Bartlett School of Architecture Summer Show 2007

The Bartlett School of Architecture at UCL continues to go from strength to strength.

This year, it has once again been voted by the AJ 100 survey as the best architecture school, while more students have applied to join the Bartlett than anywhere else in the country.

And you can see just why from the extraordinary inventiveness, rigour and downright creativity displayed in this year’s Summer Show Catalogue. We thank everyone involved for their amazing efforts.

Prof Christine Hawley Prof Iain Borden Chair and Head of the School

The Bartlett School of Architecture would like to thank Allford Hall Monaghan Morris for their generous support of this year’s catalogue

T: 020 7251 5261

2nd Floor, Block C, 5-23 Old Street, London EC1V 9HL F: 020 7251 5123 info@ahmm.co.uk ahmm.co.uk

Prizes

BSc Year 1 Herbert Batsford Prize for ‘distinguished work’ Richard Moakes Bartlett Sessional Prize for ‘good Honours standard’ work Daniel Dodds Tamsin Hanke Martin Tang

BSc Year 2 Kohn Pedersen Fox Bursary for ‘highest overall grade’ Daniel Hall Michael Hughes Negin Moghaddam James Purkiss Joseph Wegrzyn Henry Herbert Bartlett Travel Scholarship Katherine Hegab Gaafar

BSc Year 3 Donaldson Medal for ‘distinguished work’ Sarah Custance RIBA President’s Bronze Medal nomination ?

Environmental Design Prize for ‘distinguished undergraduate work in the integration of engineering and architectural principles in Environmental Design’ James Palmer History & Theory Prize for ‘distinguished work in History and Theory’ Bethany Wells Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Sarah Bromley Prize for ‘best work in Professional Studies’ Amanda Bate Bethany Wells

Diploma Year 4 History & Theory Prize for ‘distinguished work in History and Theory’ Pernilla Ohrstedt Bennetts and MacCormac Jamieson Prichard Prizes for ‘distinguished work in Professional Studies’ Alexandrer Hill Katie Irvine Ben Masterton-Smith Ben Ridley

Diploma Year 5 Sir Banister Fletcher Medal for ‘highest marks in Diploma in Architecture final examination’ Sara Shafiei Sir Andrew Taylor Prize for ‘the best set of drawings combining construction and design’ Ryan Martin RIBA President’s Silver Medal nomination Sara Shafiei Steve Westcott RIBA President’s Medal for Dissertation nomination and Ambrose Poynter Prize for ‘distinguished work in the Diploma Thesis’ Ruth Oldham Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Catriona Forbes Victor Ka-Shun Chu Prize for ‘excellence in design’ David Storring Owings Travel Scholarship Tristan Wigfall

Additional Prizes Henry Herbert Bartlett Travel Scholarship Katherine Bash (PhD Architectural Design) The Hamilton Associates Prize for Design Process, and the Show Opener’s Prize, are awarded at the Summer Show opening

Contents

Exhibition Layout BSc Year 1 Design BSc Design Units BSc Architectural Studies Professional Studies History and Theory Technology Diploma Design Units Diploma Year 5 Thesis Graduate Options MPhil/PhD Summer School Staff Sponsors

Exhibition Layout

The Summer Show is the annual celebration of student work at the Bartlett School of Architecture, UCL. Over 450 students show innovative drawings, models, devices, texts, animations and installations.

Project X Unit 7

Unit 3

Unit 6

Unit 16

Unit 23

Year 1

PhD Unit 19

Unit 21 Unit 15

Exhibition open to the public

Tues 26 June, please arrive at 6.30pm for 6.45pm start, tour duration approximately 1 hour

Unit 18

Unit 20

PhD

Fri 22 June, 7.00pm

Mezzanine Unit 10 Unit 22

Unit 11 Unit 12

Guided exhibition tour by the Professors of the Bartlett School of Architecture, UCL

Unit 2

Unit 1

Fri 22 June, 6.00-10.30pm

Sat 23 June, 10.00am–8.30pm Sun 24 June, 10.00am–5.30pm Mon 25, Tues 26 & Wed 27 June, 10.00am–6.00pm Thurs 28 & Fri 29 June, 10.00am–8.30pm Sat 30 June, 10.00am–5.00pm (closes)

Unit 5

Unit 4

Exhibition opening night and party in the Main Quadrangle and the Slade Galleries of UCL, Gower St, London WC1 Official show opening by Lord Richard Rogers

Unit 8

Unit 17 Unit 14

1st Floor

BSc Year 1 Design Leander Adrian, Zahir Ahmad, Mark Attmore, Karen Au, Aminah Babikir, Emma Bass, Janinder Bhatti, Jane Brodie, Emi Bryan, Joel Cady, Xueting Snow Cai, Keti Carapulli, Yu-Wei Chang, Ko Wei Gabriel Cheung, Joanne Clark, Jason Claxton, Olivia Crawford, Alexandra Critchley, Alisan Dockerty, Daniel Dodds, Lucinda Dye, Pooh Eamcharoenying, Kenzo Ejiri, Daryl Fitzgerald, Katie Fudge, Theo Games Petrohilos, Victor Hadjikyriacou, Alevtina Golovina, Tamsin Hanke, Ben Hayes, Kaowen Ho, Imogen Holden, Theo Jones, Sonlia Kadillari, Matilda Keane, Thomas Kendall, Joyce Lau, Paul Leader-Williams, Young Woo Lee, Hong Jin Leow, Stafanos Levides, Joanna Levy, Keong Lim, Meng Liu, Jialun Vincent Mao, Nur Md Ajib, Richard Moakes, Chiara Montgomerie, Charlotte Moon, Saturo Nakanishi, Lucy Ottwell, Byeong-Ju Park, Sungwoo David Park, Dhiren Patel, Olivia Pearson, Nicola Perret, Chi Philip Poon, Felicity Price-Smith, Isabelle Priest, Tingting Qin, Rida Qureshi, Dimple Rana, Harriet Redman, Louise Robson, Francis Roper, James Sale, Alistair Shaw, Young Song, Jack Spencer-Ashworth, Alex Sprogis, Cathrine St Hill, Claire Taggart, Martin Tang, Eryk Ulanowski, Ellen Utomo Thomas Vie, Anthony Whittaker, Rain Wu, Suyang Xu, Yan Yan, Congjing Yao, Michelle Young, Tim Yue, Jingru Zhang, Yuan Zhao.

The main intention of Year 1 Design is to explore ‘ways of seeing’: unerstanding and interpreting objects/places/events and learing to look beyond the obvious and visible into the unseen and often ‘absurd’ qualities of things. In this way a place can also be seen as something with its own identity, which each student can interpret in a different way. The importance of ‘character’ and ‘personality’ is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Inventiveness an imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are contructed or represented through models and drawings.

The year started with an analytical study of and object, a critical mapping of a place along the River Fleet, and a group installation set on eight sites along its course, all of which respond to different notions of ‘receptacle’, ‘well’, basin, and ‘repository’. A measured architectural section of a critical part of Palermo explored a special quality of the chosen site. These initial investigations bring together all the skills developed throughout the year into a building project – a ‘Live – Work – Vessel’. Sited along course of the River Fleet in London this building responded to the existing condition of the site and it explores moments of the past.

Year 1 Design Director: Frosso Pimentides. Coordinator: Patrick Weber. Tutors: Luke Chandresinghe, Lucy Leonard, Brian O’Reilly, Jonathan Pile, Renee Searle, Toby Smith.

This page: Group Installations Along the River Fleet. Facing page: Analytical Studies of Objects.

This page, top: Jason Claxton; bottom: Daniel Dodds. Facing page, top: Janinder Bhatti; bottom: Louise Robson.

This page, clockwise from top: Tamsin Hanke, Kate St Hill, Rain Wu, Aminah Babikir. Facing page: Richard Moakes.

BSc Unit 1 Yr 2: Katherine Cannon, Benjamin Dawson, Wanyu Guo, Daniel Hall, Jay Morton, Alastair Stokes, Ashmi Thapar, Afra Van’t Land, Joey Wegrzyn. Yr 3: Byron Bassington, Amanda Bate, Philip Cottrell, Costa Elia, Stephanie Gallia, James Hughes, Lucy Paton, Anthony Staples, Spencer Treacy.

Allegory From Plato’s philosophical parables to Marcel Duchamp’s ‘allegorical appearance’ of the Bride, allegory- a structure of thought where a secondary meaning hides behind narrative and story telling- exists throughout history not only in literature but also philosophy, science, art and architecture. Departing from the modernist aphorism ‘form follows function’, Unit 1 seeks to define design traits for an allegorical architecture, where form can also follow fiction. To capture this symbolic potential of buildings, and following last year’s successful experience with animated/time-based architectural representations, we continued merging the boundaries between drawing, modelling, film and collage.

The focus of our investigation was Mexico City: a place contrasting between the mythical floating city of the Aztecs and the everyday contemporary life of one of the most densely populated cities in the world.

We studied the city first from a distancethrough its representations in literature, art and film- and then close up starting from the city’s heart: Zócalo.

Penelope Haralambidou and Eduardo Rosa

Top: Daniel Hall. Middle: Wanyu Guo. Bottom: Anthony Staples.

Clockwise from top left: Joey Wegrzyn; James Hughes; Philip Cottrell; Anthony Staples; Amanda Bate.

Clockwise from top left: Alastair Stokes; Katherine Cannon; Byron Bassington; Lucy Paton; Ben Dawson.

Clockwise from top left: Afra Van‘t Land; Joey Wegrzyn; Ashmi Thapar; Jay Morton; Lucy Paton; Stephanie Gallia.

This and facing page: Costa Elia.

BSc Unit 2 Yr 2: Christopher Burman, Pui Yue Stephanie Chung, Jonathan De Wind, Chiara Hall, Jennifer Laurie Jameson, Sophia Jones, Thomas King, Chantanee Nativivat, Richard Thebridge, Emilia-Dimitra Tsaoussi. Yr 3: Silviya Aytova, Julian Bond, Jonathan Chattaway, Alpa Depani, Mark Goddard, Chloe Kletsa, Benedetta Rogers, Luke Rowett.

Urban Blending We are nterested in cities, their patterns and structures. Over time most cities evolve as an assembly of contradictory elements, rural, brash, decrepit, subtle, brutal, undefinable. It is this mix which creates vitality and surprise. The idea of blending supposes some control to this mix, some way of working with time and movement to add new elements to an existing pattern. What kind of blend: fine medium coarse...?

The year will begin by some short experimental projects with objects, graphics, devices, stopmotion films, will then evolve a building project, and will finish with an opportunity to reassess the year and re-assemble the work into a graphic booklet.

We will be using two locations which both have a particular quality of town and country. The first is Hastings, a town set on the south English coast, just below the South Downs, a mix of faded Victorian style, twentieth century mass entertainment, wooden fisher houses, a funicular, fish ‘n chip shops, a beach strewn with marine junk. Here we will begin the investigation, evolve a way of working.

The second location is Berlin, an inland city with its own landscapes, lakes, woods, and its particular mix of communist extravagance and recent reconstruction. In particular we will examine the interzone of Alexanderplatz, and evolve new insertions, derived from the Hastings research, placed into this urban fabric. We intend that these locations will create two poles for creating architecture.

William Firebrace and Julian KrĂźger

This page: Hastings Blending Devices.

This page: Hastings Stop-Motion-Films.

This and facing page: Berlin Buildings.

This and facing page: Architectural Insertions.

BSc Unit 3 Yr 2: Zahra Azizi, Alicia Bourla, Sung Hwa Cha, Canzy El-Gohary, Min Gu, Laura Herriotts, James Lewis, Marcos Polydorou, Daniel Swift Gibbs. Yr 3: Sarah Alfraih, Sarah Bromley, Naomi Bryden, Isabel Crewe, Oliver Sheppard, Deena Shuhaiber, Natalie Tsui, Andrew Walker, Abigail Whitehead.

The clock face is the most important thing I have ever recovered from the town dump. I found it there during the Year of the Skull and rolled it home down the path to the island and rumbled it over the footbridge. I stored it in the shed until my father was away for the day, then I strained and sweated all day to get it up into the loft. It is made of metal and is nearly a metre in diameter; it is heavy and almost unblemished; the numerals are in roman script and it was made along with the rest of the clock in Edinburgh in 1864, one hundred years exactly before my birth.

Certainly not a coincidence. There were a few holes in the face which I soldered up, but I left the hole in the dead centre where the mechanism connected with the hands, and it is through that the wasp is let into the Factory. Once there it can wander about the face for as long as it likes, inspecting the tiny candles with its dead cousins buried inside if it likes, or ignoring them if it would rather.

Iain Banks, The Wasp Factory Collections, collectors and hoarders are of interest to Unit 3 this year.

Abigail Ashton and Andrew Porter

Top: Gu Min, Violins. Middle: Zahra Aziz, Discarded Books. Bottom: Deena Shuihaiber, 10 Man-Powered Planes.

Top left: Lewis James, Detritus from a Step; right: Sarah Bromley, Circus Events. Middle left to right: Sarah Alfraih, Condensation; Deena Shuihaiber, 10 Man-Powered Planes; Isabel Crewe, Code Breaking Devices. Bottom left: Abie Whitehead, Pawned Objects; right: Naomi Bryden, Sounds.

This page: Oliver Shepard, Water and Stories.

This page: Sarah Bromley, Detritus and Circus Events.

Top left: Oliver Shepard, Myths; right: Andrew Walker, Lost Time. Middle: Daniel Swift Gibbs, 23 Box Brownies and Device and Photographs. Bottom: Abbie Whitehead, 67 Lighters.

Top: Natalie Tsui, 26 Keys. Middle left: Deena Shuhaiber, Bicycles; right: Daniel Swift Gibbs, Corroded Films. Bottom left: Abbie Whitehead, 67 Lighters; right: Laura Herriots, Postcards.

BSc Unit 4 Yr 2: Ioana Barbantan, Kim Foster, Alexander Joury, Anastasia Kaisiri, Anthony Lau, Daniel Lavand, Gregory Nordberg, Jen Feng Wang, Christopher Wong. Yr 3: Mayu Akashi, Antonia Hazlerigg, Brian Hoy, Elizabeth Mitchell, James Palmer, Sarah Syed.

Production + Consumption The film ‘The Long Good Friday’ led us to Smithfield market for a pre-dawn breakfast amongst the die-hard clubbers, meat-market butchers, blood, corpses, white vans and pints of beer.

We split from the city to Dorset’s Portland, home to Portland stone quarried from this fragment of land sitting just off the mainland on England’s south coast. We walked the coastal path watching the darkening sky engulf the horizon and fire us violently with a freezing horizontal rain. We sat in the pub and listened to the conversations of regulars and thought about the prisons on the island in doubly isolated incarceration.

‘C’etait un rendez-vous’ a cult short film shot us through the streets of a1970s Paris dawn in a non-stop race to the Sacre Coeur, Montmartre, and we followed suit, dodging from boulevards to back streets, slipping into see the Fondation Le Corbusier, Nouvel’s newly opened Musee du Quai Branly and the Beaubourg to see the Movements et Images exhibition showing works from Stan Brackage to Moholy-Nagy and more, much more.

Through documenting what we observed and identifying our values, priorities and motivation we have been encouraged to define our design practice as individuals.

We used this analysis to develop a brief dealing with issues of Production and Consumption, to examine the ways in which Architecture impacts on society and how we work to articulate the atmosphere of a space and the narrative sequence of a series of spaces.

Thanks to all our critics for their engaging and sometimes confrontational but always astute opinions.

Laura Allen, Miraj Ahmed, Kate Darby, Steven Gage, Bill Hodgson, CJ Lim, Heather Lyons, Tom Tatum, Neil Thomlinson, Matt White and finally our great friend Professor Barry Bell who died unexpectedly on 8th May 2007.

We took the train from Gare de Lyon and the ornate promises of southerly destinations painted on the ceiling of Le Train Bleu restaurant to the raw grit of Marseille. We travelled through freezing snow to pale winter sun and drank coffee over meetings in the Samaritaine Café that featured in ‘The French Connection.’

We took a boat past the Ilse d’If , had a midnight rendez-vous on the roof of the Unite d’Habitation, met up in Jazz bars, clubs, fish restaurants and flea markets.

Stewart Dodd and Saskia Lewis

This page: Ioana Barbantan. Facing page, clockwise from top left: Sarah Syed, Antonia Hazlerigg, Anastasia Kaisiri, Daniel Lavand, Ioana Barbantan, Elizabeth Mitchell, Sarah Syed, Christopher Wong, Daniel Lavand, Anastasia Kaisiri.

This page, clockwise from top: Ioana Barbantan, Daniel Lavand, Christopher Wong, Anthony Lau, Jen Feng Wang. Facing page, top and middle: Brian Hoy, Velodrome, Marseille; bottom: Sarah Syed, Food Opera, Marseille.

This page, clockwise from top: Greg Nordberg, Anthony Lau, James Palmer, Alexander Joury, Antonia Hazlerigg.

This page: James Palmer, Retirement Home, Marseille.

BSc Unit 5 Yr 2: Emma Bailey, Weng Sam Iu, Marina Karamali, Rina Kukaj, Na Li, Nathaniel Mosley, Gordon O’Connor Read, James Purkiss, Edward Scott, Catrina Stewart, Ruofan Yao. Yr 3: Zahra Ahmad Akhoundi, Victoria Bateman, Sheila Clarkson Valdivia, Amanda Ho, Alexis Kalli, Thomas Kay, Janice Lee.

Ephemera By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action. Our taverns and metropolitan streets, our offices and furnished rooms, our railroads stations and factories appeared to have us locked up hopelessly. Then came the film and burst this prison- world asunder by the dynamite of the tenth of a second, so that now, in the midst of this far-flung ruins and debris, we calmly and adventurously go travelling.

With the close ups, space expands, with the slow motion, movement is extended (‌).

Walter Benjamin This year our unit will look into the ambiguous zone between film making and architecture. Perhaps our fascination with film and architecture is that there are no other two arts that are so unlike each other: the film, intangible and fleeting, an image on a wall; and architecture, the most tangible and eternal. However, like architecture, film is dynamically perceived, obsessed with the immersion in its own created world. And, like architecture, film is able to transform the world, albeit through isolated moments. Over time movies have become a catalyst, an El Dorado of what architecture could be about: freed from everyday constraints, building codes and financial realities it has created an ideal medium to test the fantastic, ideal visions and new approaches to architectural design.

Julia Backhaus and Pedro Font Alba

Top: Zahra Ahmad Akhoundi, Animated Landscape. Middle: James Purkiss, Bottle Architecture. Bottom left: Catrina Stewart, Stunt School; right: Thomas Kay. Facing page, top and bottom: Janice Lee, Toy Theatre. Middle: Gordon O’Connor Read, Sushi Bar.

Top left: Thomas Kay, Cornfield Community; right, top to bottom: Rina Kukaj; Victoria Bateman, Green Embassy; Thomas Kay, Cornfield Community. Bottom: Catrina Stewart, Stunt School. Facing page, top left: Victoria Bateman; right: Rina Kukaj, Aroma Spa. Middle: Nathaniel Mosley, Lipstick Farm. Bottom: Catrina Stewart, Stunt School.

This page: Zahra Ahmad Akhound, Fashion Institute. Facing page: Janice Lee, Light Institute.

BSc Unit 6 Yr 2: Jan Balbaligo, Amy Bodiam, James Gunn, Michael Hughes, Caroline Mok, Bodin Nilkamhaeng, Allyssa Ohse, Paniz Peivandi, Ayeza Qureshi. Yr 3: Rory Donald, Helen Floate, Momo Hoshijima, Ben Kirk, Maxine Pringle, David Rieser, Elizabeth Watts, Peter Webb, Bethany Wells.

There are considerable overlaps between fashion and architecture in terms of technique and material. The techniques and terminologies of folding, pleating, wrapping and weaving are no longer only used as metaphors in architecture - they are directly employed in the design and manufacture of our built environment. A reverse flow is also true: both top-end and street fashion increasingly make use of the pliable plastics, flexible metal and even high performance glass that were once reserved for the building site.

One can examine the straightforward relationship between a clothes factory and the manufacturing processes it houses, as well as more mercurial relationships between fashion brands (such as Prada or Hermes) and the architecture of their retail operations. As fashion brands develop they tend to distinguish their product through buildings as much as through conventional advertising, packaging and the products themselves.

Witness the work for fashion brands as produced by architectural brands such as OMA. This brings to mind the huge potential architecture has always had for propaganda.

Unit 6 will look at both areas of interface between architecture and fashion: Visiting clothing makers in East London as well as more rarefied manufacturing and retailing operations in London, Paris and Milan, we will examine the relationship between brands and buildings. The Unit will engage with critics from outside architecture; in the more ostensibly ‘fashion driven’ fields of, for example, clothing and automotive design to explore the potential in crossover between our and their disciplines.

Stuart Piercy and Ben Addy

Top: Bethany Wells. Bottom left: Caroline Mok; right: Peter Webb.

Top: Ben Kirk. Bottom left: Bethany Wells; right: Caroline Mok.

Clockwise from top: Bethany Wells, Michael Hughes, Jan Balbaligo, Peter Webb, Jan Balbaligo, Michael Hughes.

Top: Helen Floate. Middle left: James Gunn; right: Maxine Pringle. Bottom left: Maxine Pringle.

This page, top: Amy Bodiam; bottom: David Rieser. Facing page, top: Ayeza Qureshi; bottom: James Gunn.

BSc Unit 7 Yr 2: Jacob Attwood-Harris, Charmian Beedie, Luke Jones, Kate Marrinan, Anna Mill, Negin Moghaddam, Justin Randle, Aymee Thorne Clarke, Gabriel Warsharfsky.

Yr 3: Peter Alexander, Matthew Blaiklock, James Crick, Lois Farningham, Klementyna Klocek, Rosanna Kwok, Emily Norman, Elizabeth Shaw, Simon Walker.

Welcome to Slowtown Last year, Slowtown matured from a one horse town to a city priding itself with some major civic buildings like The Glass Cathedral and CASH, the Commission for Architecture and Slowtown Heritage. This year, Slowtown requires major investment in its taste industry.

Architecture is commonly perceived visually. It can sometimes be perceived acoustically and at close range it can be perceived sensually. Underlying its every facade is an inherent taste that is at once its ideology and on the other hand the public face subject to scrutiny and critique by visual appearance. We will look carefully at the significance of taste in architecture. What would a salty letter plate be like and how would a spicy roof gable be built? What would a juicy bathroom be made from and what a fruity garden shed?

Understanding what taste is to be delivered in architecture, not for the pleasure of the cook, but for the pleasure of the consumer draws apart the architecture of the esoteric from that of the seminal. A good cook, like a good architect needs to first understand his ingredients; their honesty, integrity and particularity of taste if he is to avoid dressing mutton up as lamb. Before cooking your first course, you will start off by preparing and understanding the ingredients of your architecture: discarding, boning, marinating, peeling and straining each built element until you are left with a palette of ingredients to fulfil your hungry consumer with the desired taste.

Please visit www.slowtown.org

Dan Brady and Jan Kattein

Top: Gabriel Warshafsky, House of Intoxication, rainwater outlet. Middle: Anna Mill, Ideas Auction. Bottom: Gabriel Warshafsky, House of Intoxication, sunset room.

Top, left to right: Luke Jones, Heathrow Terminal 6, detail of Passport Control; Elizabeth Shaw, Steam Opera, elevation; Negin Moghaddam, Dinner at the Soanes’. Middle, left to right: Jacob Attwood Harris, The Crowning of the Lord Mayor; Elizabeth Shaw, Steam Opera, plan; Negin Moghaddam, Down and Out in Paris and London, hotel room. Bottom left: Anna Mill, Ideas Auction; right: Negin Moghaddam, Down and Out in Paris and London, brothel.

Clockwise from top: James Crick, Boxing Club, section; Kate Marrinan, The Distorted House, façade detail and The Distorted House, view of stairwell; Klementyna Kloceck, The Royal Institute of Paper Architects, Annual Members’ Dinner.

Clockwise from top left: Charmian Beedie; Anna Mill, Ideas Auction; Rosanna Kwok, Door Factory, view of foundary; Lois Farningham, Veal Restaurant , structural skeleton; Justin Randle, Planning Office, elevation.

This page, top: Anna Mill, Ideas Auction; bottom: Simon Walker, Film Institute, elevation at night. Facing page: Emily Norman, Housing Association Headquarters.

BSc Unit 8 Yr 2: Craig Allen, Carmelo Arancon, Ross Fernandes, Dalina Gashi, Ben Harriman, Katherine Hegab Gaafar, Louisa Danielle Hodgson, Julian Zi Liang Huang. Yr 3: Aditya Aachi, Beatrice Beazley, Natalie Benes, Sarah Custance, Edward Farndale, Adam Holland, Christopher Lees, Tia Randall, Georgina Robinson, Chris Thompson.

The Explorers In the 19th century, a man called Monturiol dreamed of a refuge, a place where he could go to be free of the dense and dirty city of Barcelona in which he lived. To achieve his dream he built a vessel - the first of its kind - that would let him inhabit an element that one had previously only been able to visit for short periods of time.

Unit 8 took Monturiol and his dream as the starting point of the year, letting each student go off on a journey of discovery along which they defined and designed the tools needed to inhabit their own utopian worlds. We looked hard for the new, personal and original, generated architectures which contained layers of history, myth, place and time, and dealt with scales ranging from the microscopic landscapes of Soho to the almost infinite horizon of Montserrat.

Johan Berglund and Rhys Cannon

Clockwise from top left: Ben Harriman, Stereoscopic Viewing Instrument, London, installation view; Carmelo Arancon, Gallery of Light, London, section; Dalina Gashi, Masked Space, London, installation view; Louisa Danielle Hodgson; Ross Fernandes, Urban Arts Institute, Barcelona, faรงade study; Julian Huang, The institute of Bathymery, Barcelona, ground floor plan; Edward Farndale, Borough Market Beadle Headquarters, London, model; Craig Allen, Whispering Gallery, London, model; Katherine Hegab, Chocolate and Ceramics Workshop, section, Barcelona.

Top: Ad Aachi, Close Care Centre, Barcelona, short section. Middle: Tia Randall.Botom: Georgie Robinson, Gymnastics and Kastel Centre, Barcelona, model.

Top: Chris Thompson, Botanical Workshop, London, model. Bottom: Beatrice Beazley.

This page: Christopher Lees; top: Museum of Microlandscapes, London, section; bottom: Catalan Ceramics Forum, Barcelona, perspective.

This page, top: Natalie Benes; left: Cleansing Instrument, London, installation view; right: Bell Foundry, Montserrat, plan; bottom: Adam Holland, Montserrat School of Astronomy, Montserrat, model. Facing page: Sarah Custance, Scriptwriter’s retreat, Barcelona, plan.

BSc Architectural Studies

Project X

Yr 2: Kevin Green, Sean Hladkyj, Laurie Jameson, Basil Jradeh, Freddie Tuppen, Ai Yamauchi. Yr 3: Peter Charalambous, Lynne Holtum, Tsin Yee Hon, Danielle Kudmany, Kara Melchers, Tayvanie Nagenran, Savpree Seehra, Olamide Udo-Udoma, Yeauhn Jin, Dominic Wilson, Amy Wolfe.

Yr 2: Kevin Green, Basil Jradeh, Freddie Tuppen. Yr 3: Tsin Yee Hon, Kara Melchers, Olamide Udo-Udoma, Amy Wolfe.

The Bartlett’s BSc in Architectural Studies is an undergraduate degree in which students pursue a specialism in architecture, while also taking arts, humanities, social science and science courses from other UCL departments.

Popular choices are modules in anthropology, management, art history, archaeology, geography, philosophy, the Language Centre and mathematics.

Over the 5 years of its life, BSc Architectural Studies has proven to be an excellent springboard for graduate work or careers in design-related fields such as architectural history, lighting design, arts management, landscape design, printmaking, and documentary film-making.

It also provides a solid foundation for students who do not intend to remain in design fields: our graduates have gone on to advanced study and careers in management, journalism, marketing, law, public relations, charity work, and publishing.

There are two specially tailored course modules for Architectural Studies students within the Bartlett. The Dissertation is an independent written project focusing on an architectural subject of a student’s choice. The project’s emphasis is on conducting original research and producing an investigative in-depth written study of 10,000 words. Project X is an independent creative project in which students research an architectural idea or series of ideas through visual and other architectural media – including drawing, photography, model-making, casting, sound, film, new digital media, installation and performance – in conjunction with a short creative written piece. Examples from both Dissertation and Project X are reproduced on the following pages.

Project X aims to help students build a creative and reflective practice of their own. It enables them to undertake a mode of working that particularly interests them and an independent design-based project in which they can identify, research, and pursue a subject of their preference. Students are asked to think of architecture in interdisciplinary ways, explore alternative approaches to design and situate their work within a broader cultural context. The work is developed in conjunction with a short written piece.

Year 2 tends to have an experimental character whereas Year 3 follows more reflective processes. A series of key questions confront students at different stages of the year, concerning the nature of their practice, the contribution of their work to the broader field of architecture, the originality of their project, and the selection of appropriate media for the ideas pursued.

Warmest thanks to our critics for their provocative and constructive comments: Johan Berglund, Willem de Bruijn, Chee-Kit Lai, Gillian Lambert, Barbara Penner, Miriam Sleeman, and Emmanuel Vercruysse.

Many thanks also to the following people for their insight and generous help: Mathew Bowles, the Bartlett Workshop staff, and Michael Duffy at the Slade School.

BSc Architectural Studies Director: Barbara Penner.

Coordinator: Yeoryia Manolopoulou. Tutor: Constance Lau.

Left, top to bottom: Olamide Udo-Udoma, Freddie Tuppen, Tsin Yee Hon, Amy Wolfe. Right: Kevin Green. Overleaf: Kara Melchers.

BSc Architectural Studies Dissertation Yr 2: Sean Hladkyj, Laurie Jameson. Yr 3: Lynne Holtum, Tsin Yee Hon, Danielle Kudmany, Kara Melchers, Tayvanie Nagenran, Savpreet Seehra, Olamide UdoUdoma, Yeauhn Jin, Amy Wolfe.

The Dissertation in Architectural Studies enables students to undertake an independent research project. The emphasis is on conducting original research and producing investigative in-depth written research, supported by appropriate visual and textual documentation. This course is taught through individual or small group tutorials, supplemented by occasional seminars and group meetings. The aims of the Dissertation are to enable students to conduct original research, to think critically about issues with architectural aspects or implications, and to develop and showcase their practical skills in data collection, research, writing and presentation.

Extract from Lynn Holtum, ‘Refugee Shelter: The use of aid agency guidelines in housing provision and disaster response’ The end of the last century and the beginning of the present have become characterised by mass displacements of people. Natural and man-made disasters have deprived hundreds of millions of people in their homes and shelter in the last 50 years. Despite the best efforts of aid agencies and governments alike to find alternatives, refugee camps are growing to be major features of the efforts made to assist displaced peoples. “The home is important as a symbol of the self, a physical encoding of the values of society and as an indication of the process by which these have been assimilated,” says Dr. Paul Oliver, an expert on traditional environments. [...]

This analysis will focus on both the guidelines produced by the United Nation’s High Commissioner for Refugees (UNHCR) and the Sphere Project and its Humanitarian Charter. [...] The latter project was set up in order to develop a set of universal minimum standards on core areas of humanitarian assistance. First published in 1998, the Charter was the first attempt by an agency to publish internal, comprehensive and universally applicable set of emergency response standards.

By the time the UNHCR guidelines were published in 1999, however, the Sphere Charter had already become the object of widespread criticism in its application and use. Criticism of the UNHCR attempt at creating guidelines followed on its heels. [...]

Both the UNHCR Guidelines and the Sphere Charter stress the importance of socio-cultural considerations which need to be evaluated at every point of both general and built environment planning in refugee situations. These guidelines also state that camps should be used temporarily and only as a last resort, yet the average time spent in a camp by a

Coordinator: Barbara Penner.

refugee now stands at 7 years. This is one of the many points upon which criticism of these guidelines has been based.

Where is the line drawn between temporary and permanent accommodation? The definition between temporary and permanent shelter, or what a refugee should accept as a home and for what period of time could play a vital role in the rebuilding of damaged socio-cultural identities. Are the short-term survival needs for shelter as important as the longer-term socio-cultural value it can hold? The challenges faced by aid agencies to either maintain or provide a basis for the rebuilding of socio-cultural identities for displaced people, are becoming more widespread, on a daily basis.

Extract from Tsin Yee Hon, ‘Body Clocks and Space: A discussion of how the built environment impacts upon the internal biological clock in humans’ The rhythms of the environment abound; even as far back as Stonehenge, when the druids turned to the rhythm of the sun and constructed their activities in time with day and night. Time has been the subject of science, maths and philosophy for centuries, yet it has taken that long for wide acknowledgement that humans have their own timing system within. This idea is most visible through observing the sleep-wake cycle, a rhythm that ties our biological systems to the daily cycle of day and night. It is natural for humans rest at night when it is dark outside making it difficult to undertake activities that require daylight to see. Similarly, the brightness of the sun’s rays summons our bodies to wake, the ambient temperature rises, and we undertake many activities before the sun goes down once again. However, since the advent of electricity, technological advances, and aeroplanes mean that daily rhythms no longer need to be dictated by the sun. Our homes and social lives have evolved considerably. How well have we adapted to our new advances in architecture, technology and way of life?

...Friction must arise somewhere along the way if what anthropologist Edward T. Hall writes is true, “man is first, last, and always, like other members of the animal kingdom, a prisoner of his biological organism.”

The following discussion will explore what aspects of the environment make the greatest impact upon the internal clock in humans. Prevailing research on human inner clocks to date are on circadian rhythms. ‘Circa’ (about) and ‘diem’ (a day) rhythms are attributed to endogenous biological systems that show a period of time close to 24 hours. Innate human circadian rhythms may be entrained (conditioned) by external environmental factors like day and night from the rhythmic revolution of the earth, or by the type of architecture in which the human resides. Although circadian rhythms derive innately, there is no doubt that variables in society mask these rhythms or at time reset them. Therefore, an investigation into the relationship of the built environment on our endogenous clocks may offer another aspect to consider when deciding on the design layout and function of each build.

Extract from Kara Melchers, ‘Doing Life: A relationship between the visual arts, the body and the city’ Trisha Brown...used dance to explore spatial relationships. In her geometric dances, such as Accumulation, Brown added simple movements to one another in order to create an entire sequence.

As Sally Banes notes, “The viewer was not told how or what to watch; instead they were composed of an assemblage of individual offerings.” The simplicity of the moves that made up the sequence allows the viewer to relate to each one.

It is a conversation about the process of composing a sequence. These accumulations were brought directly to the public when Brown would perform them in parks, parking lots and various

other sites within the city. Another of her most famous pieces that was performed outside in downtown New York was Man Walking Down the Side of a Building – where a man made his way down the side of a building, arms at his sides, legs perpendicular to the building with an assistant on the roof slowly letting down the rope that held him. Brown forced the spectators to watch the performance in an unexpected and unnatural position. [Maurice] Berger wrote about this performance in his essay Gravity’s Rainbow: “The unnatural angle through which viewer observed a man walking towards them – their heads tilted sharply backwards, their eyes gazing seven stories upwards – underscored the distance between the conventional orientation and functioning of their bodies in the world and the absurdity of the experience at hand.” While they stood in the awkward position and witnessed this seemingly impossible task, Brown is encouraging the audience to think not only about the limitations of their own bodies but also the limitations of the building. By performing the incongruous Brown is making the audience question how a city should be used.

For Brown, using New York as a stage created a real opportunity to explore different ways of engaging spectators. In Roof Piece dancers were put on different rooftops spread across the blocks of New York. One dancer would begin with a move which one by one the other dancers would copy to the best of their ability, thus the move would travel up and down New York creating a sequence. After one move the direction would change and a different dancer would begin. It is emblematic of a study/teacher relationship in a dance close where the student mimics the teacher in order to learn. On the rooftops, Robert Mattison observes, “the exact repetition was necessarily impaired by the distance between the buildings; the real space and time of the everyday world were primary forces.” The audience members were spread over several rooftops and the space

between each building also restricted what they were able to see: “portions existed outside one person’s perception, just as unseen events in life continue all around us.” The audience on the rooftops were not the only possible viewers of this piece.

There were also uninformed members of the public looking up from the street or out of a window in a nearby building who might catch a glimpse of part of a sequence. “The real space and time of the everyday world” is a concept that is difficult to put into performance. The combination of the space between the performers, improvisation and the context of the city allow Brown to achieve this.

Extract from Olamide Udo-Udoma, ‘Let me tell you a story’ In this dissertation, I would like to explore the world of folktales, specifically Nigerian folktales. When I read a folktale, either in a book or from the Internet, I smile and enjoy the wonders of each one, yet by the time I finish I am sad. What saddens me that I have to read it. By reading the folktale it is taken out of context.

Originally, these folktales would have been spoken; under no circumstance would a person read one. At present it is increasingly unlikely to hear a folktale.

This, therefore, removes the interaction between storyteller and listener. It also removes the process of change within the story (Chinese whispers as the storyteller is removed. The process of reading becomes less dynamic as what is read is ‘written in stone’. I wonder at times what information I miss when reading instead of hearing these West African folktales. If the space where it is can affect the story, does it make a difference if it told in an open space or an enclosed one, in the city or in the country, in London or in Lagos? Could there be some kind of folktale recitals within an urban context in society today and would that enrich our knowledge, our perception and the space of the city?

Bartlett architecture students undertake their studies in the full range of architectural subject matter and enquiry. Professional Studies, History & Theory and Technology are all explored both implicitly within the design process and explicitly in specialised and comprehensive stand-alone modules.

Through this integrated and extensive approach to architectural education, students experience all aspects of architecture, from the abstract and ideational, social and cultural, rational and pragmatic, to the managerial and economic.

Professional Studies

From day one, Bartlett architecture students are asked to think about and question the role, status and function of the architect, and to ask what the architectural profession is, should or could be. The range of practices which graduates go on to ultimately pursue is as diverse as the individuals who arrive at the School. In the intervening period, preconceptions are continually challenged through encounters with fellow students, with the School’s teachers – many of whom run their own practices – and with numerous visiting experts who share their professional knowledge and experience.

Students’ own ambitions and career aspirations are nurtured within the framework of innovative professional studies courses, as well as through informal advice on practice and employment.

BSc Year 1 architecture students work with planning and construction students on the ‘Production of the Built Environment’ course which introduces the different individuals and organisations involved in the process of producing buildings, as well as the broader political, social and

economic forces which shape the built environment. In BSc Year 3, students take the ‘Preparing for Practice’ course which aims to equip them for life in an architectural office during their following Year Out. The ‘Learning from Practice’ course for Diploma Year 4 students is unique in that each Diploma unit is hosted by an architectural practice for inhouse seminars, site visits and discussions on professional matters. The course prepares students for employment and for later RIBA Part 3 studies, as well as strengthening ties between the School, its graduates and the profession.

Susan Ware Director of Professional Studies

History and Theory

Architectural history and theory is a staging post, a provisional place of reflection, a continual project. And it is omnipresent – every architect, every historian, every theorist, knowingly or not, uses some intersection of history and theory every time they design, document, discuss or speculate.

At the Bartlett, architectural history and theory interjects at all levels, from introductions to architectural analysis, from encounters with buildings to the elaboration of critical practices, from public discussions to individually focused research projects.

Prof. Iain Borden Director of Architectural History & Theory

Year 3 Dissertation Lucy Paton, ‘The Portrayal of the British Seaside’ Chapter one will discuss the creation of Cromer as a tourist destination and change in image from that purely of health to pleasure. In Chapter two I will use images of railway posters and advertisements for various resorts to outline the portrayals of the British seaside as an innocent place of leisure.

Chapter three will discuss the use of the female form and the resort’s creation and portrayal as a liberal place. The status of the ‘sexual myth’ through the history of the seaside, how and when it was created and used, and other elicit activities that were hidden under the disguise of the official, respectable image of the seaside will be discussed in Chapter four.

Chapter five will compare and contrast the representations of the decline of the British seaside. Finally I will summarize the image of British seaside today and how we have arrived at and are changing its portrayal (chapter six) and then conclude the importance of the image in creating the British seaside and how they informed the reality of the resorts and towns. [...]

Studying the different images and modes of portrayal in articles, railway posters, postcards, photographs, personal accounts, film, novels and artists’ works through the history of the British seaside, I have tried to evaluate their impact on the British seaside holiday and the resorts themselves, how they informed changes in aesthetics and social behaviour and the current state of the British coast as a holiday destination. [...]

Seaside Architecture was heavily influential in the most popular age of the coast: in the early 1900s it set the coastal towns apart from those inland, grand hotels,

piers and promenades and informed a particular behaviour and atmosphere in the resorts. Architectural developments are playing a very important role in the reinvention of the British seaside, creating ‘spectacle buildings’, to attract the public from around the country and abroad and renovating the timeworn iconic architecture of the past.

Year 4 Article Pernilla Orhstedt, ‘In-Between: Before and After’ This essay looks at the commodficitiaon of the ‘ideal’, specificially thorugh the culture of ‘self-modification’. The text is split into two ‘mirrored’ texts, one on the body and one on the dwelling, representing two different boundaries of ‘self’. Two case-studies are examined: Le Corbusier’s ‘Quartiers Moderns Frugés’ in Pessac (1926), revisited by Philippe Boudon’s study in 1969, and the body of performance artist, Orlan, modified first in 1990. Orlan reveals the in-between of body modification through direct action – by putting herself under the knife. Philippe Boudon reveals the in-between period of Pessac through an ambitious series of interviews with Pessac occupants, nearby residents and professionals involved in the project.

Together they describe a commercial and psychological ‘economy’ behind these modifications. Side by side, or perhaps on opposite sides, they question the dichotomies at play in-between the creation of the projects. It is in the discrepancy between these two texts where the interest in this essay lies.

Technology

Technological production defines a substantial part of contemporary culture – from clothing to music to architecture.

The social experience of architecture is predicted by the way we, as architects, construct our environment in both a physical and a conceptual sense.

The Bartlett is fortunate. We are able to draw on ‘cutting edge’ experts to help our students explore these issues in design from BSc Year 1 to Diploma Year 5. Students work with drawings, texts, models, physical experiments and 1:1 installations.

Prof. Stephen Gage Director of Technology

James Palmer, ‘Regulating Thermal Comfort in a Marseille Retirement Home’ This dissertation is both knowledgeable and experimental.

From a select palette of authors, James draws out the main issues that his project should address, starting with the high death rate among the elderly in southern France during hot spells.

The French government response has been to fund air conditioning in old people’s homes. The knock on effect of

this is to raise the demand for electricity in the summer which in turn requires either the use of more nuclear power or the burning of fossil fuels. Neither strategy is sustainable in the long run.

James examines a range of ingenious assisted passive strategies for enhancing thermal comfort in the context of his project.

He freely admits where things have not worked and his conclusion is a model of modesty. His project is greatly enhanced by his technical investigation.

Dip Unit 10 Yr 4: Yao-jen Chuang, Lei Guo, Jonathan Hagos, Tom Hillier, Ben Masterton-Smith, Maxwell Mutanda, Gemma Noakes, Emma Seabright, Adeline Wee, Tumpa Yasmin. Yr 5: Dimitrios Argyros, Julian Busch, Andreas Helgesson, Tomasz Marchewka, Alleen Siu, John Paul Young.

Building Assemblage of our Travels At times all I need is a brief glimpse, an opening in the midst of an incongruous landscape, a glint of lights in the fog, the dialogue of two passerby meeting in the crowd, and I think that, setting out from there, I will put together, piece by piece, the perfect city...

Italo Calvino, Invisible Cities Travel transports people on a journey and is the time and process of displacement from one location to another.

Tourism is the world’s largest industry today. A round the world tour with Thomas Cook + Son, started in 1872, for 200 guineas and included a steamship across the Atlantic, a stagecoach across America, a paddle steamer to Japan, and an overland journey across China and India.

Souvenirs are a material memento and just like photographic imagery they evoke the experiences of our foreign travels, and both signify the experience of ownership and aspects of cultural otherness.

Fasten your seatbelt! We start our architectural and cultural odyssey from DEPARTURE, a series of assemblage-based workshops exploring the issues and myths of travel. Our interest lies in the physical potential and the intellectual relationships between ‘drawing’, ‘assembly’ and architecture as ‘built assemblage’. The initial 2D and 3D assemblages will form an itinerary of architectural explorations and narrative for ARRIVAL, the eventual architectural propositions in Luxor.

cj Lim and Bernd Felsinger

Top: Jonathan Hagos, Colonising with Tea. Middle: Ben Masterton-Smith, China in Luxor.

Bottom: Maxwell Mutanda, Christmas in Luxor.

Top: Julian Busch, Travelling Without Moving. Bottom left to right: Gemma Noakes, Bedtime Journey; Tom Hillier, Migration of Mel + Judith; Yao-jen Chuang, Journey to the West.

This page: Alleen Siu, Beyond the Veil.

This page: Dimitrios Argyros, Luxor by Horse.

Top: Tomasz Marchewka, Final Journey. Bottom left: John Paul Young, The Potrait of Lost Souls; right: Adeline Wee, Will Curiosity Kill The Postman?

Top: Andreas Helgesson, Bazaar of Three Nuances. Bottom: John Paul Young, The Potrait of Lost Souls.

Dip Unit 11 Yr 4: Tarik Al-Zaharna, Melissa Appleton, Thomas Buchanan, Benjamin Lee, Jonas Major, Ben Ridley. Yr 5: Aaron Brookes, Louise Charlton, Timothy Fieldhouse, Catriona Forbes, Poppy Kirkwood, Ruth Oldham, Richard Sharam, Nicholas Stearns, Cheng-E Tham.

Surface Tension The romanticism of the ruin that stands in defiance of Time evokes memories of forgotten histories, so tantalising to visitors of Rome. Monumental city planning, avenues and vistas manifest politics, power and patronage.

Iconography and statuary that symbolise the mythology and ceremony once so important to everyday life is lost on the visitor and now redundant.

The Colosseum, heroically derelict, was found in the 1850’s to provide a microclimate suitable for the growth of 420 species of plants thought to have been brought there as seeds on the bodies of wild and exotic animals from the far reaches of the empire and dropped into the deep sands of the Colosseum’s pits and corridors. These plants, keenly sought and catalogued by botanists and Grand Tourists, were rapidly removed by archaeologists and have since become another episode in the long and peripatetic occupation of the city.

The unit proposes architecture that responds to Rome’s cultural identity and which acknowledges the souvenirs and artefacts of the city. However, it is our role to ‘pioneer’ its place within this landscape of history and symbolism. For us there can be no sentimentality bestowed by the authentication of Time.

Thanks to Andy Whiting and Scott Batty at Hut Architecture

Mark Smout and Laura Allen

Top: Louise Charlton, Sculpting Light, Dell ‘Orso Artisans Collective. Bottom: Aaron Brookes, Mimetic Drawings­, domestic assemblage.

Top: Cheng-E Tham, Institute of Building Mycology. Bottom: Ruth Oldham, A Multifarious Mountain, Testaccio, Roma.

Clockwise from top left: Richard Sharam, Urban Quarry, Roma; Tim Fieldhouse, Reflecting the city; Nicholas Stearns, Casa Bartletti; Kyle Buchanan and Ben Lee, Camley Street (h)Edge.

Clockwise from top left: Melissa Appleton and Tarik Al-Zahana, The Centre for Londoness; Catriona Forbes, The Paper State; Poppy Kirkwood, Borghese Theatre, an Animated Landscape.

This page: Catriona Forbes, The Paper State, Roma. Facing page: Jonas Major and Ben Ridley, Re-invigorating the Ecclesiastical Spectacle.

Dip Unit 12 Yr 4: John Ashton, Alex Hill, Cat Jones, Antonios Kallergis, Fai Lam, Ben Lee, Yejun Pee, Louise Strachan, Elly Tabberer, Alex Tait, Eva Wiiloughby, Xin Yu. Yr 5: Neil Kahawatte, Peter Watkins.

Making History As a creative stimulus, narrative resource and gene pool for twenty-first century architecture, Unit 12 focuses on earlier centuries as well as those more recent.

When everybody else is looking in one direction and one place, it’s always good to look elsewhere. Because as well as history, we are interested in personal history.

Weather Architecture Often understood as distinct from architecture, weather can instead be a positive and initiating architectural force. Contemporary weather is not limited to sun and rain, it also includes the changeable hybrid weathers that society and architecture manufacture.

A weather-responsive and weatherabsorbing architecture is indicative of a wider agenda: a changeable architecture for changeable conditions.

The Port Authority A port is a means and site of exchange, whether of energy, goods or information.

A port also harbours, and develops. Our project is The Port Authority. Our site is coastal, shifting and subject to conflicting natural and man-made forces - winds, tides, politics, climate change - that affect each other on a global and a local scale.

On a coastline where some ports are now a mile inland and others are submerged by the sea, we aim to establish a new port and a new town. We propose an architecture that reciprocates, trades and exchanges with its environment, one expanding and contracting, receiving and donating, adapting and adjusting, in response to the other.

Jonathan Hill and Elizabeth Dow Technical Tutor: Chris Davy

Top: Xin Yu, The Dancing Wonderland, Wells-next-the-Sea, concrete wall and fabric wall. Middle: Fai Lam, The Sailor’s Workshop, Wells-next-the-Sea, the invisible story. Bottom: Ben Lee, The School Retreat, Blakeney Point, the boiler room.

Clockwise from top left: Alex Hill, The Colossus of Wells, Wells-next-the-Sea, section; Louise Strachan, Glass Blower’s Studio, Holkham, the view inland; Cat Jones, Morston Village Hall, elevation and The Morston Shipwright/Dressmaker’s House, elevation; Yejun Pee, The Retreating Music Rooms, Holkham, after a sand storm; Elly Tabberer, The Hunting Lodge, Holkham, the trophy chair.

Clockwise from top left: Eva Willoughby, Blakeney Farm, Blakeney Point, seasonal farm produce calendar; Neil Kahawatte, The Residence of the UK Minister of the Environment and the Holkham Land Agent, the great hall in a downpour; Peter Watkins, The Dunwich Foundation—A House for Displaced Populations, Morston, the parishioner’s canopy, 1832; John Ashton, The Shedding Myth, Blakeney, the monster in the marsh and sectional perspective; Eva Willoughby, Blakeney Farm, Blakeney Point, samphire pot roof and algae stills.

This page, top to bottom: Neil Kahawatte, The Residence of the UK Minister of the Environment and the Holkham Land Agent, weather laboratory, measuring change; Peter Watkins, The Dunwich Foundation—A House for Displaced Populations, Morston, the lead miners wait, 1901 and the view towards Morston, 2020 and the arrival of the Manor Garden Allotments, 2008.

This page: Neil Kahawatte, The Residence of the UK Minister of the Environment and the Holkham Land Agent. Top: the summer recess. Bottom: autumn storms. Facing page: Peter Watkins, The Dunwich Foundation—A House for Displaced Populations, Morston, the parishioner’s bench after the twenty-five year storm, 1842.

Dip Unit 14 Yr 4: Thomas Evans, David Gouldstone, Kieran Hawkins, Henry Parr, Matthew Seaber, Nick Westby, Rion Willard. Yr 5: Paul Burres, Wei Shan Chia, Ruairi Glynn, Fred Guttfield, Harriet Lee, Joe Moorhouse, Ellen Page, Elliot Payne, Vasilis Polydorou, Richard Roberts.

The Theatre of Mistakes It is clear that an aesthetically potent environment should have the following attributes: a) It must offer sufficient variety to provide the potentially controllable novelty required by a man (however, it must not swamp him with variety – if it did, the environment would merely be unintelligible). b) It must contain forms that a man can interpret or learn to interpret at various levels of abstraction c) It must provide cues or tacitly state instructions to guide the learning and abstractive process. d) It may, in addition, respond to a man, engage him in conversation and adapt its characteristics to the prevailing mode of discourse.

Gordon Pask, 1968, A comment, a case history and a plan Unit 14 is the Interactive Architecture Workshop. In 2005/06 we explored the relationships between the environment, architecture, transformation and time through metaphors taken from the craft of magic and the science of perception. In 2006/07 we looked at these relationships in the context of performance.

Many of our critical understandings are derived from second order cybernetics, especially the work of Heinz Von Foerster, Gregory Bateson and Gordon Pask.

Gordon Pask was also a writer, producer and director of theatrical events.

The unit went to New York’s Eyebeam Gallery in February 2007 where this year’s graduating Yr 5 students presented their work in progress at an international colloquium.

Stephen Gage, Phil Ayres and James O’Leary

Top and middle: Henry Parr, Matthew Seaber and Rion Willard, The project shows how a mime school can be integrated with a vertical performance space where both observer and observed from part of a wider spectacle.

Yr 4: The Theatre of Mistakes All of Pask’s ‘performances’, including the interactive mechanical performance that was created for the Cybernetics Serendipity Exhibition in 1968, were based on consequential logical systems. The same approach was adopted by the ‘Theatre of Mistakes’ (Michael Greenhall, Anthony Howell, Glenys Johnson, Peter Stickland and Fiona Templeton). This was the title for the Yr 4 building study on the site of Pollock’s Toy Museum in Fitzrovia.

Yr 4 students then undertook further design exercises to help identify individual areas of interest in preparation for Yr 5.

Top: David Gouldstone and Kieran Hawkins, The existing building is demolished so that a radical debating club can be built to celebrate the long-standing tradition of dissent and pamphleteering in the area. Two differently distinct circulations both separate and unite debaters and the visiting public. Bottom: Thomas Evans and Nick Westby, The site is developed to become a highly interactive and competitive karaoke club.

Extreme mechanisms expose successful singers to the occupants of the building as a whole, who occupy the surrounding bars and gathering spaces.

Fred Gutfield, Re-engaging with the Natural World: In a landscape project Fred explores how mechanical objects can engage an observer so that their perception of the natural world is enhanced. Fred starts from the position that we are increasingly dissociated from the world that surrounds us that a positive effort must be made to help people understand and interpret the actuality of their surroundings.

Paul Burres, Artificial life and the Hong Kong Project: Paul investigated the psychological , cybernetic and formal nature of life systems – firstly in the context of the creation of an artificial creature and secondly as a proposal for a symbiotic population of giant artificial plants that coexist with late 21st Century Hong Kong.

Wei Shan Chia, Enfolding a Ritual: Wei Shan stared the year by developing a technique for the comparative notation of ritual, while looking at deployable structures as a means of creating ritual objects. The final proposal is the creation of a ‘good luck’ ritual space situated in UCL’s north cloisters.

Joe Moorhouse, Inhaling the City: Starting from an investigation into 21st Century urban air pollution and a study of the varying topology of clean and dirty public spaces, Joe has created proposals for large pieces of animated street furniture that make the invisible world of air pollution visible to drivers and pedestrians.

Top: Paul Burres. Middle: Fred Guttfield. Bottom left: Joe Moorhouse; right: Wei Shan Chia.

Harriet Lee, Drawing the Landscape: Harriet explores how techniques of drawing and painting can be directly applied to a landscape. She reconstructs a world of childhood memory on a Thames island using 1:1 instruments, some at a huge scale.

Vasilis Polydorou, The Debating Field: Holden’s unfinished master plan for the University of London included a grand open space to the north of Senate House. The site currently contains a mix of plant rooms and the unloved backs of buildings. Vas has prepared a proposal for a University agora, open- air theatre and set of meeting towers.

Top: Harriet Lee. Bottom: Vasilis Polydorou.

Ellen Page, Surviving the Great Flood of 2035: Using the technique of ‘Backcasting’ Ellen shows how London might survive a major rise in sea level by creating refuge structures and by embedding emergency strategies in urban carnivals over the next 20 years. The work is based in a simultaneous understanding of the technical and cultural issues that surround this increasingly plausible future.

Ruairi Glynn, Gesture and Conversation: Ruairi explored making and encoding and mechanical gesture in the context of object: object and object: human interaction and the construction of gesture based conversations.

Starting with an interactive wand he then developed a population of objects that sensed each other and their human visitors using a facial recognition system.

Increasingly complex behaviours are built up using a genetic algorithm.

Richard Roberts, Analogue Sound Spaces: Richard has created a set of instrument that control feedback so that spaces generate their own sound patterns that are then manipulated by their occupants.

Every moment in space becomes a unique acoustic event in time.

Elliot Payne, Waterwealth: Suburban life becomes challenged as the south of England face increasingly hot and dry summers. Elliot has created a buffer water reservoir system that both demonstrates water wealth and acts as a microclimate modifier for the suburban garden.

This page: Ellen Page.

This page: Richard Roberts. Facing page, top: Ellen Page; middle: Ruairi Glynn; bottom: Elliot Payne.

Dip Unit 15 Yr 4: Michael Aling, Irene Astrain, Alexia Bodouroglou, Rammy Elsaadany, Dan Farmer, Emma Penttinen, Joel Porter, Soki So. Yr 5: Gayle Chan, Tamsin Landells, Benjamin Olszyna-Marzys, Timothy Ratliff, Anton Risan, Nicholas Tayler. MArch: Peter Kidger.

Synthetic Space Synthetic Space exists between the actual and the virtual, between the analogue and the digital. Synthetic Space is a hybrid space. Synthetic Space unites formal architectonic concerns with spatial and temporal practices. Synthetic Space is not a model for something else: it is a site of explorations and a site of proposition in its own right. The architecture of Synthetic Space is speculative: it is not constrained by cost, patronage or function; it is an architecture of the possible. The limits of the Synthetic Space are the limits of the imagination.

For over seven years Unit 15 has been using film, animation and motion graphics as a way of developing and exploring new architectural modes of representation and practice. Using a variety of techniques, from stop-frame animation to sophisticated cgi, the work demonstrates a unique sensibility to both content and form, and suggests a whole new series of possibilities for architectural production.

U15 would like to thank: Mario Balducci, Sherry Bates, Juliet Davis, Stewart Dodd, Derek Gibbons, Peter Kidger, Stefan Kueppers, Tom Kyle, Phil Latham, Geof Manaugh, Chris Moore, MTV, Nemo Film Festival, onedotzero, Peg Rawes, David Rose, Bob Sheil, Stefan Schulz-Rittich, Reza Schuster, Silver Lake Film Festival, Soitirios Varsamis and Simon Withers.

Nic Clear and Simon Kennedy

Top: Tim Ratliff, This Was Tomorrow, film still. Middle: Gayle Chan, Response, Adaptation, Inhabitation, film still. Bottom: Emma Penttinen, H2Ouse, concept model.

Top: Peter Kidger, Invasion Architecture, film still. Middle: Irene Astrain, H2Ouse, interior perspectives. Bottom: Mike Ailing, (2nd) moment in a mnemotechnic Vatican City, chronogram.

Top: Joel Porter, H2Ouse, perspective collage. Bottom left: Anton Risan, Movement, Space, Time, chronogram. Middle and Bottom right: Tamsin Landells, 9 Nelson Road, film stills.

Top: Rammy Elsaadany, Synthetic Space, film still. Middle: Soki So, H2Ouse, perspective. Bottom: Dan Farmer, Synthetic Space, chronogram.

Top: Ben Olszyna-Marzys, London After The Rain, chronogram. Bottom left to right: Nick Tayler, Kupe, Kupe’s Moko, Toolset, System Panel, from Parallels Almanac - www.globalparallels.net.

Dip Unit 16 Yr 4: Kevin Bai, Karin Leung, Felix Li, Pernilla Ohrstedt, Ray Wang, Matthew Wilkinson, Vicky Wong. Yr 5: Charmaine Boh, Joanna Coleman, Benny Lee, Laura Stafford, James Stockdale, Duncan Thomas, Helena Van Lare. MArch: John Norman.

Ancient + Modern The aspirations of unit 16, like architecture itself, are a moving target, to explore and meet the evolving demands and needs of the 21st Century. Projects are not just illustrations of a theoretical position but also a reflection of the individual student’s character and experience. The unit demands formal and conceptual sophistication whilst remaining deeply suspicious of a consistency of STYLE. You will need observation and intuition as seemingly unrelated strands of thought and information can lead to unpredictable results. Use drawings and models as experimental tools. Technology is seen as a means not meaning.

As for architecture and the architect, the unit is biased towards ‘learning about’ rather than learning ‘to be’. Think more like the ‘amateur’ as defined a hundred year ago in DJ Taylor’s recent book on sporting Corinthians, “’amateur’ was a compliment to someone who played a game simply for the love of it. A hundred years later, it is a by-word for cack-handed incompetence.”

The future is the past in reverse.

Vladimir Nabakov Mud sometimes gives the illusion of depth.

Marshall McLuhan Purity is obscurity.

Ogden Nash

Simon Herron and Susanne Isa

This page: John Norman.

This page, top: Laura Stafford; bottom: Matthew Wilkinson. Overleaf, left: James Stockdale; right: Pernilla Ohrstedt.

This page: Duncan Thomas. Facing page: Kevin Bai.

Dip Unit 17 Yr 4: David Dickson, Paula Friar, Suzanne Gaballa, Christian Holm, Katie Irvine, Emily Lewith, Jakob Lund, Tom Rigley, Yr 5: Candida Correa de Sa, Sarah Gray, Matthew Hill, Sarah Izod, Joanna Karatzas, Brett Lambie, Ben Nicholls, Teresa Warburton, Steve Westcott.

Migrations In the novel Moby Dick, Herman Melville invented the Pequod as a dream ship to carry Ahab and his crew around the world in search of a phantasmagoric white whale. The Pequod is an enclosed world that is complete in itself. It is a factory, a home, a ship, a machine and a site for myths. The trees that built it grow again, it leaves no lasting mark on the surface of the sea, and it disappears without a trace.

This year we asked our students to design their own version of the Pequod.

We traveled north-south down the coast of California. We observed and reacted to the flux all around us and explored how different kinds of migration influence stories, objects, cultures and ecosystems.

Migration was also interrogated as a function of the mind (perception and memory), and as something that occurs within the design process itself, a drift between conscious intention and chance encounter. Each student finally produced an architectural proposal for a site and brief of their own choosing. A number of influences from theatre, literature, art, archaeology, and the natural sciences were woven into their projects.

Our warmest thanks to Alis Fadzil for her generous and invaluable teaching in Year 4.

Many thanks to the following critics and consultants for their insight and constructive input: Katherine Bash, Johan Berglund, Neil Daffin, James Daykin, Sarah Earney, Eoghan Given, Agniezska Glowacka, Olivia Gordon, Jan Kattein, Guan Lee, Peg Rawes, Adam Richards, Mark Smout, Andy Toohey, Victoria Watson, Oliver Wilton.

Niall McLaughlin, Bev Dockray and Yeoryia Manolopoulou

Top: Sarah Izod. Bottom: Teresa Warburton.

Clockwise from top left: Joanna Karatzas, Matthew Hill, Sarah Gray, Brett Lambie, Joanna Karatzas.

This page: Steve Westcott.

Top: Candida Correa de Sa. Bottom: Steve Westcott.

This and facing page: Ben Nicholls.

Dip Unit 18 Yr 4: Keith Chan, Irene Cheng, Thomas Dulake, Rory Harmer, Anna Hastings, Jonathan Holt, Christine Hui, Jonathan Mizzi, Jessica Rostron, Jacobus Strauss, Natasha Telford. Yr 5: Charles Coates, Andy Hau, Shuk Yan Ho, Ian Law, Win Man, Christopher Phillips, Hannah Woo, Di Zhang.

Experimental Ecosystems Sustainability is now the single most important challenge to be faced by architecture, both at the city scale and at the scale of individual buildings.

A major change in environmental consciousness is finally taking place, politically and culturally. All design fields are being affected. Yet, for a number of reasons, sustainable design of the complex ecosystem formed by the built environment and its occupants still has a bad name in the sophisticated spheres of the architectural world. “Green� architecture is perceived by many designers as having negative connotations, primarily in terms of aesthetics but also in terms of the alleged narrowness of its intellectual scope. It is high time to overcome this prejudice. A number of architects, such as Renzo Piano, Ken Yeang, Shiguru Ban and others, have demonstrated that sustainability is not antithetical to design creativity and style; in fact, it is an opportunity to experiment with a radically new aesthetic.

We therefore challenge you this year to undertake projects that tackle, as comprehensively as possible, the complex technical requirements of sustainability while demonstrating design creativity and a sense of style within a broader intellectual and artistic context, including a concern for the philosophical, poetic and emotional dimensions of design.

This is an ambitious agenda. While specific in its objectives, it leaves room for a considerable variety of individual investigations and responses, as is the well-established tradition of Unit 18.

The brief is divided into three stages of increasing scale and complexity.

Colin Fournier and David Ardill

Top to bottom: Jacu Strauss, Mosquito; Natasha Telford, Uniball Centre, Downtown LA; Anna Hastings, Barnacle Research Centre, Malibu; Irene Cheng, The Museum of Forgetting.

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Top to bottom, left to right: Rory Harmer, Hydroscape- Restoring the Coast of Venice; Thomas Dulake, Survival Scarf; Keith Chan, Revolution Studio; Christine Hui, Sound Outfit; Jessica Rostron, Venice Library; Jonathan Holt, Hollywood Pyro-Sensitivity Centre; Jonathan Mizzi, The Living Wave Energy Generating Pier.

Top left: Andy Hau, [HIDE]Seek; right: Di Zhang, Weather Therapy. Bottom: Vay Lon Luc, Kinkasan Monastery.

Top: Win Man, Building Light. Middle left: Hannah Woo, Blooming Roof Canopy, Santa Monica; right: Juliet Ho, Play Cage - The Nightclub.

Bottom: Ian Law, Dynamic Thermo-Responsive Surf Shack, Climatic Control Device. Overleaf, left: Anthony Lau, Floating City 2050 - Thames Estuary Aquatic Urbanism; right: Charles Coates, Bio-Sciences Field Station, Santa Monica Mountains.

Dip Unit 19 Yr 4: Nicholas Adams, Kyle Fulton, Robert High, Kristian Kristensen, Maria Law, Oliver Moen, Tim Norman, Mandi Tong. Yr 5: Neil Charlton, Charlotte Erckrath, Linnea Isen, Dominique Laurence, Peter Nilsson, Alan Pottinger, Richard Vint. MArch: Christian Kerrigan.

Smearing Architecture If we see our interaction with digital technologies and their peculiar landscapes as smears, then the more advanced a technology the more easy it is for us to smear them across virtual and actual geographies. We smudge our smears across space-time across the landscape and through machines. Where they are fleetingly registered, classified, filed, transmitted or erased, reconstituted and retransmitted.

These tools for augmented bodies are not passive. They coerce, trick, titillate and pull us towards and between them. As technology’s flow forever on, our smears encounter less and less friction. Our researches concoct technological slime, that allows us to slip and slide through the landscape. Yet our traditional architectural design and discourse offers little of the porosity that we currently require.

Unit 19’s aims are to explore, polemicise and develop architectural ideas and solutions that understand the digital smear in all its aspects. These include the virtuality continuum, ecology and sustainability.

The new ecstatic architectures will be biotechnical, cybernetic, fleeting and be much concerned with facilitating information flow. They will be crucial to forcing and penetrating the smear connecting the distal body to enable specific actions and vectors. That is to say, they will act as transitory conduits allowing swift reconfiguration of some or all of the technological, fleshed and digital, paraphernalia of the smeared body. These architectures and landscapes will interact through us and us through them.

Neil Spiller and Phil Watson

Top and middle: Alan Pottinger. Bottom: Neil Charlton.

Top: Tim Norman. Middle: Kyle Fulton. Bottom: Richard Vint.

Top left and bottom: Charlotte Erckrath. Top right: Dominique Laurence.

Top: Charlotte Erckrath. Bottom: Dominique Laurence.

Dip Unit 21 Yr 4: Owen Jones, Nicholas Lundstrom, Krishma Shah, Charlene Shum, Jasminder Sohi. Yr 5: Doug Hodgson, Emma James, Jimmy Kim, Claire Metivier, Stavros Nissiotis, David Storring, Kai Ming Wong.

Show We start the year by studying one of the world’s largest and most unusual museum collections. The objects Henry Wellcome brought together range from the ancient to the magical, from the religious to the scientific. Beautiful, mysterious or bizarre, they all illuminate the history of human beings.

In 2003 the Quay brothers created a short animation to document the extraordinary assemblage and simultaneously reveal an extremely beautiful yet odd inner cosmos of things. “The film suggests the idea that all passionate museum visitors know to be true: that the objects become even more interesting after the last visitor has left the gallery.”

This collection has been the subject of translation and this year we are asking that you consider the notion of display, how to show ideas, imagination and mystery. This can be interpreted through a number of different media and it should fundamentally challenge the notion of how you ‘show’.

What is your show? Our starting point is the physical object, the alchemic potion, the magic ritual but the exercise does not need to be confined. The year will develop through investigation of a single scene of particular personal interest into a carefully considered brief for an architectural strategy. You will be encouraged to look at specialized and distorted techniques of exhibition, theatre, and lighting design through drawings, models and film.

Christine Hawley and Peter Culley

Top: Kai Ming Wong. Middle left: Krishma Shah, Astronomy Centre, Mill Hill, sectional perspective through floatation chamber and exhibition room; right: Doug Hodgson, an investigation into ‘The Atrocity Exhibition’, by JG Ballard. Bottom: Owen Jones, UCL corridor, black and white photo from Lost Negative.

Top: Kai Ming Wong. Middle: Doug Hodgson, section through Dr. Travis’s residence and the M5. Bottom left: Owen Jones, briefcase scene, black and white photo from Lost Negative; right: Claire Metivier.

This page, top to bottom: Krishma Shah, music box movement model – hand rotating in plan; Nicholas Lundstrom, process montage of installation; Stavros Nissiotis, Control - Randomness / Casino Game 21 / Dice & Card Table / 1.1 Installation; Casino - Vienna / Exclusive Salon hosting Game 21 / Sectional Perspective / scale 1.50.

Clockwise from top left: Charlene Shum, The Courtyard Hotel; Emma James, cakes and bread transported around the building animate; Jasminder Sohi, sectional perspective of tea house & museum; Emma James, dance in a static form, perspex model; David Storring, Gabriel Prokofiev’s String Quartet No.1 - a translation of the second movement; A Symphony in the City - social housing, Hommerton, London; Jasminder Sohi, ground plan of tea house & museum.

This page: Jimmy King. Top: ‘Show’, a maquette about stamps as a parcel. Bottom left to right: view through glass into basement workshop, a relief model, glass, paint, ink, collage; entrance staircase to exhibition space.

This page: Jimmy King, Wiener Werkstatte Glass Museum, Vienna, Austria, view looking north showing glass faรงade.

Dip Unit 22 Yr 4: Martin Brooks, Christopher Bryant, Joanna Chen, Ki Wing May Ho, Lida Kokorelia, Evie Tsigeridou, Chung Ming Wong. Yr 5: Beatie Blakemore, Yeo Jin Choi, Shyuan Kuee, Hazel Levene, Jane Middlehurst, Amy Poulsom, Caspar Rodgers, Tristan Wigfall, Irene Yeung.

Patterns An exploration of the nature of patterns will form the point of departure for the unit’s work this year. Adopting the position that the world as we perceive it is constituted by a kaleidoscope of patterns continuously evolving over time, the unit will examine the characteristics that define patterns and the possibilities that these present for the design of architecture. The relevance of such notions as simplicity, repetition and recurrence will be carefully considered.

During the first term, each unit member will identify a specific pattern or series of related patterns which they will analyse and interpret to establish a set of design parameters. The unit will encourage a plurality of different approaches to the selection of patterns and the manner in which they are subsequently translated into boundaries for a design.

Patterns might range from those directly associated with physical phenomena such as geological traces, paths of migration and movement, ebb and flow and entropic dispersal, to patterns that are located within particular social and cultural rituals and behaviours, a poem or a piece of music, a mathematical model or a geometric abstraction. The design parameters and ideas developed in the first term will then be applied over the course of the year to create an architectural proposition.

As part of its initial research into patterns, the unit will travel to Barcelona.

Peter Szczepaniak and John Puttick

This and facing page: Caspar Rodgers.

This page: Tristan Wigfall. Facing page, clockwise from top left: Beatie Blakemore, Amy Poulsom, Shyuan Kuee, Yeojin Choi, Irene Yeung, Hazel Levene.

This page, clockwise from top left: Chris Bryant, Joanna Chen, Lida Kokorelia, May Ho, Evie Tsigeridou, Janice Wong, Martin Brookes.Facing page: Jane Middlehurst.

Dip Unit 23 Yr 4: Marivenia Chiotopoulou-Isaia, Jonathan Duffett, Thomas Dunn, Dale Elliott, Kristof Hanzlik, Mark Martines, Matthew McTurk, Sara MohammadiKhabazan, Thomas Richardson, Thomas Shelswell, Joseph Swift. Yr 5:Timothy Barwell, Michael Garnett, Paul Jakulis, Ryan Martin.

Transgression 1. Prop - An object that can be manipulated The beginning is fast and furious. It starts by making experimental and inquisitive objects whose origins are captured through instant photography. Intuitive, spontaneous and accidental images will be generated in response to this year’s agenda: ‘Transgression’. We shall explore the proposition that embedded within habitual modes of design practice are essential properties that are unspeakable and subjective. We shall draw forth curiosities and stimuli and generate the scaffold of a personal design lexicon for use throughout the year.

2. Prototype - An original type that serves as a model for later examples We shift from consideration of objects to that of subjects. We will fabricate speculative constructs that expand upon ideas of ‘Transgression’ by looking at questions of space, use, conduct, protocol, physicality, and phenomena. Appropriate test sites will be found or invented according to the needs of the work.

Individuals will develop their ideas through the production of models, photography, film, constructs, and/or installations.

3. Proposition What expertise as designers can we offer the rigorous procedures of building production? For Y4 students this will manifest itself as a comprehensive building proposal developed through models of varied scale, complexity and materiality. For Y5 students individual agendas, the seeds of which were established in Y4 last year, will hone their skills as makers of innovative and challenging architectural propositions.

Bob Sheil and Graeme Williamson

This page: Ryan Martin. Facing page: Paul Jakulis.

This page: Tim Barwell.

This page: Michael Garnett.

Top: Dale Elliott. Middle: Tom Dunn. Bottom left: Tom Shelswell; right: Jonathan Duffett.

Top: Kate Davies & Emmanuel Vercruysse. Middle: Marivenia Chiotopoulou-Isaia. Bottom left to right: Sara Mohammadi-Khabazan, Mark Martines & Joe Swift; Tom Richardson.

Diploma Year 5 Thesis

The thesis is the place where Year 5 students have the opportunity to develop the theories which underpin their work, whether this is derived from science, cultural theory, technology, architectural history, philosophy or the psychology of perception. As a result, a reflexive relationship is created between the portfolio and thesis, each informing the other.

Peg Rawes, Mark Smout Thesis Co-ordinators

Dimitris Argyros, ‘Living Walls: Building a Sustainable Naturally Responsive Green Wall in Luxor’ As a means of alleviating Luxor from its fast-growing problems of congestion, pollution and community segregation, a sustainable public transport system using horses and carriages is proposed for the central city. Artificial undulating landscapes and horse-accommodation towers are introduced to address the lack of available cultivatable land. In addition, to address the serious lack of soil, water resources and on-site materials, the thesis links the processes of food and waste production with equine inhabitation and consumption of raw materials through sustainable cycles of energy.

The thesis focuses on the assemblage and fabrication of an adobe/manurebased cladding for the accommodation towers. It proposes that variations of the adobe can be developed to produce an insulating wall, and a responsive wall that is sustainable.

Hannes Mayer, ‘Deleuze’s Habitat’ The starting point of this research project is a criticism of the façade and, as a result, a split space. The thesis looks at, discovers and establishes, integrative models that focus on a continuity between interior space and exterior space, whilst also being characterised by an extensive unity of science, architecture and the human subject. It is a theory that has, as its goal, the overcoming of binary space.

The investigation starts with a re-reading of Deleuze’s book on Leibniz and the Baroque, The Fold. It considers this philosophy in relation to Behrendt and Zevi’s theories of organic architecture, leading then to examine Lloyd Wright, and work by the architect-painter-sculptor, Tony Smith.

Ruth Oldham, ‘A Multifarious Mountain: The Potential of the Monte Testaccio, Rome’ This text is an interdisciplinary discussion about our different ways of looking at ruined, abandoned and historic sites. One the one hand they can be seen as frozen moments of time, places that represent the ‘past’; or on the other hand, part of the present, to be interpreted and inhabited by a contemporary society. I will argue that there is rarely one ‘correct’ answer. No site can ever really represent one moment of time. I believe physical and imaginative engagement with such sites is necessary and this can only be achieved by treating them as part of our contemporary landscape.

My interest in this argument has stemmed from my study of the Monte Testaccio in Rome, an ancient rubbish dump and the site of my design proejct – a new faculty of Archaeology. This site is important because it has not been preserved and presented as a tourist site. Rather, the different roles that I identify can broadly be defined as an archaeological artefact, an accidential artwork and an architectural site.

Sara Shafiei, ‘The Vanishing Elephant’ Harry Houdini’s ‘vanishing elephant’ was the result of carefully evolved illusions for stage, the work of many past masters of deception, and the particular achievement of one little-known showman. Like any great illusionist, Houdini’s vanishing elephant was the result of equal measures of mathematics, optics, psychology and great showmanship – a secret pefectly hidden in plain sight.

This thesis looks at the theoretical, historical and psychological aspects of magic and illusion, and examines the possibility of designing an architecture instigated by illusion. It is split into a number of short stories that are embedded into the architectural proposal for a theatre for magicians and specific to time and place. The thesis portrays glimpses of a user’s journey, and illustrates how the foundations of magic and illusion can become an inherent part of an architectural design that foregrounds the engagement of the user in the building.

Steven Wescott, ‘Greenwich Perceptual Observatory’ This thesis explores how obsessive forms of collecting influence space and form in building. By this I do not merely intend to comment upon the object as the catalyst to an architectural effect but I also consider the architectural representation of thinking in a broad sense, be it the language of art or science.

One could argue that architecture has an epistemological function because buildings and spaces are representations of humankind’s consciousness at a particular time.

Fused with my design work this thesis looks at three members of the Royal Society, founded in 1660 by Charles II for the improvement of knowledge. The collection of work on the natural world

by John Flamsteed, Sir Issac Newton and Robert Hooke will be architecturally reinterpreted through text, model and drawings, in order to influence a design for a ‘percepetual’ observatory in Greenwich.

Graduate Options

MArch Architectural Design enrolls graduates from countries worldwide. In its 14 years of existence, graduates have won more than 20 architectural prizes and 40% are on the faculties of architecture schools. The programme acts as a combination of master-class and project studio. It deliberately sets out to extract and encourage the individual direction and thrust of the students.

MArch Urban Design is a projectbased programme aiming to encourage experimentation on the future of urban form. Urban design can mean the design of the city as a whole or of discrete elements within it. The programme accepts definitions and aims to explore design proposals at both a strategic scale and at detailed design level.

The MArch groups complete their work in September and a dedicated show takes place at the Bartlett at this time.

MA Architectural History is a unique institution in the field of architectural history, theory and criticism. Over the past 25 years it has provided an intensive forum in which students develop and test their own approach to the subject, engaging with established and emerging subjects, theories and methodologies.

Work produced is innovative and rigorous, so many graduates now research, teach and publish at universities and other institutions worldwide.

Apart from engaging in modules on critical methodologies, research skills, theorised practices, representations of cities, and C19 and C20 architecture, each student produces a final research dissertation on a subject of their own choosing. Dissertation subjects range, for example, from ‘An Experiential History of Vertical Movement’ and ‘War’s Greatest Picture: Photography and St Paul’s’ to ‘Sculptural Values:

Herzog and De Meuron’.

For other graduate programmes, see the Bartlett Graduate Guide and the Bartlett website.

MArch Architectural Design Director: Prof Neil Spiller. Coordinator: Andrew Porter. Tutors: Nic Clear, Ranulph Glanville, Simon Herron, Stuart Munro, Phil Watson.

MArch Urban Design Director: Prof Colin Fournier. Tutors: Martin Birgel, Robert Dye, Jonathan Kendall, Olaf Kneer, Owen O’Doherty.

MA Architectural History Director: Prof Adrian Forty, Tutors: Prof Iain Borden, Prof Adrian Forty, Dr Barbara Penner, Dr Peg Rawes, Prof Jane Rendell.

This page: Catch Tseng (MArch Architectural Design), The Chatoic Kitchen.

MPhil/PhD by Architectural Design Graduating students: Ersi Ioannidou; Current students: Adam Adamis, Nadia Amoroso, Ana Paola Araújo, Katherine Bash, Nick Callicott, Chadi Chamoun, Marjan Colletti, Marcos Cruz, Catja De Haas, Teresa Hoskyns, Popi Iacovou, Christiana Ioannou, Jan Kattein, Rosalie Kim, Tae Young Kim, Kristin Kreider, Constance Lau, Kwang Guan Lee, Tea Lim, Lesley Lokko, Ana Luz, Igor Marjanovic, Matteo Melioli, Malca Mizrahi, Christos Papastergiou, Kathleen O’ Donnell, Juliet Sprake, Theo Spyropoulos, Bradley Starkey, Ben Sweeting, Karen Richmond, William Tozer, Neil Wenman, Stefan White.

Leading to a PhD in Architecture, the MPhil/PhD Architectural Design allows especially able and reflective designers to undertake research within the Bartlett School of Architecture’s speculative and experimental ethos. The first to be established in the UK, the Bartlett MPhil/ PhD Architectural Design is one of few such doctoral programmes world-wide.

The programme draws on the strengths of design teaching and doctoral research at the Bartlett, encouraging the development of architectural research through the interaction of designing and writing. A research by architectural design thesis has two inter-related elements of equal importance: a project and a text. The project may be drawn, filmed, modelled, built, or use whatever media is appropriate.

UCL’s multi-disciplinary environment offers a stimulating and varied research culture that connects research by architectural design to developments in other disciplines, such as medicine, art, anthropology and digital media. The programme is intended for graduates of architecture and other disciplines, such as art, who wish to pursue research by architectural design. Currently enrolled on the programme are over 30 students from over 15 countries.

The Bartlett School of Architecture’s two PhD programmes organize three annual events for doctoral students. In Term 1, the Bartlett and the Slade School of Fine host ‘Research Spaces’, a conference and exhibition with speakers from the UK and

overseas. This is followed by ‘Research Projects’ in Term 2, an exhibition and conference with presentations by current PhD students. Invited critics in 2007 were Professor Anthony Dunne (Royal College of Art), Dr Penny Florence (Slade School of Fine Art) and Professor Leon van Schaik (RMIT, Melbourne). Throughout the year, ‘Research Conversations’ seminars are an opportunity for PhD candidates to present work in progress.

a critical analysis of texts, buildings, architectural projects and works of art.

On the other hand by the development of a series of projects. These two investigations are parallel and overlapping. In this thesis, they are organised in a linear way. This structure assists the progress of the argument and reveals the gradual development of this thesis from an interest to develop a truly individual minimum house to the realisation that the minimum dwelling is a personal project.

Ersi Ioannidou, PhD 2007, ‘The (Existenz-) Minimum Dwelling’ This thesis is an exploration into the modern meaning of the minimum dwelling.

It discusses how this meaning gradually became disengaged from the minimum house. It proposes a new definition of the minimum dwelling based on the minimum social unit, that is, the individual.

At the beginning of the twentieth century, the term Existenzminimum dwelling proposed a new way of living. This modernist definition of the minimum dwelling was based on a reproducible expendable minimum house. This thesis argues that this definition is no longer valid; yet, any present definition of the minimum dwelling is still informed by it. The reconfiguration of the minimum house as an expendable object disempowered the house as a tool for the experience of the home. This dissociation of the house and the home is a condition that has gradually diminished the role of the house in everyday life and redefined the experience of the home. The meaning of the home is now invested in a multiplicity of locations, experiences and objects. This thesis defines the minimum home as a core of personally meaningful possessions, the spatial configurations they create and recreate and the information they carry. This thesis’s definition of the minimum dwelling is based on this minimum home.

This page: Ersi Ioannidou, 2007

This argument is pursued through two modes of inquiry. On the one hand with

Director of MPhil/PhD Programmes: Prof Jonathan Hill. Supervisors: Prof Iain Borden, Prof Peter Cook, Dr Penny Florence, Prof Stephen Gage, Prof Ranulph Glanville, Dr Penelope Haralambidou, Prof Christine Hawley,

MPhil/PhD Architectural History & Theory Graduating Students 2006-07: Anne Bordeleau, Lilian Chee, Robin Wilson, Ivana Wingham. Current students: Nicholas Beech, Julia Bodenstein, Willem de Bruijn, Reid Cooper, Edward Denison, Alison Hand, Yi-Chih Huang, Josie Kane, Shih-Yao Lai, Rebecca Litchfield, Yat Ming Loo, Jonathan Noble, Victoria Perry, Sue Robertson, Aslihan Senel, Pinai Sirikiatikul, Catherine Szacka, Sotirios Varsamis.

The MPhil/PhD Architectural History & Theory programme allows candidates to conduct an exhaustive piece of research into an area of their own selection and definition. Great importance is placed on the originality of information uncovered, the creativity of the interpretations made, and the rigour of the methodological procedures adopted.

Approximately 20-30 students are enrolled at any one time in this programme. The Bartlett School of Architecture runs an active series of events, including seminars, conferences and workshops, for students from both the PhD by Design and the Architectural History and Theory to provide a platform for advanced discussions of research methodology.

The range of research topics undertaken in the programme is broad, but generally look at the history and theory of architecture and cities from c. 1800 to the present day, with an emphasis on the critical reading of these subjects from cultural, political and experiential viewpoints.

Recent and current dissertations in the field include: ‘Ethics, architecture and Virtual Technologies’, ‘The Hebrew University in Jerusalem’, ‘Colonial and Postcolonial Histories of the Hong Kong Shanghai Bank’, ‘Critical Public Art and the Urban Site’, ‘Modernity and Brazil’, ‘Landscape and Institutions in South Africa’, ‘Elizabeth Denby, (1894-1965), Housing Consultant’.

Anne Bordeleau, ‘C. R. Cockerell: Architecture, History, Time and Memory’

Robin Wilson, ‘Image, Text, Architecture: Sites of Utopic Critique’

The dissertation focuses on how the nineteenth-century British architect C. R. Cockerell addressed the dilemma of history: if architecture was overidentified with the past, the dangers of an eclectic historicism loomed ahead; if architecture was dissociated from all historical narratives, it risked becoming meaningless. By studying closely the work and architectural theories of Cockerell, the thesis provides valuable insights on the way architects’ knowledge of history affected the comprehension of architectural meaning in nineteenthcentury Britain. Addressing the fundamental question of architectural meaning, the research is underpinned by a theoretical interest in the relations between architecture and time.

My thesis investigated issues of critical practice in the architectural media with particular reference to Louis Marin and Fredric Jameson’s writings on utopian literature. I explored architectural journals for evidence of repressed utopian expression – what Jameson refers to as the ‘utopian impulse’ of cultural production. I sought to clarify how utopian expression produces a critique of ideology and how it might thus surface in articles within architectural journals as a critique of the discourse of the architectural profession.

My case studies included an article by Paul Nash for The Architectural Review in 1940 and the contemporary architectural photography of Hisao Suzuki in the journal El Croquis.

Lilian Chee, ‘An Architecture of Intimate Encounter: Plotting the Raffles Hotel Through Flora and Fauna (1887-1925; 1987-2005)’ This thesis reconstitutes the ‘architectural subject’ by placing the intimate encounter between the experiencing subject and the architectural object as central to the architecture of the Raffles Hotel, a wellknown colonial monument in Singapore.

It theorizes the original concept of an architecture based on intimate encounter – a method, which emphasizes the agency of the experiencing subject and relational modes of architectural interpretation, specifically, metaphorical and metonymical relationships. Working through academic methods, historical theoretical speculation and performative textual strategies, the thesis combines historical, theoretical and inventive modes of architectural interpretation and production.

This page: Lilian Chee, An Architecture of Intimate Encouter, 2006

Prof Jonathan Hill, Dr Yeoryia Manolopoulou, Dr Sharon Morris, Prof Alan Penn, Dr Barbara Penner, Dr Peg Rawes, Prof Jane Rendell, Prof Neil Spiller, Prof Phil Steadman, Prof Philip Tabor.

Summer School

The Bartlett School of Architecture will this year host its second Summer School.

A group of 60 participants ranging in age from 16 - 50 and from differing backgrounds including prospective Bartlett students, international students and secondary school students will develop their interest in architecture.

In 2006 Project2012 focused on themes surrounding the proposals for the 2012 Olympic Games Village. In 2007 our attention will shift to St Pancras Railway Station, set to open in November 2007, and nearby Kings Cross. Students will take part in a designbased programme in a studio environment. They’ll explore the history and landmark buildings of the area, visit an architectural practice and present proposals based on the programme themes.

As part of UCL’s Widening Participation Programme we are able to offer 20 paid-for places to secondary school students.

For all others, there is a fee for participation. Entry to the Summer School is on a first come, first served basis.

Staff

Abi Abdolwahabi, Ben Addy, Laura Allen, Tilo Amhoff, Ana Araujo, David Ardill, Abi Ashton, Martin Avery, Philippe Ayres, Julia Backhaus, Nicholas Beech, Johan Berglund, Elena Besussi, Martin Birgel, Jan Birksted, Iain Borden, Matthew Bowles, Dan Brady, David Burton, Ben Campkin, Rhys Cannon, Luke Chandresinghe, Elisabete Cidre, Vincent Clark, Nic Clear, Marjan Colletti, Janet Collings, Wendy Colvin, Marcos Cruz, Peter Culley, Chris Cutbush, Willem De Bruijn, Eduardo De Oliveira Rosa, Stewart Dodd, Elizabeth Dow, Robert Dye, Bernd Felsinger, David Ferguson, William Firebrace, Pedro Font-Alba, Adrian Forty, Colin Fournier, Daisy Froud, Stephen Gage, Jean Garrett, Christophe Gerard, Emer Girling, Ranulph Glanville, Richard Grimes, Yusah Hamuth, Penelope Haralambidou, Christine Hawley, Thea Heintz, Simon Herron, Jonathan Hill, William Hodgson, Theresa Hoskyns, Ana Hultzsch, Susanne Isa, Kevin Jones, Jan Kattein, Jonathan Kendall, Simon Kennedy, Emma Kirkman, Olaf Kneer, Kristen Kreider, Julian Krueger, Stefan Kueppers, Constance Lau, Lucy Lau, Lucy Leonard, Saskia Lewis, Helen Little, cj Lim, Yeoryia Manolopoulou, Niall McLaughlin, Stoll Michael, Shaun Murray, Christian Nold, Owen O’Doherty, James O’Leary, Brian O’Reilly, Barbara Penner, Luke Perry, Stuart Piercy, Jonathan Pile, Simon Pilling, Frosso Pimenides, Andrew Porter, John Puttick, Kim Randall, Peg Rawes, Jane Rendell, Gavin Robotham, David Rosenberg, Renee Searle, Aslihan Senel, Nadia Shannon, Robert Sheil, Naz Siddique, Toby Smith, Paul Smoothy, Mark Smout, Neil Spiller, Matthew Springett, Brian Stater, Gareth Stokes, Wycliffe Stutchbury, Graeme Sutherland, Peter Szczepaniak, Ann Thorpe, Emanuel Vercruysse, Nina Vollenbroker, Susan Ware, Phil Watson, Clyde Watson, Patrick Weber, Andy Whiting, Graeme Williamson, Oliver Wilton, Robin Wilson.

The Bartlett School of Architecture would like to thank our sponsors for their generous support Show Catalogue

Bartlett Architecture International Lecture Series

Allford Hall Monaghan Morris

Private Reception

We would particularly like to thank Fletcher Priest Architects Charitable Trust who will support the 2007/08 series.

Bespoke Careers Lee Associates

Rogues and Vagabonds

Aedas Architects Ltd Hamilton Associates Interclamp Pringle Brandon Rogers Stirk Harbour + Partners

The Rogues and Vagabonds is an alumni group made up of ex-Bartlett students and friends. The group’s function is quite simply “to meet, to drink, to eat, and to listen to a good speaker...” This is celebrated through an annual dinner and after-dinner speech given by an invited guest.

Opener’s Prize

This year’s event is sponsored by Adrem Creative Recruitment.

Supporters of the Summer Show

White Partners Ltd

For details, T. 020 7679 4642 or email architecture@ucl.ac.uk

Additional Sponsors Bartlett Architecture Society The School’s programme of publications and associated events has been generously supported by: Bartlett Architecture Society UCL Friends Individual units have also received kind support from numerous other companies and institutions.

Founded in 2000, the Bartlett Architecture Society (BAS) is growing rapidly. Already, the BAS organises a special lecture series and other events. It also contributes to the development of the school through sponsoring equipment purchase, events and publications. Membership is given free to all new graduates to the first academic session after graduation. Annual membership is £40. Open to all former students, staff, and supporters of the Bartlett School of Architecture.

For details, T. 020 7679 4642 or email architecture@ucl.ac.uk

BARTLETT INTERNATIONAL LECTURE SERIES 2007/08

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The Bartlett International Lecture Series 2007/08 will feature speakers from the Bartlett and across the world.

Forthcoming lectures are publicised within the Bartlett, on the website and through the Bartlett Architecture Listing. archlist@ucl.ac.uk www.bartlett.ucl.ac.uk/architecture/events/lectures/lectures

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Publisher Bartlett School of Architecture, UCL Editorial and Design Iain Borden Emma Kirkman Cover Image â&#x20AC;&#x2DC;Anamorphic Tectonics - Theatre for Magicians, Romeâ&#x20AC;&#x2122;, Sara Shafiei, Unit 20 Printed in England by Dexter Graphics

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Copyright 2007 the Bartlett School of Architecture, UCL. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

ISBN 978-0-9539021-6-3 For a full range of programmes and modules please see the Bartlett Undergraduate, Diploma & Graduate Guides.

Bartlett School of Architecture, UCL Wates House, 22 Gordon Street London WC1H 0QB T. +44 (0)20 7679 7504 F. +44 (0)20 7679 4831 architecture@ucl.ac.uk www.bartlett.ucl.ac.uk