Arcsoc Summer Exhibition Catalogue 2013: University of Cambridge

UNIVERSITY OF CAMBRIDGE DEPARTMENT OF ARCHITECTURE

2013

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WELCOME I am often asked to sum up what the Department stands for – to produce a ‘mission statement’. In a nutshell the aim is to sustain a close-knit yet diverse intellectual and creative community that excels in design teaching and research. We have particular strengths, such as: a focus on urban and contextual design across the Department; a reputation for outstanding history and philosophy teaching; and excellence in sustainable building and urban design research. Whilst the Department maintains full professional accreditation (RIBA/ ARB Parts I, II and III), the emphasis of our activities is on intellectual rigour and tectonic exploration.

At a time when the national and international media regularly examine issues pertaining to the nature and habitability of our cities, and buildings which veer between sculptural extravagance and environmental responsibility, there is a great need for serious, committed and imaginative designers and thinkers in the discipline. The high quality of research carried out at Cambridge is the basis on which we maintain a leading position in these debates, always seeking to understand the diversity of possibilities with respect to the profundity and richness of the architectural tradition.

This year’s graduating students have risen to the challenge and produced an astonishing range of projects guided by the expertise of our studio teachers – the Design Fellows. A glimpse of this is visible in this catalogue but the students have created the initiative and effort to once again set up an exhibition and forum in London to display and discuss the school’s work. The exhibition and this catalogue will give you a flavour of the spatial, tectonic and environmental explorations and a hint of the intellectual rigour and academic research that underpins them.

The Department of Architecture Faculty of Architecture and History of Art University of Cambridge 1-5 Scroope Terrace Cambridge CB2 1PX Cover: Frances Williams Inside Cover: Matthew Gregorowski Exhibition: Lucy Norfield, Laurence Neal, Adam Walls Design: Joe Hibbert, Song Yun Eng, Matthew Gregorowski, Joaquin Garcia Calderon, Beth Fisher, Charlotte Leahy Printing: Labute

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Our new RIBA/ARB Part 2 degree has been re-christened as the ‘Masters in Architectural and Urban Design’ (MAUD). With the insightful support of our Visiting Professor Peter Clegg, it is going from strength to strength both in size and ambition, attracting students from across the world to tackle the most pressing themes by applying ‘design research’. This degree is complimented by a more theory focussed ‘Masters in Architectural and Urban Studies’ (MAUS). Our postdoctoral community continues to expand, with numbers exceeding undergraduates, building on our top ranked research.

It is an honour to be the Head of Department at Cambridge, primarily because of the intelligent and entrepreneurial nature of our students, and the outstanding initiatives of our researchers and academic staff.

Last but not least, I thank the creative and inspirational teaching of our Design Fellows: they are responsible for guiding most of what you will see in this catalogue.

Professor Koen Steemers Head of Department

TESTBED1

Y3 S1

Y3 S2

Y3 S3

T/L

Y2

MAUD

Y1

B

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STUDYING ARCHITECTURE Cambridge provides the full range of course to allow students to qualify as an architect. You cannot call yourself an architect in the UK until you have passed the registration exams, a process that usually takes around seven years. Students progress through a three-part scheme laid out by the ARB (Architects’ Registration Board) and RIBA (Royal Institute of British Architects). The Cambridge Undergraduate degree (Bachelors) confers exemption from the ARB/RIBA Part 1 examinations, after which students usually spend a year working as an architectural assistant before proceeding on to a Part 2 course such as our Masters in Architecture and Urban Design (MPhil). After a further year of work students can proceed to a Part 3 course, such as our Postgraduate Certificate in Professional Practice in Architecture. It is therefore possible to complete all your architectural qualifications in Cambridge. The following pages give an overview of our courses as they have run in the 2012-13 academic year, together with information about how to apply. It is worth noting that all our courses are updated regularly, and the most up-to-date details can be found on our website (http://www.arct.cam.ac.uk).

The three-year BA (Hons) undergraduate course in architecture at Cambridge carries exemption from ARB/ RIBA Part 1 which is the first stage in qualifying as an architect. This means that the course differs from most others at Cambridge in that it must be studied as three continuous years. It is not possible to study another course first and then switch to architecture without starting again at the beginning. The benefits of studying at Cambridge are obvious. The University is one of the best in the world, the beautiful surroundings house outstanding libraries and teaching is traditionally done in small groups called supervisions. Moreover every student at Cambridge must be a member of a college which in turn provides a living environment and the chance to make friends with students studying other subjects.

The architecture course at Cambridge is unashamedly academic in its approach. Like other architecture schools elsewhere the core of the teaching is carried out in studios. Projects are set throughout the year and students are required to produce models and drawings to communicate their design ideas. The department provides studio desk space together with workshop and computer facilities. Students are supervised on their projects individually, twice a week typically. Studio work is time-consuming and architecture probably requires more hours per week than any other course in the University. Studio work however accounts for 60% of the overall marks each year. The remaining 40% is made up from lecture courses that cover the rest of the academic curriculum. Students attend small group supervisions on these courses and are required to complete essays and coursework.

Students are expected to master the technical subjects but they are also expected to acquire a much deeper understanding of architectural theory and history than is generally required in other schools. As a whole the course aims to foster the skills that will enable an individual to continue to learn and develop throughout his or her future career.

Full information about the undergraduate admissions process can be found on the University’s undergraduate admissions website at http://www.cam.ac.uk/admissions/undergraduate/.

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YEAR 1 The first year of the architecture course provides an important introduction to the course as a whole. The year ends with an examination for Part IA of the Architecture Tripos after which students can opt to move to other courses within the University. This is rare, however: most architecture students stay for all three years.

LECTURES AND WRITTEN PAPERS

STUDIO

Paper 1: Introduction to architectural history, pre-1800 Paper 2: Introduction to architectural theory, from 1800 to present day Paper 3: Fundamental principles of construction Paper 4: Fundamental principles of structural design Paper 5: Fundamental principles of environmental design

Studio work is based on a series of projects that progressively introduce the student to the conditions and possibilities of architecture. These typically start with smaller-scale, more abstract exercises and work up to a more complex building project at the end of the year.

The emphasis is on understanding and developing proficiency in traditional modes of architectural representation – models, collages, perspectives, elevations, plans and sections. At the same time students are expected to master basic CAD skills like Photoshop and InDesign and to use these in their studio presentations. Students are expected to develop skills in judging architecture and learn how to present their ideas to an audience through presentations to their peers and visiting critics.

Studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. The portfolio carries 60% of the overall marks FIELD TRIP The first year travels abroad on a compulsory trip for 5 days in the Easter holidays to a European city (past trips have included Rome and Naples). This trip involves visits and lectures on the famous buildings of the chosen city and its surroundings. The resulting sketchbook is part of the portfolio submission at the end of the year. The costs of the trip are covered by funds from faculties and colleges.

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There are five papers in the end-of-year examinations:

The first-year architectural history course covers the history of architecture from the beginning of civilisation to the nineteenth century. Architectural theory provides an introduction to the development of architectural theory from the nineteenth century to the present day.

Through a series of site visits, lectures and coursework, first-year building construction aims to introduce students to the building site and a basic understanding of building materials.

Coursework includes a small design project integrated within the studio programme.

Structural design introduces students to basic structural calculations. Exercises are set on building and testing structures to destruction. Environmental design sets out bioclimatic design principles and includes the calculation of lighting factors, fabric heat losses and reverberation times within a basic introduction to building physics. Coursework enables students to begin to test the environmental performance of their own design projects.

All papers carry equal marks and are taught through lecture courses through the first two terms of the year.

Students are also given supervisions – typically by their Director of Studies – for which they are expected to produce essays and carry out basic reading.

TUTORS

Y1

Julika Gittner Mark Breeze Tom Ebdon Mark Smith February Phillips

STUDENTS

Ann Oduwaye Enrico Brondelli di Brondello Charlotte Leahy Abi Johnson Emily Bacharach James Green Michael Gozo Humza Hamid Naliyawala Zoe Panayi Beth Fisher Alice Housset Val Tongo Grace Taylor Sam Clayton Janine Delacruz Caroline Mcarthur Priti Mohandas Zeid Ghawi Sophie Mcilwaine Myran Lynch Bathgate Andreas Gorm Potoppidan Mullertz Hannah Benton Kate Altmann Alexander Baker Rebecca Woodward James Powell Susie Cox Awut Atak June Tong Tanya Basi

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JOIN

East Chesterton, Cambridge Suraj Makwana Daisy Zhai Bethany Kremer Yeatman Kate Shipley Kiri Koumi Onusa Charuwana Sarah Maclean Rukmini Raghu Becca Hazzard Annie Hutchinson Ella Clarke Aska Welfod Ania Podlaszewska Harry Turner

Year One is going to investigate the architectural nature of physical, social and cultural attachments. An attachment can be a simple tie that connects one thing to another but it can also be a complex set of cultural and emotional relations that link people firmly to places, objects or behaviours. We will begin to develop an understanding of the relationship between the whole and its parts by exploring how attachments are used in architecture from the scale of nuts and bolts securing one piece of material to another to the addition of volumes to a structure or to the city. We will investigate the role of emotional and cultural attachments in the creation of places for human inhabitation and apply our findings to the design process. Exploiting the additive nature of attachments we will discover how things and spaces can be reconfigured into different shapes, new uses or unexpected meanings. This will allow us to question and challenge the conventions of physical and social constructions.

BACK TO SCHOOL The teaching of architecture is an ancient craft, master builders, masons, carpenters and other craftspeople have passed on their knowledge about the art of building to their apprentices over the centuries. However, the study of architecture as an academic subject is a much more recent phenomenon and in this project you will begin to explore what makes a good building to study and teach architecture in. Using your collective investigations from the first project you will identify an area in the department that is in need of expansion and re-organisation and develop a premise for your project. You will design an extension that will provide room for the particular activities defined in your brief. The careful placement and integration of your addition into the existing structure will positively impact on the current set-up of the department as a whole.

THE PUBLIC HOUSE The project aims to provide a communal space for the local area on the site of the Penny Ferry Pub in Chesterton. You will base your design on a careful investigation of the existing social, cultural and physical conditions on and around the site. Your proposal will combine re- use and re-configuration the current buildings on the site with new interventions.

You will redefine the nature and purpose of the Public House and design a space for public use that can host your proposed activities. You will also design a small residential dwelling attached to the public space.

THE UNFOLDED DEPARTMENT

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EXTEND

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3 Activate the Gallery Space : Warm. Busy. Dynamic.

[Sketch people done with June Tong]

The Extension in Context

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1. Zoe Panayi 2. Rukmini Raghu 3. Susie Cox 4. Daisy Zhai 5. Becca Hazzard

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James Green

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3 WARPING

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1. Abi Johnson 2. Aska Welford

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3. Myran Lynch-Bathgate 4. Enrico Brondelli di Brondello 5. Kate Altmann

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1. Onusa Charuwana 2. James Green 3. Caroline McArthur 4. Hannah Benton 5. Beth Fisher

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6. Kate Shipley 7. Janine Dela Cruz 8. James Powell

FINAL PROPOSAL

View across from the common, ‘open’ state.

The previous iteration was functional but didn’t hold my main concept of pub and theatre. Therefore this design incorporates them once more, returning to a similar form of my first iteration.

The outer form also begins to resemble this, with the doors having a more integral function of closing off and opening areas.

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1. Suraj Makwana 2. Charlotte Leahy

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3. Sam Clayton 4. Annie Hutchinson

1:50 SECTIONAL PERSPECTIVE FROM THE EAST

NAPLES FIELD TRIP Above. Student sketches and watercolours Opposite. The field trip in progress 22

YEAR 2 The second year of the architecture course builds on the first. The year ends with an examination for Part IB of the Architecture Tripos. This year is much more challenging than the first year and students are expected to have developed ways of working that allow them to keep up with the pace.

STUDIO Depending on numbers, the second year offers a choice of three studios following comparable design programmes. Projects are set ranging in scale from mapping studies and interior interventions to a reasonable-sized building at the end of the year. The emphasis is on integrating the technical skills learnt in the first year and in the ongoing lecture courses within the studio output. Students are expected to demonstrate a greater awareness of social issues and theoretical frameworks and greater understanding of how their designs would be built. They are expected to be able to use a proper CAD package such as Rhino, Vectorworks or MicroStation to produce drawings and to have developed the ability to criticise their own work and that of others. As in the first year, studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. Similarly the portfolio carries 60% of the overall marks LECTURES AND WRITTEN PAPERS There are five papers in the end-of-year examinations: Paper 1: Essays on the history and theory of architecture, urbanism and design Paper 2: The history and theory of architecture, urbanism and design Paper 3: Principles of construction Paper 4: Principles of structural design Paper 5: Principles of environmental design

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The second-year architectural history course draws on the specialist knowledge of researchers in the Faculty and invited lecturers. A number of topics are covered in more depth, ranging from The Culture of Images: Urban Cinematics to Interrogating Architectural Discourse. Architectural theory is similarly based on the research of those within the Faculty. Core courses in Planning and Urban Design and Theories in 20th Century Architecture are supplemented by four other lecture courses in related topics. Second-year students must submit two History/Theory essays during the year. These essays address topics related to the core Theory lecture courses and help prepare students for the dissertation they will complete in the third year.

Second-year building construction works systematically through the range of options available to the modern architect. The first term looks at interiors and the second focuses on the design of structural elements and the building envelope. Structural design introduces students to more complex decision-making issues in structural design including the design of steel and concrete structures, while Environmental design builds on the first year by looking at how the techniques learned can be applied to particular building types and situations. Construction, Structures and Environment coursework based on studio work is submitted as part of the portfolio at the end of the year.

As in the first year, all papers carry equal marks and together count for 40% of the final mark. Subjects are taught through lecture courses. Students will typically have a lecture on each subject each week during the first two terms of the year. Students are also given supervisions â&#x20AC;&#x201C; typically by subject lecturers â&#x20AC;&#x201C; for which they are expected to produce essays and carry out basic preparation.

Y2 S1 TUTORS

Dingle Price Miraj Ahmed

STUDENTS

Mary Jet Anderson Livia Wang Elly Beaumont Max Gelibter Joshua Brookes Joe Bungey Adrian Lau Mikhaik Grechishkin Stavros Skordis Wong Yu Feng Priscilla Joseph Bo Yun Jung Sophie Grabiner

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THE ART OF SPORT

Fulham Palace Sports Centre

Studio 1 explored the narrative potential between the physical and cultural where the space of sport is also the space of cultural exchange and community cohesion. The students interrogated the structural principles and community usage of architectural precedents relevant to both the large span typology, and to the cultural potential of the brief.

As a studio, we were interested in developing the project from the inside out. The design process was begun by thinking about the internal volume of the sports hall in terms of structure, space, material and light.

The surrounding park and community context proved critical in informing the various events that could be supported by the hall and what additional spaces would be required to support the main volume. The siting of the hall within its park setting was a key challenge as students had the potential to transform the surrounding areas and make connections beyond the parkâ&#x20AC;&#x2122;s perimeter. The sports hall would ideally possess a dignified civic presence and become an object of community pride.

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1. Priscilla Joseph 2. Livia Wang

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3. Elly Beaumont 4. Joe Bungey

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Max Gelibter

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1. Mary Anderson 2. Adrian Lau 3. Mikhail Grechishkin

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1. Stavros Skordis 2. Elly Beaumont

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3. Max Gelibter 4. Mary Anderson 5. Joe Bungey

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1. Adrian Lau 2. Priscilla Joseph 3. Livia Wang 4. Joe Bungey

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5. Mikhail Grechishkin 6. Joshua Brookes

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1. Livia Wang 2. Joe Bungey

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3. Sophie Grabiner 4. Elly Beaumont 5. Bo Yun Jung 6. Yu Feng Wong

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EATING LONDON

Fulham Palace Market, Restaurant & Cookery School

TUTORS

Pippa Nissen Mary Ann Steane

STUDENTS

Joaquin Garcia Calderon Bronya Meredith Jolanda Devalle Claire Elford Alexei Hartley Thomas Hewitt Karya Imirzalioglu Fiona Johnson Oliver Juggins Tom Norris Natasha Nussbaum Saar-Rah Chowdhury Elisabeth Schneider

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Pippa Nissen and Mary Ann Steane supervised the design of a building that combined the functions of a market, a restaurant and a cookery school with the aim of creating a place that explored the potential relationships between people, architecture and the grown environment. There was also capacity for additional functions that suited one’s particular response to the core brief. Each element of the brief could be given a different prominence in the scheme, and flexible solutions were important for addressing a diverse set of requirements.

Students were encouraged to engage with the wider issues relating to food in contemporary society; think about the building’s role in relation to Fulham’s community; and, in particular, consider how the project deals with the ground through landscaping interventions.

Following the investigation of a range of growing and dining traditions and cultures, and a review of the lessons and opportunities of a range of historic and contemporary market buildings/places, the aim was to develop a sequence of interconnected spaces that supported the new enthusiasm for local food production and its potential to stimulate political debate.

How the activities of researching, cooking, eating and selling food were mapped onto the site became a focus to which the students gave particular attention through drawings and models at a range of scales. Students were given the opportunity to focus more on either the market or dining end of the brief, but either way were able to develop ideas for a teaching and research institution in league with the surrounding gardens and streets. Via a recognition of boundaries and connections, students had to communicate not only the new microclimates orchestrated by the project but the new network of events and relationships that arised.

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1. Joaquin Garcia Calderon 2. Ben Breheny

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3. Alexei Hartley 4. Thomas Hewitt 5. Bronya Meredith 6. Jolanda Devalle

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1. Joaquin Garcia Calderon 2. Fiona Johnson

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3. Jolanda Devalle 4. Karya Imirzalioglu

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1. Oliver Juggins 2. Alexei Hartley 3. Ben Breheny

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4. Natasha Nussbaum 5. Jolanda Devalle 6. Saar-Rah Chowdhury

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1. Oliver Juggins 2. Claire Elford 3. Tom Norris 4. Joaquin Garcia Calderon 5. Ben Breheny

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6. Karya Imirzalioglu 7. Elisabeth Schneider 8. Thomas Hewitt

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1. Natasha Nussbaum 2. Joaquin Garcia Calderon 3. Fiona Johnson

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4. Jolanda Devalle 5. Claire Elford 6. Bronya Meredith 7. Elisabeth Schneider

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Y2 S3

LANDINGS AND CROSSINGS Fulham Palace Arts Centre

TUTORS

Bobby Open Stephen Smith

STUDENTS

Katie Adnams Mark Davison Dawn Lisette Kanter Katrina Duncan Jazz Austin Alex Kong Ines Li-Wearing Luisa Respondek Daniel Marshall Katherine Tynan Rosa Johan Uddoh Nicola Watkins Elspeth Webster Alison Whiting Chloris Yu

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For the main project, the studio designed an arts centre, including permanent and temporary exhibition spaces and galleries, flexible space for the creation of art by members of the public, along with reception and associated public gathering and private work spaces. Students were encouraged to develop ideas about the curation of the galleries: the potential programme of exhibitions included an expansion of Fulham Palace’s existing museum; exhibitions of the work of local and emerging artists; higher profile touring exhibitions; wedding and arts fairs; and connections with other institutions or establishments. Students also considered plans to host exhibitions of the Cecil French bequest of Pre- Raphaelite paintings, most of which are currently in storage at Leighton House Art Gallery and Museum in Kensington.

A key issue was the placement of the building within the park setting, and the way in which the arts centre interacted with the existing buildings and landscape. They selected one site from three alternatives: the “wilderness site”; the walled garden; or the Palace moat corner (currently the Palace nursery and family centre). The sites varied in character, with the wilderness site occupying a position between the bustle of the high street and the pleasingly haphazard allotments; the walled garden presenting a tranquil garden enclosure at the heart of the park; and the moat corner site relating directly to the activity of the children’s playground, park pavilion and Palace entrance.

The core of the arts centre brief was 3-5 gallery spaces, for a mixture of permanent and temporary exhibition. The scale and character of these spaces varied to enable the display of different kinds of work.

Complementary external display spaces enabled a transition from the interior world of the gallery to the exterior world of the park. The movement of people and art was carefully considered, including entrance and reception spaces, a shop, and vertical circulation for both people and works of art. Alongside the core component of the gallery spaces, there was be a cafe and a ‘family room’: a multi-purpose public space for teaching programmes, workshops, classes, and family events. Engaging with the community undoubtedly formed a key aspect of the centre.

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1. Ellie Webster 2. Ines Li Wearing 3. Katie Adnams

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4. Daniel Marshall 5. Katherine Tynan 6. Katrina Duncan

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1. Nicola Watkins 2. Dawn Kanter 3. Chloris Yang 4. Ines Li Wearing

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5. Ellie Webster 6. Luisa Respondek 7. Daniel Marshall

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1. Ellie Webster 2. Katie Adnams 3. Daniel Marshall

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4. Jazz Austin 5. Chloris Yang 6. Rosa Johan Uddoh

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1. Ali Whiting 2. Ines Li Wearing 3. Katherine Tynan

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4. Nicola Watkins 5. Mark Davison 6. Katrina Duncan

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1. Ines Li Wearing 2. Katie Adnams 3. Alex Kong

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4. Katie Adnams 5. Katherine Tynan 6. Rosa Johan Uddoh

Y2 DESIGN CHARRETTE

DEPARTMENT OF ARCHITECTURE Led by Spencer de Grey

There are currently discussions being held on the possibility of creating more space at the Department of Architecture. The crit space is inadequate because it is shared with the lecture room, the lecture room could be somewhat bigger, the pit downstares could be better used, there is not enough good quality social space and there is little exhibition space.

How could the Department act better as an entity, integrating undergraduate, postgraduate and research work to create a dynamic centre for architecture, urban design and sustainabilty?

Physically, how does the new undergraduate studio relate to the spaces occupied by the postgraduate researchers. There is also a need for more support spaces like workshops and there is always demand for more storage, especially for models.

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PORTO FIELD TRIP Above. Student sketches and watercolours Opposite. The field trip in progress 64

YEAR 3 The third year of the architecture course is the culmination of the course. The year ends with an examination for Part II of the Architecture Tripos leading to a BA (Hons) degree and Part 1 ARB/RIBA. Students in the third year are expected to be able to demonstrate that they have mastered all the various aspects of the course so far.

STUDIO Students are given a choice of studios in their third year. Third-year studios will vary in their approach but all will require the students to produce a design for a building at the end of the year which may be sizeable and clearly demonstrates an understanding of the theoretical and technical aspects of architecture.

Students are expected to demonstrate a high level of technical competence and be able to model their building in CAD. As in the second year, studio days are timetabled twice a week throughout the year and at the end of the year students present their completed portfolios for marking. The portfolio again carries 60% of the overall marks.

DISSERTATION Students are required to write a 7,000-9,000 word dissertation in their third year. The choice of subjects is wide and limited principally by the availability of a supervisor who is competent in the particular topic.

Recent dissertations have focused on subjects raised in the different lecture courses: in the lectures on environment, structures and construction as well as in the history and theory lectures, and on issues that have emerged from work in the studios.

LECTURES AND WRITTEN PAPERS Paper 1: Advanced studies in historical and theoretical aspects of architecture and urbanism Paper 2: Management, Practice and Law Paper 3: Advanced studies in construction technology, structural analysis and environmental design related to case-studies Paper 4: Architectural Engineering

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The third-year architectural history and theory course offers a wide range of specialist topics. Students are generally expected to attend all the lectures but only have to answer questions on three topics in the exam. In the third year there are three technical courses which are each one term long. The first of these courses is on aspects of professional practice. A joint structures, environment and construction course is based on case study buildings. Students are taken to visit two buildings during Lent term and lectures are given by members of the design teams working on these buildings. Students are required to keep a Case Study Notebook through the term which counts towards the marks for the examination. In the third year the papers carry 20% of the overall mark. In addition to the weekly lectures students are also given supervisions – typically by the subject lecturers – for which they are expected to produce essays and carry out basic preparation.

A joint course with the Engineering Department takes place in the Michaelmas term, Architectural Engineering, which is wholly marked on coursework. Students work back and forth between design and analysis, a reciprocity which reinforces the relationships between subjective (‘design’) criteria and objective (‘technical’) criteria, in order to encourage designs that are robust, plausible and elegant.

Y3 S1 TUTORS

Nikolai Delvendahl Eric Martin

STUDENTS

William Haynes Eva Johnson Max Martin Alisa Matjuka Laurence Neal Lucy Norfield Lara Orska Araminta Sainsbury Sofia Singler Steve Sze Oliver Young Song Yun

VISITING CRITICS Diane Haigh Adam Peavoy Michael Pike Peter Clegg Chris Bearman Spencer de Grey Koen Steemers Deborah Howard Felipe Hernandez Mark Breeze Antony Rifkin Anita Bakshi

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NOTIONS OF PLACE Urban Interventions in Stratford Island, London

With the Olympic and Paralympic games over, East London is now left with the huge task of turning all the ambitious plans for the integration of the facilities and infrastructure created for the events into a reality.

Stratford is an example of an Olympic fringe with existing social and built environments that are significantly more consolidated. Even though they have been affected by the recent changes and some of them are in a state of transition, their future development is far more intricate. Located to the East of the Olympic Park and Stratford Station, lies what is considered to be the historic and civic heart of Stratford, the ‘Old Town’. It developed as a result of a gradual concentration of industrial areas mainly based on rail infrastructure, and the need to accommodate the demands of the accompanying growing population. What can be found today is a loose array of some of the archetypical elements that usually constitute a town centre, such as the parish church, the broadway and the town hall, but that like many others have been engulfed and distorted by the traffic engineer-led optimism of the 60’s and 70’s city planning. After the introduction of a gyratory system and a Shopping Centre, the area was significantly cut-off from its surroundings creating what is commonly known as Stratford Island.

A more accurate analogy is that of an archipelago, where one has to leap frog between traffic islands and negotiate multi-lane roads in order to reach a destination that would otherwise be within a few meters reach.

Some of the recent interventions forming part of the ongoing regeneration of the area have attenuated the problem, but there is plenty still to be done in order to achieve a true sense of cohesion.

As a means to understand the existing conditions and outline possible solutions, the first term was spent carrying out a series of exercises of gradual intervention that were subsequently used as tools for the exploration and communication of ideas. These investigations helped to identify a number of urban strategies to improve the area, making an emphasis on themes such as readability, urban scale, ease of navigation, identity, permeable thresholds, linkages, etc. The result was 6 diverse master plans that sought to improve Stratford’s retail, civic and public space identities. With a overarching vision for Stratford in mind, students identified a key focus building that could catalyse the master planning efforts. The specific projects that evolved were developed by exploring certain aspects of the buildings in detail using the same techniques and themes applied at urban level. From reinvented civic centres to infilling a 60s office block with leisure and sports activities, what emerged was a diverse offering of new programs with the potential to bring much needed transformation and renewed energy into the heart of Stratford.

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MASTERPLANNING STRATFORD 1.Stratford as it exists today. 2.Given the new developments surrounding

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Stratford (the Olympic Park andWestfields) it is now crucial that the area as a place is reinforced so it does not become overshadowed by its new neighbours. Currently Stratford Island is difficult to navigate and split into disjointed clumps, however, it does have a bustling atmosphere which combines a high proportion of young people and typical east London street markets. The masterplan ties Stratford together into one cohesive whole with a very carefully positioned main axis, Market Street, and a new formal centre, Stratford Square. Market Street lies between the two primary pedestrian routes off the Island and shifts the focus of it northwards to better include the activities of the Cultural Quarter. Market Street also brings all street vendors into one place to celebrate their current contribution to the place. Stratford Square, which is buried in the Island and also part of the journey along the Broadway, gives the area a new authority. - YOUNG & SINGLER

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3.The first and primary purpose of the master-plan is to reinvigorate the town and Stratford as the civic centre of the borough of Newham. The second intention as identified in the collage on the previous page is to create a new route from Stratford station to the Stratford Broadway identified by landmark buildings using where possible existing buildings such as the Town-hall and large office block known as Morgan House. The approach established in the master-plan is to make these changes with minimal disruption to the existing urban fabric of Stratford. - ENG & NEAL 4.Designed in reaction to Stratford Islandâ&#x20AC;&#x2122;s impermeability, we aimed to create a navigable network of key routes, zones and identifiable public spaces that would help to enliven the area and encourage movement into the heart of Stratford. We intended to build on the existing fabric of the area, drawing attention to the cultural quarter and the civic heart, whilst integrating a new centre of commerce to help bring much needed job opportunities to Stratford Island. - SZE & NORFIELD

WILLIAM HAYNES A Musical Centre for Stratford

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MAX MARTIN A Parasite of Joy

LAURENCE NEAL Community Housing for MPs and Local Families

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LARA ORSKA The Arcade of Evolution

LUCY NORFIELD A Civic Centre for Stratford

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ARAMINTA SAINSBURY Art Centre

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SOFIA SINGLER Stratford Corner: An Intergenerational Day Centre

STEVE SZE Crystallizing Stratford

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OLIVER YOUNG Stratford Educational Centre

SONG YUN The Creative Home of Stratford

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TUTORS

Karin Templin Peter Karl Becher

STUDENTS

Yoanne Chan Felix Faire Sam Green Matthew Gregorowski Thomas Hamilton Rebecca Howe Chloe Spiby Loh James Rogers Sohanna Srinivasan Fiona Stewart Sonia Tong Frances Williams Emma Woodward

VISITING CRITICS Alfredo Caraballo Alex Ely Ashley Munday Robert Rhodes Doug McIntosh Ana Araujo

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Y3 S2

HOUSING AS CITY MAKING A Mansion Block in Vauxhall, London

Of all the traditional housing typologies, the apartment block can be considered to be the most urbane, providing high density residential accommodation as well as internal and external communal spaces. The mansion block, in particular, provides an early model of this typology which addresses both an increase in density and the role of mass housing in city making. As a studio we spent the first term asking the question â&#x20AC;&#x153;What is a Mansion Block?â&#x20AC;&#x2122;, exploring in detail a wide range of precedents. This period of research helped us to understand and re-asses the mansion block typology as relevant in the making of a contemporary city.

All our projects emphasise the importance of rigorous urban strategies and detailed facade design in making exciting and livable public and communal spaces.

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EUROPEAN PRECEDENTS 1.Palazzo Davanzati 2.Palazzo dei Medici-Riccardi 3.Palazzo Rucellai 4.Palazzo Strozzi 5.Hotel de Sens 6.Hotel de Sully 7.Hotel de Beauvais 8.Hotel Amelot de Gournay 9.Blvd de Sebastopol 4 10.Blvd de Sebastopol 72 11.Rue Franklin 25 12.Majolica House 13. Casa Mila

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LONDON PRECEDENTS 1.Albert Hall Mansions 2.Albert Court Mansions 3.Alexandra Court 4.St. George’s Terrace 5.Ashley Gardens 6.Marlborough Chambers 7.St. James’ Place 8.Model Housing for Families 9.Peabody Square 10.Boundary Street Estate 11.Millbank Estate 12.Page Street Housing 13. Charles Rowan Police House

YOANNE CHAN Proximity as Urban Living

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FELIX FAIRE Wyvil Gardens

SAM GREEN Vauxhall Mansions: A Typological Exploration

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MATTHEW GREGOROWSKI Distinct States of Being: The Two Worlds of Vauxhall Mansions

CHLOE SPIBY LOH A Contemporary Mansion Block for Vauxhall 92

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1:100 Block Elevation

TOM HAMILTON Vauxhall Mansion Blocks

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JAMES ROGERS The Mansion Block and Garden Courtyard

SOHANNA SRINIVASAN Two Mansion Blocks for Vauxhall

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FIONA STEWART A Series of Mansion Blocks in Brick

SONIA TONG Community Housing for MPs and Local Families

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EMMA WOODWARD Vauxhall Court

FRANCES WILLIAMS Housing as City Making - Courtyard Housing 100

Y3 S3

INFRASTRUCTURE & INHABITATION Ambleside, Cumbria

Studio 3 are are interested in exploring the underlying potentials of working in the periphery, away from the city in less charted territory. We will explore the potential for making architecture that challenges the usual constraints associated with working within a social– political framework driven by traditionalism. We will seek to make contemporary architecture that relates to its place and at the same time addresses a wider cultural discourse.

TUTORS

Jonathan Hendry Mark Tuff

STUDENTS

Naomi Black Zahra Haider Sebastian Harrison Joe Hibbert Liusaidh Macdonald Dominic Murray-Vaughan Andrew Percival Nimesha Paranagamage Rachel Roberts Heather Rouse Adam Walls William Woodhead

VISITING CRITICS Jamie Fobert David Grandorge Spencer de Grey Tony Swannell

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LANDSCAPE INFRASTRUCTURE We will investigate cultural and historical ways of making, in relation to existing landscape infrastructure and field patterns. Having learnt from the past, we will begin to make propositions for a new Enclosure to the ruin; a piece of landscape infrastructure. Proposals will make a strong connection to their surroundings, deal with the issue of accessibility and reduce the existing impact the movement of people has on this historical site.

OUTPOST We will then consider the first piece of building upon this infrastructure that tests its suitability for supporting development - an Outpost. The form, location, scale and material idea for this Outpost will be dictated by the possibilities the Landscape Infrastructure provides.

SETTLEMENT AND INHABITATION We will develop ideas for a Hostel that sits within, adjacent to the Landscape Infrastructure. Issues of placemaking, prospect, shelter and access that students have learnt from Project 1 will be explored more fully.

Students will explore the interelationship between their infrastructure, new development and the existing landscape and urban fabric.

We will consider what models might be of interest and use to us; farmstead, college, monastery. We will investigate these through research to develop practical, atmospheric and programmatic understandings and this work will feed into the design proposals for the Hostel.

We will explore the issues surrounding collective living; mutual support and a sharing of resources; the need for privacy and retreat, opportunities for coming together and social engagement. Temporary living suggests the need for a deep understanding of comfort and security - how to feel ‘at home’ when the inhabitant is away.

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The barn is built into the landscape, sculpting the earth to allow access on both levels.

Rock outcrops from ice age glacial movement embedded in the earth around the barn provide a loose enclosure. A set of informal steps are quarried into the rock between it and the wall, mitigating the change in level.

The thick walls provide structure and a comfortable environment inside the barn in this rugged landscape.

SITE REGISTER Spending three days exploring the site and its surroundings in great depth the studio looked closely, considered its characteristics and found ways of recording and interpreting them so that they communicate their intrinsic qualities. Divided into pairs to survey and document the different elements of the site looking at Boranâ&#x20AC;&#x2122;s Field, Galava Fort, the field wall, Bank Barn, Boranâ&#x20AC;&#x2122;s Park and Waterhead jettys. This measured and qualitative study aimed to get underneath the skin of the place and look beyond the obvious, whilst providing the necessary information to start to Solid / Void make the first moves on the site.

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Cut through plans

1 Boundary wall reinstated 2 Western wall thickened 3 Space made within the fabric of the wall 4 Exterior moulds to shapes of interior 5 Sheet pile wall is manipulated to accomodate creation of hostel

Development of roof shape

Interior implications of pitch

The pitched roof of the scheme is a first in rammed earth development - flat roofs usually being designed because the rammed earth is so good under compressive force. The need for a shifting pitch on this development, however, creates interesting implications for the interior of the upper floor of the project. Vaulted rooms become necessary to retain the mass of earth situated above it. This presents an opportunity to enrich the project by diversifying materially, coincidentally.

Thickening the wall 1:500 Axonometric of hostel with bar entrance Conceptual sketches Interior spatial implications

NAOMI BLACK Hostel In The Wall

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ZAHRA HAIDER Site of Conservation, Ecology and Education

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RACHAEL ROBERTS Internalising the Landscape

JOE HIBBERT Domestic Enclosure 110

HEATHER ROUSE Reinterpreting the Layers of History

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LIUSAIDH MACDONALD Jerry Hostel

DOMINIC MURRAY- VAUGHN Layered Abstraction - A Room for the Ruins

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ANDREW PERCIVAL The Boran’s Country House

ADAM WALLS Lakeland Pilgrimage Route: A Formalised Encampment

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WILLIAM WOODHEAD Inhabited Wall

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Y3 DESIGN CHARRETTE

AFTER THE FLOOD

Led by Spencer de Grey & Ed Garrod

THE GREAT FLOOD OF 2018 On January 3rd 2018 Cambridge was hit by catastrophic floods. Unprecedented rainfall during 2017 left the ground saturated. 48 hours of torrential rain saw the banks of the River Cam and its tributaries breached as flood defences were subjected to flows beyond their design capacity. At its peak the river swelled well beyond its 1947 record, causing extensive damage to properties within and along the floodplain.

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The costs of repairs were so high that it was time to question the viability of much of this building stock. The insurance industry, after years of repeated flood damage claims, has refused to allow existing uses to be reinstated as-of-right. Each building affected needed to justify continued occupation of its site.

SITE SELECTION Itâ&#x20AC;&#x2122;s January 25th 2018. In teams of 3-4 you are tasked with identifying a site (or sites), with their buildings, that suffered major damage in the Great Flood.

DESIGN PROPOSAL Your challenge is to propose interventions in locations where you believe the current use cannot or should not be reinstated after the flood. It should provide a meaningful response to the challenges of sustainability at a local and a global scale

1. Joe Hibbert, Lara Orska & Fiona Stewart 2. Matthew Gregorowski, Sohanna Srinivasan, Emma Woodward & Chloe Spiby Loh 3. Sam Green, Sonia Tong & William Haynes 118

Y3 DISSERTATION TITLES NAOMI BLACK

REBECCA HOWE

NIMESHA PARANAGAMAGE

SONIA TONG

Colour and Theatre in Rome

Skywalks & Skycourts: Vertical Urbanism in the Skyscraper

The Social Impact of Secondary School Design

Intangible Links: Venice and New Babylon

EVA JOHNSON

ANDREW PERCIVAL

ADAM WALLS

Stratford: An Adaptive City?

Concepts of High-Rise Architecture: Skyscraper Design from Chicago and New York

Music Aided Design: The Foundations of Spatial Music

CHLOE SPIBY LOH

RACHAEL ROBERTS

The Lightscape of Late 19th Century Dublin and its Role in the Narratives of Joyce’s ‘Araby’ and ‘The Dead’

Aldo Rossi’s Theatre of the Uncanny

FRANCES WILLIAMS

SAM GREEN

LIUSAIDH MACDONALD

Sense and Situation: The Influence of Phenomenology on the Written and Built Works of Peter Zumthor

Added Value of Quality Design: Questioning the Success of the Mantra as Advice for Architects

Sir Christopher Wren and the Design of Lincoln Cathedral Library

JAMES ROGERS

WILLIAM WOODHEAD

MATTHEW GREGOROWSKI

MAX MARTIN

Camillo Sitte’s Artistic Principles: A Reaction to the Engineer’s Approach

On Continuity and Incompleteness: Astley Castle and the possibilities of incremental architecture

‘Progress is Filth’: Hygiene, Ritual and Social Reform in David Urquhart’s Victorian Turkish Bath

City Cycling: Catching Up With Copenhagen

HEATHER ROUSE

EMMA WOODWARD

Sensory Impairments in Building Design

Breaking Up Detroit : Exploring Self-Sufficient Communities in a Shrinking City

YOANNE CHAN Dense City: Compact Homes

FELIX FAIRE

WILLIAM HAYNES

Past, Present and Future of the Cambridge Station Area

ARAMINTA SAINSBURY

DOMINIC MURRAY-VAUGHAN

Monastic Conversions and the Reinvention of the House in Sixteenth Century England

OLLIE YOUNG

Kunsthaus and Kolumba: Two Art Museums by Peter Zumthor

SOFIA SINGLER

SONG YUN

LAURENCE NEAL

Enquiry and Equilibrium: Alvar Aalto’s Unrealised Funerary Architecture

Examining the ‘Art City’ in the Context of the Cultural Regeneration of the NDSM Wharf

The London Velodrome, Hopkins Architects

Morals in Domestic Space: the Development of the Asylum

SOHANNA SRINIVASAN

SEBASTIAN HARRISON

LUCY NORFIELD

Modern Architecture in Post-Colonial India: Colonial Ambitions, Independence and The West

The Indian Stepwell: a 21st Century Conservation Paradigm

The Re-Use of Shipping Containers as Buildings

JOE HIBBERT

The Architectural Photograph with Helene Binet: Evaluating the Process of Abstraction

What is the Potential of Roundwood Timber in Sustainable Construction Today?

ZAHRA HAIDER Community and Community Gardening: Dalston Eastern Curve Eco Garden

TOM HAMILTON

Repetition and Mediocrity; Criticisms of the Recent Work of Renzo Piano

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ALISA MATJUKA

From ‘Urban utopia’ to ‘Housing hell’: Lessons for Social Housing from the Heygate Estate, London

LARA ORSKA

FIONA STEWART Robert Owen’s Utopias: Origins and Influences

STEVE SZE Exploring the Dark Side of Urban Planning

Walters Way Revisted

MASTERS IN ARCHITECTURE AND URBAN DESIGN (MPhil) The Department’s Masters in Architecture and Urban Design fulfills the criteria for both an MPhil degree and exemption from Part 2 ARB/RIBA. It is thus equivalent to MArch and Diploma courses in other schools of architecture and the same funding rules apply. The course is unique, however, in offering students the opportunity to develop an individual course of study supported by academic collaboration, regular studio supervision and a carefully coordinated set of academic and design outputs. Students are expected to develop radical design proposals that are rigorously engaged with current academic discourse in an individual area of focus.

analysis and visual documentation as we consider the representation of projects through each research output to be an essential and well considered part of each student’s design research methodology. The final project is represented through a full RIBA/ARB part II portfolio and written Masters thesis. The Masters in Architecture and Urban Design (MAUD) differs from other MArch courses in the UK in that students graduate with an MPhil (a recognised research degree allowing direct progression to a PhD for those with a high enough grade) and Part II RIBA. FIELDWORK

This is a combined post-graduate research degree (MPhil) and RIBA Part II programme that brings together design, rigorous research methodology, and fieldwork. Each student develops an individual thesis direction closely guided through design and seminar teaching. Our focus throughout is the development of a strong thesis argument supported by excellent research and provocative design responses. We work together intensively to help each student define a precise direction for their work, a suitable research methodology, and to assemble a core group of interdisciplinary academic collaborators from across the university. The course is a unique vehicle for interdisciplinary practice that fully exploits the expertise available in the University at large and addresses its relevance to design practice. We encourage collaborative learning through frequent presentation and discussion within the group at every stage of the degree as a means of refining our design, and research methods.

Our work in studio is supported by the other MPhil seminar courses that explore the cultural and technical background to students’ design proposals and introduce the cohort to a range of research techniques.

Over the course of two years students produce three pieces of written work: a study of the cultural context of their project, a pre-thesis outlining the scope, methodology and direction of the project, and a final design thesis. Each student is also expected to prepare a formal seminar presentation, conduct a rigorous technical analysis, and to develop a procurement plan for their work that engages directly with the factors and players effecting their design. Each submission or presentation is heavily supported by drawn

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After two terms in residence students spend 6-9 months conducting fieldwork. In most cases this involves paid work in a relevant practice, NGO or research institution, while others attain funding for site research or topic specific internship. This period enables each student to develop the research background to the written thesis, and gather critical data to support their design work. While the purpose of this period is to ground the design and the research in ‘real world’ issues, we strongly encourage carefully constructed abstract thinking. The purpose of this ‘on-site’study, is to focus each piece of work and prompt each student to engage in a wider discourse with academic, politicians, developers, and designers. Students then return to Cambridge for one term to complete their written work and design project.

TUTORS

Ingrid Schroder Joris Fach Visiting Professor: Peter Clegg

STUDENTS

Emil Antlov Edward Atkins Alex Barnett Stuart Beattie Tom Bishop Sahiba Chadha Victoria-Lee Fabron Philip Galway-Witham Mehrnaz Ghojeh Tom Haworth Dan Ladyman Ting Li Tom Lindsay Angela Lo Sophie Mitchell Henry Posner James Purkiss Tarek Shalaby Aidan Thomas Mangyuan Wang Ran Xiao

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VISTING CRITICS & COLLABORATORS Peter Beard Max Beckenbauer Joseph Bedford Nicholas Bullock Peter Carl Spencer De Grey Claude MH Demers Alastair Fair Edmund Fowles Felipe Hernandez Tom Holbrook Lefkos Kyriakou Paul Latourelle Jon Lopez Sebastian Macmillan John Oâ&#x20AC;&#x2122;Mara Nicholas Ray Makoto Saito Simon Smith Emily So Robin Spence Max Sternberg Koen Steemers John Sargent Mary Ann Steane Alex Warnock-Smith

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Masters in Architecture and Urban Design (MPhil) The images you see here are a sample of work from the Cambridge diploma programme. We are a unit that enables each student to pursue an individual design agenda with the support of studio staff and access to the broad expertise available in the wider University. Our projects range from hanging housing schemes in Beijing to the manipulation of East Anglian wetlands. This work is developed over a two year period of careful research, design development and fieldwork. Uniquely, our work is not unified through its site or brief but through a shared, evolving research methodology. This methodology seeks to ground radical design within a live area of academic, political and social discourse. The fieldwork period, begun after two terms of study, reinforces this approach, giving each student the time to explore the implications of their ideas on the ground, gather data, and familiar themselves with the policies and processes that impact on their work. In this manner we aim to make a unique contribution to professional and research communities, and to test the capacity of provocative design as tool for academic discussion.

EDWARD ATKINS [Y4] This study investigates methods of re-introducing family houses to inner city areas as a direct response to lateral sprawl at the suburban fringe. As growth occurs further and further away from the city centre, the separation between where people live and work increases. This has resulted in cities devoid of residential dwellings and communities, not conducive to a sustainable city.

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ALEX BARNETT [Y4] As a result of a lack of investment into green public space, good managers and services for these recreational areas are in seriously short supply; resulting in a huge amount of green space being under utilised. Many of the elements of green infrastructure are already in place, but like roads, its potential lies in being networked. The old waterways form a huge â&#x20AC;&#x2DC;ribbon networkâ&#x20AC;&#x2122; in and around London, in which many people misunderstand their historical purpose and huge potential. Regeneration is being seen across a number of canals, although deprivation appears in equal measure along their banks. The Slough Arm Canal in Berkshire is one of these. This Pilot Essay looks to explore how the significance of the Slough Arm Canal can be increased within its surrounding context, with the objective to link green public space.

TOM BISHOP [Y5] - FOOD SECURITY AND SUB URBAN AGRICULTURE This thesis explores the provision of a less carbon-dependent living arrangement for a growing population. Reintroducing localised food production to the residential condition, along with the associated architectural language and medley of functions providing the chosen means of mitigating this issue. The reintroduction of agricultural production into residential areas makes sense in terms of reducing supply chains and Suburbia provides the ideal locale. Spacious and verdant; the potential for converting its wasteful, nonproductive landscape into something more has been long-overlooked. Finally, the investigation also aspires that through Sub Urban Agriculture architecture can reclaim its rightful place as a field of innovation, pioneering and human endeavour.

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STUART BEATTIE [Y4] - MADE IN NEW YORK New York City is rapidly evolving towards a diversified service economy for primary economic stimulus with a burgeoning population and an ever increasing reliance on imports from the powerhouses of East Asia. Recent zoning amendments and policy measures in the city are inadvertently aiding the demise of the manufacturing sector, one that has vast economic potential that has yet to be fully utilised. This study explores the potential of the re-introduction of inner city manufacturing in the form of vertical factories that aim to highlight and address the degradation of the local industrial sector whilst providing an alternative means for a more self-sufficient city and a new industrial urbanism.

SAHIBA CHADHA - GREEN BELT INNOVATION: PRINCIPLES FOR A SUSTAINABLE URBAN PERIPHERY ENABLED BY THE GROWTH OF CAMBRIDGE’S KNOWLEDGE ECONOMY This thesis explores how urban expansion can become a strategy for the preservation of both green belt principles and Cambridge’s innovation heritage. A peripheral typology, the research campus, is redesigned as a device for sustaining green belt ‘openness’ and ‘permanence’. In particular, the tectonic relationship between landscape and structure is exploited to foster vital social interaction, alongside enhancing ecology and green belt connectivity.

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VICTORIA-LEE FABRON [Y4] - AFTER MINING; PLANTING THE SEED FOR A DEVELOPMENTAL SOUTH AFRICAN UNIVERSITY The thesis stems from considerations of what a new university in South Africa can and should aim to do in service to society and explores how this mission can inform strategies for growing an identity for the contemporary South African campus. It advocates for the university to be directly focused on and actively involved in the development of its surroundings. The initial architectural implications of this mission are introduced through the design strategies for a developmental research centre in Kimberley, capital of the Northern Cape Province. Historically one of the first and largest industrialized diamond mining sites of South Africa, the mining operations in Kimberley are planning a life span of little over 10 years. The institute forms its research topics around the “post-mining” realm, focussing on issues relating to the social, political, environmental and economic facets of sustainable development in this global industry.

PHILIP GALWAY-WITHAM [Y4] - [IN]FORMAL URBAN/POLITICAL THRESHOLDS This project explores the capacity of urban and architectural design to act as a catalyst in the mitigation of ethno-political violence in Nairobiâ&#x20AC;&#x2122;s informal settlements. Through an understanding of the multi-actor and the social and physical thresholds that exist in this urban condition, a series of vertical design interventions are proposed, acting to recalibrate existing societal territorialism through economic opportunity and infrastructural development.

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MEHRNAZ GHOJEH [Y4] - ANTI-SEISMIC MORPHOLOGIES Recent studies highlight that there is a strong correlation between the severity of seismic impacts and the location of human settlements. Like many settlements in the Alpine Himalayan region, a large number of communities and cities in Iran were formed around areas of gathered groundwater.

The availability and gathering of groundwater is often directly related to the location of fault zones. This study explores the relationship between earthquakes and rural morphologies in East-Azerbaijan-Iran, ultimately proposing a strategic and holistic anti-seismic typology for earthquakes within the Alpine Himalayan Belt.

DAN LADYMAN [Y5] - BEIJING HOUSING COMODIFICATION Generic high-rise gated communities have become the primary form of residential development throughout China and now play a major role in the urban fabric of the contemporary city. Where you live and whom you live with has become a significant status symbol within Chinese society, a symbol which until the mid-1980’s was unobtainable in communist China. Constant demand and the creation of an ‘urban middle class’ has continued to drive the production of these large privatised residential compounds throughout central and suburban Beijing, resulting in a fragmented urban fabric with inherent social and cultural implications. This project explores opportunities for the role of the division between the public and private realm. Through the thickening and activation of the boundary condition, the proposal explores how we may spatially address the recovery of China’s fortified suburbia.

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TOM LINDSAY [Y4] The study explores the health and social concerns of pollution and impure air on the Hong Kong populace, how the spaces they share are potential health risks and how its urban condition promulgates the fear of risk and impurity. The issue of fresh air taps into a more inherent problem about how much Hong Kong residents trust their city.

Communities are segmented and a sense of shared community is diminishing because the shared space is being rested from their control. The revised urban model focuses on those areas most prone to cause ill health and consternation to a significant population of Hong Kong society and encompasses both urban development and policies. Through an analysing both policy and design, it is possible to assess where specifically an intervention will be most beneficial.

ANGELA LO [Y4] The design proposal is grounded on a scheme to engage the colleges to help the university with the overall goal of increasing and improving learning and study (departmental) spaces. It proposes a strategy for integrating learning spaces into the college dormitories, with minimal disturbance to the listed buildings; high transparency, inclusivity, and connectivity, by going subterranean.

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SOPHIE MITCHELL [Y5] - MILK: A CATALYST FOR REACTIVATING MOSTARâ&#x20AC;&#x2122;S ABANDONED CORE This project explores how the urban environment can act as a catalyst for the reactivation of Mostarâ&#x20AC;&#x2122;s abandoned core in order to facilitate inter-ethnic dialogue and stimulate economic growth. An underlying discourse explores how a construction technique can be rationalised in order to produce a variety of scales of space and levels of enclosure to frame different user needs.

HENRY POSNER [Y4] - PRE-DEVELOPING THE GDANSK SHIPYARDS The shipyards in Poland’s largest coastal city are the locus of national memory as the cradle of the Solidarity Trade Union. Following the industry’s decline over the past two decades, the site is to be redeveloped as ‘Young City’. This research investigates the critical value of artists in their competing role as preservationists and agents of gentrification on this site undergoing transition. By working within both agendas, can architecture preserve a future value for this movement as the material significance of their working landscape is altered by the processes of regeneration?

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JAMES PURKISS [Y5] - BEYOND BASIC NEED Current national school building policy targeting increased capacity from existing primary school sites will impact on the availability, design and integration of outdoor space. Reduced outdoor activity - a likely educational implication - would contradict an established demand of educational research, policy and practice for increased outdoor activity. The design research considers a proposal to formalise outdoor activity in the expansion of existing schools and reflects on the role of architects in developing, justifying and implementing this alternative approach.

AIDAN THOMAS [Y4] - BIOPHILIC BRITAIN This design research explored the utilisation of an abandoned tunnel and numerous disused sites in the city of Liverpool to create a linked botanical garden, made up of both closed and open green space to increase green infrastructure stock in the area. The linear public garden stretches for half a kilometre and consists of numerous glasshouses, excavations and open spaces distributed across south central Liverpool, linked by the tunnel.

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MANGYUAN WANG [Y4] - CHINA-NESS METABOLISM The experimental design of the new urban adaptability.

Creating a new type of urban adaptability, in fact is to define a new urban living ecological system. Differing from the traditional ecological rule, such system should have its own linguistic grammars and behaviours. It should be parasitic, customized, contextualized and flowing to meet the rapid rhythm of our digital era. It should have the internal logic of bottom-top spatial generating mechanism but within a frame of top-down linguistic system. It should be an architecture but with a certain quality of urban design thinking. Learning from the phenomena of the urban villages in Beijing and Metabolism Movement in Japan in 1960s, this project is the first step to attempt approaching the manifesto above. It is just a beginning.

ARCSOC 2012 - 2013 ENTS . TALKS . FILM . LIFE DRAWING . SHOP . EXHIBITION ENTS Throughout the year ARCSOC is responsible for holding some of the most visually exciting parties and events in Cambridge. We are best known for the effort we put into styling and decorating each event and we often creatively reuse found or recycled materials. From building intimate acoustic stages out of pallets to adorning a stairwell with hundreds of paper cranes, ARCSOC works hard to ensure that no two events are ever the same. ARCSOC events are also a platform for student DJs and music acts to showcase their talents and a broad musical spectrum is always represented. Each event is put together under the vision of our Ents Team with the help of all the students in the faculty. All money raised goes towards funding our end of year exhibition. Unanimously recognised as the most fun you can have outside the studio, our Ents are a saviour for students throughout the University, diversifying Cambridge’s typically dull and dry night life.

TALKS ARCSOC Talks is a weekly event where we invite architectural and design leaders to our modernist lecture hall to deliver a presentation on current work and issues. Speakers are often encouraged to share insights on their design processes, helping to provide students with a stronger understanding of professional work beyond Part 1. This year saw a collaboration between ARCSOC and the Norwegian Embassy, where a series of prominent Norwegian architects and designers came to Cambridge to deliver several lectures on contemporary Norwegian practice FILM ARCSOC hosts weekly film screenings, showing a range of contemporary and classic films. Organized and delivered by current students, the chosen films complement the various studio preojects and lecture courses that the undergraduate body as whole are tackling night and day.

SARA KLOMPS of

Zaha Hadid Architects

Sara originally joined the Zaha Hadid Architects as an Intern from 1998 to 1999, when she participated in several competitions. After finished her studies, she returned in 2000 as Architect and since then has seen though key projects from design until completion. Including the London Aquatics Centre, the Phaeno Sci-

ARCSOC TALKS

LIFE DRAWING ARCSOC runs weekly life drawing sessions for both students and the public on Friday nights. These evenings are benficial for both students and the public, attracting architects, doctors and those with anatomical interests.

ence Centre and Sheikh Zayed Bridge. She Studied in Germany at the University of Dortmund and at the University in Karlsruhe where she obtained her Diploma in Architecture in 2000.

6:00pm - Wednesday 14th November - lecture room 2 - department of architecture

SHOP The ARCSOC Shop plays a crucial role in the life of the studio, providing discounted materials and equipment for the sleep deprived and mentally unhinged.

Flexibility or adaptability?

spencer de grey Head of design, Foster + Partners

ARCSOC TALKS

Spencer studied architecture at Cambridge University under Sir Leslie Martin, graduating in 1969. He joined Foster Associates in 1973, and became a partner in 1991. He has overseen a wide range of projects, including the Law Faculty at Cambridge University, the Great Court at the British Museum and The Sage

Gateshead. More recent projects include master plans for the redevelopment of Slussen in Stockholm and for West Kowloon in Hong Kong, as well as a museum design in collaboration with Adrien Gardère for Narbonne in southern France.

13.00 - 14.15 16 NOVEMBER - engineering department, lecture room 1 13.00- FRIDAY ■ Friday 16 November ■ Engineering department

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EXHIBITION Every year, all our models, drawings and design projects are transported to London for our annual exhibition, presented to family, friends, professional architects and the design press. From day one the exhibition is entirely student run, completely funded by money that Arcsoc raises through sponsorship and events, and is a brilliant exercise in curation and design for all those involved. Not only do we showcase the best student work but are also given the opportunity to explore ideas at a full scale, moving from the studio to the real world.

APPLYING UNDERGRADUATE DEGREE A-LEVEL SUBJECTS

ENQUIRIES

There is no prescribed combination of A Level (or equivalent) subjects required for the Architecture course.

Applicants with backgrounds in either the humanities or the sciences have been successful, although a combination of arts and science subjects is considered the best preparation. The majority of applicants have studied Art or History of Art, which provides a better preparation for the course than subjects such as Design and Technology and Technical Graphics. Mathematics at A Level (or equivalent) is also encouraged.

Students who do not offer two mainstream academic subjects may find themselves at a disadvantage. Any offer of study will generally require students to attain A*AA or AAA grades. A strong interest and commitment to the discipline is essential.

All enquiries about admission requirements and procedures should be addressed to the Administrations Office at one of the Cambridge colleges. Many colleges hold open days several times during the year where it is usually possible to talk to the Director of Studies for Architecture who will answer specific questions.

Offers are regularly based on examinations other than A-Levels (e.g. Scottish Highers and Certificate of Sixth Form Studies, the European and French Baccalaureates, Arbitur, Maturita, the Irish Leaving Certificate and the Advanced International Certificate of Education offered by the University of Cambridge Local Examinations Syndicate).

PORFOLIO All applicants are expected to show a portfolio of recent work at interview but this not expected to be work of an architectural nature (e.g. plans, sections, etc). Admissions Tutors will want to see something that illustrates your interests, experience and ability in the visual and material arts. Normally drawing and painting forms the basis of the portfolio but other media such as sculpture and photography may also be included. It is usually sufficient for three-dimensional work to be exhibited in photographs. A sketchbook with ongoing drawings is extremely helpful and applicants are encouraged to take one to the interview. The work can be material prepared for school-leaving examinations but creative work executed outside formal courses is also welcome. Candidates may also be required to provide a sample of written work; requirements vary from college-to-college so College Admissions Tutors should be approached for guidance on these matters.

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OPEN DAYS The department participates in the main University open days each year (usually on the first Thursday and Friday in July) at which potential applicants can meet staff and view an exhibition of student work.

Enquiries about the date and timetable should be addressed to the Faculty Office Secretary. Information is also available via the Universityâ&#x20AC;&#x2122;s website, and those wishing to attend should register at http://www.cam. ac.uk/admissions/undergraduate/events/.

APPLYING POSTGRADUATE RESEARCH DEGREES The Department has an unusually broad research base, and welcomes applications from graduates to undertake research towards an MPhil or PhD. Unlike, for example, many North American universities, the University of Cambridge does not offer a ‘Graduate Programme’. Instead, it admits those applicants whose research interests match those of any member of the academic staff who is available and willing to act as the research student’s supervisor.

Graduates wishing to do a PhD who not have a research masters degree will generally be required to register for an MPhil, and only then subject to a good performance, will then be formally accepted to begin research towards a PhD. All research students are required to attend the Department’s postgraduate training sessions. Candidates for the PhD must normally pursue supervised research in residence in Cambridge for at least 9 terms (3 years). They are required to submit a first-year paper after three terms of research and, subject to satisfactory reports from their Assessor and Supervisor; candidates are then registered for the PhD degree. Their dissertation must be submitted within twelve months of completing nine terms of research.

ENTRY REQUIREMENTS Entry requirements are considered on an individual basis. Applicants are generally expected to have a first-class or high 2.1 honours first degree and, where appropriate, a Master’s degree. They are strongly advised to make preliminary enquiries about the standard expected and about the possibility, in principle, of undertaking research in the specialist area of their choice.

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APPLICATIONS All potential applicants for graduate study should consult the Graduate Prospectus for information about the applications process and funding opportunities: http://www.admin.cam.ac.uk/students/gradadmissions/ prospec/ The applications should be accompanied by some written work (such as an essay) and a statement of the applicant’s research interests. Applicants with design experience should also submit some evidence of their drawn work (A4 size or equivalent).

ENQUIRIES Preliminary enquiries should be directed to the Department Secretary after consulting the Graduate Prospectus.

MASTERS DEGREES (Full-Time) The department offers three full time Masters degrees. The Masters in Architecture and Urban Design (MAUD) is a two-year MPhil course, including 6-9 months fieldwork placement leading to Part II RIBA/ARB and is described above. In addition there is the new MPhil in Architecture and Urban Studies (MAUS) and the MPhil in Architecture (By Research). Students who gain sufficiently high marks in any of these MPhil Courses may apply to proceed to study for a PhD degree. More details of these courses and the application procedures can be found on the Departmental website: http://www.arct.cam.ac.uk/researchdegrees/ mastersfulltime/.

MPHIL IN ARCHITECTURE AND URBAN STUDIES (MAUS) The MPhil in Architecture and Urban Studies is a one-year full-time programme of advanced study on contemporary architecture and the continued development of cities around the world. Students from a variety of academic backgrounds will work in an interdisciplinary environment with design practitioners, environmental specialists, architectural theorists and historians. In such an environment, students will explore a wide range of ideas, research methods and theoretical approaches in order to undertake critical and rigorous analysis of issues relating to both architecture and cities.

The course has an emphasis on the socio-political aspects of architectural practice and cities in general. It approaches design, environmental (technical) and urban issues from a theoretical platform that allows critical enquiry. With architectural practice at its centre, the course relates closely to design work produced in the department, particularly in the Masters in Architectural and Urban Design (Part 2 RIBA/ARB) programme.

The course also provides an opportunity for students to expand upon their own experiences by pursuing research in their areas of interest. The course structure includes two core seminar series in the first term, which provide the fundamental skills and research methods required by students to pursue independent study. In the second term, students take specialised modules in their areas of interest. In the final term, students write a dissertation under the close supervision of a member of the faculty. The dissertation offers students an opportunity fully to explore a subject of their own choice and to produce a piece of meaningful research based on critical analysis of data collected throughout the course. For more details see Departmental website: http://www.arct.cam.ac.uk/researchdegrees/mastersfulltime/.

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MASTERS IN ARCHITECTURE AND URBAN DESIGN (MPHIL) See page for more information.

MPHIL IN ARCHITECTURE BY RESEARCH This is a one-year research degree. Students can choose any supervisor within the faculty and work with them on a one-year research project leading to an MPhil thesis. They also attend courses on research training within the department and university. The research is very much tailored to the studentâ&#x20AC;&#x2122;s interests, but the research topic chosen must be in one of the fields of expertise of one of the members of the department and agreed with the supervisor. Students who obtain sufficiently high marks in the MPhil may apply to do a PhD degree in a related field. For more details see Departmental website: http://www.arct.cam. ac.uk/researchdegrees/mastersfulltime/.

MASTERS DEGREES (Part-Time) MSt IN INTERDISCIPLINARY DESIGN Interdisciplinary Design for the Built Environment is a part-time postgraduate course aimed at practising designers with at least three years work experience. It is open to architects, engineers, and all those involved in the commissioning, design, construction and management of projects in the built environment. It is offered jointly by the Departments of Architecture and Engineering.

COLLEGE MEMBERSHIP Students on the course become members of Wolfson College, which was established specifically for graduate and mature students.

The course aims: ENTRY REQUIREMENTS - To equip professionals for strategic decision making, inventive problem solving and team leadership - To develop skills in effective collaboration and communication, particularly between clients, consultants, contractors, specialists and occupiers - To provide a strategic overview of the production of the built environment including current challenges faced by the construction industry such as global climate change and sustainability The course is part-time and lasts for two years. During that time, students spend seven separate residential weeks studying in Cambridge at 3-4 month intervals. Each of these residential weeks comprises an intensive programme of formal lectures (from leading practitioners and university academics), workshops and seminars, and a week-long design project. Studio design work is undertaken in small interdisciplinary teams, supported by design tutors and culminating in a design review. Each of the residential weeks is based around a theme. These are currently: interdisciplinary understanding and teamwork; the client, the user and the design team; sustainable construction; infrastructure and landscape; the structure of the industry; and urban design and sustainable communities. One week is given over to management training. Between the residential weeks, and away from Cambridge, students undertake four written assignments: one 5,000 word case study, two 3,000-word essays, and in the second year a 15,000-word thesis. Students receive supervisions for their assignments from specialists within the University.

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Applicants should generally have an upper second class honours degree or better, although alternative experience or qualifications may be taken into account. Overseas students must demonstrate a good command of the English language and meet the requirements for the Universityâ&#x20AC;&#x2122;s Board of Graduate Studies in this respect. Details of the course fees, dates and the application procedure can be found on the website http://www.idbe.org/.

MASTERS DEGREES (Part-Time) MSt IN BUILDING HISTORY The new Master of Studies in Building History is a part-time postgraduate course aimed at people wanting to pursue a career in the analysis and assessment of the significance of historic buildings. It is offered jointly by the Departments of Architecture and History of Art in collaboration with English Heritage. Students are expected to come from a wide variety of backgrounds, not necessarily related to architectural history. The course aims:

- To provide individuals with a detailed understanding of the history and development of buildings in Britain - To train students in the recording of historic buildings - To equip students to carry out research in all aspects of the historic environment

THE COURSE The course is part-time and lasts two years. In the first year students attend three two-week residential courses, consisting of lectures, visits, workshops and seminars. These are examined in a further week-long course in the summer. Courses are delivered by leading experts in each field from within and outside the university. Students are required to record and analyse a historic structure and write a research proposal.

The second year is spent on a six month placement with a heritage or organisation (it is up to the student to find the placement) and the completion of a dissertation on an approved topic of research.

COLLEGE MEMBERSHIP Students on the course become members of Wolfson College, which was established specifically for graduate and mature students.

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ENTRY REQUIREMENTS Applicants should generally have an upper second class honours degree or better, although alternative experience or qualifications may be taken into account. Overseas students must demonstrate a good command of the English language and meet the requirements of the Universityâ&#x20AC;&#x2122;s Board of Graduate Studies in this respect. Details of the course fees, dates and the application procedure can be found on the website: http://www.ice.cam.ac.uk/mst-buildinghistory/.

ARB/RIBA PART 3 POSTGRADUATE CERTIFICATE IN PROFESSIONAL PRACTICE IN ARCHITECTURE An intensive course of three taught sessions (2 days in September, 3 days in March/April and 3 days in July) is delivered through a mix of lectures, seminars, debates and workshops. Students are grouped into study groups to meet and work on set problems and are also assigned a Professional Studies Advisor. The course is validated and prescribed as an ARB/RIBA Part 3 qualification.

ASSESSMENT

ELIGIBILITY

The course is open to graduates who have been awarded exemption or who have passed the ARB/RIBA Part 1 and 2 examinations, and who have completed the mandatory periods of practical experience. Candidates can register for the course in their second year of practical training experience providing they will complete the required period before the examination.

EXAMINATION To be eligible for the examination for Part 3, candidates must have obtained ARB/RIBA Parts 1 and 2 as outlined above and have completed at least two yearsâ&#x20AC;&#x2122; practical training experience in an architectural or related practice under the direct supervision of an architect registered in the EU, and twelve months of which must be undertaken in the UK, under the direct supervision of a UK-registered person. A minimum of twelve months must be undertaken after completion of Part 2.

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Candidates will be required to complete six assessed elements and achieve satisfactory attendance on at least 75% of the taught sessions. The elements are: - PEDR/Log Books - Case Study - Personal Statement

Successful candidates will be awarded a Postgraduate Certificate in Professional Practice in Architecture and will be granted exemption from the RIBA Part 3 Examination. On completion they may register with the ARB as qualified architects and are eligible to join the RIBA as corporate members and chartered architects.

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The Department of Architecture Faculty of Architecture and History of Art University of Cambridge 1-5 Scroope Terrace Cambridge CB2 1PX www.arct.cam.ac.uk www.arcsoc.com

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