Everything is Transformation - Unit 12 Yearbook

EVERY THING IS London Metropolitan University

TRANS School of Art, Architecture and Design

FORM Unit 12 Yearbook

ATION

Unit 12 Peter St John, James Hand, Fabienne Sommer & Ben Speltz Students Hanan Abdulamir Arbana Berdynaj Fraser Biggins Cosmin Chirpac Matthew Lo Hannah O’Fwlaherty Rashi Shah Ciara Tobin Charlie Tomlinson David Turner JY Khoo Deborath Robles Claudio George Fiddes Minsung Lee Ran Li Yuxin Wu London Metropolitan University School of Art, Architecture and Design

Everything is Transformation In an attempt to look more thoughtfully at ourselves and what architects represent in this unstable time, the studio this year has made propositions for a new Architecture School for London Metropolitan University, at the site of the existing school in Aldgate. The year’s work has focused on the transformation of existing buildings. In the European city, almost everything involves changing what already exists, and almost every architectural project is a form of rebuilding. The student’s projects this year explore the ethics and aesthetics of transformation; the deep, almost alchemical, process of re-use and reinterpretation, which enables and expresses the continuing development of urban life. We have looked at how a respect for found things, and an enjoyment of the act of overlaying and accumulation in the history of a building, can lead to architecture as diverse, spirited and radical as any new structure. The intention was also that we would look into the heart of the school itself. At the beginning of the year, we said that the whole school should be involved in this endeavour and that we would invite other teachers and students to join a conversation about what the school should be. We are grateful to those staff who did come to our crits, including Christian Frost, Matthew Barac and Takero Shimazaki. Ultimately though, our good intentions to discuss our thoughts with the broader school were overwhelmed by other events. Despite all the recent complications, the students have continued working in their new conditions with amazing creativity. The purpose of this yearbook is to show everyone the work that has been done.

Peter St John

I Almost Everything II Transformation III University IV Lockdown V Projects VI Berlin and Potsdam

First spread: Gordon Matta-Clark, Conical Intersect (detail), 1975. 27-29, rue Beaubourg, Paris, courtesy of David Zwirner, NY and the Estate of Gordon Matta-Clark.

Previous spread: Ecole Des Beaux Arts – Palais D’études by Félix Duban, Paris.

This spread: London Metropolitan University students occupy the facade of Central House in protest at the proposed sale of the building. Photo by David Grandorge.

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I Almost Everything In his 1989 essay “Transformation” the Viennese architect Hermann Czech reflects on the architectural importance of renovations in the European city. In a situation where almost everything already exists, and huge investment in construction and energy has already been made, there is an inertia against the replacement of the city’s structures, and it is mainly the transformation of existing buildings that allows urban life to develop. Renovation allows us to live in and use buildings differently from how they were used when they were built.

Using the example of the work of the architect Adolf Loos, who made many renovations in his career, Czech describes transformation as an architectural idea, where the changing of the building is much more than a refurbishment. Transformation is a reinterpretation of the existing building, calling its intention into question while still exposing it.

Czech says that buildings that have been changed in this way, where the existing parts and the renovation interact with each other, have as much architectural potential in the contemporary world as making something new. His own work, in both existing and new buildings, is an unsettling and ambiguous mixture of provocation and good sense. Where there is a lively interaction between preservation and change, architecture can be more open-ended and responsive, and it can be modern too.

As Josef Frank (another Viennese architect) said: “We want to make architecture that is an expression of contemporary life …. and everything that already exists must be incorporated into it”.

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Interior model view of kitchen

Interior model view of kitchen

Model as concept Final abtract model of Gehry Residence

MODELS AS CONCEPTS Model made to convey ideas and strategies of transformation in The Gehry Residence.

Ideas: - Stripping away existing building to reveal structure.

- Sculptural additions made cheaply and with industrial materials.

- House for experimentation - Reframing parts that already exist to give new value or perception - New interface between old and new - Multiple architectural ‘events’

Interior model view of kitchen

Model view of kitchen rooflight

Model view of kitchen rooflight

Gehry Residence by Frank Gehry Arbana Berdynaj, Minsung Lee 12

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TRANSLATING ROUGH BRICK THROUG

Teatro Oficina by Lina Bo Bardi Hanan Abdulamir, George Fiddes 14

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I Transformation Translation Model Transformation Study Anti-villa

Transformation Study Model Photographs

Anti Villa Study Model , Approx 1:15 Cardboard & MDF , Filler , Paint & Ground Marble 650 x 500 x 500 mm

As a study of the Transformation of Brandlhubers Anti Villa. By mimicking the tectonics of the construction and Alteration processes the work explores the physicality of adaptation ; Hollowcore brickwork is represented as laminated cardboard , Concrete as MDF and Insulation as Styrofoam. Through this process the subtle layers of finish , tone and texture form a type of Palimpest giving expression to the monochromatic form.

The construction of the Anti-Villa is translated at scale in the model. Each material in the original is mimicked . The Hollow core block work that is broken through in the antivilla is mimicked in laminated cardboard. What is hammered and chiselled away in the building was punctured and torn away in the model, The results is both a representation of the original and also a process true to the nature of the scaled material. These construction details can still be traced through the surface of the model. They are neither hidden or exposed , they add a layer of process and history but also allow the model to present form and composition.

15 Building & 1:1 Model Section

Antivilla by Arno Brandlhuber Fraser Biggins, Ran Li 16

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COMPONENT 1

AXONOMETRIC OF STEEL STRUCTURE 1:20

CATALOGUE OF COMPONENTS, STEEL 1:10

Model photograph

NG NET

Winter glazing opera loggia by Hermann Czech is reminiscent of Frei Otto Cosmin Chirpac, Yuxin Wu

aligns his own position on transformation with that of Adolf Loos, ‘Such a transformation approaches the building’s “substance” by it into question — but certainly not by eliminating it.’2 So in this lar instance the glazing enters in a dialogue with the proud Neosance facade. From the outside the glass acts like mirrors, showing the acets of the bronze statues. The glazing is not a permanent feature,

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Bleicherweg 21 by Peter Märkli Deborath Robles Claudio, Matthew Lo 20

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Half Moon Theatre by Florian Beigel (ARU) Hannah O’Flaherty, Rashi Shah, JY Khoo 22 02

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Unit 12 - 2019/20

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Castelvecchio by Carlo Scarpa Ciara Tobin, Charlie Tomlinson, David Turner 24

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II Transformation In his book “The Architecture of the City,” published in 1966, Aldo Rossi describes the city as an object, that continues to develop over time and transforms itself as society changes. His use of the term “object”, while being rather a coarse word for something so complex, refers to the importance of the physical presence of architecture, which for Rossi has the same affecting qualities as a work of art, and has very little to do with its specific function. The form of cities persists, and the monumental buildings remain, even as their uses change. For Rossi, the memory of the city, together with its present, provides the underlying structure for what is meaningful in architecture and how it frames public life. In this evolutionary model, the changes that are continually happening in the city are moments in the reality of its structure. A lot has changed since 1966 that would question this strongly western-based appreciation of the value of the European city. Nevertheless, the idea that there is value in persistence, and that the history of a building is part of its present living soul, is a good starting point for the theme of transformation that we were pursuing. Transformation is change that gives value to the existing building while moving its purpose on, engaging it in an ambiguous dialogue that exposes multiple layers of meaning.

Previous spread: Demonstrations in the Globus-Provisorium in Zurich, which temporarily hosted the ETH architecture department. Source: ETHZ Library.

Opposite page: The Atrium as it is today

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Atrium Transformation Model Photographs 01 02 03

Figures Along The Space The Emblematic Facade Curtain Peeling To One Side

Hannah O’Flaherty, Rashi Shah, JY Khoo Atrium transformed after the Half Moon Theatre 30

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Deborath Robles Claudio, Matthew Lo Atrium transformed after the Bleicherweg 21 32

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Three themes from Castelvecchio

F R O M V E R O N A TO T H E E A ST E N D In this project, still in our groups, to reimagine the atrium using the design strategies of the architect we had studied. From the outset, we wanted to translate three main themes from Castelvecchio. First, Scarpa’s interest in fine craftsmanship and materials, which was evident in his external work but also in his treatment of walls and plinths for the exhibition design. Another being the introduction of a new, disruptive layer capable of creating different kinds of spaces, which in the case of Castelvecchio meant hollowing out a series of bespoke spaces in the depth of the existing openings where the museum’s collection could be displayed.

And third, perhaps most importantly, the drama and spatial ambiguity of the Cangrande bay.

1:30 model: painted timber and MDF

Ciara Tobin, Charlie Tomlinson, David Turner Atrium transformed after the Castelvecchio 34

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"H in Sh to as pl

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Model Interior Elevation, 1:30

Cosmin Chirpac, Yuxin Wu Atrium transformed after the winter glazing opera loggia 36

Existing Condition

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Transformation One 1:20 Model Transformation One 1:20 Model

Adolphe Appia set drawing

Atrium Study Model , Approx 1:25 MDF , Woodfiller & White Paint 2000 x 500 x 500 mm

Adolphe Appia set drawing

Atrium Study Model , Approx 1:25 MDF , Woodfiller & White Paint 2000 x 500 x 500 mm

Fraser Biggins, Ran Li Atrium transformed after the Antivilla 38

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1:30 Model

caffolding and Exhibition Fabric. Mood is softer and more 1:30 Model

1:30 Model. View inside mezannine floor, with the scaffolding acting like a trellis for ivy and other climbing plants. The atrium is opened up to the possibility of green space, further compounding the “decompression” of the space by climbing up into a decompressed, peaceful green space

1:30 Model. View inside mezannine floor, with the scaffolding acting like a trellis for ivy 1:30other Final Model and climbing plants. The atrium is opened up to the possibility of green space, further compounding the “decompression” of the space by climbing up into a decompressed, peaceful green space

o transport from Brief 01 was the idea of compression and decompresa clear and direct axis, where it will “spit you out” at the end, like a maudinal properties of the existing atrium space offers quite a few opportuni-

Hanan Abdulamir, George Fiddes Atrium transformed after the Teatro Oficina

us project, we found many similarities in the potential for the atrium space. The brant and full of life is exciting.

austrophobic, uninspiring in its use of materials and an awkward height and el is narrow and too awkward for passerby encounters, while the open space is ut purpose.

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Everything Is Transformation Project 2 Transformation One Atrium Team Project with Arbana Berdynaj

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1 Main Enterance 2 Courtyard 3 Walkway Bridge 4 Roof Staircase 5 Staircase Bridge 6 Main Space

Plan & Section Drawing

Arbana Berdynaj, Minsung Lee Atrium transformed after the Gehry Residence 42

Transformation Everything Is Transformation Project 2 Transformation One Atrium Team Project with Arbana Berdynaj

New timber frame has a role of intermediation between old and new as an independent and exposing structure while adding a new circulation and pulling it out of the existing roof frame for roof light in The Atrium.

Final Model Scale 1:30

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III University In his “Scientific Autobiography,� Aldo Rossi describes the pleasure of sitting in the great atrium of the University in Zurich, where he was a professor of architecture, reading the newspaper in the morning. The grand hall by Karl Moser was always filled with students, from the ground floor up through the successive gallery levels, and the University felt to him like a bazaar, teeming with life as a public building or an ancient bath. The glass pyramidal roof and the palm trees in the court reminded him of the public gardens in the centre of Seville and Ferrara, places where he had experienced a complete peace.

The Architecture School at Goulston Street is not part of a campus of monumental buildings, as was the case in Moser’s University building in Zurich. Hence, a centralised plan for the new building seems unlikely.

Nevertheless, the site at Goulston Street has a very public frontage and is rooted in the heart of a lively and mixed part of the city. There is the potential for the new building to speak to the passing public, to impress on them in some way the vital work that architects do in shaping the environment, as well as giving form to the presence of the University amongst residential and commercial background buildings.

The school has a distinctive position amongst London architecture schools, influenced by the teachers who have gathered there and perhaps also by the working-class roots of the University. Previously based on the Holloway Road, where the main University buildings are located, the Opposite page: The School of Athens, Raphael, 1510-11 45

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school has always had an association with east London. More recently the school was based in a fine 1960s building on a prominent island site on the Whitechapel Road opposite the Whitechapel Art Gallery, in a renovation

by Florian Beigel and ARU, whose research office was based at the school.

The building was factory-like, with deep floors, large studios and big windows which looked out at the city all around. The University sold the valuable site, and today the Architecture school at Goulston Street occupies a smaller building, originally designed for the University’s law faculty, whose interiors do not make ideal studio spaces for architecture students.

In these circumstances, the students speculated on what a new school could be like and how it should be organised.

Top: IIT, Crown Hall, Chicago - Mies van der Rohe Bottom: École des Beaux-Arts, Palais des études, Paris - Félix Duban

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Research Topics: Faculty of Architecture in São Paulo (FAU-USP) by João V. Artigas Porto School of Architecture (FAUP) by Alvaro Siza Swiss Federal Institute of Technology in Zurich (ETHZ) Illinois Institute of Technology in Chicago (IIT) by Mies v. d. Rohe Black Mountain College (1933 - 1957) Taliesin West Fellowship by Frank Lloyd Wright Académie / École des Beaux-Arts by Félix Duban Architectural Association School of Architecture (AA) Pages 48-55: Photos of the existing building by JY Khoo.

Top: ETH, Hauptgebäude, Zurich - Gottfried Semper Bottom: Universidad de Porto, Facultad de Arquitectura, Porto - Álvaro Siza

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Manifesto Arbana Berdynaj The architectural profession feels as if it exists in a bubble. The more the world becomes connected and complex, the more the discipline becomes insular and its language devoid of the every-day. Perhaps this is not purely the fault of the profession per se, but this is essentially one concern that requires our attention. Today the sharing of information between architects translates more as a self-referential talking point than that of revealing solutions for the discipline in the context of today.

Without any ideology, architecture seems to fall into the realm of having to refer to past achievements or works continually. With capitalism at the helm of society, what feels like the necessity to compete with one another to survive reduces the need for sharing.

It is the unfavourable perception of the every-day that the degree of autonomy that the discipline has established appears as if indifferent to society. However, it claims its relationship to it as vital. The discipline’s autonomy needs to be practised differently, perhaps recognised by sharing information and opinion as an autonomous being, to then find self in the process of mediation with others as a social practice to refine ideas both in practice and academia. Regarding the London Metropolitan University (School of Art, Architecture and Design), the school appears to have a disconnect to the fact that it is a metropolitan university. As a student, I do not feel as if I learn from the city. I might as well be anywhere else.

The city acts as a tank full of data to inform the design process, through the number of different social dynamics and scenarios inhabiting city settings. Yet, the way in which we are taught refers to the architecture of the past as a means of designing novel projects instead of the necessary understanding of how one thinks critically with regards to the present.

The every-day, therefore, feels as if its mundane, and novelty must come

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from past work. Architects are first and foremost problem solvers before they are artists (if they see themselves as such) and it is for architecture to maintain the ability to deliver solutions to social concerns even if they appear to be banal or also complicated.

The school should push to teach history, but not from the angle of type or style, but perhaps highlighting how social concerns were solved with specific strategies: the aesthetics are then considered purely of personal preference and not an ideal. The opening of existing spaces and collaborating of studios would encourage the interconnectivity and sharing among students, feeling more as a place of joint experimentation, where autonomy is practised in personal research and then shared among peers to inform the greater knowledge within the school, creating a profound database. Design through experimentation and making should be treated with greater patience. Students tend to struggle to get to a reliable solution due to the need to meet deadlines. Craft should be of more value; interdisciplinary workshops with the rest of the art school would enrich skills by students, giving them confidence in their abilities to create. Opening to the public is essential. This would allow for the people, if they so choose, to at least see what it is that architects do, to bridge the gap of understanding. Reflecting on the concerns of today would bring about a more significant presence and appreciation of the every-day life and its artefacts and stage sets co-present with one another, like that of the co-present objects in a Morandi still life.

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Manifesto Yuxin Wu We live in a moment of re-assessment of architectural practice and redefinition of the role of architects in a society which faces several economic, social, political and environmental crises. We are heading now towards a transgressive profession with full of potential. Potentiality, following an old Aristotelian argument, is the opposite of actuality, so that it inhabits the realm of the possible without prescribing it as a plan. For Giorgio Agamben, to be potential means to be one’s own lack, to be in relation to one’s own incapacity. Beings that exist in the mode of potentiality are capable of their impotentiality, and only in this way do they become potential. They can be because they stand in reference to their own non-being. In potentiality, the sensation is about anaesthesia, knowledge about ignorance and vision about darkness.

Thinking ‘school’ as ‘potentiality’ is to imagine the possibility of not doing, not making, not bring into being at the very centre of acts of thinking, making and doing. It means dismissing much of the managerialism that is associated with a notion of ‘training’ for a particular profession or market. Letting go of many of the understandings of ‘school’ as a training ground which only permitted outcomes are a set of concrete objects or practice. It allows for the inclusions of notions of both fallibility and actualisation into a tradition of teaching and learning.

Agamben’s conception of the school of potentiality is neither utopianism nor anti-utopianism. However, it is a weak utopia, a utopia that lives on the edge and may collapse every moment due to the challenge of everyday chaos. However, its ‘aura’ or ‘halo’ only shows its weakness when making contact with the real world. It is a dialectic apparatus to look out and being looked in, providing refuge and flight towards an ideal world, but never loses its immediate context of the reality in vision and mind.

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The process of learning in a school connects to social life outside it. In believing in no separation of mind and body philosophically; the social experience is connected to the physical sensation too; so, a school is a real reflection and manifestation of the pedagogy embodied inside it. A pure architectural idea can never find its perfect body in physical reality. Every architectural decision in the building environment is a response to what we are capable and incapable ‘here’ and ‘now.’ To think about every compromised gesture less negatively, every failure and compromise is a potential happening for the city.

To be potential means to be able to cross disciplines and boarders fluidly.

A school of potentiality is about bringing things together from different worlds institutionally and spatially: inside and outside, people and city, past and future. A school of potentiality is a school of relationships. Our profession can be at the same time, political and poetic as it aims above all to ‘make relationships between worlds.’

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Manifesto Ciara Tobin The place for a school of architecture is in the city. This is essential because every work of architecture begins when you situate yourself in a time and place where you must react to something, and you respond by reconstructing its relationship to the world around it. Architecture is a relational practice. In a climate that is demanding that students of architecture should be learning skills of representation, our school must remind the architectural community of the importance to study the city. Through the social sciences - anthropology, history, politics and law, a student at the school develops the skills to learn from the city continually.

The curriculum lends itself to the unit system, where students work collectively on research projects with the guidance of a practising architect - this is important to ground the research to the realities of the world. There is an appreciation in its teaching that architecture can not fix society; it must only respond. Within the unit system, the notion of authorship in architecture is diminished; students work together towards a common goal, understanding.

This kind of learning through observing is representing in the school through its tower. The tower lifts the school up above the masses.

It offers a direction of escape from the disruption of the rumbling city below: ascension to look above the distractions to the city as a whole. It combines the maximum physical impact of the principles of education with negligible consumption of ground. Organised as a series of stacked rooms, each different types, offering various environments to study in, it is crowned with the library, a common room with no hierarchy. As the year progresses, students gain further knowledge in a way that does not proclaim the architect as a master builder. At the end of the year, the school come together in the communal hall. Here

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they share their findings to the rest of the school with the professional world invited. The hall is a special space of assembly, grounded at the base of the tower. For the first time, the tower allows the students can inspect their metropolitan territory. To have a sense of the city as a whole is also to be aware of its limitations, the irrevocability of its containment, of its changing over time and accumulation of artefacts.

The tower is an architectural device that provokes self-consciousness, offering that birds-eye inspection of a common domain that can trigger a sudden spurt of collective energy and ambition. The hall, by contrast, concentrates on the sharing amongst the collective. If this new consciousness can focus the field of their aspirations, it will only increase its intensity.

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Manifesto Fraser Biggins A Forum for things explores the developing role of the Artefact in Arts and Architectural education. From its routes as a classical object of study to the modernist item of production; used today in both practice and in education, the creation of the Artefact takes many forms: concept model, study model, facade mockup, detail model, presentation model etc. It is an essential part of the working process providing a means to thinkthrough-making, test ideas, interrogate junctions and convey information.

However, it is necessary to acknowledge a shift in the roles of the Artefact over time. The Beaux-arts school focused on the observation and study of objects like in a museum. In contrast, later schools like Vkhutemas concentrated on the rapid production where very little was saved or displayed in-order to make room for the new, closer to the factory.

The shifting role of the Artefact can be observed as a shift from a source of shared art to an object of individual production and intellect.

This change in education comes hand in hand with the changes observed in architectural practice, a shift away from classicism to modernism and later iterations. Its evolution becomes somewhat metaphorical for our current crisis of ‘Form’ seen in the ‘starchitecture’ of today. As observed by both Rem Koolhaus and other protagonists, we are plagues by ‘The tyranny of the new,’ the focus on production and invention in architecture. And as many architects shift their focus away from the search for modernities ‘new form,’ how can education adapt to promote this? Is it a more radical idea than the proposition of any new education model, to propose a return to the beaux-arts model of education? The idea seems to challenge a lot of what we consider to be Architectural Education today and ignores so much of the possibilities available. However, the possibility of a hybrid seems appropriate: a balance between production and observation, factory

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and gallery. The role of the Artefact, the space that is given to display, the archival, the production, the exhibition: all of these programmatic priorities reflect an ambition for the profession. Could the school be a place just as focused on observation as it is on production?

As the changing role of the Artefact forms a metaphorical argument for the changes in architectural education and practice, the Artefact will also form the rhetoric for Architecture School as an object in the city. In a time where the sharing of digital information & knowledge has transcended far beyond traditional educational techniques and as teaching practice inevitable shifts more and more online, the question slowly grows : what is the value of a Physical University?

Taking the recent sale of central house and the revolutions of the current covid crisis into account, it feels appropriate for a manifesto to respond to this question. Therefore ‘A Forum for Things’ proposes an Antimodel to the ‘Digital University,’ a polemic for the value of the physical Architecture School. In much the same way the self now transcends independently beyond the body in the digital world, the Artefact is proposed as an equally important extension of the ‘self’ in the physical world and simultaneously observed, thinking and proclaiming, acting independently of the author. As the internet is a forum for the ‘digital self’ the university is proposed as a forum for the ‘Artefact Self’. Inspired by The School of Athens painting the university becomes a place where the role of the building is not just focused on individual production but on bringing together, displaying and discourse of things: a forum for things.

The value of the argument for the gathering of these objects becomes the value of the physical university.

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Previous spread: Architecture students gather in Vilanova Artigas’ Faculty of Architecture and Urbanism, University of São Paulo FAU-USP, 1968, Brazil. Photo: Raul Garcez.

This page: Buckminster Fuller and students test the stability of the geodesic dome, Black Mountain College, 1949. Photo: Masato Nakagawa.

Next spread: The Globus-Provisorium in Zurich was temporarily used as a youth center. Source: ETHZ Library.

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IV Lockdown The sweeping changes that came with the lockdown emphasised the nature of architecture as a labour-intensive degree. Students are both subjects and protagonists as they design and theorise their proposals as well as realising them through drawn or constructed outputs. There is a requirement for a wide range of skills, which are associated with specific spaces. Drawing can take place in almost any well-lit space; reading and writing require a quiet corner for concentrated silence and modelmaking makes the greatest demands on space and tools. This collection of spaces in the school was suddenly inaccessible. Kitchen tables became the studios, floors became workshops, and the few books carried home before lockdown acted as a library. Few physical things were at hand anymore - forget large format prints or big models. Ambitions limited by physical and technical constraints.

Apart from space, the culture and camaraderie of the studio stemming Cedric Price, MAGNET Project. from working in the same room together were missing. The spirit and ambitions of the brief were shared through objects in the room, the images pinned to the walls, or through discussions between students.

Our conversations became distant and through a different medium. We continued to have pin-ups to formally share our ideas amongst ourselves, on screens instead of walls. Virtual crits continued to mark the milestones Cedric Price, MAGNET Project. of the year, and group tutorials were reminders of when we could listen on other tutorials while we worked close by.

Opposite page: Lockdown models, A constellation of spaces - Yuxin Wu 69

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Zoom crit with guest critic Dirk Somers

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The aspirations for our projects remained the same. The challenge of isolation was tuning the instruments at hand to convey the same ideas, learning to look closer and more carefully at the thoughts that matter.

A project titled ‘Lockdown Models’ motivated us to be creative with materials which were available around the house. We each made two small, rough models, one at the scale of the building, and one at the scale of a detail. Using recycled medicine packets and brown cardboard boxes, offcuts and spares, we made models to represent our ideas about transformation. The essence of these creations was to clarify the most important ideas of the project, and yet they were also physical representations of the restrictions of the home. The restructuring of our education was not just accepting the limitations; it was about working with these challenges to bring together the most ambitious projects. Our efforts were in retaining the same ideals in the collective imagination of the studio, which are about transformation, of adapting and giving more.

Text by Ciara Tobin & Cosmin Chirpac

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1. JY Khoo 2. Arbana Berdynaj 3. Arbana Berdynaj 4. Hanan Abdulamir

5. Yuxin Wu 6. David Turner 7. Yuxin Wu 8. Yuxin Wu

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Initial concept model

A P R A G M AT I C U TO P I A This project intervenes in a very real and   7.extremely ordinary situation.

The need to transform such banal buildings appears to be only more likely in a future that will have to deal with the consequences of our modernist belief in unfettered progress. Our environmental responsibilities now weigh heavily on the designer, bringing an acceptance that we must make use of what we have. This ethic raises difficult aesthetic questions. Despite the compromises inherent in a found situation, this is an optimistic project. It seeks to engage with the existing building and transform it into something worthy of the future. It asks whether a different kind of utopia is possible, one where bold ideas can be reconciled with a more pragmatic approach without losing their idealism.  8

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Transformation Two ; University Courtyards , Forums & Boulevards

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Courtyards , Forums & Boulevards Strategic Model , NTS Grey Card 500 x 150 x 200mm

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Instead of creating physical boundaries to divide the existing spaces into these courtyards the design instead focuses on defining these spaces through the placement of figures within the space creating rhythm and structure like façades looking onto public squares.

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Lock Down Model # 1 , A Forum for Things Grey Card , White & Off White Paints 600 x 250 x 200mm Lock Down Model # 1 , A Forum for Things Grey Card , White & Off White Paints 600 x 250 x 200mm

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1. Fraser Biggins 2. Deborath R. Claudio 3. Cosmin Chirpac 4. Cosmin Chirpac 5. JY Khoo 6. Fraser Biggins

7. Fraser Biggins 8. JY Khoo 9. Fraser Biggins 10.Minsung Lee 11.JY Khoo

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Transformation Two ; University Tables , Plinths and Shelves

Lockdown

Transformation Two ; University Tables , Plinths and Shelves

Transformation Two ; University Manifesto Model

Everythins Is Transformation

Project 3 University The New CASS

10.

9.

The 1st Lockdown Model - The Scale of Whole Building

Public and Private Buildings Composition of the models by Sir John Soanes Joseph Michael GandyThe 1st Lockdown Model We need to think about the scale of the whole building in 1st lockdown model. I focused on more clearly the idea of frameworks like structure inside structure and translu-

cent glass on the facade. I imagined keeping the existing Public and Private Buildings concrete structures, I took all existing walls away and remained just concrete structure frame and I put new steel Composition of the models

by Sir John Soanes frameworks on it.

Joseph Michael Gandy

11.

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IV

3.

1.

5.

4.

2.

1. Ciara Tobin 2. Hannah O’Flaherty 3. Hannah O’Flaherty 4. Hannah O’Flaherty 5. Ciara Tobin 6. Hannah O’Flaherty

7. Charlie Tomlinson 8. Charlie Tomlinson 9. Charlie Tomlinson 10. Ciara Tobin 11. Charlie Tomlinson

6.

76

Lockdown

10.

7.

9.

11.

8.

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V Projects Stripping Cutting Veiling Shadowing Reusing Binding Dressing Layering 79

Transformation Two ; University

Fraser Biggins

To Break

Breaking or hammering away is the cheapest way of removing areas

placed on this area following the demolition. Because of this the process

of insitu concrete. The process would normally use a Jack hammer to

can be more rough and violent. This both saves time and money in the

break away sections of the concrete and then an angle grinder to cut

construction whilst also becoming a clear expression of the history of

any reinforcement rods. This process is hard to control and the finished

the building and the process of opening up the space for the schools new

surface is extremely rough.

use; like the Anti-villa it becomes both a practical and symbolic way of working with the existing structure.

For this area of the design precision is not necessary , as the main objective is to open up the space and there are no structural requirements

F r as er B iggins 80

To Break

Transformation Two ; University Lock Down Model # 1 Transformation Two ; University

Cutting

To Cut

Transformation Tw

Buil

To Cut

The Cut is a much more precise process in demolition involving a

The effect is much more refined than the broken concrete edge

diamond edged

blade which is able to cut both the concrete and

resembling details seen in timber construction. By revealing this cut in

reinforcement along a straight edge. The process is a lot slower and

the structure the concrete frame begins to feel more delicate and light ,

requires more specialist machinery and operators.

expressing the impressively thin section that can be achieved with this type of construction which is usually hidden due to the nature of the

The result is a smooth flat edge , cutting a perfect section through the

casting process.

concrete. The process is also a lot more gentle , relying on slowly grinding away to make a thin slice rather that the impact of a Jack hammer. This

Lock-Down Model # 2 , Found Cardboard & Timber , Grey-board , Plaster & Paint 650 x 600 x 450 mm

makes it more suitable for more delicate areas of demolition like the ribbed concrete floor construction where the thinner top layer could be prone to cracking. This allows the detail to retain its structural capacity whilst creating a clean edge for the new structure to sit next too.

Wormseye Demolition & Proposed Axonometric

Email Portfolio 81

Fraser Biggins

82

Cutting

Transformation

To Break

Breaking or hammering away is the cheapest way of removing areas

placed on this area following the demolition. Because of this the process

of insitu concrete. The process would normally use a Jack hammer to

can be more rough and violent. This both saves time and money in the

break away sections of the concrete and then an angle grinder to cut

construction whilst also becoming a clear expression of the history of

any reinforcement rods. This process is hard to control and the finished

the building and the process of opening up the space for the schools new

surface is extremely rough.

use; like the Anti-villa it becomes both a practical and symbolic way of working with the existing structure.

For this area of the design precision is not necessary , as the main objective is to open up the space and there are no structural requirements

83

Fraser Biggins

Transformation Two ; University Processes of Change

Transformation Two ; University Transformation of the Existing

Transformation Two ; University A Forum for Things

Lock-Down Model # 2 , Found Cardboard & Timber , Grey-board , Plaster & Paint 650 x 600 x 450 mm

84

Cutting

85

Rashi Shah

o Barbaran, Palladio

Green and Tangerine on Red, Mark Rothko

The entrance court as a carriageway

ance Court

3

4

1

R as h i Shah 86

2

Layering

, Ca Rezzonico

tioned studio spaces on first floor, used as crit dio for architecture

Green and Yellow on Red, Mark Rothko

Proposed multipurpose space for all discourses to have crits, exhibitions and discussions

e Grand Hall

5

3

1

Email Portfolio 87

Rashi Shah

Yellow and red, Mark Rothko

Proposed studio spaces with art and architecture students

Proposed elevation

88

titled, Mark Rothko

Layering

Proposed courtyard as an extension of the workshop

89

Rashi Shah

View of the facade from Goulston street

90

Layering

in spaces- the entrance

Cross section

91

Yuxin Wu

Yux in Wu 92

Veiling

Embodyment

A Little City within The City

Fausto Melotti, Weightless Structure

Interior View, Arcylic on Canvas, 60x80cm

Gordon Matta-Clark, Pier 25.

93

Email Portfolio

Yuxin Wu

94

Veiling

Development Sketch, Pastel on Paper

Mannerism

’What attitude of mind is necessary to achieve this? intellectuality, of consciousness; further, a sense for absurd, that which breaks away from pre-establishe of mannerism.’

Mannerism is a strategy of change, of found and giv the rules will sometimes need to be self set. Manne which allows a difference to be accommodated. The an interruption from the rule, the irregular, but this a this difference into the overall, rather than isolating lost, but it feel as if it’s taking part of the greater ens originates from the ability to observe differences bu differentiation is being made.

Sofa in Palais Schwarzenberg, Hermann Czech

Interior View, Arcylic on Canvas, 60x80cm

95

Yuxin Wu SCHINKEL’S PERGOLA, CHARLOTTENHOF

SCHINKEL’S PERGOLA, CHARLOTTENHOF

Schinkel's Charlottenhof SCHINKEL’SPergpola, PERGOLA, CHARLOTTENHOF

Mediation

ROOF TRANSPARENCY, VIEW

The proposal works with the underlying rules of the existing fabric, with the shape of the bays and the concrete framework, it incorporates all of the ensemble, including the second floor, but it also steps away from what is there by introducing new elements, the roof and the screen.

SCHINKEL’S PERGOLA, CHARLOTTENHOF

The screen is a device which Czech uses in some of his projects, it gives the sense of a stoppage yet the sense of the whole space is not lost. The bay allows for seating at the bottom, and makes space for the balconies on the first floor, whilst together with the roof invites the second floor to look in. This layer is mediating between the two worlds.

Dev

The public can look into the school through the bay, and the school can see out into the public.

SECTION OF PROPOSE

SECTION OF PROPOSED ATRIUM, 1:50

Interior View, Arcylic on Canvas, 60x80cm

Development Sketch, Arcylic on Paper Interior View, Arcylic on Canvas, 60x80cm

Sofa

FILIGREE CONSTRUCTION, SECTION

FILIGREE CONSTRUCTION, SECTION

HERMANN

HERMANN CZECH, REFERENCES

96

Veiling

97

Arbana Berdynaj

Frank Gehry - Cabrillo Marine Aquarium Image via: https://images.lib.ncsu.edu

View of atrium space from south end.

View of top floor building yard. Space is divided by timber panels that support roof lights. Students build within structures built by them.

THE BUILDING YARD

Ar bana B e rdy n a j 98

Layering

Design sketch of structure of different character enveloping the existing structure

A CONTENTIOUS ADDITION In recognising the potential of contention with the development of a new addition, the timber project, with its own identity, seeks to make itself known in finding its way up and over the existing building.

The old and new, of a very different nature to the other, acts as objects that assert themselves on the other in order to dominate. This is read through the understanding of these types as seperate, however in the unification of the two, the old has the potential of transforming into something more radical and unique. The act of provocation in turn forces and delivers a new dynamic expression.

Email Portfolio 99

The ‘ Unfi

Arbana Berdynaj

Axonometric drawing of new timber structure sitting on existing concrete frame

100

Layering

Model images Model of ‘room’ imagesspaces of ‘room’ within spaces newwithin building new yard. building Solid yard. timberSolid panels timber helppanels support help exaggerated support exaggerated roof lights roof into space. lights into Furniture, space. aFurniture, scale of domesticity a scale of domesticity contrasts the contrasts drama of thethe drama rooflight of thespace. rooflight space.

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Arbana Berdynaj

102

Layering

103

Ciara Tobin

Ciar a Tobin 104

Binding

Email Portfolio 105

Ciara Tobin

106

Binding

107

Cosmin Chirpac

emie photograph and drawing, K.F. Schinkel, Berlin1

Looking down Goulston Street, Petticot Lane Market in foreground

Berlin: Teil 3: Bauten fßr Wissenschaft, Verwaltung, Heer, Wohnbau und Denkmäler, ed. by Paul Ortwin Rave and others, Karl Friedrich Schinkel, Lebenswerk] / hrsg. von der Akademie des Bauwesens.

[Schriftleitung von Paul Ortwin Rave]; [11, Neuausg., erw.

Nachdr (Berlin: Dt. Kunstverl, 1981).

1

NEW SCHOOL IN THE CITY

e proposal in its context The building has two systems of proportion, one which is of elements in relief whose play of advanced or recessed forms is parallel to the frontal plane, and they relate to the scale of the passer by, and another system, which is defined by the piers and an implied entablature which relate to the scale of the city. It is a buildings whose engagement with the visitor is more subtle, extended in time.

C os min Chirpa c 108 Facade elevation in context, 1:50 level of detail

Drawing of a monument in the city Binding

Terracotta clay model of monument in the city, manifesto

LEARNING FROM THE CITY

Email Portfolio

Aldo Rossi and Guido Canella’s teaching pedagogy

109 Aldo Rossi and Guido Canella in the 60s looks at a pedagogy wh revolving around the accumulation of knowledge supporting a sch

Cosmin Chirpac

membrane sweeps

Axonometric of steel member

Materials

Membranes

a

b

d membrane corner involves a change ion of the membrane edge alone, ial detailing is required. The clamping re adapted to suit the angle at the

e d gutters or steel sections, fitted into mbrane, are used for draining the rain-

c

pports d low points are either linear or spread ments in order to avoid stress peaks. bearing surface produces a more ess distribution. This considerably the risk of local failure.

points ps and rosettes olutions only subjected to tension are oop and its derivative the rosette. The principle corresponds to that of a cable ket.

d

Linear supports • Arch The membrane can be draped over the arch, fixed with edge beading rails and edge beading, or be clamped directly to the arch member using clamping plates.

The membrane can also be fixed at points on the arch in catenary fashion using special fittings. This type of connection must be made watertight with non-loadbearing membrane skirts. a

b

c

2.4.14.23 High point options a eye loop b rosette

d

e

c ring d hump

f

• Low points High point detailing options1

mbrane is attached to a ring using g plates. This ring is either freely suse.g. via cables, or firmly fixed to a ring construction, e.g. mast. Cylindrical ade from steel flat are used for PVCpolyester textiles. Conical rings adaptit the incoming angle of the membrane

Low points use the same design principles as high points, but also have to provide for drainage.

Besides the direct connection between the low point and the foundation, an inverted eye loop or rosette is also possible. In these open con110 structions the cable guys should be provided at an adequate spacing so that snow traps are not created.

High point,1:5 level of detail

2.4.14.25 Arch construction; membrane attached with clamping plates: a outer membrane, b cover strip, c glulam arch, d thermal insulation, e vapour barrier, f inner membrane

• Hip and valley cables Hip and valley cables differ only slightly in terms of detailing.

They lie above or below the membrane, which

Steelwork for reference model, Winter Loggia

Binding

111

Cosmin Chirpac

112

Binding

113

Hanan Abdulamir

AN ABSTRACTION: A COMPOSITE STRUCTURE OVERLAYED OVER A SOLID EXCAVATED MASS

PROJECT 02 Atrium Transformation In this drawing, I wanted to explore the various elements in the transformation of the Cass Atrium in an abstracted way. The layers of the building are explored, with a backdrop of a descending staircase and an overlaying industrial theme. The main elements of this project are: the descending down into the basement level, resulting in an expanded space, the introduction of a new steel frame to support the existing concrete, a thin secondary scaffold structure, and lastly a translucent fabric that drapes across the entire space, softening the atrium from the harshness of the steel and concrete

H an an A bdulamir 114

Shadowing

Email Portfolio 115

Hanan Abdulamir

116

ELEVAT

TION

Shadowing

117

Hanan Abdulamir

118

Shadowing

119

ation ce

JY Khoo

J Y K hoo 120

Unit 12 - 2019/20

Unit 12 - 2019/20

Dressing

Unit 12 - 2019/20

Email Portfolio 121

JY Khoo Unit 12 - 2019/20

Semester 2

Unit 12 - 2019/20

Key to axonometric 1 New steel structure on existing concrete frame 2 Steel truss to hold new roof and hang new floor 3 Truss spans across into cafe space, visible from atrium 4 Facade tracery tied back to steel structure 5 Staircase down to basement workshop 6 Domestic staircases introduced to improve connectivity 7 Cross bracing at core

3

2

6

1

5 6

4

Structural Concept Bridging The Gap Deep steel trusses bridge across the width of the building - the repetition of trusses provide the opportunity for a rich interplay between new and old floorplates. A singular truss breaks the rhythm to span across into the cafe space - this truss is proudly expressed, and is visible from the atrium below. The facade structure expresses and elaborates on the new composite structure behind.

01

Axonometric Illustrating New Structure On Existing Concrete Frame

122

Dressing

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Student Projects

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Dressing

Unit 12 - 2019/20

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Minsung Lee

Everythins Is Transformation

Project 3 University The New CASS

Masion de Verre

The Lockdown Models

M in sung L e e 126

Shadowing Everythins Is Transformation

Project 3 University The New CASS

Everythins Is Tran

Projec

Email Portfolio 127

Minsung Lee

128

Shadowing

129 0

1

2

Hannah O’Flaherty

reference. Here there is little ed by the power of the sweeping ite. The atmosphere is that of a llowing the sounds of the hall to

2m

H an nah O’F lahe r t y 130

Veiling

he vitality of the make e studio when necessary. rving the performance from e Half Moon. The rich layer-

2m

Email Portfolio 131

Hannah O’Flaherty

Interior Sketch

A RICHNESS WIT HIN First Floor Ma ke Spa ce

The make space located on first floor becomes an extension of the ground floor workshops. This hall is a place for making large, collaborative work. The idea of the school advocates the importance of physical explorations in the age of the digital. This is a space for making, discussing and refining one’s craft. Large windows flood light into the space, the draping roof is lined with rich red fabric. A celebratory metal facade hangs from the apex of the roof, offering a shimmering division between levels. Upper floors can observe from above, thus forming a connection to the practice of making.

132

Veiling

The idea of draping fabric is key gel’s idea of ‘to see and be seen’, is a collaborative workspace

133

George Fiddes

Studio Interior Development

The idea of adjustable, sliding doors w on the second floor as they defined th allow a series of more open, sociable are either closed off or more open an circulation (Option B). The work of Li panels, the idea first used during the very open or closed. The use of wood transformation of Central House with public and encourage interaction betw

Goulston Stre

Central House, The Cass Whitechapel, London, 2012 ARU

Elevation 1:100

G eor ge F idde s 134

Layering

Ce W AR

eet Elevation

Email Portfolio 135

George Fiddes

Interior model 1:25

Cen Wh ARU

136

Layering

Elevation Axonometric Fragment 1:25

137

Matthew Lo

Final facade After several testing throughout the semester, the final facade is constructed with the idea of making a humble approach to the city. The facade does not look too contemporary with abstract classicism as the language to guild the design. The interpretation of capital and base is expressed in the connection of precast concrete beams and columns. The capital and base are actually part of the structure of the self-supporting facade.

project conceptual sketch

Experiment with drawings Markli treat architecture as a category of art and he questions the visual impart of his design in the same way that he appreciates the mass of a sculpture. Although the drawings bear little resemblance to his built work, but it conveys an abstract idea of the elevations with a distinctive graphic quality using very bold colors.

M atthe w L o 138

Drawing in Markli’s style is taken as a point of departure in this project.

Above sketch is believed as the conceptual idea of transforming a space through repition and rhythm. Drawing the both side of the atrim became the main investigation in testing the idea of elevating the atrim spatial quality..

Reusing

project conceptual sketch

Experiment with drawings Markli treat architecture as a category of art and he questions the visual impart of his design in the same way that he appreciates the mass of a sculpture. Although the drawings bear little resemblance to his built work, but it conveys an abstract idea of the elevations with a distinctive graphic quality using very bold colors.

Drawing in Markli’s style is taken as a point of departure in this project.

Above sketch is believed as the conceptual idea of transforming a space through repition and rhythm. Drawing the both side of the atrim became the main investigation in testing the idea of elevating the atrim spatial quality..

Email Portfolio 139

Matthew Lo

港

Self-studying and working The third floor is provided for the alumni to work and start up their own offices. It is an idea to let out the school spaces to attract the alumni to stay in the school after graduation in order to facilitate the vision of setting up strong bonding between students and graduates.

The detail drawing shows the connection between the existing concrete upstand and the new timber structure.

140

Reusing

141

Charlie Tomlinson

A

B

C

Furniture Found material models A

Donald Judd table and chairs

Furniture is all designed and built with the same qualities B as the Firstbuilding. floor cardEngineered model 1:33 timber is applied in a C spaces.

Third floor cardboard model 1:33 direct and robust way, creating solid and inspiring work

Ch ar lie Tomlins o n

The market street 1:100 first floor plan

As a response to the context and the long history of the East end street market, the first floor can be interperated as a street with stalls. In the spirit of the market, students are encouraged to share, trade and collaborate. It is a space for experimentation, discussion and has no heirachy of year or unit. Large tables and benches provide the environment for large scale and group work.

142

Stripping

B

C

A new home for the CASS school of architecture Street perspective on Goulston street To continue the discussion around transformation, this project seeks to re-imagine the current CASS school of architecture and it’s recent new home on Goulston street. Looking at the project from street to room, the new school looks to interrogate and question the found condition to learn from what we have available, before establishing a rational but bold series of additions, giving the school a new sense of identity.

Digital and photographic collage

A B C

Donald Judd table and chairs First floor card model 1:33 Third floor cardboard model 1:33

B

Email Portfolio 143

A B

Goulston street market 1970s 1:100 first floor plan

Charlie Tomlinson

e

Third floor digital render

The school in the street 1:100 West elevation The image of the school to the street attempts to highlight the variety of spaces behind, whilst accentuating its horizontality. Different types and levels of glazing characterise the spaces which they sit in front of. There is the clear image of what was existing, with the addition serving to compliment not

144

Stripping

First floor digital render

145

David Turner

Approach from the north

ST R E E T P R E S E N C E

Perspective Elevation

Dav i d Turne r 146

Reusing

New entrance

Third Floor Studio - north end

Third Floor Studio - south end

Second Floor Studio

Email Portfolio 147

A TRANSFORMED CIVIC IDENTITY

David Turner

Second Floor studio space

148

Reusing

149

David Turner

Ground Floor Atrium

150

Reusing

151

Deborath Robles Claudio

Deborath Robles Claudio 152

Shadowing

Email Portfolio 153

Deborath Robles Claudio

154

Shadowing

155

Ran Li The Free University

University A0

38

R an Li 156

Cutting

Development of exterior view

35

Email 157

Ran Li

The Free University

The working image mainly explore the relationship between the new and the old, the basement workshop is formed from the cutaway from the ground floor slab. The traces of the removal of the concrete is left on the marks of the column, where allows visitors to chase the history of the transformation. The new metal structure clad with the cement board, share the monochrome atmosphere where the Antivilla project previously explored. Different shades of grey allows visitors to experience what is new and old. View from the central space towards reception mainly explore the tension between the cutaway of the existing slab and the new introduced metal frame structure.

Commual space

57

View from Basement Workshop

158 52

Cutting

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VI Berlin and Potsdam Unit stu dy t r i p Travellers Peter St John, Fabienne Sommer, Ben Speltz, James Hand, Siw Thomas, Hanan Abdulamir, Arbana Berdynaj, Fraser Biggins, Cosmin Chirpac Matthew Lo, Hannah O’Flaherty, Rashi Shah, Ciara Tobin, Charlie Tomlinson JY Khoo, David Turner, George Michael Alexander Fiddes, Minsung Lee, Ran Li, Yuxin Wu, Deborath Robles Claudio Thursday 21.11 14:00 Meeting point: Swiss Embassy: Otto–von–Bismarck–Allee 4A

Student presentation Swiss Embassy, Diener Diener – Arbana

Walk to Invalidenstraße 43 (20min) 14:40 – 15:10 Museum für Naturkunde

Student presentation Museum für Naturkunde, Diener Diener – Charlie

Walk to Brunnenstraße 9 (20 min) 15:30 – 16:45 Tour of Brandlhuber’s office

Walk to KW Institute for Contemporary Art (12min) – Entry €6

Walk to Albrechtstraße (13min) 18:15 – 20:00 Boros Bunker

Tour of Boros Bunker – €15, Walk to Friedrichstraße station (8min) 20:30 – 22:30 Dinner at Max Und Moritz

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VI

Friday 22.11 09:00 Meeting point: Haus des Rundfunks: Masurenallee 8, 14057 Berlin

Student presentation Haus des Rundfunks, Hans Poelzig– David 09:10 – 09:40 Visit Haus des Rundfunks

Walk to Theodor–Heuss–Platz (10min)

U–Bahn 2 – 11 stops to U Mendelssohn–Bartholdy–Park(18 min)

Walk to Potsdamer Straße 50 (10 min) 10:30 – 11:30 Kulturforum

Student presentation Neue Nationalgalerie, Mies van der Rohe – George

Student presentation Staatsbibliothek zu Berlin, Hans Scharoun – Rashi

Student Presentation WZB, James Stirling – Yuxin

Student presentation Kollhoff Tower, Hans Kollhoff – Hanan

Tutor presentation: CSTJ proposal for Staatsbibliothek

Walk to Checkpoint Charlie (15 min) 12:00 – 15:00 Berlin Centre

Meeting Point: Mauerstraße 92, Tutor Presentation – Post war Berlin

Student presentation Haus am Checkpoint Charlie, Koolhaas – Minsung

Student presentation Haus am Checkpoint Charlie, Eisenman – Hannah 12:30 Walk to Charlottenstraße 97A (5 min)

Student presentation Kreuzberg Turm, John Hejduk – Ciara 12:40 Walk to Alexandrinenstraße (15min)

Student presentation St Agnes, Arno Brandlhuber– Ran 13:00 Visit St Agnes Gallery (30 min) 13:30 Walk to Quartier Schützenstraße (20min)

Student presentation Quartier Schützenstraße, Aldo Rossi – Deborath 13:55 Walk to Charlottenstraße 57 (10min)

Student presentation Friedrichstraße 67, Ungers – Fraser 14:10 Walk to Schinkel Platz (10min)

Student presentation Bauakademie, Karl Friedrich Schinkel – Cosmin

Visit Schinkel Pavilion, Walk to Altes museum (10min) 15:00 – 18:00 Museum Island

Student presentation Altes Museum, Karl Friedrich Schinkel – JY

Student presentation Neues Museum, David Chipperfield – Matthew 16:00 – Enter Neues Museum

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Berlin and Potsdam

Saturday 23.11 08:30 Meeting Point: Berlin Hauptbahnhof 08:41 – 09:11 Train to Charlottenhof Bhf (30 mins)

Walk to Charlottenhof (15 mins) 09:30 – 12:00 Sanssoucci Park, Potsdam

Schloss Charlottenhof, Fasanerie, Römische Bäder

Walk to Orangerieschloss (15 mins), Orangerieschloss

Schloss Sanssouci, Walk to Pomonatemple (45 mins) 12:45 – 13:00 Pomonatemple, Belvedere Pfingstberg

Walk to Babelsberg Park (60 mins) Lunch on the way.

14:00 – 15:00 Babelsberg Park

Schloss Babelsberg, Gerichtslaube, Dampfmaschinenhaus

Matrosenhaus, Walk to Glienicke Park (50 mins) or

Take the ferry to Glienicke Park (30 mins) 15:30 – 17:30 Glienicke Park, Wannsee

Glienicke Palace, Gleinicke Casino, Große Neugierde 18:06 – 18:44 Bus 316 from Glienicker Lake to Berlin Wannsee

and Train RE7 to Berlin Central Station (42 mins) Free Evening

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Berlin and Potsdam

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VI

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Berlin and Potsdam

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VI

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Berlin and Potsdam

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Berlin and Potsdam

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Unit 12 Peter St John, James Hand, Fabienne Sommer & Ben Speltz Students Hanan Abdulamir Arbana Berdynaj Fraser Biggins Cosmin Chirpac Matthew Lo Hannah O’Fwlaherty Rashi Shah Ciara Tobin Charlie Tomlinson David Turner JY Khoo Deborath Robles Claudio George Fiddes Minsung Lee Ran Li Yuxin Wu London Metropolitan University School of Art, Architecture and Design

Thanks Philip Christou Nina Lundvall Summer Islam Christian Frost Matthew Barac Dirk Somers Amy Perkins Takero Shimazaki David Illingworth Joe Jack Williams Stephanie Macdonald Bernd Schmutz Florian Summa Sam Casswell Thomas Back Maria Conen Raoul Sigl