she spoke at the Architectural Association international symposium, Uncommon Walks, held in partnership with Budapest University. The symposium, which was due to be held in Budapest, took place online.

In July 2021, she was invited by the House of Lords Built Environment Select Committee Inquiry into Housing Demand to give evidence. The three-hour evidence session took place online, and is expected to be followed up with in person evidence in the autumn.

In November 2020 she gave the keynote at the Annual International Conference of the Architectural Humanities Research Association, which would have taken place in Nottingham but transferred online.

Race & Space: Changing the Architectural Narrative

The murder of George Floyd and the significantly increased Black Lives Matter movement have brought race issues to the fore in a global context (Daradahi 2020, Hincks 2020). This issue aims to address areas of race and space in the context of design, architectural education and location, taking into account that space might be seen as physical, virtual, cultural and/or intellectual. Central western architectural institutions, such as the AIA in the USA (Equity in Architecture Commission, 2017) and the RIBA in the UK (Inclusion Transparency Report), have long proclaimed their pursuit of an equitable and inclusive architectural profession. However, the charge remains that much architectural education operates within the territory and lens of white western, frequently male, pedagogies, and perpetuates the framework of colonial legacies in many parts of the world. The failure to reflect a global, culturally appropriate view ignores the diverse context in which architectural practice takes place. Charrette 8(1) invites research and commentary that engage with processes and perspectives of changing the architectural narrative in education and practice; disruptive models of transformation; models for changing the paradigm; erased or suppressed narratives and inclusion. Authors are encouraged to provide insightful critical reflection on the state of play relating to the context and content of architectural education, as well as present personal narratives relating to race and space.

Possible Topics include the spatial journey of students of colour and issues of race and space related to: • diversity or the absence of diversity in the curriculum • global contexts • assessment models • awarding gaps • cultural behaviours, hierarchies, assumptions and patterns in higher education • ‘architectural heroes’/architectural icons • intersectionality, diverse identities • decolonising the architecture school • decolonising the mind-set • dismantling colonial legacies • the possibilities for divergence from receives traditional pedagogies and practice • raced locations • race exclusions Submission Formats Contributions are invited from all members of the educational community: teachers, researchers and students, and can be made to one of the three categories of Charrette: Essay, Project or Freespace, as defined in the journal’s guidelines to authors. All three categories can draw on both scholarly work and descriptive/reflective content related to personal narratives and experiences of architecture and its education. Authors are welcome to submit contributions that may prioritise visual over written material (e.g., visual essays, graphic novels, drawings). Full-length submissions should be submitted to charrette@architecturaleducators. org by Wednesday 29 September 2021 for publication in May 2022.

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Charrette Journal CFP Guest Editors Ann de Graft-Johnson & Renée Tobe

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IORMA Sustainable Building Webinar

In the UK, construction, demolition and excavation account for 60% of material use and waste generation. Organisations can formulate strategies which are consistent with the Net Zero Carbon Buildings Commitment, ultimately leading to climate-resilient developments. They need to fully adopt the principles of circular economy to improve operational efficiency, achieve significant economic savings, and eventually reach the net zero carbon target. UEL recently launched the Net Zero Carbon Campus project where the university is planning to achieve net zero carbon by 2030. The university is creating an energy master plan with Siemens and other partners aiming to lower operational costs, increase renewable energy production, and attract investors who are increasingly considering carbon risk.

UEL has been invited by International Omni Retail Markets Association (IORMA) to organise and hold a webinar to discuss Sustainable Building on 17th June 2021. Carl Callaghan, Head of Department of Architecture and Visual Arts moderated the webinar, while speakers invited were: Dr. Heba Elsharkawy, Reader in Architecture, Dr. Craig Robertson, Head of Sustainability at AHMM, Dr. Asif Khan, Sustainability Director at Perkins and Will, and Sam Turner, Director of Resilient Works CIC. The webinar recording is available here: > iorma.com/iorma-webinar-sustainable-buildings

2021 Broadgate Prize

The brief focused on the conceptual design of a meeting and presentation space to be located on the rooftop of the building housing the co-located offices for both Broadgate Framework teams and also the welfare provision for British Land’s 1 Broadgate development. The brief challenged students to create a flexible space that could be reconfigured to accommodate lectures/presentations and a sit around meeting space whilst remaining operational in all seasons. The teams were encouraged to utilise the entire rooftop to create different types of spaces for external meeting or quiet reflection. Sustainability was a key factor, and the teams were asked to carefully consider their choice of materials and methods of construction.

This year, over 170 students took part in the competition with 49 teams submitting design submissions and 6 shortlisted teams. The six finalists were invited to the Broadgate campus to present their projects to the jury, comprised of established industry experts. After a very close competition, the winning team – ‘Conventus’ (Thomas Joy & Gabriel RebecPermo) claimed the first prize of £1000 and there was a special commendation for the ‘Zen Meeting Space’ for their fantastic presentation. The Jury were so impressed with the finalist submissions that they decided that each shortlisted team should be awarded a prize of £400 in recognition of their outstanding work. The competition is the result of the long-standing relationship between University of East London, British Land Plc, and Sir Robert McAlpine with the aim of providing students with experience of collaboratively on competitions and developing connections to industry. The opportunity is offered in partnership with ScottWhitbyStudio, British Land and Sir Robert McAlpine. This years competition was a great success and we look forward to another next year.

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The Broadgate competition, now in it’s fifth year, gives students at the University of East London the opportunity to work in teams across disciplines and year groups competing in an architectural competition to win a cash prize. This year, teams made up of second and third year students from both BSc Architecture and Architectural Design Technology were asked to design a meeting and presentation space on the British Land and GIC owned Broadgate estate in the City of London.

HISTORY AND THEORY

Constructing the Box Man’s Box, The Box Man, Kobo Abe (2020)

An Introduction Renée Tobe, History and Theory Coordinator

Our thanks to our guest contributors: Ela Alanyali Aral; Emily Crompton of PRAXISS, Ismae’l Sheikh Hassan; Miho Nakagawa; and with deep respect, Mary Vaughan Johnson. In the final year of the BSc, seminars encourage students to speak with their own voice and develop inclusivity in design. Negotiating the Public Realm examined the way social space is constructed in the city through the perspectives of different architectural theories; looking closely at the dynamics in the public realm by examining the negotiations of people and their practices, negotiations within the spaces between building and negotiations at thresholds between the private and the public. Thinking from psycho-geographic, social, political and spatial framework, we asked who has the right to the city? What are spatial and social hierarchies and relationships in the urban realm? The aim was to reveal meanings and readings of how cities are made, lived and appropriated; and what the tactics of resistance are that are employed? and how can they feed into the design process of architecture. Anti-Racism and Decolonising Architecture looked at means to explore space and place using nondiscriminatory language and references. It invited ambiguity into our understanding of how we experience the world around us and asked what are the challenges to create an inclusive and diverse space for all. We examined how we name, identify and challenge racist and colonial practice. Through discussion we found means to understand how we can create a space with no barriers, where everyone is included. We emphasised reflection about the subjectivity of each perspective and critical of its position in context.

Aya Nasr: Gender segregation in Ottoman Mosques Spatial issues and injustice in women’s prayer space Tutor: Reem Charif “Inclusion is not bringing people into what already exists, it is making a new space, a better space for everyone.” - George Dei (2006) This essay will explore the impact of women’s prayer spaces in Ottoman mosques under the gender segregation ideology in relation to spatial components – particularly focusing on access and visibility. This essay will be split into four chapters: The first chapter will identify the different components of the Ottoman mosque in context, such as fountains and tombs as well as the mosque itself. This essay will then focus solely on the spatial qualities within each gendered space. From the second chapter it will elaborate on this further though the findings of Gülşen Dişli (2017, pp. 20-37) who analysed spatial entities of the women’s prayer spaces in Bitola Mosques – such as the use of partitions to separate men and women’s space, where the women’s space is positioned and its size and accessibility. The third chapter will focus deeper into the topic of visibility, using Xavier Marquez’s (2012, pp. 6-31) terms that indicate different types of users that affect visibility in space, such as spectators and actors. It’s essential for one to view it in this way to broaden the understanding of how people behave in the space, and which user group has power relationship. And would this affect others? In addition to this, this essay will interpret Marquez’s terms into context and link it with another reading that records the foreign perspectives by early European travellers during the Ottoman empire when they visited the mosque, written by Marion Holmes Katz (2014) – to get an overview, not only from the women but also from foreigners, as their viewpoints on gendered spatial differences may be similar in such sense. The fourth and final chapter will embody all the previous chapters by discussing the impact of criticisms raised by female intellectuals - elaborated by Bülent Batuman (2018) - which had on architectural designs of mosques to today, basing it on a theoretical framework of the topic of inclusion and seclusion. How much of a change can an architectural design go through based on the inclusion of people, but seclusion through design.

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Undergraduate Teaching Staff: Reem Charif, Claudia di Palma, Miho Nakagawa, Renée Tobe.

Muhammad Tawfik: Demolishing an Iconic Monument for Political Satisfaction Tutor: Renee Tobe

Were Ottoman mosques designed for men and women equally as they shared the same space but sat apart? And has this equity and inclusion disappeared over time, as women began to be ‘given’ marginal spaces in the mosque to pray in? This essay aims to explore this question in relation to gender segregation in Ottoman mosque spaces. It will be focusing solely on the architectural organisational system of Ottoman architecture such as visibility and access – rather than focusing on the historical moment of construction, because when one discusses gender and space, wouldn’t the organisational system such as plan layout play a huge role in this topic? In addition to this, it will explore other factors of the mosque that influence the strategy of urban planning as it’s essential to note that these factors lead up to the mosque’s design, potentially lead to how gender is used in spatial differences in Ottoman mosques. How this theory will link to arguments and concern.

In order to understand the tremendous structural change happening in our world, we need to have a deeper look at politics through new lenses. Unfortunately, political science suffers from a deep-rooted doubt. That doubt worries the role of institutions, both formal institutional structure, which is associated with governments and constitutions, and the more informal political structures which they are inextricably linked (P, Cerny, 1990, p. ix). Having a deeper insight about politics, could help understand its relevance in architecture. Moreover, some consider politics and architecture have a direct relationship as Mitchell Kapor quoted “Architecture is politics” (S, Carenholm, 2009, p.17). Let us face it, architecture and politics belong to each other. Politics has the task of improving and developing the society we dwell with in, while architecture play a major role towards design what kind of social construction we live in (S, Carenholm, 2009, p.1). One great example to look at of how politics affects architecture is the Middle East. The Middle East is arguably the centre of the world crisis. It could also be defined as the site of the world’s most protracted conflict. This conflict did not only affect architecture, but it also created division, demolish of lands and human losses (R, Hinnebusch, 2018, p. 1-3). In this essay I will mainly focus on Iraq, and how politics affected its architecture. Iraq went through a series of events that drained the country. Some of these major events or conflicts are the war that was initiated on Iraq in 2003 by the United States. The war promised the people of Iraq freedom. However, it left noting but destruction and great political issues (History, 2009). Furthermore, another important event is when the Islamic state (ISIS) took over parts of Iraq in 2014. This caused more tensions in Iraq among Shia and Sunni groups, and between Kurdish groups in the north part of the country. Creating more tension was not the only issue, another recognisable issue was the destruction of a lot of sites in country, some of the country’s great architectural monuments were turned to dust (Rashid, 2018, p. 5-7). One of these monuments was the great mosque of Al-Nuri in Mosul. The case study that I will be presenting in the essay is the Spiral (Malwiya) Minaret of Samarra, Iraq. Samarra is an ancient city in Iraq, and it used to be considered as the second capital. The name Samarra derived from the Arabic phrase “Surra man ra’a”, which means “A joy for all those who see it”. It is the home of the Great Mosque of Samarra with its unique feature the Malwiya Minaret, which means in Arabic “twisted”. The archaeological city of Samarra was listed as a UNESCO World Heritage site in 2007 due to its historical and cultural importance.

“Politics is a matter of human, and not merely mechanical, interaction between individuals, groups or institutions” stated by Guess (Geuss, 2008). Some politicians tend to use politics in order to justify their actions to people. They usually tend to release two types of statements: one to convince people on why they are taking certain actions and usually refer to as official statements, and the other is their real intentions that are usually classified and not shared to the media, which could be referred to as informal statements (Geuss, 2008). It is believed that politics and architecture have always had direct connection, which affected the way architecture is used. Many politics might consider architecture as a powerful tool to achieve their visions, either by its creation or destruction (Jolliffe, 2020). However, despite it being a useful tool in pursuing ultimate political visions or not, sometimes these visions could lead to vandalising these architectural monuments. One of these great architectural monuments that suffered due to politics is the great mosque of Samarra and its iconic spiral minaret. The mosque was used as a theatre for Iraqi war in 2003, which caused a lot of damage to the building. The ancient city of Samarra is considered to be one the world heritage treasures and a representer of the Abbasid empire. However, due to the recent wars and some other historical events that caused that ancient city a lot of damage (Alfarra, 2020). In this essay, I will be analysing some of the aims and tools of politicians and using the Iraq war as an example. Moreover, I will be looking into the impacts of politics on architecture and using the great mosque of Samarra as a case study.

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However, this beauty was as a watchtower, a theatre for war and violence during the US forces invasion in 2003. The top of the minaret was bombed in 2005 and left partially destroyed. In addition, during the period of ISIS controlling the city, the building witnessed further destruction. Now, there are claims by the Iraqi government to demolish the building completely for political reasons (J, Alfarra, 2020).

Foundation

Architecture + Design Keita Tajima, Programme Leader

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The course aims to provide a broad range of experiences in the culture of spatial design. “Thinking through making” is at the core of this course, which is a tradition of architecture and design at UEL. We aspire to make the foundation studio into a creative laboratory where students will explore, discuss and cultivate individual creativity and critical thinking through studentship. Our aim is to stimulate students to find joy and enthusiasm in making and designing through the framework supported by experienced and enthusiastic tutors. Keita Tajima

Foundation Keita Tajima (Programme Leader) Catherine Phillips, Catalina Pollak

Foundation in Architecture and Design is a gateway to the culture of design. The course aims to provide a broad range of experiences in the culture of spatial design. “Thinking through making” is at the core of this course, which is a tradition of the architecture school at UEL. We aspire to make the foundation studio into a creative laboratory where students will explore, discuss and cultivate individual creativity and critical thinking through studentship. Our aim is to stimulate students to find joy and enthusiasm in making and designing through the framework supported by experienced and enthusiastic tutors. Each module in the foundation program is set to provide briefs to enable students to discover their talents, and develop them further to be ready for their challenge as a first year student in a specific field of design. 2020-21 We started the year by building up a series of skills and experiences through drawing and making from a scale of a pencil to a body, and exploring the relationship between a body and space at the end of first semester. The online workshop with a choreographer stimulated the fresh discovery of the movement of a body, and provided students with further insight into the spatial relationship between a body, movement and space. The workshop allowed students to document and experiment in full scale drawing and collaborative digital collage.

Bilbao, San Sebastian & Pamplona, Spain

Design Project The final design project allowed students to speculate on their own environments. Students have observed something they have not seen nor experienced from this very familiar place, and explored a series of spatial narratives and possible scenarios. As a conclusion, they were asked to design an intervention as a response to current conditions and their personal observations. The proposed intervention could be either temporary or permanent. In the course of the design process, students developed and tested through collages, and series of different scale models and drawings.

Special thanks to: Ivana Sehic, Carsten Jungfer, Irina Georgescu, Reem Charif, Keith Winter. Marisa Seanz de Oiza, Mark Sowden, Glen Marston, Gaynor Zealy, Paul Nichols, Craig Madden, Daryl Brown, David Morgan P47 Foundation

Students: Jamilah Mahdi, Brendan Tate Hampton, Phathokuhle Ningiza, Daniel Ferrari, Silvia Marin Giraldo, Stephen Oaks, Maryam Uddin, Toshiyuki Yasue, Charlie Chinama, Klaudia Depczynska, Asfia Alam, Jabrahn Max-Grant, Jorge Andres Holguin, Martina Nikolli, Marwan Tawfik, Gustavo Herrera Villalpando, Yaisa Pulido Gil, Edmund Balasca, Sara Bonito, Richie Bumba, Tarannum Mushtari Anam, Maria Badea, Mariam Elkashory, Lida Amiri, Alison Kivuvu-Nsona, Udeme Asanga, Md (Anik) Chowdhury, Abdul Akbar Ali, Teodora-Marilena Bosnosu, Daniel Bonney- Andrews, Divine Lembe Dodiya, Layal Jomah, Valeria Beregoi, Rudson Valacio, Hafiza Sultana, Agata Nyckowska, Rama Lee

P48 Foundation

Previous page1 Silvia Marin Giraldo, prints from pineapple 2 Klaudia Depczynska, deconstructed apple 3 Md (Anik) Chowdhury, disected pomegranate 4 Valeria Beregoi, promegranate section drawings 5 Gustavo Herrera Villalpando, pepper measured drawings 6 Valeria Beregoi, geometric analysis 7 Maria Badea, model 8 Rudson Valacio, model 9 Sara Bonito, kiwi fruit measured drawings 10 Silvia Marin Giraldo, model

P49 Foundation

P50 Foundation

11 Agata Nyckowska, spatial collage 12 Agata Nyckowska, relief collage 13 Rudson Valacio, rubbing collage 14 Agata Nyckowska, rubbing collage 15 Charlie Chinama, spatial collage 16 Valeria Beregoi, prints from laser-cut photos 17 Marwan Tawfik, spatial collage 18 Phathokuhle Ningiza, isometric studies 19 Phathokuhle Ningiza, isometric studies 20 Valeria Beregoi, model photo-montage 21 Agata Nyckowska, digital isometric 22 Rudson Valacio, digital isometric

17 18

P51 Foundation

26 25

P52 Foundation

P53 Foundation

23 Klaudia Depczynska, activity photo-montage 24 Rudson Valacio, concept drawings 25 Yaisa Pulido Gil, co-habiting with cats, isometric 26 Mariam Elkashory, model 27 Brendan Tate Hampton, axonometric expansion 28 Brendan Tate Hampton, model 29 Stephen Oaks, model 30 Klaudia Depczynska, movement axonometric 31 Daniel BonneyAndrews, model 32 Klaudia Depczynska, model

P54 Foundation

33 Sara Bonito, model light studies 34 Hafiza Sultana, model 35 Hafiza Sultana, axonometric 36 Rudson Valacio, model 37 Rudson Valacio, model 38 Agata Nyckowska, plan configuations

P55 Foundation

P56 Foundation

39 Charlie Chinama, axonometric spatial expansion 40 Agata Nyckowska model photo-montage 41 Edmund Balasca, shared amenity space perspective 42 Agata Nyckowska, spatial expansion, axonometric

39 36

42 P57 Foundation

ARCHITECTURE ARB/RIBA Part 1 and 2

BSc (Hons) Architecture (ARB/RIBA Part 1) Programme Leader: Dr. Heba Elsharkawy MArch Architecture (ARB/RIBA Part 2) Programme Leader: Isaie Bloch Architectural Design Staff: Unit A Carsten Jungfer and Fernanda Palmieri Unit B Alex Scott-Whitby and Stephen Baty Unit C Fulvio Wirz and Heba Elsharkawy Unit E Michele Roelofsma and Nasios Varnavas Unit H Keita Tajima and Charlotte Harris Unit 2 Christoph Hadrys, Uwe Shmidt-Hess Unit 5 Maria Segantini, Carlo Cappai Unit 6 Isaie Bloch, Jakub Klaska Unit 8 Armor Gutierrez, Rosa Rogina History & Theory teaching staff: Isaie Bloch, Carl Callaghan, Reem Charif, Heba Elsharkawy, Christoph Hadrys, Aurore Julien, Anna Minton, Miho Nakagawa, Claudia Palma, Catherine Phillips, Debra Shaw, Bridget Snaith, Renee Tobe Technical & Environmental Studies teaching staff: Alan Chandler, Heba Elsharkawy, Marek Glowinski, Christian Groothuizen, Armor Gutierrez, Arman Hashemi, Aurore Julien, Rachael Owens, Michele Roelofsma, Teresa Serrano, Jeff Tidmarsh Computing & Representation teaching staff: Jennifer O’Riordan, Paul Nichols, Nasios Varnavas, Barbara Zandavali, Jeremy Tay Eujin (MArch student), Jun Bin Yap (MArch student), Chun-Li Silverstine Reid (MArch student), Mahmoud Abdellatif (MArch student), Mahabub Alam (Year 3 student)

Professional Studies teaching staff: Roland Karthaus, Hwei Fan Liang, Stephanie Schultze-Westrum, Jeff Tidmarsh Guests and thanks: James Banks (CIAT) Hanaa Dahy (BioMat ITKE Uni Stuttgart) Grant Dyble and Sarah Holt (ARB) Sheila Kennedy & Frano Violich (KVA MATX) Andreas Kipar (LAND) Jon Lott (PARA – Projects) Michael Ramage (Light Earth Designs) Craig Robertson (Allford Hall Monaghan Morris) Jennifer Killick (RIBA) Bryan Young (Young Projects) Francis Gallagher, HKS Paul Hyett, HKS Alfonso Padro, HKS External Examiners: Teoman Ayas, Carolina Bartram, Catherine Du Toit, Cathy Hawley, Satish BK, Raymond Quek, David Short, Wassim Jabi, guest and external examiner.

The professionally accredited Part 1 and Part 2 programmes at UEL produce directed, environmentally responsible and socially aware graduates that understand architecture as a beautiful, radical tool to make ‘place’ and engage with the complexities of social and environmental interaction. Through our programmes, our students develop a rigorous and strategic understanding of context encompassing social and environmental, physical and non-physical concerns, enabling them to make engaged and critical architectures. Our teaching is centred on the interface of social and spatial structures, on people and place. Our location in East London gives unique opportunities to understand, critique and reimagine how regeneration and redevelopment impacts upon existing places and communities, bringing case studies from across Europe and beyond back into a critical reflection on London and its future. At the core of this education are our design units in Years 2 & 3 and 4 & 5, each of which provides students with a particular thematic and methodological approach to design, and as a whole contain a diversity of students and staff that stimulates critical awareness. In Year 1 the teaching is centred on a sequence of design projects that work through from the scale of the body to the scale of the city. The year aims to provide a broad platform for exploring creativity and introduces a set of skills and standards that range from surveying and technical drawing, to sketching and model making. Embedded within the schedule of projects are lectures, seminars and practical workshops that provide an introduction to the social concerns of architecture, knowledge of historical context, and understanding material properties and capabilities. The year is

structured to guide every student along these first steps on the path to becoming an architect, building confidence, and developing a strong sense of purpose and direction. In Years 2 & 3 the design units lead an iterative design process that is driven by creativity, imagination and critical self-reflection. The course is designed to educate students to think seriously about the world around them, to consider occupiers and users, buildings and spaces with an approach that is both critical and poetic. The supporting strands of History and Theory, Technical and Professional Studies, Computing and Representation, inform and enrich an integrated design approach. Students test and apply learned knowledge, practical skills and critical enquiry to a personal architectural proposition; this forms the basis of the architectural education. The technical teaching instils an appreciation of site and context, the art of construction, economy of structure and the nature and complexity of materials, using knowledge-based lectures and analysis of precedent as a route to integrate this understanding in the unit based design proposals. Our hands-on approach to a poetic materiality is characterised by exploratory modelmaking in all years and 1:1 construction particularly in Years 1 and 4. The aim of the MArch programme, in Years 4 & 5, is to stimulate students to become critical agents in the social production of space through thorough and in depth engagement with environmentally sound responses addressing real-life issues and uncertainties. Sustainability is key for us and can only be achieved by aligning human behaviour, use, technology, place and space together. We believe students need more than just a traditional understanding of how to do their job. As such our course does not attempt to replicate office practice, instead it prepares students to push practice forward. We teach you how to maximise your potential and to generate impact by addressing new methods of project and design development as well as through the use of contemporary technology. We believe that by engaging on a practical level with real-life scenarios you will affect the whole, not just the part. We will stimulate you to look at architecture as the opportunist, not the problem-solver only. Within this process students transform complexity into elegance, animate aesthetics and organise space for social use. Preparation for professional practice and beyond integrates essential technical, philosophical, regulatory and practical knowledge as baseline skills that enable the final thesis at BSc and MArch to critically extend beyond the ARB and RIBA requirements. Decision making and technical innovation, develop from and relate to wider socio-political contexts, grounding the design work and emphasise the importance of the critical task we have in creating better architectures for all generations to come.

P59 BSc / MArch Architecture

This year 20/21 has been an exceptionally challenging year, with the COVID-19 pandemic and lockdown of all UK universities since March last year. Some of us have now spent a second birthday in isolation. A scenario none of us are truly equipped to deal with. All students and staff are already fully embracing online teaching and learning methods, but are all facing novel geosocial, cognitive and emotional issues caused by a needed physical isolation. Having never met your peers, students, future friends for life in the flesh raises a whole new set of challenges. However, by embracing all the possibilities and opportunities made available via virtual platforms, students were able to produce exceptional design proposals. We have been delighted to witness the evolution and production of thoroughly developed projects in which students have been able to apply innovative, analytical, and experimental design strategies. More then ever have students learned to communicate between one another and to generate a novel sense of togetherness. Our students have been able to demonstrate exceptional understanding of numerous modern and traditional approaches towards design concepts and processes; applying logic, imagination, and innovation.

First Year

Repair / Reuse / Recycle Reem Charif, Heba Elsharkawy, Christian Groothuizen, Charlotte Harris, Toshiya Kogawa, Claudia Palma, Michele Roelofsma, Nasios Varnavas

SEEING FROM MEMORY The year started with the exploration of a personal object (artefact) from an important memory or incident. Through drawing, text and photography we revealed the story of the object, the ritual associated with it and the way in which it changes the space it is in. Thinking about how the past can be included in the design for the future lead to an enquiry into looking at what is familiar and finding in it a magnitude of meanings, experiences and relationships with the aim of revealing the intricacies and potentials of what we already have. Taking the artefact as a starting point, students adapted their personal spaces to curate a ‘Museum from Home’. In the past few years important Art World capitals have seen an increase in the growth of independent galleries that flourish in the domesticity of private households, flats and houses. Dissatisfied with the established art world system, and in response to current global events, artists and curators are occupying the domesticity of the home as a space of performance, art and display. This new movement congregates under the hashtag #MuseumFromHome. By far the greatest challenge facing us in 2020 is the climate emergency. In the UK, 49% of annual carbon emissions are attributable to buildings. Over the next 40 years, the world is expected to build 230 billion square metres of new buildiings, the equivalent of building a city the size of Paris every single week. To meet UK Climate Change targets the London Energy Transformation Initiative, the World Building Council and Architecture 2030 insist that all new buildings must be net zero carbon by 2025.

DEPTFORD CREEK, LONDON LOGNE, WUPPERTAL, GERMANY

LEARNING FROM SEGAL Often compared to traditional domestic Japanese structures, and based on timber frame building techniques, The Walter Segal Self Build method eliminates the need for high carbon building methods such as bricklaying and plastering. The resulting lightweight structures can be built with minimal experience and are ecologically sustainable. Another advantage of the Segal method is that it incorporates standard size materials to avoid waste. In term 2 we explored how to incorporate environmental design into our design proposals reducing their carbon footprint. Our client is a modern day mudlarker — a treasure hunter and curator of London’s social history, who scours the river edge searching for objects from the city’s past. The site is Trinity Buoy Wharf, near Canning Town. The proposal brief consisted of living accommodation, artist studio, small public museum and a boat house/jetty for a sailing dinghy.

Critis and Collaborators: Rachel Owens, Jeff Tidmarsh, Keita Tajima, Carsten Jungfer, Huda Tayob, Paul Nichols, Barbara Zandavali, Catalina Pollak Williams Special thanks to: Mark Sowden @uel_first_year_architecture [Instagram]

P61 BSc Architecture First Year

Students: Aagaman Limbu, Adriana Bostan, Adrienne Raleigh, Afshan Anjum Parvez Shaikh, Alina Obreja, Allan Paragioudakis, Anoeda Chikungwa, Arlinda Zenelaj, Aurorinia Roman, Belood Suliman, Bisera Ruseva, Cristian Severin, Cristian-Luca Serbu, Darnell Carol-Walters, Elonas Butrimas, Eva Brasoveanu, Farah Tarhini, Federica Guarini, Guilherme Bressaneli, Harry Ebdali, Helly Pandya, Holly Franks, Horacio Sequeira De Araujo, Ibrahim Muahid, Isabel Salazar, Jake Palmer, Jake Whiley, Jameela Mohamed, Joanna Wong, Jordan Perry, Karen Moussaid, Kiranjit Kaur, Kostadin Topalov, Liam Betts, Linda Martinez Ubilluz, Maharshikumar Patel, Malachi Henry, Mariana Marian, Melisa Mjekra, Milesa Khan, Mohamed Dif, Mohammed Khan, Naafiah Miah, Rafael Ribeiro Fischer, Reece John-Baptiste, Ritesh Ajay Karelia, Ruby Mae Walsleben, Sami Begum, Samuel Littlewood, Sonia Elena Stefanescu, Taniya Zaman, Tanjina Hossain, Tobias Scriven

P62 BSc Architecture First Year

01 Raphael Fischer, revealing hidden quality 02 Federica guarini, Model and drawing of revealed object 03 Federica guarini, Hybrid drawing of hidden quality 04 Jordan Perry, connected spaces 05 Arlinda Zenelaj, transformations of the artefact 06 Linda Martinez, treasures in time (hidden moon scape) 07 Linda Martinez, museum from home 1 to 1 in context 08 Maria Isabel Salazar, invisble threshold

Orthographic Description

Plan and Section Drawn in 1:12 Scale

3 2 1

P63 BSc Architecture First Year

LOST IN SPACE AND SOCIALISING

P64 BSc Architecture First Year

T IN SPACE AND SOCIALISING

ographic Description

09 Arlinda Zenelaj, transformations of the artefact 10 Jameela Mohamad, artefact study in horizontal sections 11 Jake Nicholas Whiley, traces of time 12 Adrienne Mercedes Raleigh, Extending to Monument proposal sequence 13 Tanjina Hossain, 1:1 curation 14 Merisa Mekeila - artefact hidden quality model study. 15 Guilherme Bressaneli, spatial study model 16 Guilherme Bressaneli, ritual qualities (lost in a book - flying Dandilions) Dreaming

Fantasy

Talking to the birds

Relaxation

Plan and Section Drawn in 1:12 Scale

Socialising 3 2 1

13 15

P65 BSc Architecture First Year

P66 BSc Architecture First Year

23 Raphael Fischer, proposal drawings 24 Ritesh Karelia, Reviving the River 25 Holly Frank, site journey 26 Guilherme Bressaneli, waterlion Cabin

P67 BSc Architecture First Year

P68 BSc Architecture First Year

27 Anoeda Zion Chikungwa, site study 28 Ibrahim Muahid, site drawing 29 Jake Nicholas Whiley, proposal sequence and framed view 30 Linda Martinez, water treasures spatial qualities.

35 27

28 36

P69 BSc Architecture First Year 29

Treasures

s based on the treasures that the water natural qualities of the place. The create a perfect rela-tion between the natural envi-ronment. Taking the river wall as part of the building n view of the water to know the best recollect the treasuares and for

P70 BSc Architecture First Year

31 Jake Palmer, proposal model 32 Federica Guarini, Layered materiality 33 Linda Martinez, material erosion 34 Federica Guarini, sectional axis (pure view) 35 Kostadin Topalov, structural framework 36 Darnell Walters, structural model 37 Sami Begum, journey 38 Tanjina Hossain, spatial conditions 39-40 Naafiah Miah, material study and proposal - erosion

High tide level

Low tide level

Final proposal high openning as welcome to the people who are looking the ground treasures (alunatime, river bell and music) to direct them to the water treasures Materity which allow the armony between the new building and the zone.

High tide level

Low tide level

South Elevation Scale 1:50

35 36

39 37

P71 BSc Architecture First Year

Unit A

Young Clapton

Carsten Jungfer, Fernanda Palmieri

Henri Lefebvre understands the formation of space as the outcome of collective action and therefore as “social product” itself. Unit A is interested in collaborative processes that support the production of space in urban contexts. Our agenda is to promote learning through engagement in live project sites and to create opportunities for knowledge exchange with external partners and communities. Through a research-led design approach Unit A methodology proposes to use architecture as a tool to investigate and think critically, by challenging students to engage with live urban conditions to respond with meaningful contextual spatial proposals with a focus on social sustainability. This year, as result of the coronavirus pandemic, our relationship with the built environment and our understanding of city radically changed. Dense urban neighbourhoods, such as East London, where we live, work and play have been disproportionally impacted by this shift. We started to embrace new routines and with reduced desire to travel long distances, spent more time at home and engaged more at local scale. Local Authorities responded to this quickly, too, by taking temporary measures, that accelerated adoption of innovative policies to rebuild healthier, fairer and more sustainable neighbourhoods. This includes the introduction of low traffic zones, the improvement of infrastructure for cycling and walking, and improvements to the public realm with a more child & youth friendly approach. The London Borough of Hackney introduced a new Child-friendly planning policy this year. This innovative move, places the needs of young people at the centre

CLAPTON PARK, HACKNEY, LONDON

of future development, which is a first in the UK. We took this opportunity as subject for this years investigation and continued our long-standing collaboration with the Hackney Council planning department. Ingrid Gehl (wife of urban designer Jan Gehl) proclaimed in the 1970-ties in Bo-miljø, that the need for play in the city was not necessarily restricted to formal situations for young people only, but for everybody, including informal opportunities for play. As a trained psychologist, Ingrid Gehl understood the importance of play as a form of freedom of expression and something that gives people choices of how to behave. This of course is strongly linked to happiness, satisfaction and well-being. Alongside Gehl’s and Lefebvre’s points of reference, we continued our ongoing research into civic spaces, investigating opportunities to improve the quality of local life and well-being in East London by focusing on spaces for the Youth across a range of scales: inclusive spaces for Playing, Meeting, Learning, Exchanging and Caring. Working across disciplines and institutions, we collaborated on this topic with the Hackney Council’s planning department, Hackney Quest (a local youth club) and multiple community stakeholders. The understanding that emerged from this this public engagement process, opened up a new spectrum of opportunities. The design proposals are informed by the idea of neighbourhood as a shared and collective place to live, work and play. The students’ responses embed critical, sustainable and strategic thinking into their spatial designs, that explore new and innovative forms of an architecture rooted in social sustainability.

uel23ua.blogspot.com @unit_a__uel (Instagram)

Special thanks to: Visiting Critics: Alfred Hatch, Alexander Hills (AH-Architects), Amor Guiterrez, Conor Keappock, (London Borough of Hackney, LBH), Dickon Hayward (Material Works), Felix Xylander-Swannell, Gabrielle Abadi (LBH), Harry Zimmermann, Judith Lösing (East) Lily Dowse (Buildup Hackney), Mark Sustr, Mariam Touray, Norbert Kling (zectorarchitects), Reem Charif, Tim Rettler (GLA), Zeena Ismail

P73 BSc Architecture Unit A

Students: Y3: Abdulmajiid Omar, Amy-Chloe Leeshue-Booth Aya Nasr, Busthana Nusren Odayapurath, Czerrina Salayog, Dilnaz Mohammed, Florentina-Nadina Ivanescu, Georgios Kastanidis, Haleema Ahmed, Laila Rose Kricha, Michael Ngam, Muhammad Tawfik, Nazia Begum, Pavlos Giannopoulos, Sumaya Sheikh-Ali Y2: Ainsley Moffat, Claudiu Theodor Cazan, Esra Karakoc, John Paul Nasayao, Le’Quan Bailey, Roland Vata, Simran Maria Pires

Contributors: Blanka Hay (LBH), Lizzie Bird (LBH), Lucy McMeneny (LBH), Luke Billingham (Hackney Quest), Sianead Crawford (Homerton Adventure Playground)

P74 BSc Architecture Unit A

1 Socio-spatial analysis drawing by Busthana Nusren Odayapurath investigating relationships between infrastructure for children across Clapton Park through the observational frame of daily routine. 2 Analytical axonometric drawing exploring aspects of doorstep play and children’s safe-guarding at the cage / multi-use games area (MUGA) at Banister House estate, by Roland Vata. 3 ‘Kingsmead Village’ is a proposal for a series of zero-carbon youth spaces, constructed by young residents of Kingsmead Estate, comprising timber & bicycle workshops and cabins for quiet study & reading, by Muhammad Tawfik. 4 ‘Daubeney Greenhouse’ pro-actively supports well-being: food is grown here and cooked together by children age 8+. The hybrid-building contains a greenhouse and edible garden, a large teaching kitchen and a meeting space that connects with nearby orchards, allotments and the ‘Daubeney Fields Forever’ growing’ community, by Busthana Nusren Odayapurath.

4 P75 BSc Architecture Unit A

P76 BSc Architecture Unit A

P77 BSc Architecture Unit A

5 ‘Build-up Clapton’ is a proposal for a youth-led self-build project along Daubeney Fields water-edge and is aimed at 16-25 year-olds. Involving Build-up Hackney to help deliver this programme, sustainable knowledge in construction and life-skills will be acquired by young local residents. This innovative project aims to deliver social sustainability through community-led space production across ecological and technical scales by collaborating with multiple community stakeholders to empower a new generation of environmental activists and explore alternative models for more impactful local developments, by Haleema Ahmed. 6 ’Super Cage’ is a proposal for the re-programming of an obsolete car-park at the Western corner of Daubeney Fields near Landmark Heights, a refurbished 1960-ties tower-block. The new super-structure spans across the retained deck to provide inclusive access to a series of spaces for play, recreation and meeting for the local youth, by Claudiu Theodor Cazan

P78 BSc Architecture Unit A

7 ‘Daubeney Gateway’ re-purposes an obsolete two-storey car-park to reconnect young residents across different estates of Clapton Park by introducing new spaces for playing and meeting. The proposal retains the existing RFC-frame and demolished materials are up-cycled to minimise the carbon impact. The renewable energy strategy re-introduces a former football pitch to Daubeney fields, that also acts as thermal energy collector for hot water needs and heating across the seasons, by Aya Nasr 8 ‘Basket-box’ provides Clapton Park with youth activities that are uncommon in the area: Basketball and Rock Climbing; the proposal explores threshold conditions between the site of the under-used car-park and Daubeney Fields public realm, by John Paul Nasayao 9 ‘Social Condenser’ introduces a strategy for much needed spaces for playing and the community onto the doorstep of residents at the Kingsmead Estate. An innovative proposal for play under consideration of safe-guarding in high density contexts, Chun Kiu Michael Ngam

P79 BSc Architecture Unit A

P80 BSc Architecture Unit A

9 P81 BSc Architecture Unit A

UNIT B

THE LIVES OF ARTISTS

Stephen Baty, Alex Scott-Whitby

The artist, their work, their legacy The UK has an internationally recognised art market. The work of artists is now less of a singular activity but one that revolves around a collective effort of makers, gallerists, and publicist’s. This year Unit B has been investigating this world and looking in depth at the lives of some of the UK’s artists that are living and working in London. The units sites were placed within the Hatton Garden Conservation Area, and the students were asked to study Camden Councils Conservation Area appraisal and management strategy within which there were a serious of sites that had been deemed as contributing negatively to it, or being sites that were still vacant having been bombed out during the war. In the first half of the year we asked the students to investigate how their chosen artist makes their work, a series of sites within the conservation area and importantly to study an important precedent building with a particular emphasis on the precedents structure. Students were then asked to respond to theses studies by making a series of thematic models that asked each student to translate their understanding in three dimensional form. Each student has then developed their own brief independently responding to the Site, The Artist, and the Structural Precedent to create their own individual brief. Unit B is interested in the design of buildings and space. We have worked almost exclusively at large scale challenging the students to work at scales of 1:100 or less. We have asked them to look closely at buildings and spaces that have inspired them, not just by image but importantly in plan, section, elevation and detail.

CLERKENWELL, LONDON

Throughout this challenging year we have developed a weekly diet of lectures and online talks/exhibitions for the student to watch, listen and learn from. We expected the students to be fully immersed within the subject area and they have responded appropriately. It has been a challenging, unprecedented year, and we have huge admiration and respect for our students who have despite all that has been swirling around us, responded, engaged and cared for us and importantly each other. They are our professions future and if our sample is anything to go by our professions future could not be in better hands.

Critics & Collaborators: Colin Hayward - PT Projects, Osman Marfo-Gyasi, Graeme Massie Graeme Massie Architects, Jeff Tidmarsh - Sir Robert McAlpine, Mary Tyulkanova, Mark Whitby - WhitbyWood. Special thanks to: The Bleeding Heart Bistro, The Gunmakers Pub.

P83 BSc Architecture Unit B

Students: Year 3: Sarah Alkhazraji, Vanessa Campanelli, Nathalia Cardona De Castro, Adam Emmerson, Timothy Eves, Ezichiebuka Joshua Ewurum, Oscar Frith, Alten Gomes, Thomas Joy, Rahat Kamal, Ali Mohammed, Alma Odoleanu, Izaak Sallows, Lewis Smith, Yulia Tanana. Year 2: Lewis Curtis, Adrian Grant, Ahmed Khan, Naima Khan, Balla Ngom, Kathlyn Pagador, Stephanie Stocks, Robert Venning.

P84 BSc Architecture Unit B

1 Urban location drawing - Hatton Garden Conservation Area, Thomas Joy. 2 Study of Anthony Gormley’s forms of the human body, Rahat Kamal. 3 Study of human figures in space, Rahat Kamal. 4 Study of Tracey Emin’s ‘The Mother’, Alten Gomes, 5 Quarried sculpture in sandstone, inspired by Sean Scully, Timothy Eeves. 6 Study of Rachel Whiteread’s working studio space, Thomas Joy. 7 Painting on wooden blocks, inspired by Vicken Parson’s, Nathalia Cardona De Castro. 8 Painting on wooden blocks, inspired by Vicken Parson’s, Nathalia Cardona De Castro. 9 Extraction of Plan - Tracing the dust print left behind by a sculpture, Timothy Eves. 10 Floor drawing of the granite setts in Bleeding Heart Yard, Sarah Alkhazraji. 11 Pencil elevation of the Ragged School tower, Thomas Joy. 12 Pencil elevation of the Saffron Hill warehouse, Izaak Sallows.

P85 BSc Architecture Unit B

P86 BSc Architecture Unit B

13 Development of spatial and physical architecture through thematic floor plate and party wall model, Robert Venning 14 Fragment structural model of the Saffron Hill NCP car park, inspired by Anthony Gormley’s ‘Matrix’, Vanessa Campanelli. 15 Thematic model inspired by Jake and Dinos Chapman developing the vitrine into an architectural proposal, Izaak Sallows. 16 Plaster cast of the historic terraced house facades on Eyre Street Hill, inspired by Rachel Whiteread, Thomas Joy. 17 ‘Breaking the building’ - fragmenting the structural model of the Saffron Hill NCP car park into three zones, Vanessa Campanelli.

P87 BSc Architecture Unit B

18 Thematic proposal on site for a gallery and studio 19 Fragment structural model of the Saffron Hill NCP car park, inspired by Anthony Gormley’s ‘Matrix’, Vanessa Campanelli. 20 Thematic model inspired by Jake and Dinos Chapman - developing the vitrine into an architectural proposal, Izaak Sallows. 21 Plaster cast of the historic terraced house facades on Eyre Street Hill, inspired by Rachel Whiteread, Thomas Joy. 22 ‘Breaking the building’ - fragmenting the structural model of the Saffron Hill NCP car park into three zones, Vanessa Campanelli.

P88 BSc Architecture Unit B

23 Clerkenwell Community Centre - plan for an edible garden, Kathlyn Pagador. 24 The Hockney Oasis - Home for David Hockney Foundation, Yulia Tanana. 25 Kitchen SOE, Saffron Hill - Internal Courtyard, Robert Venning. 26 Warner Street Corner - proposed section, Nathalia Cardona De Castro. 27 Kitchen SOE, Saffron Hill - Structural and Material Axonometric, Robert Venning. 28 A Sanctum for Scully - Ground Floor Plan, Timothy Eves. 29 The Clerkenwell Sculpture Academy - Ground Floor Plan, Thomas Joy. 30 Clerkenwell Community Centre - proposed section, Kathlyn Pagador. 31 The Clerkenwell Sculpture Academy - Creating a public courtyard between the existing Ragged School and the proposed sculpture studios, Thomas Joy. 32 Formaldehyde Workshop and Gallery Space - internal courtyard, Lewis Smith. 33 A Sanctum for Scully - Indoor Outdoor Garden, Timothy Eves. 34 Earth Speaker Adventure Playground, Stephanie Stocks. 35 The Clerkenwell Sculpture Academy - Central studio space beneath courtyard,

Thomas Joy. 36 Emin’s Art Studio - Reception - 1:50 Model, Alten Gomes. 37 Emin’s Art Studio - internal spaces - 1:50 Models, Alten Gomes.

1 18

11 Ground Floor 1-100 @A2; 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

Bus Stop - 5m2 Clerkenwell Road Entrance Public Walkway & Entrance Entrance Lobby - 25m2 Main Atrium - 32m2 Cut Out For Art Hoist - 0.4x4.5m 2 Bookshop Space A. - 21m 2 Reading Cove - 11m Art Lift Accessed From Hatton Wall - 3.6x1.2m Small Reading Space Bookshop Space B. Deep Shelves - 23m2 Main Lift +1 Private Family Entrance Disabled Toilet 6FXOO\·V 3ULYDWH (QWUDQFH 6WDLU 6PDOO 2IÀFH 6SDFH 9.5m2 Check Out & Exit - 14m2 Public Stair Atrium Space To Basement

28 5

10m Name: Timothy Charles Eves

ID: U1708580

34 30 15 31

32 33

35 36

P89 BSc Architecture Unit B

P90 BSc Architecture Unit B

38 Art Yard - sketch plan, Rahat Kamal. 39 Art Yard - Model room - 1:50 internal model, Rahat Kamal. 40 Art Yard - Artist’s residence - internal sketch, Rahat Kamal. 41 Clerkenwell Sculpture Academy - sketch section, Thomas Joy. 42 Clerkenwell Sculpture Academy - 1:50 model of cast glass facade in plaster and soap, inspired by Rachel Whiteread, Thomas Joy. 43 Clerkenwell Sculpture Academy - Sculpture studios - internal sketch, Thomas Joy.

Art yard aims to design a contemporary Art gallery in the Hatton Garden conservation area that has a social and cultural space for the wider art community. Central to the project is the artist residency programme which aims to develop artists’ practices, resulting in new work and public participation. The public courtyard will host live art performance, alongside artist-led activities.

P91 BSc Architecture Unit B

The Clerkenwell Sculpture Academy creates studio and workshop facilities as well as accommodation for 8 young artists. The historically significant Ragged School building on Vine Hill is utilised to create a public gallery and provide a new public courtyard space for Clerkenwell on a previously underused site. The combined academy/gallery will be led by Rachel Whiteread and host visiting professors/artists. 43

Unit C

Post Pandemic Civic Centre

Dr. Fulvio Wirz , Dr. Heba Elsharkawy

The unprecedented times we are living in are calling for a major rethinking of the role of public spaces in the post pandemic society which has already been labelled as the “new normal”. Unit C explores the role of civic buildings in a world where people are progressively sublimating their real lives into a digital society made of social media and virtual meetings. What spatial and planning strategies can architecture adopt to preserve social interaction and how can it leverage on technology to encourage digital proficiency within a shared environment? Moreover, the current global sustainability agenda raises the significance of low carbon design supported by momentous bottom up initiatives such as Extinction Rebellion, Global Climate Strikes, etc. Hence, creating low carbon buildings helps to reduce harmful greenhouse gas emissions through more efficient use of resources besides enhancing people’s health and wellbeing. The unit ethos supports the UK Architects’ declaration for climate and biodiversity emergency where over 600 architectural practices signed the pledge to: ‘adopt more regenerative design principles in our studios, with the aim of designing architecture and urbanism that goes beyond the standard of net zero carbon in use’. Unit C seeks to achieve thoroughly considered and innovative architectural propositions following an holistic approach to architectural design where space, structure and performance work synchronously to achieve low carbon design. Libraries, mediatheques and learning centres can play a crucial role

LONDON BOROUGH OF NEWHAM

democratising the access to digital contents and new technologies required for the future jobs. We worked in collaboration with London Borough of Newham, Greater London Authority and Lendlease on this live project which supports Silvertown in achieving sustainable economic growth, vibrant communities, and a healthy environment for healthy people. We explored new concepts for civic buildings which seamlessly embed social distancing strategies. whilst fostering interaction between diverse social groups by adaptive and inclusive design approaches catering for all ages, abilities and backgrounds. Unit C encourages a responsive design approach to improve sustainability at all stages of the design process. Particular attention is given to the building envelope and how its design filters daylight allowing to achieve healthy indoor spaces while influencing people’s spatial experience, comfort and wellbeing. We also be investigated various materials of low embodied energy and sustainable construction methods to ensure a low-zero carbon footprint of the new-built schemes.

Year 3: Ahmed Abuelmeaza, Aleksandra Hoffmann, Arif Khalifah Khalid, Harby Franco Fernandez, Junicila Cardoso Santos De Oliveira, Mahabub Alam, Maria Zegheru, Mateusz Sass, Mourtada Baboukari, Muayad Tuma, Riyad Hossain

Special thanks to: Visiiting Critics; Rachael Owens (Buckley Grey Yeoman), Fabian Danker (Studio Colab), Marco Gamini (Gensler), Sohith Perera (KORA Architecture), Manuele Gaioni (...), Nicola Ancona (Diagram Architects), Contributors; Jessie Lenson (Lendlease), Margaret Almond (London Borough of Newham), Mina Hasman (SOM), Carl Callaghan, Arman Hashemi .

P93 BSc Architecture Unit C

Students: Year 2: Ahmad Feroz, Bahar Bozyigit, Christos Karamanos, Hanan Alhili, Jennifer Glowacka, Kiran-Preet Singh, Riyad Hossain, Rova Taha, Simone Pamio, Viktor Telecky, Yucel Seckin Karatas, Zoe Kalou

P94 BSc Architecture Unit C

1Royal Docks, Silvertown, site location, Simone Pamio. 2 Site elevation demonstrating Millenium Mills and the new housing development as the site backdrop, Mahabub Alam. 3-4 ‘The aim of thie project is to create a civic centre that accommodates vegetation to be inside it and around to revive the nature of the site and make fascinating spaces with nature, providing an interesting experience for all users. The roof would have voided pockets ‘light wells’ which would allow light to seep through the tree leaves right underneath pocket gaps, illuminating the area around the space. Ahmad Feroz. 5 The zoning diagram indicating the spatial organisation, Ahmad Feroz. 6 The idea of the project is to bring back the history of the ships that once inhabited the area to inform people about the past while guiding them to learn more about the future, Simone Pamio 7-8 The CLT and interlocking LVL beam grid structural system and construction process. 9 Ground floor plan, Simone Pamio.

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P95 BSc Architecture Unit C

P96 BSc Architecture Unit C

10, 12-13 Bird’s eye view of the roof demonstrating PVCs and the green roof as part of the project sustainability strategy, Simone Pamio 11 ‘Detailed section indicating the structure, materiality, and spatial experience, Simone Pamio. 12-13Internal views of the workshops and meditation space demonstrating unique visitor experience within different spaces, Simone Pamio. 14 Section indicating the sustainability strategy which integrates louvers for shading and porosity, skylights for daylight, green roof and integrated solar panels, besides rain water collection, Simone Pamio. 15 The new civic centre as a new landmark, Simone Pamio. 16-17 Stoan Centre project aspires to bring the diverse community of Newham together through the expressionism of art, Bahar Bozyigit. 18 Greentown wind power research centre, Yucel Seckin Karatas

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P97 BSc Architecture Unit C

P98 BSc Architecture Unit C

19-20 A variety of options manifest themselves in the contemporary museum. Dramatic light suggesting movement up to the auditorium, Viktor Telecky.21 First floor plan demonstrating the workshops, auditorrium and office spaces organised around the central atrium, Viktor Telecky. 22 Bird’s eye view demonstrating the relationship between thecivic centre and the docks, Viktor Telecky. 23-24 ’Diagramatic studies and detailed wall section indicating the green walls and rammed earth construction, and the relationship between the building and the surrounding context, Viktor Telecky 25-26 Sections demonstrating the internal spatial experience, daylight quality and spatial organisation, Viktor Telecky.

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P99 BSc Architecture Unit C

P100 BSc Architecture Unit C

27 The design process related to the context, landscape and new master plan, Aleksandra Hoffman. 28 The south elevation demonstrating the shading canopies and timber cladding, Aleksandra Hoffman. 29 Integrated sustainability strategies including rainwater collection, PV cells, compost, and natural ventilation enhancement, Aleksandra Hoffman. 30 Ground floor plan, Aleksandra Hoffman. 31-32 South elevation and external view of the post pandemic civic centre, Arif Khalid. 33-34 Floor plans and sectional perspective of the Cultural Heritage Centre demonstrating the events hall, and recreational outdoor open space comprising the cultural hub where the many different ethnic groups can gather together to practise their cultures and learn about the multicultures in Newham, Ahmed Abuelmeaza.

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P101 BSc Architecture Unit C

P102 BSc Architecture Unit C

35 The Techno-Sustainable Civic Centre in context. 36‘The contruction phases starting from foundations to the erection of glulam structural system, ramp system, modular wall structure, and green roofs, Mahabub Alam. 37 Section/ elevation indicating vertical circulation at various levels. 38 External view of Techno-Sustainable Civic Centre demonstrating the relationship of the centre with the docks and the East London skyline in the backdrop, Mahabub Alam. 39 A series of hand drawn sketches reflecting the experience of the journey through the site, Mahabub Alam.

P103 BSc Architecture Unit C

Unit E Michele Roelofsma, Nasios Varanas

The unit aims to create a framework to study architecture based on the creative dialogue between a personal architectural idea and a given site. Unit E prefers to work in highly charged inner-city sites as we have done last academic year. Preoccupation with environmental, sustainable and social issues in a concerning highly-charged urban context necessitates and encourages the development of an intellectual platform to explore the year’s projects. The environment determines the quality of life and the sustainable desire a response of appreciation of this. For this Academic year, we chose to work on The Lower Marsh area, where we find one of London’s oldest and historic markets dating back to the late 1800. The Lower Marsh Market is a unique mix of shops, restaurants, theatres and galleries and welcomes handmade and craft trades to add diversification to the richness of this part of London. Our site is at 114 -118 Lower Marsh and Grandy Place behind Waterloo Station. Currently a building site with a planning application for a new retail space will open at the front of the Site towards Lower Marsh Street and contribute to the shopping area’s vitality and character. Granby Place will be developed into a public realm benefiting the local community, workers and visitors. In plan is the concept of opening a new path route from Granby Place to Launcelot Street and a pedestrian footpath between Lower Marsh and Waterloo Station, which would, in turn, bring the arches beneath the

LOWER MARSH, WATERLOO, LONDON

Station Approach Road to greater use. Currently, there is a proposal for this location with approved building applications. Students studied the Building application made for the Granby Place development, including the “The Camel and Artichoke and the Hotel at 100-108 Lower Marsh. Our site is located within the Waterloo Opportunity Area forms part of the Central Activities Zone frontage, defined by the London Plan. It also falls within the Lower Marsh conservation area and is a negative contributor to the street, and is appropriate for development. Lower Marsh serves as Waterloo’s primary shopping street. The introduction projects writing of a Haiku, the Mask and Micro Home competition were tools to explore a personal spatial interest used to develop the leading architectural project. The unit conducted several case studies related to the client brief that they formulated themselves, and scale comparison. The relatively small introduction projects, The Haiku and the Competition project, “Micro Home”, set the first point of the design discussion. From Micro Home Idea to Building on-site, developing the discussion of the competition to the next level.

“In contemplating the external world, we choose the site of subsequent culture.” Adrian Stokes

Special thanks to: Visiting Critics: Ana Ruta - Architect, MMConcepts, Port; Eddy Chan - VTC, Hong Kong; Charles Brown Cole - Architect, London; Kristian Garrecht Architect, Baupiloten, Berlin; Kalikratis Eva; Armor Gutierrez; Teresa Serano.

Cultural Home for “Lower Marsh” 1 Foodbank and Homeless The “Weber Street City mission”, within walking distance from the Site, and The Islington “Shelter from the Storm” are examples of possible clients. Several students wanted to accommodate some of their programs. 2 NYJO used to practice near London Bridge but recently had to relocated their weekly Saturday practice sessions. 3 The Theatre in the Vault adjacent to the Site opened was a perfect excuse to elaborate on the possibilities to address the topic “Cultural Home for Lower Marsh.” And then, of course, The Lower Marsh Market. The main criteria for this project are to establish relations ships and dialogues with programs that we find currently on the Site to develop a sustainable society. The relatively small introduction projects, The Haiku and the Competition project, “Micro Home”, set the first point of the design discussion. From Micro Home Idea to Building on-site, developing the discussion of the competition to the next level.

P105 BSc Architecture Unit E

Students Year 3 Daniel MEIER, George IONESCU, Louis LINNEMANN Year 2 Ufuoma Daisy ENUGHWURE, Filip SZYPULA, Abir HOSSAIN, James HANCOCK, Joseph MONROY,Haider KHAN,Paula MEMA, Maddassar KHAN, Mahbubur Rahman TAHMID, Silvia-Mihaela GRAMADA, Taylor STEPHENS, Korell LLAUDES, Mohammed MUBIN, Tobi YEOMAN, KacperJAJUGA, Abir Hussain

P106 BSc Architecture Unit E

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P107 BSc Architecture Unit E

Previous pages: 1 Site looking from the approach 2 Site including the Incorporating clay, ceramics, wood, metal and textiles, this trans-disciplinary Vaults 3 Daniel Meier - Mask 4 Korell Llaudes: Mask study for facade building workshop and resident makers will collaborate with directors and set designers 5 Site from the junction of Lower Marsh and Baylis Road to further the local performance arts. The project will quickly generate a library of props and objects that will constitute a shared local pool of useful Daniel MEIER: Workshop Theatre 6-12 Image captions here, individually or resources for the area. A necessary feature of this project is the exposure grouped together etc etc Lower Marsh, Waterloo; the partially-pedestrianized of a primarily backstage process, presenting set production as if on stage. historic market street is a location for the creation of cultural goods. Food, This will inspire visitors of Lower Marsh to become involved in the hands-on fabrics, art and ceramics; with their retail spaces, fill the local area. This project creation process. This transparency of process will exist in the materiality of aims to continue the tradition of making by creating a space of theatre set the entrance thresholds; as well as the pedestrian access route that cuts right production. Large production pieces as well as props and costumes will be through the workshop (connecting lower marsh with station approach road.) manufactured for the surrounding theatres, making use of the local heritage Through advertising to them the production of local shows, the public will be of cultural object creation; and keeping this lifestyle alive in the community encouraged to buy tickets and support the local theatre industry through teaching programmes. George IONESCU: 13-15 Mask exploration leading to plan proposal.

P108 BSc Architecture Unit E

Paula Mema: Proposal for the children from the local schools both primary and secondary. It is a space for after school activities to take place. This can also be useful to parents of children that work around the waterloo area as well as the children that attend the local schools. There is also a communal space outside the building designed for the community of all ages, though but the main user will be the local children The communal space enables a dining area for the customers of the Lower Marsh Market to consume the food and gather around a welcoming space. 17 Line of my mind, displaying the paths within my mind. The dark spaces resemble different memories and sensations. 18 The light and dark spaces within the micro-home are very important as they symbolize different parts of the map of the mind, the light representing a sensation or thought and the dark symbolizing memories or truama. 19 Plan and section Cultural Home 4 Proposal design light and shadow articulation

P109 BSc Architecture Unit E

Filip Szypula: Around Lower Marsh surround loads of unused metal materials such as rail track rails are left to rust. This could be reused on small business projects or street art Food market businesses could potentially use those rails as a support for the tents. As most common businesses around Lower Marsh are food markets this could be beneficial for my project in order to rent such a support con constructions for food stalls in my design. 21 Mask Space 22 Framed connection: Lower Marsh with leak street 23 Proposal Market Building 24 Granby Place

Client: London borough of Lambeth Objective: Create community hub. Linking two streets and enhancing architectural quali-ties for a more sensual expe-rience. Stands out in form but brings unity to the whole area Target audience: Homeless (improving clensiness, civility and providing food) and children (under 18, for skillbuild-ing and creative production) Rooms (approx.): Halls (main - 192m2, rehears-al - 45m2)classrooms - 29m2 to 68m2 Retail space - 45m2 to 57m2 Social spaces - 48m2 Partners: Homeless link, The Jazz centre UK, Old Vic Theatre

P110 BSc Architecture Unit X

Korell Llaudes: 25 Mask Study / Facade 26 Diagram proposal Cultural Home 27 Section Proposal connecting Lower Marsh and Granby Place with the Approach 28 Roof garden entrance to the Approach 29 Connecting Granby Place with Lancelot Street

P111 BSc Architecture Unit E

Louis Linnemann: 30 Ever changing facadeDue to the design of the MicroHome, every resident has the possibility to choose their own additive module catering their needs. This brings in a dynamic to the building as the facade depends on the identity of the inhabitants. Micropod street Facade wall + Micro home competition 31 Section Housing pods with shops on ground floor 32 Perspective Ground floor Retail space Two floors Housing pods and roof terace with entery from the approach 33 Roof Terrace connects the Approaches wtih Granby Place with and the Lower Marsh

P112 BSc Architecture Unit E

Abir Hussain: 34 Proposal Temporary accommodation for Homeless 35 short section over the Granby Place internal court Yard One of my biggest interests in Architecture is the impact of Cubism Art Movement on Architecture. In cubism, the artists used flat geometric shapes to represent the different sides and angles of the objects. I was interested in one of the greatest Cubists, who is Pablo Picasso and the decomposition into geometric shapes. My research is based on the decomposition and repetition of regular geometric figures. I was influenced by the Pablo Picasso’s work, and I tried to think about the cubism, and it influenced my mask. With cubism in mind, it was possible to develop a design based on cubes. Each cube represents a certain function of the house for homeless people. Even the development of the final proposal does not represent perfect cubes but 4 boxes having different size which are delimited by the layout of the site in question.

The whole building has a courtyard, which is going to be used by homeless people as it is a part of the open plan with the living zone of the home. Another expedient used to make the public interact with the building is the proposed new stair which acts as a link between the two streets. Kacper JAJUGA: 36 Massing study of Cultural Home 37 Plans Ground floor performance room + Retail, First Floor performance + Gallery, Second small offices 38 Model section Auditorium, Gallery and office space

P113 BSc Architecture Unit E

Mahbubur Rahman: 39 Mask study 40 Micro Home elevations 41 Composition painting proposal for the Cultural Home 42 Massing model of proposal in context. Client: Centre Point Centre point – House an learning activity area for young people of 15-20 years old so that they can move on with their lives They are looking for 15 small bedrooms for individual with of 30 sqm, Design should include individual toilet and shower in each room. Sufficient light and ventilation. Space for bed Table and wardrobe and an Office for Center Point , NYJO practice space 300 sqm. Performance space 150 audience space and Lambeth Council.

P114 BSc Architecture Unit E

Daisy Enughwure: 43 Micro home Wedged can be slotted between throughspaces such as alleyways, unused spaces between buildings etc. It takes a vertical approach to the solution with minimal ground space and interaction. Parasitical in nature, the levels, at varying angles, pierce through the landscape piece, which serves as a private circulation for the home and a potential public garden to the back - adding a slice of greenery to the city scape.

Mohammed Mubin: 44 Mask 45 View and light condition in the mask 47 Model proposal

P115 BSc Architecture Unit E

James Hancock: 46 Lower Marsh “Market Extension “Market owners don’t have a communal area to have lunch or socialise with other mar-ket owners. My proposal is to bring the lower marsh community together and design a market village alongside a main building where you can talk, hang out and make food. I will also incorporate a facility for homeless people in the area who need some shelter and food. People can come and donate food, and this will be used to serve the home-less.

P116 BSc Architecture Unit E

Tobi Yeoman: 48 Mask 49 Massing study on site model 50 Proposal for Cultural Home

The proposed Plans & Elevation have derived from the shape and function of the previous mask and a study of liminal space.The pile system that allows the top floor to elevate from its low-er level, has been designed based of the initial ideology of the mask, that of expanding without the need of extra materials. This folding mechanism has created spaces between levels that allow room for an extra floor.With the help of the piles, the initial parameters have not been exceeded, but rendered into a space that, by movement, could enlarge itself, without needing additional ground to build onto. Silvia-Mihaela GRAMADA: 51 Micro Home Columbiad 52 Lower marsh Music hall and open air Gallery

P117 BSc Architecture Unit E

Silvia-Mihaela GRAMADA Columbiad Micro-HomeInspired from a Jules Verne’s novel, Karl Benz’s first car and an interminable urge to grope a liminal space, Columbiad Home is an anticlockwise machine that captures time and the living inside it.Rooting its principles into Stoic philosophy, this expanding house moves its elements throughout a pile system powered by Geothermal Energy or Hydraulic Power. Despite its folding and moving, the house has the capacity of maintaining balance, purely mirroring its Stoic ideology.The inside room rotates once with the mechanical movement produced by its inhabitant, while touching its boundaries. This idea reflects Einstein’s Theory of Relativity and creates a timetravelling illusion that contaminates the feeling of living inside it.

Unit H

Inside out

Charlotte Harris, Keita Tajima

Unit H continued to investigate the city’s incomplete condition as a source of imagination, and its urban transformation as a drive for new architectural strategies. This year, we based our studies in Woolwich in south east London and working with the theme of “Inside Out”. Woolwich has a long history. It has undergone enormous change over the past centuries: from a small medieval Kentish town to a naval dockyard in the 16th century, it was also the site of the Royal Arsenal. Much of this historic grain has been slowly altered or demolished through ‘slum’ clearances and the introduction of rail and road infrastructures, and most recently, with the upcoming arrival of the Crossrail link, the city fabric, skyline and neighbourhoods are being rapidly transformed and replaced by new housing developments. The unit questions how the historic urban fabric can respond to growth and changing conditions, whilst also retaining a sense of character and permanence. The study area was focused on several continuous urban blocks stretching from the city to the waterfront along the Thames, where students were asked to pick one of the blocks to study further as the site for their main project.  The projects have explored design proposals for a civic space for cultural production which acts as a radical adjustment to the wider urban block and provides a public face and home for the institution. The design proposals sought to offer a robust and generous architecture that house, enrich and express the daily life of their occupants and the wider city. Through the notion of “inside out” and with playful

WOOLWICH, LONDON, UK

and radical imaginations, students made a series of architectural proposals that negotiates and shifts the ambiguous boundary between interior and exterior, formal and informal, permanent and temporal. All the architectural proposals were founded on a sense of place - both drawing on the qualities of the past as well as providing for the present and anticipating the future of Woolwich.   We’d like to thank all of our students who have been through a particularly difficult time and despite this have managed to deliver fantastic work this year, and to everyone who has supported Unit H.

Special thanks to: Visiting Critics; Reem Charif, Adam Cheltsov, Colin O’Sullivan, Christopher Thorn, Philipa Longson, Legend Morgan, Punya Shemi, Mo Woonyn Wong

Year 2; Mohammed Hamza Ahmad, Patryk Filuk, Sue Hafizoglu, Sumayabinte Ismail, Hamda jama, Josephine Nyanteh, Musfica Rahman, Gabriel Rebec-Permo, Carl Brent Reyes, Seyed Mohammadali Rezvani, Cristina Rosculete, Joseline Daniela Sarsoza Yanchaliquin, Ionut Stefan Apostol

Contributors; Christoph Hardys, Nikolay Shapazov, Studio 2 London Metropolitan University, UEL workshop: David Morgan, Daryl Brown, Mark Sowdon,

@unit_h_uel (Instagram)

P119 BSc Architecture Unit H

Students: Year 3; Delrick Adikari, April Adrien-Greenwood, Georgia Hoggins, Bren Heald, Vatsal Javiya, Luke Milsom, Kiana Shokrani Chaharsoghi, Amna Zaidi,

P120 BSc Architecture Unit H

1 Observation sketch of the found urban yard and terrace, exploring a space inside-out. Amna Zaidi 2 Observation sketch of the found urban threshold. Amna Zaidi 3 Documentation of the existing condition exploring the idea of inside out. Hamda Jama 4 Revealing a hidden spatial connection by juxtaposing historical trade routes. Patrick Filuk 5 The site area model and the two urban block sites. The site model was originally made by the UEL Unit 2 (Tutor Christoph Hadrys) and later adapted by the Unit H students. Image by Amna Zaidi 6 Site fragment cast and photomontage. Amna Zaidi 7 Clay imprint model to reveal hidden connection. Patryk Filuk 8 Urban block site plan. April Adrien-Greenwood 9 Site fragment cast model. Patryk Filuk 10 Site axonometric to reveal a series of spatial conditions inside out by Hamda Jama

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10 P121 BSc Architecture Unit H

P122 BSc Architecture Unit H

11 Urban corridor idea sketch. Georgia Hoggins 12 The proposal model for the shared live/work space above the existing garage building and the community shared space beneath. Mohamed Hamza Ahmad 13 Strategic phasing proposal for the conservation and the adaption of historical car garage site. Gabriel Rebec Permo 14 Photomontage to explore the possibility of appropriating the existing car garage building for the urban garden and educational classroom for nature conservation. Gabriel Rebec Permo 15 The view to the proposed outside performance space and the community space. April Adrien-Greenwood 16 Proposal section through the new performance square and the community space. April Adrien-Greenwood 17 Water color drawing exploring the darkness and the variations of lights entering the space in the existing narrow alley. Cristina Rosculete 18 The model experimenting the graduations of darkness and the openings. Cristina Rosculete 19 Model exploring the passage of darkness and spatial sequence.The project aims to reevaluate the quality of darkness in the city Cristina Rosculete 20 Axonometric drawing exploring the relationship between inside and outside courtyard space and the street. Bren Heald 21 Collage drawing of proposed new U build structure. Georgia Hoggins 22 Detail axonometric showing relationship between existing wall and proposed new U build structure. Georgia Hoggins

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P123 BSc Architecture Unit H

P124 BSc Architecture Unit H

23 Urban fragment photo montage. Patryk Filuk 24 Detail section of the proposed new community workshop space and the projection wall for the outside cinema/performance garden. Patryk Filuk 25 Exploded axonometric revealing the relationship between existing terrace houses and the new timber frame structure. Patryk Filuk 26 Proposed section from Powys street to the existing car garage building through the new performance garden. The project aims to connect a series of abandoned buildings and to repurpose for community and local artist. Patryk Filuk 27 Proposed new extension to the Macbean building acts as new urban corridor connecting two existing yard space. Musfica Rahman 28 Internal view of proposed extension. Musfica Rahman 29 Sectional collage to explore the new extension to the existing terrace houses to address leftover spaces and the existing car garage. Hamda Jama 30 New rear extension wraps around the existing terrace houses and the car garage acts as new connection and to form the new urban living room. Hamda Jama 31 Perspective section of proposed community space and the urban living room, the proposed extension enables future adaption and repurposing of the disused car garage building. Hamda Jama. 23

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P125 BSc Architecture Unit H

P126 BSc Architecture Unit H

32 Sketch perspective to explore the idea of extraction as a way of forming a new spatial condition in abandoned building and to create the relationship to the city. Amna Zaidi 33 The threshold between the street outside and internal boulevard providing a sense of ambiguity between inside and outside, the building and the city. Amna Zaidi 34 Proposed section for the new community hub showing the new architectural elements and the relationship to the existing building. Amna Zaidi 35 View of proposed new boulevard which seamlessly connects the street outside to the inside community hub. Amna Zaidi 36 View of proposed new extension from the street. Bren Heald 37 A proposal model for the community training facility which acts as a spatial junction to connects the courtyard and the existing car park. Bren Heald 38 Axonometric drawing revealing the proposed spatial journey from the existing car park to the new community training facility repurposed from existing terrace houses. Bren Heald..

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P127 BSc Architecture Unit H

Unit 2

Collective Habitat Christoph Hadrys, Uwe Schmidt-Hess and Tony Fretton

MArch Unit 2 addresses urban and architectural conditions in locations undergoing critical change and over the years, has worked in North Africa, East London and other places in Europe. Through a combination of research and creative practice, we propose complex buildings, which respond to urban challenges. The Unit explores extremes of interrelated scales, from urban geographies through to building and detail qualities. In this process, strategies formulate responses to critical contexts, site conditions, architectural sensibilities, as well as structural and material conditions. We aim to create social, spatial and time-based habitats and environments. This academic year, our design projects focused on rapidly changing neighbourhoods in Manhattan, New York. Within this location, Unit 2 explored the guiding theme Collective Habitat. The research area is part of the Manhattan street grid and is located in and around Midtown West, between the Hudson River and the skyscrapers of Midtown. It is a diverse and fragmented urban environment of former harbour structures, industrial buildings, warehouses, residential neighbourhoods and office buildings. The area fell into dereliction in the 1960s and 70s, after the decommissioning of most of the West Piers along the Hudson River. In the last 20 years, it has undergone substantial urban transformations with new constructions and an influx of people. The utilitarian street grid is here facilitator for new housing and offices, but leaves little room for unusual public

spaces and buildings. Unfortunately most of the new developments are private enclosures that offer little support and urban life for local communities. In our work, we explored how buildings, open spaces and small pocket parks can be Collective Habitats that combine local community initiatives and enterprises. We explored ways in which sharing and living together can be part of a synergetic urban life. Each student had a choice to work on one of eight given sites that have capacity to invigorate local neighbourhoods and waterfronts.

“Perhaps more than ever before, we are becoming consciously aware of ourselves as intrinsically spatial beings, continuously engaged in the collective activity of producing spaces and places, territories and regions, environments and habitats. This process of producing spatiality or “making geographies“ begins with the body, with the construction and performance of the self, the human subject, as distinctively spatial entity involved in a complex relation with our surroundings.“ Edward Soja, 2000

NEW YORK, USA

Y4: Shahul Hameed Sadhiq Abdullah Asan Mydeen, Tanvir Ahmed, Sina Fekri, Hussein Ali Kasim, Mariana Andrea Morales Munoz, Alexandra Rogojinaru, Omer Sabah, Julia Skiba, Karolina Skrzypkowska, Dan Strassburg, Furkan Tarhan, Dominika Zielinska

Visiting Crits and Guests: Fatemeh Rostami (main guest) Rodrigo Perez de Arce (special guest Catholic University Santiago de Chile) Isaie Bloch, Jakub Klaska, Armor Gutierrez, Rosa Rogina, Alan Chandler and Aurore Julien www.march-unit2.blogspot.com

MA A+U Urban Design: Mohammed KADI HAMMAN

P129 MArch Architecture Unit 2

Students: Y5: Ilyas Demirci, Nibedita Gautam, Linda Ilonzo, Segunda Joaquim Da Gama, Ronahi Kaplan, Tendai Simbo, Avnore Smakiq, Jeremy Tay Eujin, Effrosyni Valtdorou

P130 MArch Architecture Unit 2

1 On the previous page, aerial photo of Midtown Manhattan New York, showing different student sites and open space strategies 2-3 Pier 76 on the Hudson River, proposed cultural centre with lantern structures, by Mariana Munoz Morales 4 Pier 53, proposed Environmental Department for the New York University NYU and landscape by Alexandra Rogojinaru 5-6 Pier 53, proposed Environmental Department for NYU, by Dan Strassburg

P131 MArch Architecture Unit 2

P132 MArch Architecture Unit 2

7-8 W 55th St, proposed home for elderly people and pocket park, by Shahul Abdullah Asan Mydeen 8-11 W 34th St, proposed Highline extension, urban framework and farming, sunken park and educational buildings, by Omer Sabah

P133 MArch Architecture Unit 2

P134 MArch Architecture Unit 2

12-17 W 34th St, proposed Highline extension, urban framework and farming, sunken park, market and food hall, by Jeremy Tay Eujin

P135 MArch Architecture Unit 2

P136 MArch Architecture Unit 2

18-19 W 22nd St, proposed flexible Community Land Trust housing and civid centre, by Avnore (Nora) Smakiq 20-22 W 45th St, proposd United Nations peace research centre and gardens, by Effrosyni Valtdorou

“Good architecture relates to all architecture” Muni Ashish Ganju, 1999

P137 MArch Architecture Unit 2

Unit 5

Country (Side) Sight

Carlo Cappia, Maria Alessandra Segantini

Concentrating mainly on cities, the architecture discourse of the past century has less investigated a large portion of the territory, that is not occupied by cities and which we traditionally name the ‘countryside’. Within cities and beyond, globalization has produced phenomena of job-searching nomadism, of gentrification, of exploitation of natural resources, blurring the boundaries between the urban and the rural,with architectural design outputs generally affected by the absence of contextual identity. Carlo Cappai andMaria Alessandra Segantini, co-founder of C+S Architects, believe that a focus on the countryside will reinforce the search for more site and communityspecific projects. For this reason they engage with the students of Unit 5 to test the power of design in tackling topics such as the development of local new economies and degrowth agendas, in the aim to attract a stable population, to create new local supply chains, to enhance educational and cultural uses, designing buildings with a consideration of communal uses beyond those of the main programme. This research agenda, coupled with flexibility to endure changing occupation needs andsustainable construction technology to address low-carbon strategies, can turn the design interventions into assets to serve communities for generations

VENICE, ITALY

Contribute to Countryside, a new design and research agenda of C+S Architects! By refusing to adopt a purely functional approach, working to hybridise layouts and spatial models, investigating low-carbon footprints and construction technologies and reconsidering the specific natural resources of the place, design can become a rich opportunity to generate a new identity which is grafted in the DNA of the site recognizable as a place for all people, able to resist to the globalized models of soil consumption through tourism, agriculture or the exploitation of natural resources.

Visiting Crits: Mauro Bono (Pell Fishermann Engineering), Owen Hopkins (Sir John Soane Museum), Alice Cecchini and Roman Joliy (C+S Architects), Prof. Marco Navarra (University of Siracusa), Prof. Michael Ramage (Cambridge University)

P139 MArch Architecture Unit 5

Students: Sophia Capitao, Lum Si Chu, Mitul Chudasama, Hilal Koztepe, Raul David Mormeneo Colomer, Metin Kocabey, Ozan Nacar, Sahra Salah, Patrycja Adrianna Niechaj, Nurul ‘Aqilah Binti Ali, Marina RosselloKnabe, Matteo Scarpellini, Prabesh Serchan, Lissette Shaw, Nasar Ullah Sherbaz, Oliver William Tibbenham, Moniratou Traore

P140 MArch Architecture Unit 5

6. BARREL STORAGE 7. FERMENTATION ROOM 8. EXHIBITION SPACE 9. RAMP

Previous page Exhibition concept inspired by Raul David Mormeneo Colomer’s Pavilion and redesigned by Alice Cecchini, C + S Architects Raul David Mormeneo Colomer: 1-5 Sections 6 Design Development diagrams 7 Model Experimentation 8 Perspective

PERSPECTIVE SECTION FF

KEY

1. OFFICE 2. FILTRATION ROOM 3. OFFICE COURTYARD 4. TASTING ROOMS 5. EXHIBITION SPACE 6. RAMP 7. WATER TANKS STORAGE 8. BARREL STORAGE 9. FERMENTATION ROOM 10. GRAPE PRESSING & CRUSHING

FERMENTATION & MATURATION ROOMS

1. GRAPE STORAGE 2. GRAPE PRESSING 3. FERMENTATION ROOM 4. BARREL STORAGE 5. ELECTRICAL ROOM 6. WC 7. EXHIBITION SPACE 8. FILTRATION ROOM 9. OFFICE COURTYARD 10. OFFICE

PERSPECTIVE SECTION BB

KEY

3 PERSPECTIVE SECTION BB

KEY

1. GARAGE 2. BOTTLE STORAGE 3. WINE MUSEUM 4. OFFICES 5. BOTTLING ROOM 6. OFFICE CONFERENCE ROOM 7. SHOP 8. SHOP STORAGE 9. WC 10. LECTURE ROOM 11. LABORATORY 12. LIBRARY 13. LECTURE ROOM 14. FILTRATION ROOM 15. COMMON ROOM

PERSPECTIVE SECTION AA

5 PERSPECTIVE SECTION CC

DECOMPOSING THE ARCH DESIGN DEVELOPMENT

DECOMPOSING THE ARCH FURTHER DESIGN DEVELOPMENT

P141 MArch Architecture Unit 5

DECOMPOSING THE ARCH DESIGN DEVELOPMENT

DECOMPOSING THE ARCH FURTHER DESIGN DEVELOPMENT

EXPERIMENTING WITH THE HEIGHTS OF THE VAULTS DESIGN DEVELOPMENT

By rearranging the vaults in different heights it creates a completely different effect and changes the perception we have of the structure.

VISUALISATION EXHIBITION SPACE

P142 MArch Architecture Unit 5

Patrycja Niechaj: 1 Perspective View 2 Technical Detail 3 Master Plan Nurul ‘Aqilah Binti Ali: 4 Exploded Axonometry 5 Design Development Diagram 6 Perspective View Nasar Ullah Sherbaz: 7 Master Plan 8 Perspective View Matteo Scarpellini: 9-11 Sections Moniratou Traore: 12 Master Plan Lissette Shaw: 13-14 Exploded Axonometries

VISUALISATIONS

Locally produced ceramic ridge cap 50 x 50mm ridge battens 350 x 75 mm Oak Wood Ridge Beam

ES/TS

Double glazed system controlled roof light covered with photovoltaic panels preventing from of the building overheating.

100mm Ø 6mm

screws

50 x 50 mm exterior oak wood cladding

DPM 20 mm Plywood sheet 60 x 175 mm Purlins 300 x 400 mm Designed Cork Slabs Ceramic, locally produced rainwater gutter with clog preventing guard

225 x 225 mm Oak Wood Columns with diagonal bracing placed at 3 m centers

Wooden bracket for gutter support

30mm Oak Wood floor finish 200 mm Cork Floor to

Double glazed curtain wall

300mm Oak wood rafter, wherever rafter exceeds 10m length, wood needs to be laminated for structural strength

achieve U Value 0.17W/m²K

100mm Stabilised Rammed Earth Slab 5% Cement

150mm Cork 25 x 25 mm Wood Vertical Cladding Applicable only where wall base is above the ground level Adhesive

Lime Plaster

DPC

Drainage channel

50 mm Sand blinding min. 150mm compacted hardcore Stabilised Rammed Earth 5% Cement

LANDSCAPE -PLANTS DISTRIBUTION

7 2

5 4

2 3

1 3

4 5

1. TRIPLE GLAZED SKYLIGHT UG-VALUE 0.6W/M2

2/15. TERRACOTTA TILES

3/16. TILING CLIPS 4. WATERPROOFING ROOF UNDERLAYMENT

5. HARDBOARD SHEETS 6. CORK INSULATION BOARD

7. CORK INSULATION BOARD CLIPS

8. TIMBER FRAME 9. TIMBER BEAM 10/23. PLASTERBOARD 11. AIR CONDITIONING

13/24. FALSE CEILING INCLUDING ELECTRIC CABLING 14. LED LIGHTING 17. LOAD BEARING TIMBER COLUMN

18. TRIPLE GLAZING PANELS

12. EXTRACTOR

10 11 12 13

9 14

18 16

19. ROTATIONAL VERTICAL FACADE

20 22 24 25

20/27. POLISHED CONCRETE FLOORING 21. TIMBER BEAM 22. LATERAL TIMBER JOISTS 25. RAMMED EARTH

26/28. CORK INSULATION BOARDS 29. TIMBER BEAMS

30. WATERPROOF MEMBRANE 31. CONCRETE SLAB

32. FOOTING CONCRETE FOUNDATION

30 31 32

BUILDING ACCESS AND USERS

USERS OF THE ACCOMMODATION

P143 MArch Architecture Unit 5

0. SOLAR PANELLING

P144 P144 DEGREE MArch Y2&3 Architecture Unit 5 Unit 5

Water system

Hilal Koztepe: 1 Axonometric Drawing 2 Initial concept drawings Lum Si Chu: 3 Section Sophia Capitao: 4 Perspective View 5 Environmental Analysis Ozan Nacar: 6-8 Site Sections 9 Axonometric Drawings Prabesh Serchan: 10 Axonometric Drawing-Progamme Marina Rossello-Knabe: 11 Environmental Analysis 12 Master Plan

onametric View of vilion with mesh for ater collection

Designing through sketch

ENVIRONMENTAL STUDY

ES WATER PAVILION

21 JUNE SUMMER SUN 12PM - 30º

21 DECEMBER WINTER SUN 12PM - 6º

GREEN ROOF REFLECT DIRECT SUNLIGHT TO REDUCE HEAT GAIN

NORTH

REDUCED HEAT TRANSFER INTO BUILDING

NATURAL CROSS VENTILATION WASH ROOM

KITCHEN

SOUTH THICK WALLS FOR SHADING PROTECTION FROM SOUTH SUMMER SUN WHILE LETTING IN WINTER SUN

COMBI BOILER

NATURAL CROSS VENTILATION

SHADING FROM BUILDING SHELTER FOR USERS WASH ROOM

IRRIGATION

KITCHEN

WASH ROOM

KITCHEN

COMBI BOILER

DRAINAGE

WATER SUPPLY SANITARY SEWER STORM SEWER

GREEN ROOF PROVIDING BIODIVERSITY AND ECOLOGICAL ENHANCEMENT, BY INCREASING AND IMPROVING HABITAT FOR PLANTS AND ANIMALS.

PROTHERM BRICK WALL AND CONCRETE FLOOR AS THERMAL MASS

BUILDING AUTOMATION SYSTEM DEMAND-CONTROLLED VENTILATION IMITATES THE OCCUPANT BY USING CO2 SENSORS. WINDOWS OPENS WHEN AIR QUALITY EXCEEDS A TRESHOLD AND CLOSES WHEN THE AIR

P145 P145 DEGREE MArch Y2&3 Architecture Unit 5 Unit 5

SCALE 1-500@A1

7 0

10 m

5 WORKERS ACCOMMODATION

10 m

North

FOYER, GALLERY SPACE

RESTAURANT AND WINE TASTING BAR

EDUCATIONAL AND COMMUNAL AREAS

SCALE 1-50@A1

OFFICES AND MANAGMENT AREAS

10 m

PRODUCTION AREA

AXO VIEW WITH PROGRAM SEPARATION @ A1

NORTH ELEVATION Freezer Freezer

SUMMER SOLSTICE

DAY LENGTH - 14:42 HRS SUN AZIMUTH - -169.83º SUN ALTITUDE - 76.23º WINTER SOLSTICE

DAY LENGTH - 09:37 HRS SUN AZIMUTH - -176.21º SUN ALTITUDE - 29.48º

SECTION 6

9 8

2 7

5 4

AXONOMETRIC DRAWING 1 PROTECTIVE OVERHANG OF THE PROJECT OVERHANG ROOF 1-500@A1 STOPS SCALE

5 4

8 7

4 THERMAL MASS

7 LOW-E WINDOWS

2 ACTIVE SOLAR COLLECTION

5 NATURAL DAY LIGHT

8 GREEN ROOF

3 NATURAL CROSS VENTILATION

6 SURROUNDING VEGETATION

9 VISUAL COMFORT

DIRECT SUNLIGHT THROUGH THE HOTTER SEASONS

THIN FILM PHOTOVOLTAICS

SLIDING WINDOWS ALLOWING NATURAL VENTILATION RUN THROUGHOUT THE BUILDING

THICK WALLS WILL ABSORB AND STORE THE HEAT ENERGY

LARGE WINDOWS ON BOTH EAST AND WEST FAÇADES

SURROUNDING VEGETATION, REDUCE NOISE, CREATE SHADOWS AND REDUCE C02

LOW HEAT CONTROL & CONTROLLED PASSIVE ENERGY GAIN

INSULATES AND REDUCES COOLING LOADS

VISIBILITY OF INDOOR AND SOUTHOUTDOOR ELEVATION ACTIVITIES

HOUSING SUSTAINABILITY STRATEGY

12 KEY

R. BUILDINGS R. GRASS R. FOREST

S. BUILDINGS S. GRASS S. FOREST

HEATHLAND BROWN-FIELDS LAKE

10 m

Unit 6

CARBON Counselling

Isaie Bloch, Jakub Klaska

Following this years common theme “towards 0% carbon and 100% people” we will investigate the institution which sole purpose is to represent its citizens as well as its societal visions, in the most multicultural yet potentially most detached part of Europe, London UK. The growing complexity and intricacy of our civilization fuelled by digitalisation and automation presents new challenges to the way town halls and city halls should run. Should these governmental institutions solely cater as administrative representation of their citizens and as such become obsolete? Or could these operate as a novel mechanisms for communication between and with its citizens? We believe that architects should investigate the implications of fully automated administration on such institutions and as such re-investigate what other roles governmental buildings should provide to its citizens. Artful construction as role model for the city and beyond. Architects cannot change the behaviour of existing users, clients nor laws. But we can provide an architecture which enables those changes to take place. We will aim to prove that architecture and its construction process has a fundamental impact on the city and its inhabitants. This ultimate belief will fuel our design thinking and propositions. Our spatial explorations will account for diversity of human characters and their needs, represented through novel well crafted city or council halls, which ultimately are architectural representations of us all. Catering for complex problem solving, creativity, critical thinking and decision making. Much like the past two years we will look into timber construction as the material for the future. Our design process will take a deep interest in the art of construction and direct application of learnt principles back into design. Such approach leads to full authorship at the deepest level and gives us total control over the architectural proposition. This opens a great opportunity to contribute to more sustainable

LONDON, UNITED KINGDOM

futures both politically, environmentally, socially and economically. Out of a believe that public buildings founded by our common efforts should be the vehicle for the technological shift towards more sustainable forms of construction and operation. We will investigate how a town hall, a key communication device, can be transformed in order to fulfil environmental, societal and architectural ambitions. The commitment to low carbon construction we see as investment into applied research, a non-ideological evidence-based design process that has the potential to uncover new leveraging methods of construction able to deliver the yet unseen architectures. The artful construction and learning process We will aim to prove that architecture can affect the learning process at the deepest level. This ultimate belief will fuel our investigation on educational typologies. Our spatial explorations will account for diversity of human characters and the inherent curiosity human beings possess. Catering for complex problem solving, emotional intelligence, creativity, critical thinking, judgement and decision making over STEM (Science, Technology, Engineering, Mathematics) oriented learning. Much like the learning process we will aim to comprehend, learn and author the art of construction. More specifically looking into timber construction and its by-products. Our design process will take a deep interest in the art of construction and direct application of learnt principles back into design. Such approach leads to full authorship at the deepest level and gives us total control over the architectural proposition. This opens a great opportunity to contribute to more sustainable futures both politically, environmentally, socially and economically. In order to develop architecture of considered expression we will employ design strategies that synthetize the inner logics of how to deal with material and construction processes as to produce comprehensive architectural propositions.

Y4: Meet Gehi, Surabh Sanjay Jadhav, Ramisa Mahmud, Sribalaji Murugavel, Mohammed Patel, Pranav Karan Prasanth, Rackel Metrona Afat, Rafaa Abubaker Mohamed Elfatih, Harmandeep Kaur Sanghera, Shreyans Sanjay, Foyez Uddin

P147 MArch Architecture Unit 6

Students: Y5: Joshua Anderson, Melis Cetin, Alexandra Jones, Hsien Jing Lee, Diana Rupinska, Habib Sahel, Sanjay Venkata Krishnan

Unit in general: Unit 6 argues for an architectural ontology based on sharpening the tension between architecture and its parts. Investigating the production of space trough geometrical studies. Increased computational capabilities are able to push our understanding of architecture as a relationship of objects into an unexpected new domain of previously unachievable spatial complexity, materiality, structure and aesthetics as to create informed and well crafted space.

P148 MArch Architecture Unit 6

The first workshop of the second term, will investigate in more depth the This initial exercise will simultaniously increase both modelling skills, spatial relationship between the assembly hall and a chosen alternative primary skills and design skills. function. In order to achieve this we will work from the interior outwards trough 1 Student work by: 1, 4, 13 Habib Sahel; 2, 3, 9 Joshua Anderson; single eye level perspective. 5 Mohammed Patel; 6 Harmandeep Kaur Sanghera; 8 Hsien Jing Lee; The proposed design for the assembly hall must clearly depict the relationship 12 Diana Rupinska. between the assembly hall and the chosen alternative primary function whilst using a clear structural principle as a primary driver for the form. As such the interior can not be a singular autonomous space. The design must clearly retain qualities from the initial structural case study given in the beginning of the academic year or have a clear relationship with the current preliminary massing model. In order to purge the essential design ambitions and strategies. Students are not allowed to add any fittings nor furniture at this stage. This in order to focus solely on structure, material, use and atmosphere via tectonic engagement.

P149 MArch Architecture Unit 6

P150 MArch Architecture Unit 6

11 Joshua Anderson proposes a series of differentiated physically connected spaces in order to disconnect the dependency on online forums for discussion. This new model of ‘Town Hall’ enables government transparency, spaces for change, partisan political education and both public and private venues for dialogue. 14 Sanjay Venkata Krishnans` technical chunk displays complex formal development whilst keeping all timber structural elements planar. 15-16 Melis Cetin provides two Student work by: 7 Rafaa Abubaker Mohamed Elfatih proposes to overlapping thick waffle slabs with elevated gardens in order to provide design the city hall as an extension of your livingroom by providing a porous city hall with integrated learning center. a series of amenities for children and parents. 10 Alexandra Jones provides the boaters in London with a Canal and River Trust town hall which includes workshop spaces and swapshops. Our sites this year will be distributed across London`s most vital green grid junctions and key public nodes as to further develop London`s public services and green commuting network. These are situated in the boroughs of Hackney and Hackney wick. As such the novel typologies will not only aid the citizens in a capital with over 3 million inhabitants born outside of the UK, but it will simultaneously aid the Mayor of London to accomplish well crafted architecture which critically assesses the “London Environment Strategy”.

11 a.4

P151 MArch Architecture Unit 6

P152 MArch Architecture Unit 6

P153 MArch Architecture Unit 6

Unit 8

The Civic Waterfront

Armor Gutierrez Rivas, Rosa Rogina

Architecture of Waiting in the Royal Docks Unit 8 perceives architecture as a social and political practice, and therefore promotes mobilisation of architectural thinking and making as a tool to engage with current matters of concern, both local and global. It explores how can architectural design process be expanded beyond its conventional role and be utilised as a tool for a wider social, economic, environmental and cultural change. The unit looks more closely into territories of spatial and/or social tension and attempts to unpack and address these complex contemporary conditions. By balancing in between identified realworld context and radical imagination, the students in Unit 8 are encouraged to use the identified tension as a main driver for their design proposal While rethinking and designing new civic functions in response to the behaviour and needs of local people confined in the state of waiting, students in unit 8 are actively encouraged to explore wider urban and environmental strategies for activating the dock edges and bringing the water space into public use. By using architecture as a form of social enabling, this year’s projects seek to offer a sense of purpose to the most vulnerable communities, while providing a public platform for upskilling, knowledge sharing and debate on the long-term future of the Royal Docks. Once London’s gateway to world trade, today the Royal Docks is one of the UK’s most important regeneration projects. Situated in the London Borough of Newham, this historical focal point of arrival and transfer of goods is re- emerging as a commercial and cultural hub of global significance, and an exciting new waterfront around the largest enclosed

ROYAL DOCKS, LONDON

docklands in the world. Completed between 1855 and 1921 on riverside marshes in East Ham and West Ham, the Docks focused on the import and unloading of food supplies from every corner of the World. Although today closed for commercial shipping, the area situated in the second-most ethnically diverse borough in England and Wales still represents a point of arrival for many of its communities. Today, designing spaces dedicated to waiting has not exceeded constructing waiting areas for airports or other transport nodes, where periods of stay are mostly brief. Yet, some UK asylum seekers have to wait over 20 years for Home Office decisions on their application for asylum without a possibility of participating in the regular job market during the process of waiting. It is evident that there is a need for a new typology of a transient environment that rethinks and spatialises the concept of waiting as a civic space accessible and relevant to all social classes, offering its users a sense of purpose through selfdevelopment, skill sharing and community building.

Year 4; Corey Smith, Mahmoud Sayed Abdelmonem Abdellattif, Ana Paula Gomes Kouzak, Safwa Chowdhury, Gayatri Shyam Kashid, Orseer Isreal Gbashah, Rashmi Madagamage Gunathilaka @unit8.uel (Instagram)

Special thanks to: Visiting Critics and Lectures; Pati Santos (Founder of The Good Thing), Adelina Koleva (BIM Technologist at David Adjaye Architects), Carsten Jungfer (UEL Unit A Tutor, Founder of Zector Architects), Leithan Brimah (Architect at Bell Phillips Architects), Sam McDermott (Associate at Karakusevic Carson Architects), Claire Richards (Founder of Ft’ Works), Professor Darryl Newport (Director SRI UEL Sustainability Research Institute), Dr Maryam Zonouzi (Lemon Leopard), Dan Vale (Lemon Leopard), Paul Dudman (UEL Archive), Paul Lawston (Wildfowl & Wetlands Trust), Pedro Reyna (Pumm Architects)

FREE PALESTINE

P155 MArch Architecture Unit 8

Students: Year 5; Nur Azzahra Mohamad Adzlee, Hashea Pinnock, Jhenae Fullerton, Chun-Li Reid, Chutimon Suetragulwong, Natdanai Wareerinsiri, Siew Horng Brian Wong, Jun Bin Yap, Paulius Vaizgenis

P156 MArch Architecture Unit 8

1 ‘What a Water-Full World’, perspective section indicating the mixed use of programs from market to residential to urban farming. 2 Plan of the proposal during a market day layout and axo view indicating water filtration systems per orientation, hydroponics and water oxygenation. 3 Welcoming perspective approaching the market tower from the waterfront. 4 Axo view of the completed development once and if all the phases are finalised. 5 Shared entrance area mixing market, farming, cooking and water filtration, enhancing social encounters between the users and the local community. Project and drawings by Nur Azzahra Mohamad Adzlee.

1:100 GROUND GROUND FLOOR FLOOR PLANPLAN : MARKET OPEN

1 2

9 3

2 1. MAIN ENTRANCE 2. MARKETPLACE 3. FILTERED WATER FEATURE SINKS

4. RECEPTION 5. RESTROOM 6. STAIRCASE

7. STORAGE 8. CLOSED MARKETPLACE 9. TERRACE

10. DROP-OFF ZONE

LANDSCAPE EXCAVATED WITH APPROVED PHASE 1 SILVERTOWN PROJECT

PLANTS AND LANDSCAPE ARE ADDED

FIRST TOWER IS BUILT

PHASE 2: PROFIT FROM PHASE 1 WILL HELP FUND SECOND PHASE

VISITOR CENTER AND WATER SPORTS RENTING CENTER WILL BE BUILT

PHASE 3: MORE FUNDING WILL HELP DEVELOP FINAL DOCKS

P157 MArch Architecture Unit 8

PHASE 1: TRANSPORT MATERIALS TO THE SITE

MORE ACCOMODATION CAN BE BUILT TO ACCOMODATE MORE PEOPLE IN NEED

4 P.S

P158 MArch Architecture Unit 8

6 ‘Aqualibrium’, masterplan strategy aspiring to create a green industrial process by manipulating the water environment with the utilisation of the existing neglected infrastructure. 7 Internal view of the close-loop oyster farming culture which provides food, material products and contributes to water purification, creating a storm-surge protected environment which encourages the immigration of wildlife. 8 Perspective section indicating mix of programs, including aquaculture, permaculture, market, greenhouse, research labs and temporary accommodation, enhancing knowledge exchange on the welfare and preservation of wildlife in the immediate setting. Project and drawings by Jun Bin Yap.

SITE INTENTION

PROPOSED MASTERPLAN Isometric drawing: Intertidal Thames Lock gate closed at low tide

05 01

BUILDING TYPOLOGY 1

SKETCH STUDIES- MARKETHALL SECTION

Legend 01 Markethall + greenhouse 02 Aquaculture oyster hatchery 03 Residential unit 04 Aquaculture fish nursery 05 Houseboat stop + workshop 06 Constructed wetlands 07 Viewing platform 08 Future development

P159 MArch Architecture Unit 8

9 ’Fauna and Flora Social Club’ creates a water garden, supporting vegetation such as reed, marginal moss and water hyacinth, a native plant that helps purify the water and air, while acting as a shelter for surrounding wildlife. The detailed exploded axo view indicates the materials which can be partially harvested from the water garden. 10 Overview of the project promoting the activation of the Royal Docks waterfront as a ‘Humanist Ecology Education and Research Center’ a self-sustained space for productive waiting that promotes eco-material construction techniques. 11 Cross section indicating the location of the existing locks and the careful positioning of the new wooden structures. Project and drawings by Natdanai Wareerinsiri.

The Civic Waterfront / Architecture of Waiting in the Royal

Section

/ Scale 1:250

2 M

22 M 18 M

10 Fauna & Flora Social club

The presence of human ignorance in consumption of man-made and by-product has alway placed an effect on the ecosystem as a f ronmental shifts. How can we as architects redefine architecture’s set of tools ; space, programme and, materiality as, the most e order to support the coexistence of human and non-human ? Eventho, the users of the facility are clearly divided into human and nonhuman, the programs of the building are plans to in in order to form a bigger ecology circular, where humans play in a roll of support rather than interfere. As one of the major cris ward poverty and unemployment, the center aims to assimilate the four keys of 3C Folklore that are: Learning; forming life and wo ing; providing jobs opportunity, Living; living space/accommodation , and Caring; both emotional and physical support. Forming the worker/user running the Center. On the nonhuman side, The center would form as a Water garden, supporting vegetation such as Reed, Marginal Moss, Water Hyaci could help purify the water and air , while acting as a shelter for surrounding wildlife and could be harvested for material use i The project aims to activate the waterfront of the Royal Docks as a “Humanist Ecology Education and Research Center” a self-s ductive waiting that promotes eco-material construction technique with a program that coherence ecology and human alongside.

11 46

P160 MArch Architecture Unit 8

12 Corktopia aims to revive the historical context and structures of the Royal Docks, challenging the concept of sustainability and consumption established by the new planned developments. Silo D, former grain silo, the only structure standing on the site, will be used to accommodate creative hubs and material development workshops, establishing a green material community, which will focus on systems that will deal with noise pollution in the area, mainly due to the London City Airport. Using natural, renewable and recyclable materials such as cork, the community will contribute to the principles of circular economy. 13 Welcoming perspective approaching the waterfront. The living units will be also erected and built using the material and systems developed in the area, to act as a real- life example for the local community. Project and drawings by Paulius Vaizgenis. 14 ‘Anchor Labs’ is a self-sustained, off-grid, floating community, combining co-housing and co-working through upskilling and low-rent opportunities. 15 Enhancing existing activities like canoeing, rowing, and

sailing, making the waterfront accessible to all. 16 The proposal includes affordable housing for people from disadvantaged backgrounds, care leavers and key workers. Project and drawings by Ana Paula Gomes Kouzak. 17 ‘The Repository of Memory’ is not a history museum, it is temporary, always changing and developing. The community is invited to provide artwork, artifacts, memory remnants that they wish to be displayed. 18 Section through the repurposed old lock wall which in itself acts as a signifier of memory. 01. MGO Board Horizontal battens 50 mm x 50 mm Project 02. and drawings by Mahmoud Sayed Abdelmonem Abdellattif. 03. Vapour barrier Assembly no.

Heat transmission resistance [m²K/W]

Adjacent to

2-Wall

1-Outdoor air O [W/(mK)]

Area section 1

interior Rsi

0.13

exterior Rse:

0.04

Area section 2 (optional)

O [W/(mK)] Area section 3 (optional)

0.038

Timber

0.130

Thermafleece Cosy wool

0.038

Timber

0.130

282

racking board

0.130

expanded cork

0.043

expanded cork

0.043

18 fin battens

50 20 25

Percentage of sec. 1

Percentage of sec. 2

Percentage of sec. 3

9.0%

85%

U-value supplement

W/(m²K)

No te : cu r r e n t b u i l d i n g r e g s fo r wa l l s r e q u i r e s a va l u e o f 0 .1 8 W/( m ² k)

Total

46.3

6.0% U-value:

0.107

W/(m²K)

U -build t im ber f ram e w it h c ork c ladding t herm al p e r fo r m a n ce .

07 08 09 10 11

15 14

12 EXPLOD ED FAC AD E I SOM ET R I C VI EW

INNOVATIVE FACADE

C OR K FA C A D E D EVEL OPM EN T ALTERNATIVE HIGHER SPECIFICATION FACADE

13 STRU CTION

0.130

fins

Thickness [mm]

0.130

Thermafleece Cosy wool service void with VCL

O [W/(mK)]

internal lining

C OR K WA L L P R O TO TY P E

Interior insulation?

Cork Clad U-Build Wall Fabric

05ud

Orientation of building element

04. Cosy wool filled u-build timber frame 282 mm 05. U-build timber frame 06. U-building external sheeting 07. Expanded cork 600 mm x 500 mm x 50 mm 08. Shou Sugi ban, charred timber battens 50 mm x 50 mm 09. Exapanded Cork 250 mm x 500 mm x 50 mm 10. Shou Sugi ban, charred timber planks 80 mm x 25 mm 11. Exterior timber screws 115 mm, 50 mm 12. Floor finsh 13. Expanded Cork floor insulation 200 mm 14. Slab insulation 70 mm 15. U-build external sheeting 16. Concrete foundation

P161 MArch Architecture Unit 8

THE CIVIC WATERFRONT PLATFORM VIEW

THE CIVIC WATERFRONT VIEW ARRIVING AT DEVELOPMENT FROM WATER

109

15 THE CIVIC WATERFRONT

Waterfront

First platforms and

More platforms with floating

Future addition and extension

RENOVATION STAGES

renovation

floating units

gardens, pools and units

of existing units

DESIGN SYNTHESIS THE SPINE SECTIONS+DETAILS

Today, the lock wall is filled with soil and covered/capped with concrete base, the new scheme is set to pierce the concrete base, reveal the lock wall by digging up the soil to 4.6-5 meters from the ground level and re-use the old wall in arranging the spaces and in the new design. The soil, excavated materials and concrete base to create the new spaces. The lock wall is not limited in its use to space planning but also in its value it acts as a signifier of memory and history and is in itself a standing exhibition of the area. The proposed intervention materials sourcing would be from the upcyclying of nearby site buildings to be removed, nearby developments and construction sites in the ever-developing Royal docks and from the reuse of the excavated soil, aggregates and concrete.

117

The Repository

Section 6-6 showing how the lock wall is used as a display of itself, dividing enclosed display zones from outdoor recreational/festival zones and directing the crowd through the spine to the Thames. Space 02 where the public could provide the exhibtion with pieces old or created within the running events to be displayed, in the community exhibition and in the wall display pockets.

AR7121- unit work - T02

BSc (Hons) Architectural Design Technology LEVELS 1, 2 & 3

Dr Arman Hashemi, Programme Leader

P163 BSc ADT

BSc (Hons) Architectural Design Technology (ADT) programme has gone through some exciting and yet challenging times this year. With the closure of the university campus in March 2020, due to the Covid-19 pandemic, the ADT team worked swiftly to move to online teaching and tutorials. Many students found the online teaching an existing and flexible approach and achieved high quality works. We are indeed proud of our students’ achievements in such challenging times. We have been very keen on developing the subject specific knowledge and employability skills to support our students who aspire for a rewarding career in this field. The students have had an all-round experience from working on their design projects in studio, to field trips to major developments under construction in London. This year, we also organised a study trip to the UAE. The trip was an eye-opening experience to the students as it facilitated visits to many significant projects including The Harbour View, Opera House and Burj Khalifa in Dubai; and Masdar City, Sheikh Zayed Mosque and Louvre Museum in Abu Dhabi. We keep working closely with the industry and the Chartered Institute of Architectural Technologists (CIAT) to improve the quality of our course and provide employment opportunities to our students. Indeed, last year we achieved a 100% employability rate for our students and were also ranked the 1st in London for Student Satisfaction according to the

Complete University Guide. Moreover, every year, our outstanding students receive awards and medals from our main accreditation body CIAT. This year we also initiated the T-Coffee social events where ADT students can regularly meet with their peers and tutors outside the classroom, develop their networks, and listen to short presentation and interviews with professionals in the industry. We continue working with the accreditation bodies and the industry as well as with our students and alumni to continuously improve the quality of the ADT course. The ADT yearbook section is organised into two sections; Technical Studies and Representation (years 1, 2 and 3), followed by Architectural Design Resolution (years 2 and 3). Dr Arman Hashemi (BSc, MSc, PhD, FHEA, MCMI, ACIAT)

A+D Technology Architectural Design Technology (BSc Hons)

Arman Hashemi, Alfonso Senatore, Michele Roelofsma, Niall Healy, Shahrokh Zandi The Design modules are delivered in close relation to the Technical and Professional Studies modules. In the design modules, students develop their design and drawing skills while in technical modules they do comprehensive studies aimed at exploring technical aspects of the proposed designs, including the production of detailed construction drawings. In Year 1, we designed a sustainable two storey house, a ‘Space for Living and Working’, on a site at UEL campus overlooking the Royal Docks. The project aimed at developing our design and technical understanding of small residential structures, building materials, construction processes, sustainability and technical details. In Year 2 and 3 ADT, we considered a site in an iconic location next to a listed building in Clerkenwell and designed more complex architectural technology projects. Some of the strategic questions included: -What are the limitations and potentials of the site and context? -How can the design proposal meet the RIBA 2030 Climate Challenge Targets for operational energy use, climate resilience, embodied carbon, and water conservation? -What could be the most effective building form and fabric for the chosen site? -How can buildability, adaptability, disassembly, low-maintenance, use of low carbon materials and occupants’ health and wellbeing be incorporated in your design? In Year 3 we designed an Exhibition Building Centre while in Year 2 we designed some blocks of multistorey apartments. In Term 1, we carried out a site visit and worked in teams of 3-4 people to assess the site on various aspects including the history, weather/ climate, geology, architecture & materials, planning, traffic, site usage, mass, green areas etc. We also built a virtual model and a 1:500 scaled physical model

Clerkenwell & Royal Docks, London

of the site for all students to use and test their ideas while developing their concepts. This was followed by some case studies, feasibility studies, concept and architectural design, construction drawings and 3D visualisation of the final design. In Term 2, we developed the initial concepts into a set of architectural and construction drawings, and virtual 3D models. In addition to planning and design requirements, we focused on various building regulations including Part A, E, M, L, K with a specific attention to the Part B (Fire Safety). During the last year, we enjoyed learning Revit, Lumion, SketchUp, InDesign and AutoCAD as well as some state-of-the-art energy and building performance simulation software packages including EnergyPlus and IES(VE). In the research module we had the opportunity to work on various subject including Passive Design, Thermal Comfort, Indoor Air Quality, and History and Theory of Architectural Technology. In year 3 we also developed our skills on parametric design in Rhino, Grasshopper and Ladybug software packages. The design, technical and research modules are linked in a way to help students become more competent in the analysis and interpretation of the site, feasibility studies, concept design, architectural and detailed drawings as well as in developing project-specific research methodologies.

Year 2; Constance Amissah; Nnamdi Ajaelu; Johnverlou Bergonia; Jocille Nana Ohemaa Akosua Bonsu-Ofori; Diana Andreea Burducea; Carmel Madeleine Caparas; Hala Elenany; Serge Ilunga; Sovanrattanak Rattanak Kim; James Landen; Harry O’Connor; Presley Osa Okundaye; Jydsen Zchrlyn Ombao; Mathulan Paramanadan; Ioana - Madalina Predescu; Nonkululeko Ronica Shongwe; Abdulia Suffian Bangura; Danny Tran; Abdul Yusuf; Jake Dacosta Augustin; Daniel Harvey.

Year 1; Nathaniel Adetilewa Akinlolu; Jason Bailey; Fortune Hove; Abu Bakarr Jalloh; Yusuf Khan; Jovan Menville; Jordan Moore; Maryam Nasar; Sophie Naylor; Jeremiah Olabode; Muhammad Saqib; Thomas Wheeler; Attila Borca; Abir Choudhury.

Special thanks to Professor Sean Smith https://www.uel.ac.uk/undergraduate/courses/bsc-honsarchitectural-design-technology https://twitter.com/ADT_UEL

P165 BSc ADT

Students Year 3; Mohamed Ahmed; Danielle Billett; Leandra Costa; Abdoul Wahab Dabare; Ionela Daniela Dragu; James Harris; Charlie Markley; Mishal Pussewela; Rimants Reiniks; Marius Rotaru; Ouninioluwa Majemuoluwa Rotimi; Iqraa Shahbaz; Joel Shroader; Thomas Stewart Stroud; Markuss Klavs Sunins; Gergely Toth; Michael Steven Valencia Imbaquingo; Gloria Yeboah.

P166 BSc ADT

01 Year 3; by Daniela Dragu. 02 Year 2; by Danny Tran 03 & 04 Year 3; by Thomas Stewart Stroud 05 Year 1; by Thomas Wheeler 06 & 07 Year 3; by Daniela Dragu 08 Year 2; by Ioana Predescu 09 Year 2; by Harry OConnor 10 Year 3; by Gergely Toth.

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11 Year 2; by Ioana Predescu 12 Year 2; by Johnverlou Bergonia 13 Year 2; by Danny Tran 14 Year 2; by Ioana Predescu 15 Year 2; by Danny Tran.

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16 Year 2; by Danny Tran. 17 Year 2; by Harry O’Connor 18 Year 3; by Daniela Dragu 19 Year 2; by Ioana Predescu 20 Year 3; by Thomas Stewart Stroud 21 Year 1; by Thomas Wheeler .

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22 Year 3; by Thomas Stewart Stroud 23 & 24 Year 2; by Ioana Predescu 25 Year 2; by Danny Tran 26 Year 2; by Johnverlou Bergonia 27 Year 3; by Daniela Dragu.

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28 Year 3; by Marius Rotaru 29 Year 3; by Daniela Dragu 30 Year 3; by Marius Rotaru 31 Year 2; by Ioana Predescu 32 Year 3; by Marius Rotaru.

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33 Year 2; by Ioana Predescu 34 Year 1; by Thomas Wheeler 35 Year 3; by Presley Okundaye 36 Year 2; by Johnverlou Bergonia 37-39 Year 3; by Thomas Stewart Stroud.

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40 Year 1; by Sophie Naylor 41 Year 1; by Thomas Wheeler 42 & 43 Year 1; by Attila Borca 44 & 45 Year 3; by James-Harris 46 Year 3; by Marius Rotaru 47 Year 3; by Thomas Stewart Stroud 48 & 49 Year 3; by Daniela Dragu 50, 51 & 52 Year 2; by Johnverlou Bergonia 53 Year 3; by Thomas Stewart Stroud 54 & 55 Year 1; by Thomas Wheeler 56 Year 3; by Gergely Toth 57 Year 1; by Jeremiah Olabode 58 Year 3; by Thomas Stewart Stroud 59 Year 3; by Charlie Markley.

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BA (Hons) Interior Design Dr Keith Winter Programme Leader

A year in Briefs: Year 01:‘Exercises in Style’, ‘Dream Bedroom’, ‘Dream Detail’, ‘Express Yourself’ Year 02: ‘Screen-Shot’, ‘My Own Private Utopia’, ‘The Current Agora’ Year 03: ‘Screen-Time’, ‘Open for Business’, ‘Dinner and a Show’

As seen in the previous pages of this catalogue, we had a successful week-long residency at FILET, an art hub in a former shop unit run by photographer and RCA Reader Rut Blees Luxemburg. Our students and staff worked hard to turn this shop back into something of it’s old nature and priced up our student lamp prototypes and opened to the public. A highlight was when late-June lockdown restrictions lifted, many of our cohorts joined us for a private view and CL Keith Winter asked students to speak about their designs and the ideas behind them. This was also mixed with a success of quite a few lamps sold to prestigious buyers who were delighted to purchase the originals. Our other physical exhibition this year presented all of our cohorts prototypes as a complete Interior BA show in Way Out East Gallery in Docklands where we had several crits amongst the works and a great soft opening to celebrate the Mid Year despite restrictions. An online article in Dezeen occurred in July 2021 for the second year in a row, showcasing our next generation of top ten lamps and student profiles to a huge audience of millions, providing us with the confidence that we are visible on an international stage. This year was also the first year we joined Interior Educators, a network of 47 Interior degree courses in UK and Ireland. We submitted work for our completing and progressing students into their six categories and were delighted that one of our Year 02’s Taiwo Popoola was shortlisted for his work on ‘Taitea’, a new retail experience for enjoying tea in Woolwich. We attended a scaled-down IE showcase in June where Taiwo’s work was on show and we were able to eye up the national competition. Yoana Miglencheva and Enrica Tofi teamed up to be our first ever ‘Interior Design Communications Ambassadors’ handling social media, student liaisons and connecting with industry professionals, creating a unique and

extensive ‘Employer Database’ that our graduates are now using to contact exciting practices to inquire about work experience and union designer positions. We wish to thank both Yoana and Enrica for a great job done and UEL Paid Internship scheme for the opportunity. Unfortunately we were afforded no field trip this year but we hope to make up for this with a Scottish trip in October and invite our alumni to join us to celebrate good Scottish design such as Charles Mackintosh tea rooms and School of Art, as well as a jaunt up Edinburgh’s Calton Hill and a visit to the Scottish Parliament buildings. When the opportunity was present we used workshops and studios on campus making prototype receptions desks in Year 01 using Laser-cutting and 3d printing. In Year 02 we carried out our second year of lamp prototyping, while in Year 03 large full-scale Dressing Screen 1:1’s as well as large 1:50 scaled models of the new Tramshed theatre project in Woolwich made sure we were the dominant course in our excellent UEL workshops (big thanks to all the techs for their help!). Our Semester 01 guest lecture series kicked off with internationally renowned artist Laura Buckley who delivered a lecture about her work on campus across dual delivery. Our next two speakers were interlinked with a project as our clients at Year 03 level where we had musician Baba Ali and fashion design Johanna Parv present their work and interests to our final years - every detail of their persona under scrutiny to make sure our students designed the most suitable live/work/ show space project for these exciting practitioners in a double-height, triple aspect site in Gallions Reach. Other guest lectures included the photographer Rut Blees Luxemburg, who’s photographs are in the Tate Collection and have been on album covers of The Streets and Bloc Party, Alison Winter, Hollywood producer who has worked on recent films such as Made in America, Edge of Tomorrow and Locked Down; Interior Designer Jake Raslan of Atelier Wren, who gave us 11 rules for what he wished he knew as a student; Dominic Eley who shared his Architect’s favourite books and interviews he has carried out under his blog “Arch__Ive’; Manolis Stavrakakis who spoke about history and theory and lastly our own Daryl Brown who presented his exciting sculptural work. All of these guests brought an important piece of current relevant information to the table, giving our cohort an elegant array of confident creatives to bolster their own belief in themselves. Overall we were pleased to report BA Interior Design in a category of only two courses in the whole of the university that received 100% student satisfaction, a statistic that gives both our staff and students the belief that we are doing things well and shall continue to grow and develop.

P181 BA Interior Design

2020/21 was not easy to say the least due to pandemic related lockdowns and difficult borders for our overseas students, but BA Interiors pressed in hard nonetheless both in studio and online. In this academic year we focussed projects across the course in the area of Woolwich. Both Year 01 and 02 had shop units to reimagine on the forgotten High-street of Powis Street, while Year 03 worked on a new Tramshed Theatre for Gordon Square. All of these projects focussed heavily on identity, expression and knitting existing communities back into the fervent wave of gentrification pressing in from Royal Arsenal and Riverside development areas. This was also twinned with a paper that Sue and Keith gave at UEL’s February conference looking at cataloguing spatial types in the local areas and also beginning conversations with local Cllr Anthony Okereke to see what might be possible for future collaborations with our student body.

BA (Hons) Interior Design Keith Winter, Susan Ginsburgh, Pol Gallagher, Nayden Hadzhiev, Dominic Eley, Anastasia Karandinou

London, UK

Year 2: Axelle Assi, Jasmine Assi, Stephanie Balde, Sara Barod, Yasmin Benrakad Imlahi, Rushaun Buchanan, Nelly Dibaud, Jazmine Fagbayi, Julia Florian, Lorenza Haddow, Humayra Haque, Zainab Jimoh, Sevgi Karaagachla, Emmanuel Muhangi, Rihab Kharbouchi, Sidra Khouli, Laura Lukacova, Michelle Ly, Yoana Miglencheva, Tasneem Mohammed, Solveiga Murauskaite, Anastasia Mustapha, Osama Medhat Mahmoud Nehad, Mettwaly Sead, Laylaa Osman, Jordan Grant, Joanne Kannikaklang, Nauma Patel, Nicusor Pocitar, Taiwo Popoola, Leanne Rosemary Taylor, Ridwan Salman, Khushi Sirvi Nitesh, Matea Soljak

Year 3: Demha Ahmed, Alghaliah Alsiri M J H B, Didem Cetinkaya, Lily Dadson, Sumayyah Dauhoo, Onur Derin, Inci Devecigiller, Bianca Franga, Atanaska Hadzhiyska, Asma Ibrahim, Nahed Idris, Alisa Insoi, Roisin King, Gizem Kose, Batul Lopez, Rachel Mcdowell, Robyn Mcgregor, Melika Mirabadi, Melissa Mustafa, Wajeeha Nazir, Rhiann Noel, Alison Richards, Mavish Rizvi, Dilara Sert, Nafisa Tailor, Elif Tintas, Enrica Tofi, Sara Trevain, Dijle Ucrak, Diana Vysniauskaite, Alex Wong Special thanks to: Baba Ali, Yinka Ilori, Johanna Parv, Alison Winter, Laura Buckley, Rut Blees Luxemburg, FILET, Dominic Eley, Daryl Brown, Manolis Stavrakakis, Jake Raslan (Atelier Wren), ACE School Office, DEZEEN Magazine

P183 BA Interior Design

Students: Year 01: Immanuel Kisakye, Gizem Atici, Cintia Szabo, Karysse Jno-Baptiste, Aleksandra Pieron, Isobel White, Stoimen Dzhukanov, Mahfooz Abdalla, Keeji Hondi-Medi, Milena Torres Toscano, Aliyah Stewart, Yogesh Bipinbhai Chhayani, Bianca Radoanca, Adrienne Mcken, Cristina Ben Ammar, Eleanor Johnson, Tahsin Mahita, Roza Witek, Dichhaya Kaucha, Fernando Da Silva Tagliati, Florin MateiSascau, Nicoleta Matei- Sascau, Emiliana Lance, Hussain, Faizah Nadin.

P184 BA Interior Design

1 Tramshed by Roisin King 2 Open for Business by Alex Wong 3 Axo design intentions by Enrica Tofi 4 Internal View to theatre design by Melissa Mustafa 5 View to stage by Diana Vysniauskaite 6-7 Design axo’s and renders by Alex Wong for Tramshed 8-22 Lamp prototypes by Year 02’s 23 Design development Tramshed by Rhiann Noel 24 Stage to liberate the oppressed by Nahed Idris 25 Open for Business render by Rae McDowell 26 Utopia Bar by Yoana Miglencheva 27 Shop design axo by Rihab Kharbouchi 28 Tramshed interior 1:50 model views by Sara Trevain 29 1:1 Screentime prototype by Melissa Mustafa 30 Shop sketch by Rihab Kharbouchi 31 Material Palette by Laylaa Osman 32 1:1 Screentime prototype by Sara Trevain 33 Internal renders for Yinka Ilori by Alex Wong 34 1:1 Screentime prototype by Alex Wong 35 Axo of shop design by Julia Florian 36 Section and elevation studies by Solveiga Murauskaite 37 Design development and analysis by Enrica Tofi 38-39 Design development and Technical drawings by Rae McDowell 40 Design Development for Baba Ali house by Sara Trevain 41 1:50 Tramshed sectional model by Mavish Rizvi 42 ‘Cave’ tattoo parlour by Bianca Radoanca 43 ‘Dream Bedroom’ model by Bianca Radoanca 44 ‘Dream Bedroom’ interior view of model by Emiliana Lamce 45 Dream Bedroom’ model by Ishya Thompson 46 Designing over sketch models by Mahita Tahsin 47 Exercises in Style artwork by Keeji Hondi Medi 48 Internal views of Dream Bedroom by Isobel White 49 Reception desk scale model by Mahita Tahsin 50 Conceptual collage for ‘Express Yourself’ by Mahfooz Abdalla 51 ‘Diamond Babers’ facade by Mahfooz Abdalla 52 Receptions desk 1:1 prototype for ‘Express Yourself’ by Fernando Da Silva Tagliati 53 Conceptual collage by Sharon Gomes for ‘Express Yourself’ 54 Facade of ‘Evergreen Salon’ by Mahita Tashin Kashfia 55 Interior of the wig store ‘Devine’ by Aliyah Stewart 56 Photo of Sketchbook for ‘Dream Bedroom’ by Ishya Thompson

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Postgraduate Studies MRes Architecture MA Architecture and Urbanism MA Professional Landscape & Urbanism MA Interior Design PhDs

P203 Postgraduate

MRes Architecture

Reading the neoliberal city Anna Minton, Debra Shaw

Anna Minton, author of Big Capital: Who is London for? (Penguin 2017) and Ground Control: Fear and happiness in the 21st century city (Penguin 2009/12), is the Programme Leader on the MRes Architecture. This multi-disciplinary course, sited within the architecture department, welcomes applicants from a wide range of backgrounds. While situated in London’s Docklands, the global impact of these processes, which are relevant across the world, provides the context. As this is a small seminar based course, focused on lectures and group discussion, we were able to transfer seamlessly online following lockdown and seminars took place virtually this year, although we were able to meet in person for a walk through the city. We will continue with blended learning this academic year and we will also continue with our programme of walks through the city. The course is comprised of four modules: Reading the neoliberal city; Critical Writing and Professional Practice; Ethical Development and the Digital City. Topics for study include the housing crisis and the privatisation of cities, investigating the financialisation of the urban environment. The modules on Ethical Development and the Digital City investigate potential economic alternatives. The module on Critical Writing focuses on high level writing skills, through written assignments and the study of critical writing about the city, from Situationism to Psychogeography. The modules on Critical Writing and the Digital City are also offered to Diploma students choosing Critical Writing for their Theory component.

Guest lecturers are a key component of the course and include politicians, leading industry figures and activists. This year speakers included Lord Moylan, former advisor to Boris Johnson when he was Mayor and a member of the House of Lords Built Environment Select Committee. We also held a workshop with James Murray MP, Shadow Secretary to the Treasury and former deputy mayor for housing, Southwark Cabinet Member for Housing Leo Pollack and acclaimed architect Kate MacIntosh. The MRes provides a pathway to PhD study, with two former MRes students currently doing PhDs with us. Martyn Holmes, who is the holder of the UEL PhD studentship, is investigating whether communityled housing might provide a solution to the housing crisis and Luke Okende is researching the impact of participatory processes to improve slum conditions in Kinshasa, Democratic Republic of Congo. For more information contact: Anna Minton, Reader in Architecture & Programme Leader, a.minton@uel.ac.uk

P205 MRes Architecture

Thanks to Visiting Speakers: James Murray MP; Daniel Moylan; Leo Pollack; Kate MacIntosh

Visit to the House of Commons to meet Shadow Housing Minister James Murray MP

Still from a walk to document the changing nature of Docklands and Popla

MA Architecture and Urbanism

Computational Design and Digital Fabriacation Dr Fulvio Wirz, Barbara Zandavali

The study paths in Computational Design and Design for Digital Fabrication of the MA in Architecture and Urbanism are developed as a flexible platform to explore the convergence between digital technologies and manufacturing in architectural design. The programme experiments new possibilities for architectural spaces and cities encouraging students to delineate with their work a clear connection between design processes, technological advances and sustainable strategies. Students are encouraged to work at all scale using a multidisciplinary approach as the pivotal approach to achieve creativity and innovation. This year the programme has been focusing on modular and prefabricated systems applied to the small scale to generate flexible interior design systems or pavilions. The goal is to requalify and adapt existing buildings or urban spaces to the needs of the contemporary society to achieve a more sustainable urban growth. Students have been working in the area of silver town, in east London. Analysing local dismissed industrial buildings - characterised by a strong historic relevance - they defined an ideal framework to deploy their design strategies.

SILVERTOWN, LONDON

“Where do new ideas come from? The answer is simple: differences. While there are many theories of creativity, the only tenet they all share is that creativity comes from unlikely juxtapositions. The best way to maximize differences is to mix ages, cultures, and disciplines.” Nicholas Negroponte

P207 Architecture + Urbanism

Students: Moinulhaq Aminbhai NAGANI Oluwakemi Azzezatu ODUTAYO

Special thanks to: Visiting Critics: Carine Posner (Zaha Hadid Architects); Joao Bravo da Costa (JBC); Manule Gaioni (SCR SERCOM, Wirz Archictects); Sohith Perera (Kora Architecture, CetraRuddy Architecure).

1 Moinulhaq Aminbhai NAGANI

P208 Architecture + Urbanism

2 Main perspective view of the interior of the Millennium Mill with the timber modular interior system applied. Student: Moinulhaq Aminbhai NAGANI 3 Section of the millennium Mill showing the alternation of the modular parts. Student Moinulhaq Aminbhai NAGANI 4 Section of the modular timber design showing the integration of the mechanical systems student Moinulhaq Aminbhai NAGANI 5-7 Spatial aggregation studies showing different possible configuration student Moinulhaq Aminbhai NAGANI

2 3

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8 Visualization of the structural system - based on the principle of bundlingpresented as an array of possible variations. Student: Oluwakemi Azzezatu ODUTAYO 9-11 Diagrams showing early computational studies on circle packing algorithm. Student: Oluwakemi Azzezatu ODUTAYO 12 Physical models to explore bundling systems as a strategy to achieve stiffness in construction. Student: Oluwakemi Azzezatu ODUTAYO 13-14 Lasercut platform rings and node connetrors designed to organise bundles into a systematic series of variations using preset layouts. Student: Oluwakemi Azzezatu ODUTAYO

P211 Architecture + Urbanism

Urban Design Open Studio

Christoph Hadrys

The Urban Design course is part of the MA Architecture and Urbanism Programme. It is the design intensive course for alternative urbanisms at the University of East London. The course is set up to develop both intellectual and practical skills for urban designers and architects. Through interrelated design and theory projects, we search for alternative solutions to complex urban conditions. The course sets out to explore and develop new forms of urban practice in cities undergoing critical change, where conventional thinking struggles to respond to uncertainties and the necessity for imaginative thinking. It aims to prepare students to work with different geographical settings, urban agendas and economies. We engage directly with communities, sites and contexts, to be able to develop both practical and innovative urban designs, from the scale of regions and cities, all the way through to neighbourhoods and building scales. This approach is informed by local and international urban practice, but also emphasizes students‘ individual interests, abilities and intuition, to explore and develop new forms of urbanism. Asking questions, like who is building cities and how to build cities, allows us to open our understanding about finer visible and invisible forces. We research diverse methodologies, like the use of tolerances and timelines, to enable more dynamic and generative urban processes, allowing a much wider range of people to take part in building cities.

The course provides a platform for the individual student to develop an expertise and an approach to sustainable urban design through the development of urban design strategies and research. As more and more emphasis is put on the importance of sustainable developments by governments and professional bodies, such knowledge and skills will be of increasing usefulness to the students in their professional lives. The programme prepares for work in the public as well as in the private sector. The masters course has two fully integrated parts: The design intensive studio and the theory component comprising Masters and Professional MArch (ARB/ RIBA Part2) students. The Urban Design course welcomes students as fellow innovators in a programme that is both visionary and hands on in seeking to develop urban futures that are sustainable, distinctive and enjoyable.

“The neatness of architecture is its seduction; it defines, excludes, limits, separates from the ‘rest’ - but it also consumes. It exploits and exhausts the potentials that can be generated finally only by urbanism, and that only the specific imagination of urbanism can invent and renew “ Rem Koolhaas , SMLXL

LONDON + NEW YORK, USA

Y4: Ana Paula Gomes Kouzak, Hussein Ali Kasim, Patrycja Adrianna Niechaj, Mohammed Patel, Rafaa Rafaa Abubaker Mohamed Elfatih, Alexandra Rogojinaru, Omer Sabah, Julia Skiba, Karolina Skrzypkowska, Dan Strassburg, Dominika Zielinska, Anne- Marie Osei Sarfoh, Shambhavi Sawant, Kuai Bing Wong Y5: Jhenae Fullerton, Ronahi Kaplan, Nur Azzahra Mohamad Adzlee,

Raul Mormeneo, Chun-Li Reid, Sahra Salah, Tendai Simbo, Chutimon (Nicknack) Suetragulwong, Effrosyni Valtadorou, Natdanai (Tyler) Wareerinsiri, Brian Siew Horng Wong, Jun Bin Yap ma-ud.blogspot.com

P213 Urban Design

Students: Anika Ahmed, Oohitha Kokkula, Mohammed Kadi Hamman

ud.1

P214 Urban Design

1 New York by night, by Christoph Hadrys 2018 2-4 Urban design proposal for Pier 53 Manhattan New York, Environmental Department for New York University by Mohammed Kadi Hamman

Urban Design Studio The design component aims to prepare students to work with different urban situations and agendas. In the beginning of each academic year, students engage in a five week induction project, to familiarise themselves with the teaching and learning environment of the course. During that time, we develop design tools and principles, by testing and refining them in various locations. For the main design project, individual students focus on one site of their choice, for the rest of the academic year. This focus allows very deep explorations of a range of scales and involved urban design issues. Students formulate objectives, briefs, programmes and spatial aspirations of their design work. Throughout the course, we engage in workshops, presentations and tutorials. Open Studio This academic year, students select the location and topic of their design, theory and research project themselves. The course offers a rich platform for students’ visions for cities. We formulated strategies that respond to global and site conditions, understanding of scales, architectural sensibilities and local communities, to create social, spatial and time-based habitats and environments. Urban Theory The theory component welcomes Masters students and also 4th and 5th year MArch students. The course is ‘hands on‘ and it works in close collaboration with the design component. A lot of urban issues are difficult to explore purely on a visual basis. This has to do with the abstract level of scale and complexity. For example, we can do models of buildings and they will partly tell us spatial and social relationships. In urban design that is different. We can do models of a city, but it is not that easy to understand the underlying forces, that

are shaping cities. Concerning issues like migration or globalization, physical models might tell us very little. We have to read, write and talk, to gain a more holistic understanding of urban issues. Students attend weekly lectures on distinct urban topics, followed by seminars. The fields of studies range from urban history, theory, interpretation and practice to science. Invited guests from different backgrounds enrich the course with diverse talks. We explore complexities of cities through discussions, writings, readings, lectures, drawings, student presentations, movies and excursions. The theory component is assessed through ongoing course work and an 4000 - 5000 word essay on an urban topic that the students select and research themselves. The studies in urban theory are set up to help articulate a critical context and vision for students’ design and thesis work.

P215 Urban Design

Professional Landscape Architecture Dr B Snaith CMLI, G Woodfall CMLI, Magda Pelka, Rich Peckham ASLA

Our Professional Landscape Architecture programmes span practice and research. We are firmly grounded in the complex social and environmental issues that inform professional landscape practice each day. This year we asked our students to consider the meaning of “Space & Democracy” in the changing landscape on our doorstep - whose voices and values should be represented in the contested spaces of Custom House and the Royal Docks. We were inspired by the Mayor of London’s move for the town hall from Tower Bridge to the Crystal at Royal Victoria Dock; by the community action of the People’s Empowerment Alliance for Custom House (PEACH); by local history of diversity and activism represented by figures like the Lascar seamen, or Daisy Parsons, and by tragedies like the Ronan Point disaster. The work was situated in a time of unprecedented social crisis, profound political disagreements within the UK, Europe and beyond, global protest for recognition that Black Lives Matter, and increasing evidence of climate emergency. This year we combined in-person and online working, with communities and practitioners, continuing our ethos of working on live projects with real clients, seeking to make positive change in the environment while we learn. In design studio term one, after developing ideas for changing landscapes at the Crystal, we met with PEACH, and residents of Custom House, working in teams to engage with local people and develop resident inspired interventions, actions they felt could improve their experience of daily life in Custom House.

SPACE & DEMOCRACY / CUSTOM HOUSE

In term 2 we undertook area-wide mapping, of physical, environmental and emotional aspects of place and time, and explored local stories, weaving these strands together to inform our major projects for the year - future visions for public parks in Custom House 2030-2075. In theoretical studies, Masters year students explored landscapes for foraging, and carbon capture, challenges of professional contexts, urban and environmental theory. Conversion year students critically explored major London schemes like Kings Cross, and the Olympic Park, interrogated contested meanings in international projects including Chattanooga Renaissance Park, and Barangaroo, and made technical studies of planting design, and construction. The student’s learning was supported by visiting professionals, through talks, reviews, mentoring, and this year a Virtual Study Tour, which took us from Morecambe Bay to Mumbai’s Chhatrapati Shivaji Airport, from an edible bus stop in Brixton, to a roof top garden in the City, from Dungeness to Washington DC, and from Venezuela to the Home of 2030. The student work illustrated here is selected from our MA, MA (Conversion) and PG Dip Professional Landscape Architecture programmes this year.

“Superiority? Inferiority? Why not simply try to touch the other, feel the other, discover each other?” Frantz Fanon, Black Skin, White Masks 1952

MA /Conversion 2: Anne-Marie Osei-Sarfoh, Caroline O’Farrell, Jackie Shallcross, Kuai Bing Wong, Lewis Reynolds, Muge Onal, Nevra Ozkaya, Shambhavi Sawant Special thanks to: People’s Empowerment Alliance for Custom House (PEACH): Casey Howard, Hero Austin, and local residents Landscape Institute London Branch, Sam Perry, and our Professional Reviewers for support with student mentoring

With thanks to our visiting professionals: Virtual Study Tour: Akash Wadhawan (Hyland Edgar Driver), Sarah Jones-Morris (Landsmith), Simon Ward (Atkins), Will Sandy (Will Sandy Design) Professional Reviewers: Clare Penny (AECOM), Glyn Tully (Levitt Bernstein) Martyna Dobosz (BDP) Matt Ellins (Outerspace) Nick Miller (GL Hearn) Professional Practice Mentors: Alex Lowenhoff (Outerspace), Helene Saulue (PRP, Josh George (AECOM), Kerrie McInnon (IrelandAlbrecht), Kieran Linale, Sam Martin (Exterior Architecture), Louise Johnson (BASE), May Jan MacIntyre, Henry Wilson (Space Hub), Yu Chen (GL Hearn) PRG: Fenella Griffin (Untitled Practice), Susan Lowenthal (WSP), Tom Lonsdale (Placecraft), Eduardo Carranza (Gustafson Porter Bowman)

P217 Landscape Architecture

Students PG Dip/Conversion 1: Alex Joseph, Esme Brooker, Finlay Capps, Helen Stuart, Jerome Jarrett, Joe White, Julia Evans, Julia ShirleyQuirk, Mysoon Bakeer, Niki Joshi, Nina Sabak, Ruth Ferguson, Theophilus Sakyi

P218 Landscape Architecture

1 (Previous page) Beckton Park Manifesto, Lewis Reynolds This page 2 The Crystal, 2D into 3D - model built up of sections, Joe White 3 The Crystal, Spaces of Democracy - movement, play, growing space, watersports, Nevra Ozkaya 4 The Crystal, Spaces of Democracy, skate park, Kuai Bing Wong

P219 Landscape Architecture

This page 5 Hoskins Close footpath reconfigured to support safe routes to school, Julia Shirley-Quirk 6 Planting and seating, Freemasons Road Muge Onal 7 Normandy Terrace Community Garden, Esme Brooker

P220 Landscape Architecture

This page “A Story to Tell” Conversion year/ Pg Dip conceptual narrative landscapes inspired by language of democracy 8 Models Esme Brooker 9 A view to freedom, a place of peace. Treetop lookout, Esme Brooker 10 Path of struggle, Mysoon Bakeer 11 Deciding to join, Joe White Opposite page “Mapping Custom House” 12-13 Ambience and Noise, Muge Onal

P221 Landscape Architecture

P222 Landscape Architecture

Future Spaces of Democracy Custom House 2030-75 This page 14-16 Beckton Park Manifesto, Lewis Reynolds Opposite page 17-18 Canning Town Rec 2050. Nevra Ozkaya

P223 Landscape Architecture

P224 Landscape Architecture

This page 19 Log piles and standing deadwood for increased biodiversity, Canning Town Rec 2035, Kuai Bing Wong 20 Elizabeth Fry Education Centre, Royal Road, 2035 Mysoon Bakeer 21 Royal Road 2035-2075 , Shambhavi Sawant Opposite page 22-23 Lost Words Stormwater Park, Ruth Ferguson, 24-25 Canning Town Rec 2050, Muge Onal 26 Planting design for Urban Glade, Julia Shirley-Quirk

P225 Landscape Architecture

MA Interior Design Dr Anastasia Karandinou (Course Leader), Pol Gallagher, Catalina Pollak

Design of any scale responds to – and in parallel leads – cultural, political and social change. Our MA course examines the role of design in forming places, connections, communities in a socially and environmentally sustainable way, through speculative and pragmatic design exercises, some of which lead to real-life built projects. Through this MA programme in Interior Design we challenge the limits of the role of the designer and we explore how design pertains to different aspects of our everyday living. Political and cultural debates are re-articulated and expressed through a hands-on poetic and creative making approach. Social inclusion and Shared environments This year, our studio worked on a real-life community project; a shared workshop and meeting place in Barking. The Shed Life project was initiated by the Thames View Tenants Association, the local resident Pam Dumbleton and the Humourisk artistic director Susie Miller Oduniyi, and has been developed further in collaboration with the UEL. The exterior of the building has been designed by the UEL MArch studio led by Alan Chandler, and the Interior by the MA Interior Design studio, led by Anastasia Karandinou. The aim of the project is to address the issue of loneliness, social exclusion and isolation, by designing a vibrant shared space for local people of different generations. Design has been considered as a practice that both pragmatically and metaphorically addresses everyday social and political issues. The aim of this project was to raise awareness on the issue of social exclusion, isolation and loveliness, and actively

empower the local community of Barking by designing this space, with them in the centre of the process. The main activities to be hosted include a wood workshop, space for seminars, knowledge and skills exchange, computing and photography workshops, gallery wall, storage and tea making facilities. The interior involves elements that are flexible, movable and can be flatpacked. The users of this small space can transform it themselves into a gallery with exhibition walls for artwork, into a workshop with shelves and worktop surfaces, or into a more relaxed meeting place for them to share a tea. The project was developed in collaboration with the group of locals, with whom online and in person workshops and consultations were organised. Our MA Interior Design students received the UEL Volunteering Award for their work on a community empowering project. In term 2 we collaborated with the Brunel Museum and its Director Katherine McAlpine, and we examined how open-air public spaces could be designed as shared experiences, in the post-pandemic cities. In parallel, we are examining how cultural organisations can engage and collaborate more substantially with the local communities, and what new typologies, places and shared activities could emerge. The students embarked in a speculative journey and explored places bodily and through experimental mapping and documentation processes, which led to design proposals.

www.uel.ac.uk/postgraduate/courses/ma-interior-design www.instagram.com/uel_mainteriordesign

Special thanks Guest critics and guest tutors: Rachael Brown, Dina Al-Qusous, Carl Callaghan, Israel Hurtado Cola, Phevos Kallitsis, Belinda Mitchell, Renee Tobe, Dorian Wiszniewski. Collaborators on the Shed Life project: the Thames View residents, Susie Miller Oduniyi, Alan Chandler, Prof. Andrew John Brown, and to the Thames View Tenants Association. The Shed Life project has been funded by: the National Lottery, Healthy New Towns & Thames Talk (Barking Riverside London), London Borough of Barking & Dagenham, Trust For London, Creekmouth Preservation Society, Barking and Dagenham Giving. Special thanks to Katherine McAlpine, Director of Brunel Museum, and to the Brunel Museum collaborators Maribeth Eisenmann, Peter Jones, Khalil Mohammed, for their time, conversations and contribution to our project.

P227 MA Interior Design

Students September start: Dalal Abdullah, Omnia Al Temnah, Siclania Barroso, Georgette Ivette Wilthew Estefan, Mohammad Farahani, Maria Gradinar, Sonia Nohemy Medina Munoz, Atefeh Sargazi, Cherine Shawa, Gozde Tuncbilek, Teinane Chibuike Jesse Warekuromo, Yesim Yumrutas, Martyna Lapinska (part-time). January start: Shijin Cheruvakkara, Rushil Gaba, Ambika Katta, Shivangi Purohit, Elizabeth Teye.

P228 MA Interior Design

1, 4, 6 Shed Life community workshop. Desgin: Group work by the MA Interior Design students. Render: Dalal Abdullah and Omnia Al Temnah. 2 Dalal Abdullah and Omnia Al Temnah. 3 Photo of the meeting and conversations with the locals. 5 Design by the group of students; axonomentric by Sonia Medina.

P229 MA Interior Design

P230 MA Interior Design

7-10 LFA Bench competition entry by Sonia Nohemy Medina Munoz and Georgette Ivette Wilthew Estefan

P231 MA Interior Design

11-13 LFA Bench competition entry by Siclania Barroso, Maria Gradinar, Atefeh Sargazi. The sound wave of the word care transcribed into a threedimensional form, which became a seating element.

P232 MA Interior Design

14-20 Maria Gradinar. Performative mapping; close observation of the everyday activities taking place on the site. Shell collecting wearable device and printing with shells, as tools for developing a design concept for the proposed shared space.

20 P233 MA Interior Design

P234 MA Interior Design

21-27 Dalal Abdullah and Omnia Al Temnah. Performative experiments mapping human movement with markers attached to custom-made roller skates (21). Mapping of the visual connections (25) - leading to threedimensional sculptural structures that accommodate seating elements and a backdrop for pop-up performances, events and gatherings for the local community.

P235 MA Interior Design

P236 MA Interior Design

28-31 Yesim Yumrutas. Transcribing a set of body-movements with ink and roll, then into a wearable set of elements, and then into a collage and a three dimensional structure, which accomodates an informal cafe and gathering space.

P237 MA Interior Design

32-34 Cherine Shawa and Gozde Tuncbilek 35 Gozde Tuncbilek. Lines connecting key areas of the site are transcribed into a performative device; an association device, through which two people can whisper to one another from afar. Then this is transcribed into a series of design interventions of the shared space outside the Brunel Museum.

P238 MA Interior Design

36, 37, 39 Georgette Wilthew and Sonia Medina. Body movement transcribed into plan, section, lines and a three-dimensional structure, which infomed an on-site design intervention (image 39) and a proposed spatial design for this shared outdoors space (image 43). 38 Georgette Wilthew. Cataloguing Instagram images and documented activities on the site, and transcribing them into an embodied performance on site (image 38b).

P239 MA Interior Design

40-42, 44-46 Sonia Medina. Papier-mache body extension exploring the notion of isolation and connection, transcribed into plaster models and design interventions. 43 Georgette Wilthew and Sonia Medina

P240 MA Interior Design

47-51 Rushil Gaba. Exploring how elements weather, decay and crack, and how time and events leave traces. Embodied performative explorations on the notions of trace and aura.

P241 MA Interior Design

52 Teinane Chibuike Jesse Warekuromo. Patterns emerging from the making and opening up of face masks. 53-54 Mohammad Farahani. Wearable spikes negotiating the issue of social distancing and human connection, translated into a spatial intervention; a sculptural meeting place. 55-56 Siclania Barroso. Analysing the key buildings, demographics and activities of the site and designing spatial interventions that encourage playfulness and interaction. 57-58 Atefeh Sargazi. Body extension exploring distancing and the different senses. Pop-up community mini-library for book sharing and exchange, forming a light-box on the edge of the site.

PhDs

Architecture + Design Dr. Renee Tobe Dr. Heba Elsharkawy Dr. Anna Minton Alan Chandler

Doctoral research in architecture at UEL is as transdisciplinary as the practice of architecture itself. High level impact studies that examine smart cities, and intelligent design with contextual analysis mean that we work with both the Sustainable Research Institute (SRI) and colleagues from Humanities. International experts in city design, moving image, sensory perception, retrofit housing, mental health, cultural studies, natural environment, and philosophy guide students through individually develop research projects. The intent of the doctorate is to produce high quality researchers across the diffrent strands of the built environment, that supports students’ own concerns as well as funded research investigations.

Mission Statement

P243 PhD

PhD by Research An Investigation into the Positive Effects of Interior Design in Care Homes for People Living with Dementia Investigator: Dina Al Qusous Director of Studies: Dr Renee Tobe Second Supervisor: Dr Anastasia Karandinou

Through this thesis, I am examining environments designed for people with dementia. I am looking into how the specific needs and particularities of the dementia patients, as well as the cultural and social context informs the spatial design. Different cultures approach care for elderly residents with dementia in their own methods based on tradition and socioeconomic values. The aim of this thesis is to gain a good understanding of how the pragmatic needs of the dementia patients and the cultural beliefs and conventions relate to specific spatial designs, as well as to develop strategies for designing such place more effectively/ better. The interface between Dementia and Mental Health: In this section of my research, I will be looking at different articles and websites in which investigations of how dementia impacts one’s wellbeing which will allow me to pinpoint the triggers and see how design elements can alter these triggers. The unfortunate fact that there is no treatment discovered to cure dementia or to alter it from progressing does not mean that there are not different ways to improve the quality of life for those who are living with this disease. (There is progress made continuously with new treatments and medicines. And this is something that you should acknowledge maybe. So rather than assuming that there will never be a cure or that the progression of the disease will remain the same in the future, you could acknowledge that the number of patients with dementia is increasing, and science is gradually progressing as well, developing new possible treatments that may alleviate or delay some of the symptoms. Spaces need to be designed with

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that in mind as well and allow for the relevant degree of flexibility.) Modifying one’s environment in order to fit their needs and to adjust it with their lifestyle can help lessen the confusion and distress in their everyday lives. Fortunately, throughout the years, more people are paying attention to designing elderly institutes that are associated for patients with dementia, especially in the UK. Unfortunately, that is not the case for most countries across the world, and especially countries in the Middle East.

P244 PhD

PhD by Research Can community participation rebalance housing land rights? Case of Kinshasa in the Democratic Republic of Congo Investigator: Lukangaka Luke Okende Supervisors: Dr Mihaela Anca Ciupala; Roland F. Karthaus

Like many amongst the African Sub-Saharan cities, Kinshasa the capital city of the Democratic Republic of Congo is confronted to a growing urban deterioration; absence of suitable infrastructures, poor quality of public services facilities and lack of quality housing for largest number of residents. A long period of political instability since the early post-colonial period, prevalent corruption in a context of poor governance and the ambiguous role of traditional chiefdom hierarchies (regarded as the landlords) in the process of urban land acquisitions are identified as keys contextual factors. Nevertheless, an absence of a sustainable urban development strategy, a comprehensive planning model in a city confronted to a fast demographic rate and a decline of socio-economic standard amongst majority of residents over the years, have resulted to an unbalanced dysfunction system which contributed to an urban city development of two independent modes; one side dominated by accumulation of foreign private capital investments while another side by proliferations of informal settlements with a physical manifestation of slums constructions. Contextually, we propose to investigate while looking at a limited intervention adjacent to slums areas in Kingasani and camp Luka with a view to seeing if it can perform well. The essence of this research wishes to test whether community participation can offer an alternative process that can contribute to improving land rights and urban development at the grass-roots level, To fulfil this task we opt for focus groups on minor scale area in Kingasani and camp Luka even that this choice is not fully representative for city of Kinshasa however, it can be extended to big scale with consideration to the particular aspects of each location. Key words: urban lands acquisitions, chiefdom authority, sustainable housing, community participation, urban poverty, slum constructions, private city space, urban planning

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PhD by Research Using Urban Green Systems as an Approach for Future Climate Change Adaptation in London

This PhD research is beneficial for (Mayor of London Plan) to turn London to be the world’s biggest national park by 2050 and Healthy Street Plan plan by Transport for London (TfL) since this research focuses on significant environmental benefits of urban green systems (UGS) as trees, living façade and high albedo materials for mitigating Urban Heat Island effect (UHI) and Carbon Dioxide (CO2) sequestration. The aim of this study is to investigate quantitatively the impact of UGS on climate change adaptation and mitigation in current 2018 and future climate scenarios 2050 and 2080 through determining its influence on UHI and CO2 levels, in addition to reviewing the underlying reasons for UHI effect and how to mitigate it particularly in future climate scenarios. Afterwards, developing and analysing a simulated and basic real prototype urban model to study UHI and CO2 effect mitigation in an urban canyon through different UGS followed by a survey to analyse statistical relationships between pedestrian thermal comfort and social and aesthetical variables as analysing the pedestrian preference of different UGS alternatives.

P245 PhD

Investigator: Hashem Mohamed Hany Hashem Ahmed Taher Supervisors: Dr. Heba Elsharkawy (Director of studies); Prof. Darryl Newport

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University of East London www.uel.ac.uk

Cover image: Cherine Shawa and Gozde Tuncbilek (MA Interior Design)

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Architecture + Design Yearbook 2021

Articles inside

PhD in Architecture + Design

MA Landscape Architecture

MA Interior Design

MA Architecture and Urbanism

Unit 2

MRes

Unit 6

BSc Architecture Design Technology (ADT

Unit H

Unit E

Research & Pedagogy

Unit C

History & Theory

Unit B

Unit A

BSc Architecture Year 1

Introduction

Welcome