In 2007-08 the UCL Bartlett School of Architecture has enjoyed one of its finest ever years. Overall, the Bartlett was voted as the best UK architecture school in the 2007 National Student Survey, as well as in, for the fifth year running, the annual AJ100 survey. Given these votes of confidence, it is perhaps unsurprising that our newest venture, the fortnight-long annual Summer School, has doubled in size and is fast becoming the most popular introduction to architecture in Europe. The BSc programmes have had the best set of results in living memory, with over 80% of graduates achieving a First or 2:1 in their final degree. The Diploma students continue to fire on all cylinders, including winning the RIBA Presidentâ€™s Silver Medal, TECU International Award and the 3D Reid Award, getting involved in several live building projects, exhibiting their work all over the world, and having their designs published in everything from The Financial Times and Icon Magazine to The Architects Journal, Building Design and Wallpaper. The Part 3, graduate masters and PhD programmes have enjoyed record numbers of applicants and scholarships, and have produced an incredibly varied range of research at a truly international standard. To all these students, we salute and admire for your fabulous energy, creativity and originality. We also thank all of our staff for their tremendous efforts and expertise, without whom none of this would be possible. We thank UCL for their continued support and investment in the School, which this year has included nearly half a million pounds for a new digital fabrication centre to be opened later in 2008. And we offer gratitude also to every single one of our many other contributors, sponsors and friends for their continuous and most appreciated support. Prof Iain Borden Prof Christine Hawley Head and Chair of the School www.bartlett.ucl.ac.uk
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The Bartlett School of Architecture would like to thank Allford Hall Monaghan Morris for their generous support of this yearâ€™s Catalogue
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Westminster Academy at The Naim Dangoor Centre Bartlett Show Catalogue 2008.ind2 2 Show Cat 08.indd 3
2nd Floor, Block C, 5-23 Old Street, London EC1V 9HL T: 020 7251 5261 email@example.com www.ahmm.co.uk 11/06/2008 11:56:44 12/6/08 16:55:52
Summer Show The Summer Show Opener’s Prize, selected by Sir Nicholas Grimshaw and sponsored by White Partners. Awarded at the opening of the Summer Show
BSc Architecture Year 1 Herbert Batsford Prize for ‘distinguished work’ Kirsty Williams Bartlett Sessional Prize for ‘good Honours standard’ work Nicholas Elias Christopher Leung Stefano Passeri Charlotte Reynolds Mika Zacharias
BSc Architecture Year 2 Kohn Pedersen Fox Bursary for ‘highest achievement of the year’ Alisan Dockerty Tamsin Hanke Ben Hayes Thomas Kendall Man FM Tang
BSc Architecture Year 3
Fitzroy Robinson Drawing Prize for ‘best drawings or models in the year’ Daniel Lauand History & Theory Prize for ‘distinguished work in History and Theory’ Nathaniel Mosley Owings Travel Scholarship Christopher Burman Professional Studies Prize for ‘distinguished work in Professional Studies’ Craig Allen RIBA Bronze Medal nominations James Purkiss Christopher Wong Dean’s List for ‘students achieving a first class degree’ Edward Farndale Wanyu Guo Daniel Hall Julian Huang Michael Hughes Luke Jones Sophia Jones Rina Kukaj Daniel Lauand Negin Moghaddam James Purkiss Catrina Stewart Daniel Swift Gibbs Joseph Wegrzyn Gabriel Warshafsky Christopher Wong
Donaldson Medal for ‘distinguished work’ Luke Jones Environmental Design Prize for ‘distinguished work in the integration of engineering and architectural principles in Environmental Design’ Na Li
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Graduate Diploma Architecture Year 4 History & Theory Prize for ‘distinguished work in History and Theory’ Chris Hildrey Leverhulme Trust Bursary Pascale Bronner Luke Pearson Rogers Stirk Harbour + Partners Bursary Richard Bevan
Graduate Diploma Architecture Year 5 Ambrose Poynter Prize for ‘distinguished work in the Diploma Thesis’ Ben Ridley Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Tim Norman Hamiltons Prize for Design Process nominations Michael Aling Dale Elliott Paula Friar Tom Hillier Tim Norman Ben Ridley Henry Herbert Bartlett Travel Scholarship Ben Masterton-Smith Leverhulme Trust Bursary Ben Ridley RIBA President’s Silver Medal nominations Kyle Buchanan David Gouldstone RIBA President’s Medal for Dissertation nomination Kyle Buchanan
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Sheppard Robson Prize for Innovation and Sustainability nominations John Aston Richard Bevan Kyle Buchanan Paula Friar Unit 23 Yr 4 ‘Perform Project’ Dandi Zhang Sir Banister Fletcher Medal for ‘highest marks in Diploma in Architecture final examination’ Tim Norman Sir Andrew Taylor Prize for ‘the best set of drawings combining construction and design’ Ben Ridley Victor Ka-Shun Chu Prize for ‘excellence in design’ To be announced Dean’s List for ‘students achieving a Commendation in Design’ Yousef Al-Mehdari Melissa Appleton Kevin Bai Edward Calver Thomas Dunn Dale Elliott Paula Friar Jonathan Hagos Catherine Irvine Catriona Jones Owen Jones John Mizzi Gemma Noakes Jasmin Sohi Filipa Valente
Christopher Bryant Kyle Buchanan Thomas Evans Daniel Farmer Jonathan Hagos Kieran Hawkins Catherine Irvine Pil Joon Jeon Owen Jones Ben Masterton-Smith Sara Mohammadi-Khabazan Gemma Noakes Timothy Norman Ben Ridley Krisham Shah Dean’s List for ‘students achieving a Distinction in Design’ Michael Aling Kyle Buchanan Daniel Farmer David Gouldstone Thomas Hillier Timothy Norman Ben Ridley Matthew Wilkinson
Dean’s List for ‘students achieving a Commendation in Thesis’ Michael Aling Melissa Appleton John Ashton
MArch Architecture Commendation Joveria Baig Nathaniel Keast David Roy
IKY Scholarship Christiana Ioannou Christos Papastergiou Maggie Scruton Travel Scholarship Christos Papastergiou
Distinction Lena Andersen Thomas Holberton Ruairi Glynn
Onassis Foundation Scholarship Adam Adamis
MArch Architectural Design
UCL Graduate School Cross Disciplinary Research Scholarship Katherine Bash
Distinction Eva Sommeregger
MArch Urban Design Commendation Theodora Chryssaki Christine Gkortsiou Chen Hsu Heike Neurohr Dawn Osterbauer Emily Read Wu Wan-Yu Distinction Daniel Horner Edouard Moreau
MA/MSc Architectural History Distinction Wei Lee Jacob Paskins AHRC Scholarship Jacob Paskins
MPhil/PhD Architectural Design
Overseas Research Scholarship Katherine Bash Igor Marjanovic
UCL Graduate School Research Scholarship Marjan Colletti Kristen Kreider
MPhil/PhD Architectural History & Theory AHRC Doctoral Award Nicholas Beech Edward Denison Josie Kane Rebecca Litchfield Jacob Paskins Nina Vollenbroker Canadian Social Sciences & Humanities Research Council Scholarship Lea-Catherine Szacka IKY Scholarship Sotirios Varsamis LKE Ozolins/RIBA Studentship Anne Hultzsch Oppenheim-John Downes Memorial Trust Award Alison Hand Overseas Research Scholarship Lea-Catherine Szacka
AHRC Doctoral Award Sophie Handler Jan Kattein Lesley Lokko Ben Sweeting Neil Wenman
Royal Thai Government Scholarship Pinai Sirikiatikul
CAPES Scholarship Ana Araujo
Turkish Government Scholarship Aslihan Senel
Taiwanese Government Scholarship Yi-Chih Huang Shih-Yao Lai
FCT Scholarship Ana Luz
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BSc Year 1 Design BSc Design Units BSc Architectural Studies Professional Studies & Part 3 History and Theory Technology Diploma Design Units Diploma Year 5 Thesis MArch Architecture MArch Architectural Design MArch Urban Design MA Architectural History MPhil/PhD Summer School Staff Sponsors
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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. Exhibition opening night and party in the Main Quadrangle and the Slade Galleries of UCL, Gower St, London WC1 Fri 20 June, 6.00-10.30pm
Official show opening by Sir Nicholas Grimshaw Fri 22 June, 7.00pm
Exhibition open to the public Sat 21 June, 10.00am–8.30pm Sun 22 June, 10.00am–5.30pm Mon 23, Tues 25 & Wed 25 June, 10.00am–6.00pm Thurs 26 & Fri 27 June, 10.00am–8.30pm Sat 28 June, 10.00am–5.00pm (closes)
Guided exhibition tour by the Professors of the Bartlett School of Architecture, UCL
Tues 24 June, please arrive at 6.30pm for 6.45pm start, tour duration c. 1 hour
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BSc Year 1 Design William Armstrong, Khalid AlSugair, Nichola Barrington-Leach, Nicholas James Blomstrand, Laura Brayne, Robert Burrows, Anton Chernikov, Giulia Cerundolo, Vinicius Machado Cipriano, Pasara Chaichanavichkij, Jia Chen, Gladys Yan Yi Ching, Haeseung Choi, Joseph Dejardin, Thomas Dichmont, Nicholas Elias, Yuan Gao, Maria Goustas, Joseph Gautrey, Alicia Gonzalez-Lafita Perez, Joshua Green, Emilia Hadjikyriakou, Frances Heslop, Alexander Holloway, Eleonora Christina Hadjigeorgiou, Katherine Hatch, Yugiao He, Stanley Ho, Kate Holt, Amelia Hunter, Azuki Ichshashi, Keiichi Iwamoto, David Jones, Kar Yeung Rina Ko, Bethan Knights, Lingyi Kong, Titilope Ebun-Olu Lucas, Rebecca Lane, Ka Man Leung, Lydia Lim, Christopher Haiman Leung, Yee Yan Lau, Daniel Lane, Stefanos Levidis, Thandiwe Loewenson, Peivand Mirzaei, Chritopher Mobbs, Grace Ugo Alache Mark, Rhianon Morgan-Hatch, Claire Morgan, Sarah Martin, Shireen Mohammadi, Hyder Mohsin, Rushda Ilham Morshed, Risa Nagasaki, Mei Zhi Neoh, Laura Neil, Sabina Nobi, Bayan Okayeva, Stefano Passeri, Michael Pugh, Francesca Pringle, Simone Persadie, Matteo Imran Perretta, Joseph Paxton, Adam Peacock, Emma Roberts, Charlotte Reynolds, Rupert Rampton, Manuel Ribeiro, Lucy Rothwell, Samson Simberg, Cho-Hee Sung, Hugh Scott Moncrieff, Sang-Soo Ha, Megan Townsend, Camille Thuillier, Rebecca Thompson, Jaymar Vitangcol, Yuchen Wang, Angela Ningyi Wang, Christopher Worsfold, Max Walmsley, John Han Owen Wu, Imogen Webb, Linlin Wang, Kirsty Williams, Clarissa Yee, Emily Yan, Sandra Youkhana, Mika Zacharias, Yuan Zhao, Alexander Zhukov.
The main intention of Year 1 Design is to explore ‘ways of seeing’: understanding and interpreting objects/places/events and learning 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 and imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are constructed or represented through models and drawings. The year started with an analytical study of a found object and a critical mapping of a place in Bow, in East London. This was followed by a group installation set on eight sites around Bow Church each exploring the term ‘field’. A measured architectural section of a critical part of Bilbao and Hastings explored a special quality of the chosen site. These initial investigations bring together all the skills developed throughout the year. They are distilled into a building project – a Crofters Residence in Hastings. Each student works individually on his/her own program brief. These range from a fly fishing centre to a gingerbread man bakery, from a pottery to a laundrette, from a fisherman’s spa to a beach glass blowing studio, from a pine tar workshop to a dead letter office.
Year 1 Design Directors: Frosso Pimenides and Patrick Weber. Tutors: Susanne Isa, Lucy Leonard, Joe Morris, Brian O’Reilly, Jonathan Pile, Renee Searle, Toby Smith, Nikolas Travasaros
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Opposite clockwise from the top left: Anton Chernikovâ€™s Lobster Suit; Group Installation, Bow Church, Depot/Porcelain; Stefano Passeri Hastings Rabbit Section; Khalid AlSugair, Glove. Above, clockwise from the top left: Group Installation, Three Mills: Spice/Bridge; Group Installation Alleyway, Fish/Canal.
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Clockwise from the top left: Mika Zacharias, Fishermanâ€™s spa; Bethan Knights, Preservation centre, Stefano Passeri Fly fishing centre.
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Above clockwise from the top left: Megan Townsend, Paper making poet; Joseph Gautrey, Winery; Nick Elias, Fish smoke house.
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Top: Charlotte Reynolds, Sail making workshop. Bottom: Stanley Ho, Pottery workshop in a cliff.
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This page: Kirsty Williams, Gingerbread Man Bakery.
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BSc Unit 1 Yr2: Gregory Barton; Jane Brodie; Alexandra Critchley; Tamsin Hanke; Imogen Holden; Thomas Kendall; Nur Md Ajib; Dhiren Patel; Olivia Pearson; Chi Ian Philip Poon. Yr3: Ioana Barbantan; Alicia Bourla; Alice Weng Sam Iu; Luke Jones; James Purkiss , Amy Louise Sullivan-Bodiam; Daniel Swift Gibbs.
Deja Vu The term deja vu, French for ‘already seen’, describes the feeling of having sreviously witnessed a new situation, or visited a new place. A compelling sense of familiarity usually accompanies the experience of deja vu complemented by a sense of eeriness and strangeness. This previous experience is frequently attributed to a dream, although occasionally a conviction it genuinely happened in the past prevails. Deja vu, also known as paramnesia (from the Greek para, parallel and mneme, memory), has been described as ‘remembering the future’. Inspired by the unsettling psychological experience of deja vu, this year Unit 1 attempted to define the traits of an ambiguous architecture fluctuating between familiarity and the uncanny. We studied: identical spaces, posing questions of authenticity between an original and its copy; illusory spaces, where an extensive span hides in the restricted physical dimensions of a smaller room; repetitive and mirrored spaces, appearing multiplied within each other; inverted or reversed spaces; covert spaces, purposefully concealed or veiled in habit; and delayed spaces, when a distinctive atmosphere trails the physical experience of a place. The focus of our investigation was Venice, the prototype of a city deja vu, existing within the experience of every other city.
Penelope Haralambidou, Max Dewdney and Chee-Kit Lai
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Clockwise from top: James Purkiss, Thomas Kendall, Daniel Swift Gibbs.
Clockwise from top left: Luke Jones, James Purkiss, Gregory Barton, Ioana Barbantan, Alexandra Critchley, Alice Iu, Thomas Kendall.
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Clockwise from top: Thomas Kendall, Tamsin Hanke, Imogen Holden, Alicia Bourla, Amy Sullivan-Bodiam, Olivia Pearson
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Clockwise from top left: Nur MD Ajib, Jane Brodie, Tamsin Hanke, Amy Sullivan-Bodiam, James Purkiss , Dhiren Patel, Chi Ian Philip Poon.
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Top left and bottom: Luke Jones. Top right: Daniel Swift Gibbs.
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Top: Daniel Swift-Gibbs.
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BSc Unit 2 Yr2: Patrick Kattner, Emi Bryan, XueTing Snow Cai, Gabriel Cheung, Lucinda Dye, Cheuk Ling Joyce Lau, Young Woo Lee, Tingting Qin, Suyang Xu, Satoru Nakanishi. Yr3: Carmelo Arancon, Emma Bailey, Lewis James, Anthony On Wing Lau, Daniel Lauand, Alyssa Ohse, Justin Randle.
Urban Flip ‘Space is a doubt; I have constantly to mark it to designate it. Its never mine, never given to me, I have to create it. Space melts like sand running through one’s fingers. Time bears it away and leaves me only shapeless shreds’. (Georges Perec). Individual spaces are not so simply defined, one becomes easily confused or overlaid with another. As architects we might see this not as problem but as an inspiration towards inventing and constructing complex spaces, with differing, perhaps also contradictory, qualities, which move between various conditions – which FLIP. In the unit we use techniques of modelling, stop-motion film and drawing to examine and devise new spaces. By using film we are able to show these spaces as changing, places to be moved through, as sequences and performances. BRUSSELS: The design of a small-scale space with two opposing functions, set into an existing building. MADRID: Southern interlude, architectural inspiration, unexpected conjunctions, serious nightlife! DEPTFORD: The recording of a riverside site where contesting lifestyles occur. The insertion of new uses into the existing mix. The design of a flip building, considered from the scale of the city, through its internal spaces, to its details and materials. Thanks to all our critics. Laura Allen, Stephen Gage, Simon Herron, Yeoryia Manolopoulou, Jean Garret, Ricardo de Ostos, Johannes Mueller-Lotze, Guvenc Topcuoglu, Liam Young, Kate Davies, Robert Thum.
William Firebrace and Julian Krueger
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Top: Suyang Xu, Bird Observatory, hangs of the river wall of Deptford Creek. Middle/bottom: Gabriel Cheung, Driftwood Table, Thames Research Station, the tide of the Thames reveals different entrances and leaves traces within the building.
Top and middle: Justin Randle, Brussels Insertion, Taxidermist/Soapshop - animals into soap! Bottom: Lewis James, Marine Auction/Boat Yard, the building unfolds at high tide and transforms into luxury open-air auction venue.
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Clockwise from top left: Carmelo Arancon, Hip-Hop Garage/Pimp My Ride Garage, uses automobile technology for building components; Carmelo Arancon, Brussels Insertion, Psychiatristâ€™s Office/Doll Repair Shop; Alyssa Ohse, Wet Hostel Landscape, retractable canopy spans over artificial garden for seasonal celebration; Emma Bailey, Floating Theatre, performance expands over Deptford Creek.
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Top and middler: Anthony Lau, Magic Circle Headquarters, appears and disappears according to tide and light. Bottom: Justin Randle, Falconry, woven structure provides cages and walkways.
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Both pages: Daniel Lauand, Adaptable Concert Hall. The inflatable skin expands and contracts, altering the acoustic qualities of the interior, and also revealing the internal to the external world.
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BSc Unit 3 Yr 2: Aminah Bakibir, Janinder Bhatti, Joel Cady, Kaowen Ho, Alistair Shaw, Eryk Ulanowski, Michelle Young, Tim Yue. Yr 3: Katherine Cannon, Benjamin Dawson, Chiara Hall, Katherine Hegab, Louisa Danielle Hodgson, Zi Liang (Julian) Huang, Rina Kukaj, Jay Morton, Nathaniel Mosley, Edward Scott.
Hide and Seek This year Unit 3 looked at two cities, or, rather more specifically, London; and a new city, as yet un-named, and the result of merging Hong Kong and Shenzhen. Like so many cities in China, where the population is migrating from an agrarian environment to an urban one at a rapid rate, Shenzhen is generally little known in the West. Development in China, although rapid, is largely conventional. Unit 3 has explored alternative modes of operation. Unit 3 did not seek to develop new large-scale urban planning agendas. Instead, it was all the aspects of city as event, as complex mechanism, as cultural phenomenon that we were interested in; those characteristics that so often slip through the net of such a broad brush approach. We were interested in the minutiae of the city. We asked students to develop individual strategies for how they might contribute to the pluralism and multiplicity of the urban condition. To this end an exercise was set, to investigate and respond to the city they in all likelihood knew, or as a newcomer could at least easily access: London. Once an approach or working method had been formulated, these methods were applied in Hong Kong and Shenzhen.
Abigail Ashton and Andrew Porter
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Top: Katherine Hegab, Medicinal Landscape. Bottom left to right: Nat Mosley, Bedroom Eclipse; Katherine Cannon, Szechuan Opera House.
Top row: Joel Cady, Dishcloth Conversion. Second row, left to right: Nat Mosley, Bedroom Eclipse; Michelle Young, Weathering; Janinder Bhatti, Tea and Fortunes. Third row, left to right: 3 Go Camping in Norfolk; Aminah Babikir, Fictional Landscape; Eryk Ulanowski, Urban Gardening; Ben Dawson, Fishermenâ€™s Tavern. Bottom row, left to right: Tim Yue, Orchestral Light Score; Kaowen Ho, Thames Poem.
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Julian Huang, Law Court, Lei Yue Mun.
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Rina Kukaj, Martial Arts Film Studio.
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Clockwise from top left: Rina Kukaj, Martial Arts Film Studio; Jay Morton, Janitorâ€™s Garden, Kingâ€™s Cross; Chiara Hall, Dusty House.
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Clockwise from top: Ned Scott, Portable Beach; Ali Shaw, Vast Ocean Electronic Brain; Danielle Hodgson, Migrating Museum.
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BSc Unit 4 Yr 2: Mark Attmore, Alisan Dockerty, Daniel Dodds, Daryl Fitzgerald, Matilda Keane, Charlotte Moon, Alex Nassar, Lucy Ottewell, Dimple Rana, Francis Roper, Yong Jun Song, Anthony Whittaker Yr 3: Canzy El-Gohary, Dalina Gashi, James Gunn, Elizabeth Mitchell, Bodin Nilkamhaeng.
‘I want my food dead. Not sick. Not wounded. Dead.’ Woody Allen We took the ingredients for our narratives from the fare at Borough market, the smells of ripe cheeses, exotic oils, cuts of cured meat. We collaborated to make theatrical instruments that would make a performance of the production of food and then toured central London with these temporary installations trying to tempt and draw a crowd. We dodged security and fed a few.
volume of Milano Centrale. We had 24 hours to find our site in Marseilles and used newspaper articles to develop schemes to house travel-writers, lost boys, build yachts, dance, perform and navigate a park by smell and texture. We proposed dismantling cars, farming mussels and helping refugee women while housing the retired and providing meditative walks. We allowed for retreat from the world, designed spaces to catch conversations, play music and store media and a space for the mayoral candidate to entertain. Thank you to all our critics for their time and insightful critique: Laura Allen, Jolyon Brewis, Stewart Dodd, Michael Faulkner, CJ Lim, Stephen Gage, Elliot Hodges, James Khamsi, Mark Middleton, Jon Richards, Mark Smout, Neil Thomlinson. Thank you to our sponsors Douglas James of Mindseye 3D and Whitegoods Ltd.
We sampled the rainforest within the crater of the Eden project and sped to the cliffs of the Minack theatre where we scattered down the steep incline and braced ourselves against the searing wind and swelling sea. We lost ourselves in the jungle at Heligan and paced the kitchen gardens gathering thyme and atmosphere. We measured sites in Marseilles with our bodies, walked the Panier and the Coastal road, met men playing petanque and football in dusty parks and watched from benches bathed in low winter sun. We gathered on the roof of Corbusier’s Unite, squeezed into his Cabanon at Roquebrune-Cap-Martin, and from the terrace overlooked the healing carcass of Eileen Gray’s E1027. We sped through the Villa Noailles arrested by the indoor pool with a glass facade that drops through the floor to embrace a Mediterranean panorama. We clung to the incline of the track on the roof of the Lingotto Fiat Factory in Turin and soaked in the cathedral space of its ramp with scenes of The Italian Job in mind. We flew home with fleeting memories of Terragni facades and return train rides to and from the vast
Saskia Lewis and Jerry Tate
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Clockwise from top: Alisan Dockerty, Canzy El-Gohary, James Gunn, Alex Nassar, Charlotte Moon, Lucy Ottewell, Daryl Fitzgerald, Daniel Doods.
Top: Daniel Dodds, Bottom: Canzy El-Gohary.
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This page: Canzy El-Gohary. Opposite: Alisan Dockerty.
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Clockwise from top left: Daryl Fitzgerald, Dalina Gashi, James Gunn, Charlotte Moon, Mark Attmore, Francis Roper, Daryl Fitzgerald, Yong Jun Song, Anthony Whittaker, Elizabeth Mitchell, Dimple Rana, Anthony Whittaker.
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Top: Daniel Dodds. Bottom: Francis Roper.
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BSc Unit 5 Yr2: Leander Adrian, Olivia Crawford, Theodore Games Petrohilos, Ben Hayes, Paul Leader-Williams, Keong Lim, Jailun Mao, Jack Spencer Ashworth. Yr3: Zahra Azizi, Ross Leo Fernandes, Wanyu Guo, Alexander Kalli, Kate Marrinan, Afra Van’t Land, Gabriel Warshafsky, Elizabeth Watts, Christopher Wong.
mi·cro·cosm (m?’kr?-k?z’?m) A small, representative system regarded as encapsulating in miniature the characteristics of something much larger. Amongst a diffuse and complex urban landscape some very specific spaces, microcosms or individual refuges often succeed in asserting themselves. Although sometimes barely perceptible, it is the little things, small accretions, micro movements, minute disequilibriums that silently undermine our environment and often lead to large and unexpected consequences. The thought that the patterns of existence resemble and influence each other from the smallest (micro) to the biggest (macro) unit can be traced throughout history; it shaped the contours of philosophy, mysticism, alchemy, aesthetics and the arts. But at which point does the seemingly selfenclosed system of the microcosm become permeable? Where does it interface with the outside? Which is the influencing and which the influenced component? Over two projects we speculated on scale, order, pattern and systems inherent to microcosms to understand and be surprised by their gigantic programmatic possibilities. We investigated the magic of ‘the small’ to discover what influences a microcosm might have on a large scale.
Julia Backhaus and Pedro Font Alba
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Clockwise from top left: Wanyu Guo, Chris Wong, Leander Adrian, Theodore Games Petrohilos, James Spencer.
Clockwise from top: Zahra Azizi, Zahra Azizi, Theodore Games Petrohilos, Afra Vanâ€™t Land.
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Clockwise from top left: Ross Fernandes, Cornfield Community, Paul Leader-Williams, Alexis Kalli, Louis Lim.
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Clockwise from top left: Ben Hayes, Olivia Crawford, Wanyu Guo.
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Top: Gabriel Warshafsky, Bottom: Kate Marrinan. Facing Page: Chris Wong.
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BSc Unit 6 Yr2: Ahmad Zharif Ahmad-Zahir, Yu-Wei (John) Chang, Pui Yui (Stephanie) Chung, Jonathan De Wind, Hong Jin Leow, Nicola Perrett, Felicity Price-Smith, Rida Qureshi, Louise Robson, James Sale. Yr3: Matt Blaiklock, Sung Hwa (Rachel) Cha, Anastasia Kaisari, Chantanee Nativivat, Richard Thebridge.
Landscape The landscapes of Britain and Ireland have been formed by the manifold interactions of people and nature. These interactions vary widely in tempo and concentration but are necessary wherever the landscape is used by us-for sustenance, energy production, transport or recreation. There is no part of these islands that has not been subject to human alterationfrom medieval runrig systems in the Scottish Highlands to the intensive post war agricultural landscapes of East Anglia. Human operations on the rural landscape are fundamental to its character-whether seemingly passive, for example by being made available for grazing, or more comprehensive, for example for transport infrastructure. In all instances this interaction has to be maintained in order for the landscape to remain productive for our needs. Frequently these interactions are characterised by an attempted obstruction of natural processes or by the blunt physical alteration of the landscape. Are there more subtle alternatives that can yield similar results? The same principles are true at the scale of buildings. Buildings must be repaired and modified-at greater or lesser frequencies-in order for their performance to be maintained. Maintenance regimes that are applied to modern buildings are typically considered as an appendix to the design process, but what happens when the maintenance of the building, as much as the cultivation of the landscape, is considered to be central to the production and use of architecture?
Stuart Piercy and Ben Addy
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Top: James Sale, Growing Barley on the Beach; Bottom: Yu-Wei (John) Chang, Mechanical Shadows Mimicry.
Clockwise from top: Felicity Price-Smith, Dew Collector; Jonathan De Wind, Unpredictable Relationships; Richard Thebridge, Self Building Peat Structure.
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Clockwise from Chantanee Nativivat, top: Bethany Weather Wells, Symphony Michaeldevice. Hughes, Jan Balbaligo, Peter Webb, Jan Balbaligo, Michael Hughes.
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Top: Richard Helen Floate. Thebridge, Middle Reluctant left: James Tourist Gunn; device. right:Bottom: MaxineRichard Pringle.Thebridge, Bottom: Maxine RacingPringle. Yacht Boatyard.
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Clockwise from top: Chantanee Nativivat, Tea Room; Rida Qureshi, Beach Comber’s Cottage; Sung Hwa (Rachel) Cha, Theatrical Fashion; Nicola Perrett, Potters’ Studios, Nicola Perrett, Potters’ Studios; Hong Jin Leow, Rug Workshop; Anastasia Kaisari, Health Retreat.
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Clockwise from top: Jonathan De Wind, Artistsâ€™ Framers and Forgers; James Sale, Rooftop Garden Restaurant.
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BSc Unit 7 Yr2: Jacob Attwood-Harris, Ceti Carapuli, Kenzo Ejiri, Chiara Montgomerie, Isabelle Priest, Richard Sprogis, (Rain) Ya-Chu Wu, Congjing (Angela) Yao. Yr3: Craig Allen, Jan Balbaligo, Christopher Burman, Benjamin Harriman, Na Li, Caroline Mok, Catrina Stewart, Emilia-Dimitra Tsaoussi, Ruofan Yao.
East A city is not built in a day; urban growth in the East occurs in 3 stages: 1. Madness: The Architecture Marathon Good design can be the result of slow and careful reflection but it can also occur when a mad idea is executed with conviction and integrity. To commence the year we ran an Architectural Marathon where 180 buildings were designed in two weeks, resulting in the group building of the city. 2. Paradise: Show Home The Show Home will provide much needed accommodation for the city, however, its responsibilities will extend beyond its walls. It must not be shy in showing off its architectural features that are manifest in its attitude to the environment. In this context the Show Home takes on the role of an architectural director, taking on responsibilities for the growth of the rest of the city. 3. Perfection: Festival of Architecture Festivals have left behind some of the most innovative structures that mankind has built. Nationally and locally, the Festival acts as a catalyst transferring its spirit far beyond the boundaries of its site, inspiring regeneration in the surrounding city and the entire nation. The festival of architecture will see real things built where the rules are suspended.
Dan Brady and Jan Kattein
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Clockwise from top right: Isabelle Priest, Whitechapel High Street; Craig Allen, Oxford Circus of Tea; Catrina Stewart, Walking roof, Carrie Mok, Citizenâ€™s Advice Bureau; Chiara Montgomerie, Browsing Library, Whitechapel.
clockwise from top left: Ben Harriman, Bedtime Story Hotel, Brick Lane, model of room; Alex Sprogis, Angel of the South, collage; Christopher Burman, Pirate Radio Station, MK; Chiara Montgomerie, Browsing Helmet; Rain Wu, Dream Hotel, London.
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Clockwise from top left: Emilia Tsaousi, Jaded hotel, London; Emilia Tsaousi, Jaded hotel, London; Jacob Attwood-Harris, Shorinji Kempo Retreat,Teaching Space; Christopher Burman, Simulation Centre, London; Chiara Montgomerie, Browsing Library; Craig Allen, Tram Station, Left Luggage Detail; Catrina Stewart, City of East; Kei Carapuli, Home Office, London; Jacob Attwood-Harris, Shorinji Kempo Retreat.
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Clockwise from top: Na Li, Nanjing Gallery for Contemporary Arts; Jan Balbaligo, Weather Station; Jan Balbaligo, Weather Station; Ruofan Yao, Underground Station, Artificial Rainbow; Na Li, Nanjing Gallery for Contemporary Arts.
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Catrina Stewart, NHS Bathhouse.
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BSc Unit 8 Yr 2: Catherine St Hill, Jason Claxton, Joannne Marie Clark, Katherine Fudge, Man Fai (Martin) Tang, Richard Moakes, Sungwoo Park, Victor Hadjikyriacou. Yr 3: Alastair Stokes, Ana Mill, Ashmi Thapar, Daniel Hall, Edward Farndale, Jen Wang, Joseph Wegrzyn, Michael Hughes, Negin Moghaddam, Sophia Jones.
An American Index of the Hidden and Unfamiliar* Unit 8 have investigated transient landforms, layering and exposure. Through engaging with these themes we sought to generate architectures that are responsive, dynamic and new. Immovable man-made interventions amongst the backdrop of fluid environmental change has long since been acknowledged as a challenge set down to nature and the destinations for the year are cases in point. We took an interest in shifts and change, and sited our projects within the nodes and moments of turbulence in first the natural, and later the urban environment. The year was structured around three main stages of development: 1: The calm before the storm An initial short project presented the theme of anticipation and suspense. 2: Prospect (landscape) The first term explored and developed concepts of adaptation and responsiveness towards natural shifts. Our site was Dungeness, an empty and vast expanse of shingle, accreted over time through the slow process of coastal drift. 3: Eye (city) The unit visited New Orleans, a city in the American south with a turbulent past and present. A glorious melting point of cultural diversity: voodoo, jazz, Creole culture, French colonial architecture, mixed with a precarious geographical location at the low lying plains and swamps. * Taryn Simon, An American Index of the Hidden and Unfamiliar, 2007
Johan Berglund and Rhys Cannon
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Clockwise from top left: Katherine Fudge, Domestic Landscape; Cate St Hill, Mask Workshop and Theatre; Joey Clark, Horizon Distortion Device and Second Line Jazz Undertakers; Victor Hadjikyriacou, Iron Foundry and Dungeness Fishermenâ€™s Beacon; David Park, Jazz School.
Clockwise from top left: Martin Tang, Landscape Organ; Alistair Stokes, Random Map Generator; Ashmi Thapar, Watery Facade; Jen Wang, Surface Sensing Shoes.
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Top: Ed Farndale, Soulful Oncology Centre. Bottom: Michael Hughes, Lower 9th Ward Literacy Centre.
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Top: Daniel Hall, Fishermanâ€™s Amenity Structure. Bottom: Sophia Jones, Mardi Gras World Redux.
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Top: Joey Wegrzyn, The Capsaicin institute, ground floor plan. Middle: Joey Wegrzyn, The Capsaicin institute, sectional model. Bottom: Anna Mill, Dungeness Wind Fair.
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Negin Moghaddam, Louisiana Cookery School.
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BSc Unit 9 Yr2: Emma Bass, Diego Cano-Lasso, Theo Jones, Sonila Kadillari, Meng Liu, Harriet Redman, Claire Taggart, Yan Yan. Yr3: Min Gu, Alexander (Antony) Joury, Marina Karamali, Gordon O’Connor Reid, Paniz Peivandi, Marcos Polydorou, Ayeza Qureshi, Saman Ziaie.
Interface Unit 9’s topic of exploration this year was interface. We were interested in exploring how human practices combined with interactive technology create ‘events’ that make the users’ experience of their world more significant. In contemporary culture, the condition of interface has grown in importance with our increasing reliance on, and interaction with, new information technologies and media. Not limited only to the world of new technologies, interface explores the potential for exchange between a diversity of phenomena: people, time, space, material, logics and program. We explored this condition of interface and its potential at a number of different scales and in various contexts, acknowledging a preoccupation with time and experience as critical design elements.
Jason King and Gabby Shawcross
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Top: Harriet Redman, Storyboard for an Introvert, Bottom: Emma Bass, Dream Mnemonic Device.
Top:Diego Canno-Lasso, Dune School H20 Pod and Site Model. Bottom: Saman Ziaie, Storyboard for a Remote Experience.
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Sonila Kadillari, Carpet and Gossip Factory.
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Gordon Oâ€™Connor-Read, Jack Kerouac Device.
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Top (both pages): Saman Ziaie, Cyclorama, Rooftop Remote Experience. Bottom: Min Gu, Boat Building Yard and Museum.
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BSc Architectural Studies Yr 2: William Henderson, Phoebe Lewis, Jenni Young. Yr 3: Kevin Green, Laura Herriotts, Sean Hladkyj, Jennifer Laurie Jameson, Basil Jradeh, Greg Nordberg, Kuljinder Pank, Freddy Tuppen, Ai Yamauchi. The BSc Architectural Studies is a unique course that allows students to follow modules within the Bartlett in conjunction with modules in other departments of UCL. The programme has been running since 2002-3 and now has over 50 graduates and a well-established track record. Graduates have gone on to postgraduate studies and professional careers in a wide variety of fields including: journalism, landscape design, lighting design, documentary film, conservation, photography, print-making, arts education and management, events management, urban planning, law, marketing and the media, accounting, property valuation, construction management, the charity sector and heritage institutions. They have pursued further studies at places from the Royal College of Art to ETH in Zurich as well as in various UCL Masters programmes. The great strength of the BSc programme is its multidisciplinarity: students are able to tailor their own course of study to suit their particular interests and future postgraduate and career plans. It suits highly motivated, independent students who are interested in architecture and urban studies and who wish to take advantage of electives on offer elsewhere in UCL. Popular choices are Art History, Management, Language, Economics, Psychology, History, Philosophy, Mathematics, Anthropology, Law, Archaeology, Biology and Geography. 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 report. 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 Project X helps students build a creative and reflective practice of their own. It enables them to undertake a mode of working that particularly interests them and provides an independent practicebased project in which they can research and pursue a subject of their preference. Students are asked to think of architecture in interdisciplinary ways, explore alternative approaches to creativity and situate their work within a broader cultural context. The work is developed in conjunction with a short written piece. 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. For their inspiring workshops warmest thanks to Katherine Bash, Kristen Kreider, Brandon LaBelle, and James O’Leary. For their constructive comments thanks to our critics Iain Borden, Chee-Kit Lai, Constane Lau and Barbara Penner.
BSc Architectural Studies Director: Dr Barbara Penner. Project X Coordinator: Dr Yeoryia Manolopoulou. Dissertation Coordinator: Dr Barbara Penner
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This page: Samuel Freddy Tuppen, except top right: Kevin Green. Previous page: Samuel Freddy Tuppen.
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1. Whistle up a gale. Send mist east, towards land 2. Rate of evaporation P*(1- R.H./100 ) 3. The mist rises from the water towers, enveloping the island 4. Condensation- a chemical reaction in which two molecules form one, with the loss of water 5. The ice cold tentacles bring rain to the crop 6. The westerly wind brings the sweet salted mackerel to fishing dreams 7. Arms of mirrors bring the last of the days light to the island 8. Snells Law: η1 sin θ1 = η2 sin θ2 9. Giant rotors defy gravity, lifting the sea 10. The sky of lenses focus the sun’s brilliance 11. Preserve and store the fish when the tide is right 12. Fertile fish remains bring a fruitful crop 13. The mist moves over the crop as the breeze rises 14. Here lies his business which Noah’s flood would not interrupt 15. For days he knows not the land; so that when he comes to it at last, it smells land feels like another world, more strange than the moon 16. A fisherman’s affection must be left behind. There are regrets memories, the instinctive longing for the departed idleness 17. The sun breaks through the clouds, striking the lenses 18. He looks on as a loved one sets off to sea 19. ”The bridge of whispers“ taken by the sea 20. Algae hangs suspending the concealed life beneath 21. The tailed strap weed: a sea plant which has adapted to grow on the island 22. A clear darkness promises good Fortune 23. He watches as his affection fades from view 24. Fogs, gales thick with clouds and rain- these are the enemies of good landfalls 25. ”The hanging gardens of algae“ 26. Fish are sold in exchange for grapes, bananas, watches, gold, news, etc 27. The algae flowers during the season of plentiful salmon 28. When night comes the fishermen retreat to their hanging cabins 29. A complex network of pipes engulf the island, algae thrives were the pipes leak 30. Strong currents bring the seas fruit to the island 31. The mist’s salt residue gradually blankets the island returning it to its original state as landscape
Kevin Green, Birnbeck Island.
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The Dissertation in Architectural Studies enables students to undertake an independent research project of 10,000 words. The emphasis is on conducting original research and producing an in-depth written report, 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 primary research, to think critically about issues with architectural implications, and to develop and showcase practical writing and presentation skills.
Freddy Tuppen “Synaesthetic Participation: The Body in Derelict Space” On the boundary line of the self, where nerve endings touch, light makes contact with retinas, sound waves hit eardrums, noses receive scent and tongues taste flavours, we experience the world around us. Buildings and cities strengthen our experience of being in the world around us by addressing all our senses simultaneously. Instead of providing us with solely visual seduction architecture provides us with a multi-sensory fusion of our image of the self in participation with an image of architecture. In doing, it provides the means for understanding and confronting the human existential condition. If this is the task of architecture, to concretise our experience of being in the world, then it is evident that modern
architects and designers have lost sight of the fact that for this to happen, they must design with more than just vision in mind. […] But is it our fault that this is the case? In our lives we constantly avoid any sensory experience other than a visual one. We wear headphones to block out any sort of aural stimulation; we avoid bumping into any other people at any cost. God forbid that skin would come into contact with skin, and we even chew chewing gum to numb our taste buds. If we were to embrace the multi-sensory awareness that we avoid, then maybe we would offer ourselves a more embodied relationship with the world around us. The factors of hearing and smell are mostly considered to be disturbing elements that signal a lack of hygiene, efficiency and order. Architects and city planners since the eighteenth century have been concerned with eliminating them from the urban domain. The fact that the processes of modelling and drawing in architecture are unable to take into account invisible factors of smell, hearing, touch and taste explains the lack of consideration for these senses in modern architecture. Touch is included in the design process when modelling by hand but even this is becoming eradicated more and more with the use of computers. Even the contact of pen and paper is disappearing as drawings are increasingly executed via the slight movement of a mouse. A drawing of a building or the plan of a city illustrated by smell rather than vision would provide us with a very different image indeed. We end up representing only that which is solid and visible: the material, yet the actual space that we inhabit is that which is enclosed by the material. It is the air; it is aromas and humidity; it is sounds and temperature. If we were to truly represent all the components of the spaces we inhabit then we should draw that which is smelled, heard, tasted and felt. […]
The experience of derelict space can highlight how architecture has lost sight of the fact that its task is to provide a synthesis of the senses to provide us with the basic ingredients of our very being. I intend to explore the examples of dereliction that highlight the bias of modern architecture towards vision.
Above: The main pool of St. Pancras Baths, Kentish Town, London. (Photo: Freddy Tuppen).
Jennifer Laurie Jameson “A Vision of Public life in the Launderette” Laundering is an essential part of everyday life for all people. The tools, facilities and processes involved in laundering change over time and space, but the essence of the task and its essential nature are universal and timeless. The philosopher Henri Lefebvre tackled the themes of everyday life and the nature of space intrinsic to urbanism and architecture. Everyday life he defined as “real life, the here and now; it is sustenance, clothing, furniture, homes neighborhoods, environment – i.e. material life – but with a dramatic attitude and lyrical tone.” Urban everyday life is not all about mass culture and consumption; it also has its more intimate moments. The private lives of a city’s occupants co-mingle with the public terrain in a complex and compelling manner. To truly reach an understanding of people’s everyday realities one must “reject avant-garde escapism, pretension,
Coordinator: Barbara Penner
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and heroicism in favor of a more sensitive engagement with people’s everyday environments and lives.” This acute down-to-earth awareness of the issues and dilemmas faced on a daily basis in the public-private tangle of real city life will disclose the threats of alienation and estrangement felt by every anonymous citizen. The launderette is to me the epitome of everyday architecture, most honest and compellingly described as “an architecture that suppresses authorship, denies celebrity, and flirts with invisibility. This quote from Steven Harris’s text, Architecture of the Everyday, elucidates the undeniable value of the launderette as a rare and valuable example of real everyday architecture; little of which still remains uncorrupted, unaffected, and untainted by the pressures of social change. The launderette is relentlessly ordinary, relying entirely on repetitive and quotidian activities. Representing everyday space in a way that people can relate to can be challenging since through overexposure to mediated interpretations of the form, faces, signs, signals, and apparent meanings of the everyday space, the urban population have developed warped social ideals that disguise the less glamorous truth. James Casebere, an American postmodern artist, is one of many artists who have attempted to render the commonplace landscape. Photographs of his models display a shockingly banal whitewashed world. Such matter-of-fact plainness is an exaggerated simplification that is widely accepted, choosing to turn a blind eye to the multitude of complexities that arise in a social setting. Blissful ignorance can be created in a private world that isolates one individual from all others. […] If we subscribe to the belief that “spatial privacy is an excellent index for measuring social status”, we must recognize the low social status given to the occupants of the launderette, who are totally exposed internally (to their fellow occupants) and
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externally (to those passing-by on the street). This desire to expose and therefore have the ability to observe, control and supervise the users, was perhaps intended to dispel neighbourhood suspicions by revealing all, but at the same time removing all privacy, leaving the users very much in the public eye. The open plan design of the launderette may have also been intended to promote interaction, communication and sociability, though any such intentions have clearly not been realized. In this dissertation, that nature of the space will be explored with an undirected gaze, taking a fluid and automatic approach to the launderette and the spectacles that it offers. Laura Herriotts “Modern Curiosities: The Role of the Architect and the Use of Digital Media in the Design of Exhibitions” Since the Age of Enlightenment in the 18th century, the design of museum buildings has provided architects with an opportunity to demonstrate their full range of skills. Museum facades of this time were often highly extravagant, created in the image of ancient palaces or similar grandiose structures associated with ritual. Carol Duncan states: “Museums have always been compared to older ceremonial monuments, such as palaces or temples. Indeed from the eighteenth through the mid-twentieth centuries, they were deliberately designed to resemble them.” The British Museum, built in the 1800s, is the perfect example, with imposing columns and ornate stonework displaying what was considered good taste at the time of its construction. The architecture was designed to communicate positive ideas about Britain’s cultural identity. The sheer size of the facade was possibly a metaphor for the size of Britain’s empire and wealth in this period and the Neo-Classical design referenced the contents of the museum, most obviously the Elgin Marbles.
More recently, in 1972, when designing Centre Georges Pompidou in Paris, Renzo Piano and Richard Rogers created a complex museum facade by turning the traditional concept of a building inside out. By displaying the ‘guts’ of the building on the exterior, the inside spaces are left free for curators to fill with their chosen pieces and works. This attitude to museum architecture, where architects were detached from the interior design, continued right up until the beginning of the 2000s. Victoria Newhouse noted in Towards a New Museum (1998) that museum interiors had generally become dead spaces or “deadly white cubes” as a result of demands for the architect to create an interior as detached from the museum contents as possible. She also comments on the control that directors and curators had over architects when expanding the museum building: “The lack of architectural integrity that is characteristic of so many expansion projects is unexpected in institutions that stand for the highest standards of art preservation and connoisseurship. Repeatedly, museum trustees, directors and staff have done things to their buildings that would be unthinkable if applied to their collections.” A year after Newhouse, John M. Armleder commented that: “visitors spend more time in upgraded museum cafeterias and shopping malls than in the actual exhibition halls, which serve as a quick segue to a catalogue purchase.” He also suggested that a solution to these problems would be to have more fun with a museum’s interior spaces, making them flashy and attractive. In recent years, it seems his idea has been put into action. Architects are now far more involved with the fabrication and manipulation of interior exhibition space in museums than they were ten years ago. In this essay, I address why this shift in museum design has occurred.
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.
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Professional Studies & Part 3
From day one, architecture students are asked to question the role and function of the architect. The range of practices which graduates later join is as diverse as the individuals who arrive at the school - and in the intervening period, preconceptions are continually challenged through encounters with fellow students, the teachers (many of whom run their own practices) and numerous visiting experts. 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 Architecture Year 1 students work with planning and construction management students on the ‘Production of the Built Environment’ course, which introduces the various individual and organisations involved in the process of producing buildings, as well as broader political, social and economic forces. In BSc Year 3 students take the ‘Preparing for Practice’ course which equips them for life in an architectural practice during their subsequent Year Out. The Year Out course itself continues the connection with the Bartlett and provides support and monitoring
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of practical experience through individual tutorials and a series of themed lecture days. The Design Realization course in the Diploma Architecture Year 4 brings together professional practice, construction and technology though a unique relationship between individual design units, practice tutors, consultants and visiting lecturers. The Part 3 Certificate in Professional Practice and Management is to open to non-Bartlett students and is truly international, attracting students from over 25 different countries. The course prepares students for registration as an architect through a comprehensive course of lectures, seminars and tutorials. A unique virtual learning environment enables students working in offices to remain closely connected to the Bartlett, and to form networks among themselves for self-directed learning. 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
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Year 3 Dissertation Nathaniel Mosely: Criminalised Bodies and Appropriated Architecture: The Image of Imprisonment in Luis Bunuels The Exterminating Angel The dissertation studies Buneuls film in relation to Michel Foucault’s theories of the panopticon and imprisonment, and Jean Genet’s notion of abjection. Through a study of camera movements, dialogue and mise-en-scene, the dissertation focuses on how the body is represented in the film in order to conclude how concepts about architecture are embodied in film, and, vice versa, how architecture relies on notions that are inherently filmic. As the prisoners are released from their cells we see a new body, criminalised and transformed, wrenched from its naturalised patterns of performance and contorted via a visceral abjection. The last scene, of figures moving out through the entrance portico into the open air, is the inverted images of the first scene, and the magnitude of the change of both bodies and architecture is striking. Through a series of filmic tactics Bunuel has compellingly articulated the shift in a room from being a space of ritualistic and theatrical performance to a space where the concepts of the unseen eye, the carceral individualisation resides in the extreme but somehow seamless drama of the juxtaposition, a drama feeding off filmic tactics and architectural typologies. Bunuel has orchestrated the paradigm image of imprisonment, an image with deep implications for not only the concept of the prison but for concepts of architectural inhabitation in general.
Year 4 Article Chris Hildrey: Tracing the Causes of Unpaid Overtime. This essay seeks to understand the causes of the culture of unpaid overtime within architectural practice. It is suggested that this culture is a symptom of an ongoing trend that remains unaddressed within the profession: that in order to create a built work, unpaid labour is – more often than not – required. A deficit is shown to exist, then, between the cost of labour required for architectural practice and the market value of the result of that labour. In order to fully understand this shortfall, the nature of both the capitalist market and of
architectural practice must be analysed. To aid this understanding I look at Karl Marx and Martin Heidegger respectively. Both thinkers have been chosen on their individual merit: Marx’s treatise, Capital (1867), provides a comprehensive analysis of the bourgeois-capitalist form of society, while Heidegger’s essay, ‘Question Concerning Technology’ (1954), offers insight into the question of ‘being’ and the qualitative, ineffable, aspects of architecture which remain so central to the architect’s role today. These two thinkers represent very different viewpoints of the world. However, despite these differences, brief moments of contact between their texts are identified and utilised, bringing architecture and economy together in to a single conceptual plane. This common territory serves as the location of a dialectic analysis that seeks to bring to light the mechanisms within the profession that have led to the economic reliance on unpaid labour.
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 Na Li: Traditional Chinese Construction Methods Applied to Modern Chinese Architecture. In this project, Na Li explores the technology of her childhood home town. She reveals, evaluates, tests and applies new building techniques based on traditional Chinese methods of construction used in or around Nanjing. Specializing in rammed earth construction (The Great Wall of China), bamboo construction (traditional Chinese walkways), timber frame (traditional Chinese houses) and metal technologies (traditional Chinese screens), Na adapts her research to fulfil twenty-first century requirements. This erudite and heart-felt investigation carefully balances materiality and details in a manner that is at once technical and poetic.
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Dip Unit 10 Yr 4: Pascal Bronner, Jacqueline Chak, Gerald Huber, Lucy Jones, Okan Kaleli, Seung Hyun Kang, Yong Zheng Li, Wan Lok Lo, Morounkeji Majekodunmi, Sarah Mui. Yr5: Thomas Hiller, Maxwell Mutanda, Jasmin Sohi, Adeline Wee.
Something Urbane, Something Kitsch, Something Imaginary Like the lives of its many inhabitants, Tokyo is a city of contrast, contradiction and frictionless co-existence. There are strict and regimented rules for everything, but at the same time the city has its rebellious aspects. Tokyo is inventive, yet traditional; indulgent but repressed; and strangely Western, yet uniquely Eastern. History and tradition are graciously preserved in Japan. As for modern Tokyo, there are remnants of old Edo almost everywhere. These strong traces of continuity are manifested in the development of the city, from the layout of streets and parks within the modern urban infrastructure, as well as its unique urban culture. Sumo wrestling, Kabuki theatres and Shinto temples infiltrate the hi-tech city. Tea ceremony, flower arrangement, calligraphy and martial arts are seriously cultivated lifestyle of modern Tokyoites. These are social institutions, safeguarding original teachings passed on to younger generations. The monotonous cycle of transforming merchandise into kitsch is Japanâ€™s leading export: automated sushi bars, plastic food samples, Manga and countless comic books. Pachinko parlours and love hotels are responsible for the kitsch phenomena of Tokyoâ€™s cityscape; the ultimate kitsch has to be the multi-storey halls offering dream-come-true weddings. Harajuku girls and Gothic Lolitas are permanent fixtures around public parks.
cj Lim and Bernd Felsinger
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Top: Jacqueline Chak, Floating Kabuki. Middle: Okan Kaleli, Reading Gardens. Bottom: Adeline Well, City of Elders.
Clockwise from top left: Seung Hyun Kang, Picnic Islands; Pascal Bronner, World in a Box; Sarah Mui, Laughter Space; Yong Zheng Li, Violent Nature; Lucy Jones, Courting Love.
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Thomas Hillier, The Emperorâ€™s Castle.
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Maxwell Mutanda, Ginza: Shopping on Air.
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Top: Jasmin Sohi, The Omoide Yokocho Insurance Company. Bottom: Pascal Bronner, Domesticity; Fluid City.
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Jasmin Sohi, The Omoide Yokocho Insurance Company.
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Dip Unit 11 Yr 4: William Aitken, Margaret Bursa, James Davies, Tom Finch, Joel Geoghegan, Johan Hybschmann, Alexander Kirkwood, Holly Lewis, Elin Lund, Itai Palti, Luke Pearson, Alan Worn. Yr 5: Tarik Al-Zaharna, Melissa Appleton, Kyle Buchanan, Mark Ishikawa, Benjamin Ridley.
Second Nature Unit 11 continues to explore themes of architecture and the landscape. It’s a relationship that can be uncomfortable. The insertion of architecture into an environment that is perceived as ‘natural’, to some, seems to be incongruous or worse, destructive. However, the notion of wilderness - of uncultivated ground - is rarely found in the UK. The myth of arcadia has for centuries been manipulated and maintained for agricultural, cultural, social, political and economic ends. Our landscape is ordered by numerous organisations and regulators and their ‘designations’ seek to categorise and control its use. Unit 11 continues to work as a laboratory for the invention of counterprogrammes. Alternative designations are synthesized where new architectures and landscapes emerge. We visited two contrasting sites defined as De-natured and Frontier Landscapes and tackled a number of short projects on the way to generating lyrical and critical designs. Thanks to John Lyall and John Lyall Architects.
Laura Allen and Mark Smout
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This page clockwise from top: Mags Bursa and Itai Palti, Memorial Tearooms Tottenham Court Road; Luke Pearson and Tom Finch, Bank of England Counter-Fraud Institute; Alan Worn, Teesmouth Tower. Facing page: Kyle Buchanan, Super-sextant.
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This page: Ben Ridley, Thingvellir Architecture of Myth, generating an emotional attachment to landscape and architecture. Facing page: Melissa Appleton, Tuneable City, landscape elements set in flux by saturated radio environment.
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Clockwise form top: Marc Ishikawa, Migrating Hermit Space; Elin Lund, Performing the Greengrocer, transit space; Joel Geoghegan, Olympic Dust Park; Alex Kirkwood, Hvitarsida Beacon, Iceland; Johan Hypersmann, Reflection Instrument.
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Clockwise from top: James Davies, Mesopic mapping; Tom Finch, Foreign Details; Holly Lewis, Dalston Common Ground; James Davies and William Aitken, Submerged Gardens of Syon; Tarik Al-Zaharna, Billingsgate Field Landscape.
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Dip Unit 12 Yr 4: Hakan Agca, Will Chan, James Church, Kumiko Hirayama, Christian Madsen, Fei Meng, David Potts, Francesca Wadia. Yr 5: John Ashton, Cat Jones, Fai Lam, Yejun Pee, Louise Strachan, Xin Yu.
Hubbert Curve In the 1956 meeting of the American Petroleum Institute, the noted geoscientist M. King Hubbert predicted that available fossil fuel reserves would be dramatically reduced by 2050 and fully depleted by 2200. Hubbertâ€™s accurate prediction of the 1970s energy boom and subsequent fuel crisis - the Hubbert Peak - gave credence to his other prediction - the Hubbert Curve. In 2007 the town of Hubbert Curve was established as a speculative prototype and viable precedent for communities in Britain to exist without fossil fuels. Independent from the administration and laws of the UK government, and sited at the edge of London, the town is tolerated by government agencies on the basis that it shares its knowledge of new methods of energy generation with the general population of the UK. Sustainable, the town trades and exchanges with its environment, adapting and adjusting, in response to the other. Self-sufficient, each building produces its own power and creates an excess that serves the general needs of the town. Seasonal, the town is responsive to its climate and site, creating conditions that are conducive to its survival and growth. Discursive, the town encourages social and political engagement, and the interaction of public and private lives. Independent, the town learns from earlier centuries as well as those more recent, inventing and adapting narratives, histories and myths that define its character. In New York, students were given the option to continue with Hubbert Curve or to devise their own project. In Unit 12, as well as history, we are interested in personal history. When everyone else is looking in one direction and one place, itâ€™s always good to look elsewhere.
Jonathan Hill, Elizabeth Dow, Matthew Butcher
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Top: David Potts, The Trading House, during a celebration. Bottom: Xin Yu, Lower Hope Marshville, bathroom window.
Clockwise from top left: Xin Yu, Lower Hope Marshville; Fei Meng, Mud Bridge, Cliffe Creek, perspective of bridge keeperâ€™s house; Will Chan, U(dys) topia, panorama; Hakan Agca, Beacons at Lower Hope Point, microalgae growth structures.
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Clockwise from top left: James Church, section through Lime Kiln and chalk cliff with Parsonâ€™s Pigeon Racing Club beyond; Cat Jones, Guild of Dressmakers, New York, stitched indigo facade dissolving; Cat Jones, Guild of Dressmakers, New York, front door; Kumiko Hirayama, Floating Algae Farm (a Celebration of Pollution), Cliffe Marsh, night view. Opposite page: Cat Jones, Guild of Dressmakers, New York, elevation through thoroughfare.
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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 parishionerâ€™s bench after the twenty-five year storm, 1842.
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Dip Unit 14 Year 4: Michael Hammock, Sam McElhinney, Tetsuro Nagata, Declan Shaw, Andrew Usher. Year 5: Thomas Evans, Paula Friar, David Gouldstone, Kieran Hawkins, Henry Parr, Rion Willard. MArch: Ruairi Glynn, Richard Roberts.
Experiments in Time Experiments In Time: Unit 14 is experimental. We continue to support individual original work of exceptionally high quality within the framework of timebased architecture; architecture that is designed in 4 dimensions. To illustrate this concept we have used the metaphor of a restaurant and a meal (2004), natural and stage magic (2005), performance art (2006), and this year, The Garden (of Earthly Delights). A garden is a place that changes throughout the year and from year to year. The gardener is working with an emergent system that is continually surprising in its possibilities of unexpected delight. Programme Year 4: The Garden (of Earthly Delights) Students began the year by developing their understanding of the relationship between architecture and interior landscape. The project produced a series of enclosed urban gardens that offered solace, refreshment and delight to the weary urban traveler. This was taken to a detailed resolution in projects sited adjacent to the Dominion Theatre in Londonâ€™s Tottenham Court Road. Year 4 students then worked together to construct a pavilion to demonstrate the possibilities of a dynamic shade/insulation system. This pavilion is one of the two Unit 14 contributions to the London Festival of Architecture 2008. Year 4 students then developed preliminary agendas for their individual work in year 5 Programme Year 5: Powers of Ten. Time based projects varied from the intimate 1:1 (Paula Friar, Rion Willard) to the opulently and gelatinously gastronomic 1:1 (Harry Parr), to a park cafe (Dave Gouldstone) to urban scale interventions (Tom Evans, Kieran Hawkins).
Stephen Gage, Phil Ayres and James Oâ€™Leary
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Top: Flying Planter (Fledge) preliminary sketches. The Fledge was developed as part of the Garden Of Earthly Delights building project undertaken by Mike Hammock and Andy Usher at the start of the year Mike and Andy then went on to develop a demonstration prototype. Bottom: Urban Syncopation. Tetsuro Nagata constructed a range of tappers that work with a vision system to play back parts of the city according to the behavior of passers by. Prototype tappers and a sample of the Arduino code that controls them are shown.
Pask Present In Vienna. Unit 14 students constructed an exhibition in Vienna that celebrated the legendary Cybernetician, Gordon Pask. Students and ex students presented work at this exhibition, at a jury in the Angewandte School of Architecture and at the EMSCR conference where two students from Unit 14 won best paper awards.
Left: Prototype Fledge showing the rise and fall mechanism and the drivable ‘keel’ that orientates the fledge surface to the sun.Top centre and top right: Epigenetic Creature: Sam McElhinney explores tactility and drivable pneumatics by creating a noisy but endearing androgynous object. Bottom center: Pask Present In Vienna. Unit 14 students constructed an exhibition in Vienna that celebrated the legendary Cybernetician, Gordon Pask. Students and ex-students presented work at this exhibition, at a jury in the Angewandte School of Architecture and at the EMSCR conference where two students from Unit 14 won best paper awards. Bottom Right: Beckett’s Frogs. Declan Shaw takes a poem from Beckett that describes the pattern in the croaking of three frogs and constructs an installation that uses the sounds of dripping water to create a similar effect.
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Left: Dover Remade .Tom Evans looks at the way that Dover Harbour has progressively destroyed Dover over the past 50 years and proposes an alternative urban strategy. He then looks at ways of persuading the Local people, the Harbour Board and the planners that this is a viable idea. Right Stratford City. Kieran Hawkins takes the view that the main entrance to the 2012 Olympics should be treated as a temporary and a permanent landscape linked by entrance bridges. The permanent landscape is a performance park.
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Left: Trance Spaces. Extensive research into rhythm, suggestion and pattern takes Rion Willard into the world ot hypnosis, behaviour induction and trance. The second of his two installations is a space that is driven by a performance artist. Right: Volumetric Feedback. Paula Friar Has constructed a range of environmental feedback instruments over the year. These look at the way that the volume of the instrument and the volume of the space in which it is placed can be used to create sounds of strange and haunting beauty.
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Architectural Banquets 1 And 2: Harry Parr explores the relationship between architectural space and food in two installations. The first installation, A Victorian Breakfast was situated in Warwick Castle. His next installation will culminate in a Jelly Banquet in The UCL Portico during The London Festival of Architecture.
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The Greasy Spoon: Dave Gouldstone spent the early part of the year studying the ambiguity inherent in the Soane Museum, comparing this with the explicit nature of the exhibits in the Huntarian Museum opposite. His project is sited in the centre of Lincolns Inn Fields between the two museums.
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Dip Unit 15 Yr 4: Richard Bevan, Nancy Ni Bhriain, Tomas Johnson, Stephen Roberts Millard, George Thomson, Alexandra Thomson, Chao-Kai [Daniel] Wang. Yr 5: Michael Aling, Irene Astain, Rammy Elsaadany, Daniel Farmer, Emma Penttinen, Joel Porter, Soki So, Helena Van Lare. MArch: Nicholas Tayler.
Crash: Architectures of the Near Future This year Unit 15 continued its research into ‘synthetic space’, space that exists as a hybrid of the ‘actual’ and the ‘virtual’, by examining speculative and narrative architectures based on the work of the writer J G Ballard. Ballard’s writing has encompassed topics as diverse as ecological crisis to technological fetishism and augmentation, and from urban ruination to suburban mob culture. He has pursued these topics with a wit and inventiveness that is without comparison. His understanding of architecture, and architects, and his prophetic visions make Ballard one of the most important figures in the literary articulation of architectural issues and concerns. Rather than examining specific texts, Unit 15 followed themes implicit in Ballard’s writing. Unit 15 uses film, video, animation and motion graphics as a way of developing and exploring new architectural modes of representation and practice. Special thanks to: Flacq [Kim Quazi, Marcus Lee], Simon Withers and Vesna Petrasin Robert. Critics: Peter Kidger, Stefan Kuepers, Shaun Murray, Adam Prest, Hannah Vowles.
Nic Clear and Simon Kennedy
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Top: Richard Bevan, Carbon Casino, concept drawing. Middle: Emma Penttinen, Smearpolis (film stills); Daniel Wang, Cyborg Garage.
Clockwise from top: Richard Bevan, Carbon Casino, concept drawing; Alexandra Thomson, M25 Blockade; Tom Johnson, Virtual Therapy; Nancy NiBhriain, Auto Club.
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Clockwise from top left: Nicholas Tayler, Global Almanac II, film still; George Thomson, Sound Sweep, detail of ‘sketchbook’; Helena Van Lare, ‘Confidence’, film still; Soki So, 5th Dimension [London Hong Kong], chronogram.
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Top to bottom: Rammy Elsaadany, Paranoid City, film still; Irene Astrain, Echoes In The Landscapes, chronogram; Joel Porter, Wonderland, chronogram; Nicholas Tayler, Global Almanac II, film still.
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Top: Michael Aling, Fata Morgana in post-individualist Swindon, chronogram. Bottom: Dan Farmer, Synaptic Landscapes, chronogram.
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Dip Unit 16 Yr 4: Amy Jones, Jun Kondo, Nicoleta Rodolaki, Chris Rodrigues, Lucas Tizard. Yr 5: Kevin Bai, Joanna Coleman, Jonathan Hagos, Benny Lee, Felix Li, Mark Martines, Ben MastertonSmith, Ray Wang, Matthew Wilkinson, Vicky Wong.
Real [ism] + e-state “It’s designed pretty much to look like a bombed-out dry cleaning plant from the outside. Yet inside, there are millions of dollars worth of fine art.” [William Gibson discussing the notion of a ‘stealth house’ and describing the home of Dennis Hopper in Venice Beach, Sunday Times ‘Culture Section’ 3.10.1993]. The unit advocates conceptual and formal sophistication; we will resist the nauseating unconscious drift towards conformity. Seemingly random everyday subjects are chosen tangential to the discipline of architecture. The intention is for the subject to be familiar, yet the architectural outcome to be uncertain, to allow room for speculation and invention. The delight is in the discovery of their end expression. Proposals are not just rational entities, they should explore the potency of momentary perceptions, fragments of experience and disassociated elements, of site, environment and culture. Drawings are seen as both tools of practice and as sites of construction, surfaces to be assembled with consideration to their processes of manufacture. Students are asked to consider their spatial geometries, actual and implied scales and material relationship. Physical artefacts as prototypes, speculative devices, spatial filters, surface to collage, collate, test unexpected relationships, employing facts and half-truths. We would like to thank our critics and Philip Turner of AHMM.
Simon Herron and Susanne Isa
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Top: Chris Rodrigues. Middle and bottom: Lucas Tizard.
Matthew Wilkinson, Hookeâ€™s Invisible Monument.
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Ben Masterton-Smith, A Glorious Celebration of FNJ!
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Top: Benny Lee, The Gentlemanâ€™s Club. Bottom: Joanna Coleman, Vermillion Sands, Antartica.
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Jonathan Hagos, Imaginary Homelands: Salman Rushdie in his study.
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Kevin Bai, Cathedral and Catacomb to a Cultural Treasure, aerial view.
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Dip Unit 17 Yr 4:Tom Elliott, Robert Lunn, Brian Macken, Jack Pannell, Joshua Scott, James Stevens, Michiko Sumi, Dandi Zhang. Yr5: David Dickson, Suzanne Gaballa, Christian Holm, Catherine Irvine, Emily Lewith, Jakob Lund.
The Absence of the Architectural Object Today we take it for granted that we should produce images as part of the process of designing a building and these images usually depict the building as an object. But it is not clear that buildings can be experienced either as images or as objects. Precisely the effort of design often serves to underline the absence of the architectural object, the impossibility of fully imagining it and the inadequacy of any kind of portrayal. The everyday perception of a building, on the other hand, gradually renders it as indifferent and eventually absent. Although the absence of the architectural object means the absence of its total image, architecture insists to function through a saturated culture of images. Buildings are inspired, copied, produced, propagated and consumed via the image. What would happen if we had no access to the plethora of images that surround us? What if photography was unknown to us? History tells us about iconoclastic periods of image destruction. Can such events be seen in anyway as potentially liberating from established conventions? What would architecture be in a culture in which all images are not used? Many thanks to Adam Cole, Alis Fadzil and Lee Halligan.
Niall McLaughlin and Yeoryia Manolopoulou
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Above: Christian Holm. Facing page top to bottom: David Dickson, Suzanne Gaballa, Jakob Lund.
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Catherine Irvine, Uncle Toby’s Garden. All Hallows’ Church and Vicarage, Sutton-on-the-forest. Uncle Toby’s Garden, described in Laurence Sterne’s Tristram Shandy, is where Toby re-enacts and overlays the multiple events of Queen Anne’s War (1702-1713). Dreaming Uncle Toby’s Garden layers the topography of the existing site with the fortifications of Namur and a field of moments which are navigated by attacks and retreats.
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Clockwise from top left: Battle plan, Siege of Namur (1695), Breach at St Nicolas Gate, Physiology of a smile, Time-based section of earthworks.
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Emily Lewith, Reconstructing Dublin: Excavating Finnegans Wake. This spatial translation of James Joyce’s Finnegans Wake explores the ‘vertical’ narrative of the text and structural techniques employed in its construction. By translating Joyce’s literary use of bricolage, metaphor and contiguous association into material form, Dublin’s historical landscape is fragmented, cast and rearticulated spatially within the archaeological site of Wood Quay.
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9 13 14 7
1. Wellington Testimonial 2. Heuston station 3. St Patricks Hospital 4. Royal Hospital / museum of modern art 5. Guiness brewery 6. St Michanâ€™s Church 7. Four Courts 8. St Marys Abbey 9. Green Street Courthouse 10. Nelsons Pillar 11. General Post Office (GPO) 12. Busaras 13. The Custom House 14. Bank of Ireland / Old Parliament 15. Trinity College 16. National Library / Gallery 17. National Museum 18. Dublin City Library and Archive 19. Merrion Square 20. Fitzwilliam Houses 21. Fitzwilliam Square 22. St Stephens Park 23. St Patricks Cathedral 24. Christchurch Cathedral 25. Adam and Eve Church 26. City Hall 27. Dublin Castle 28. Beatty library.
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Dip Unit 18 Yr 4: Craig Brailsford, Alice Cadogan, Chun Pong Fung, Myoungjae Kim, George King, Daniel Madeiros, Thomas Mahon, Mark Nixon, Zi Shi Song, Miya Kate Ushida. Yr 5: Keith Chan, Irene Shun Nei Cheng, Rory Harmer, Jonathan Holt, Jonathan Mizzi, Jacob Strauss.
“Learning from Nature” The Environmental Paradigm The unit was encouraged to look for sources of inspiration within the mineral, vegetal and animal world and to reflect upon nature at many different levels, both formal and functional, paying attention to visual, tactile, sensual qualities as well as structural properties, environmental control processes, photosynthesis, etc… and how these may lead to design principles for a sustainable architecture. The behavioural aspects of biological systems were explored in terms of responsiveness and adaptability, autonomous behaviour, growth and change, intelligence and sensitivity; some students looked at the natural processes of morphogenesis and biological evolution, investigating their impact on architectural design, drawing on the early pioneering work of John Frazer as well as current experiments in parametric modelling, potentially leading to an architecture that could be truly generative and selforganised. By asking the general question “what can be learned from nature?”, this brief is clearly a continuation of last year’s brief on sustainability (titled “experimental ecosystems”), perhaps from a less technical and less prescriptive perspective; it is an open question, leaving room for a diversity of interpretations and calling for other dimensions of design in addition to those strictly related to environmental performance, while ensuring that this year’s projects were intrinsically sustainable due to their grounding in natural systems. The majority of students worked on two projects, one sited in the botanical gardens at Kew, the other in different parts of Manhattan.
Colin Fournier and David Ardill
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Clockwise from top: Alice Cadogan, Thomas Mahon, Myoungjae Kim.
Clockwise from top left:Daniel Madeiros, Miya Kate Ushida, Mark Nixon, Zi Shi Song, chun Pong Fung, George King.
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Top: Keith Chan. Middle: Jacob Strauss. Bottom: Irene Shun Nei Cheng.
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Top and middle: Jonathan Holt. Bottom: Sonia Chiu. Opposite: Jonathan Mizzi.
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Dip Unit 19 Yr 4:Marc Borrowman, Thomas Cartledge, Xiaowei Liang, Andrew Paine, James Robertson. Yr 5: Nicholas Adams, John Kyle Fulton, Robert High, Linnea Isen, Phil Joon Jeon, Kristian Kristensen, Nook Szz Law, Oliver Moen, Peter Nilsson, Timothy Norman, Gro Sarauw, Mandi Tong.
Pushing the Boundaries Post-digital (where the computer is totally synthesised into reality) design must attempt to be immune to sophist arguments of style and good taste. It should rejoice in the particular and the “I” who and whatever is the “I” (we must remember that objects can now become “I” to a growing extent.) Above all, post-digital design is relativistic, glocal, ascalar and constructed from a genius loci that does not just include anthropomorphic site conditions but also includes deep ecological pathways, mnemonics, pychogeography and narrative. The continuums of architectural composition at the beginning of the twenty-first century. The experience of contemporary designers is one of positioning their work in relation to seven continua. These are: 1 Space 2 Technology 3 Narrative, Semiotics and Performance 4 Cyborgian Geography 5 Scopic Regimes 6 Sensitivity 7 Time
Neil Spiller and Phil Watson
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Top: Maria Law. Middle and Bottom: Pil Joon Jeon.
Top: Kyle Fulton. Bottom: Nick Adams.
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Top: Oliver Moen. Bottom: Robbie High.
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Top: Linnea Isen. Bottom: Peter Nillson.
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Dip Unit 20 Yr 4: Jenna Al-Ali, Kasper Ax, Kwok Kwan (Jason) Chan, Laurence Dudeney, Tsehayou Mengistu, Vicky Patsalis, Luis Reis, Soraya Somarathne, Graham Thompson. Yr 5: Minna Ala-Jaaski, Yousef Al-Mehdari, Edward Calver, Anders Christiansen, Yaojen (Alan) Chuang, Eric Smith, Filipa Valente. MArch: Hannes Mayer.
Trade, Traditions and Ecosystems The unit’s agenda is aimed at global sophistication within a local context of trade, traditions and ecosystems. This year’s brief responded in particular to the historical development of London and Miami’s socio-cultural space towards a thoroughly contemporary architectural proposal that incorporates ‘other’ sensibilities (relating to new manufacturing technologies, natural environments that are largely under threat - the Thames Valley and the Everglades and eco-technologies). Such technologies are progressing extremely fast, having an immediate impact on design, yet the built environment seems to be limping behind, still stereotyped as monumental, heavy, and solid – traditional. Hence, the focus rests on the reinterpretation of traditional building typologies and innovative technologies of architecture related to the context and content of trading and natural habitats. Student projects include, amongst others, a new fish market in Miami, a bio-technological greenhouse, a hydro-ecology on the verge of the Everglades, a visitor centre, a wellness centre, therapeutic sound environments, a liturgical workshop, and an institute for climate change.
Marjan Colletti and Marcos Cruz
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Above: Selection of conceptual and investigative physical models.
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Clockwise from top left: Minna Ala-Jaaski, Anders Christiansen, Yaojen Alan Chuang, Eric Smith.
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Top: Filipa Valente. Bottom: Hannes Mayer.
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This Page: Edward Calver. Facing page: Yousef Al-Mehdari.
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BSc Unit 21 Yr 4: Chih-Yin Chien; John Lawlor; Bilal Malik; Carolina Razelli; Katie Walmsley. Yr 5: Nicolas Lundstrom; Owen Jones; Benjamin Lee; Krishma Shah; Charlene Shum; Tumpa Husna Yasmin;
Buy : Sell What constitutes a sale? What defines value? What are the implications of trade on an architectural proposition where ‘faux’ products and illicit sales sit uncomfortably alongside carefully regimented and audited procedures of transaction? In 2007, the exchange of non-essential goods reached an all time high, with Sotheby’s and Christie’s reporting sales of over US$300 million in a single week. But 2007 also saw £12 billion of the value of the stock market wiped and another £1bn withdrawn from customers of one bank in a single day; 2008 now threatens with the cry of ‘credit crunch’. Responding to the brief, students quickly developed their own territory of transaction, outlining the buyer and seller roles and the delicate balance developed in the process of establishing a sale. Work reflected the shifting power of a ‘deal’ and developed a view on currency as a vehicle. The ‘purchase’ varied, from a tangible object, a concept, an emotion. Students were expected to develop a view of commodity in the 21st century and the perceived value of built space in its language, materials and cultural significance. We explored an architecture of negotiation, of risk, of shifting value.
Christine Hawley and Peter Culley
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Above: Charlene Shum, Section Through the Pawn Shop.
This page: Nicolas Lundstrom, Pigeon Racing Loft Development.
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Clockwise from top: Nicolas Lundstrom, The Feather Factory; Krishma Shah, The Wapping Shoe Castle; John Lawlor, Yellow Steam Chamber; Chih-Yin Chien, Model of The Shop of Smell; Bilal Malik, The Arrival of the Dragons.
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Clockwise from top left: Tumpa Husna Yasmin, Fluidic Landscape; Chih-Yin Chien, Shop of Smell; Benjamin Lee, Manga Gallery.
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Top: Carolina Razelli, Contemporary Art Gallery in the City, exploratory cross-sections. Bottom: Owen Jones, St Thomasâ€™ Opium Refinery.
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This Page: Owen Jones, St Thomasâ€™ Opium Refinery, sections.
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Dip Unit 22 Yr 4: Carrie Behar, Jonathan Harvey, Christopher Hildrey, Milad Hossainzadeh, Bceddyn Jones, Kevin Kelly, Raphaela Potter. Yr 5: Martin Brooks, Christopher Bryant, Han Chun Chen, Maria-Eugenia Chiotopoulou-Isaia, Anna Hastings, Lida Kokorelia, Gemma Clare Noakes, Natasha Telford, Evie Tsigeridou, Chung Ming Janice Wong.
Decadence We live in a time of excess. In our work, our lifestyles, our aspirations - and in our architecture - we have thrown off the values of the past and indulged in a new freedom. We live in a time of extremes. Great opulence exists alongside extreme scarcity. These conditions sprawl across the globe and compact themselves into cities. But is opulence the same as decadence, and scarcity the same as modesty? Can decadence exist without decay? This year, Unit 22 questioned what defines modesty and decadence at the beginning of the twenty-first century. The unit studied these conditions and questioned how they manifest themselves in contemporary life and architecture. From this basis students developed projects that exploited and exaggerated the existing conditions of modesty and decadence, attempting to anticipate future trends
Peter Szczepaniak and John Puttick Christopher Bryant, A House of Cards: A Contemporary Tower of Babel.
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This page top to bottom: Jonathan Harvey, The Rickshaw Rank; Gemma Noakes, The Orchestral Island. Facing page, clockwise from top left: Carrie Behar, Last Tango in Peckham; Han Chun Chen, The Nature Observation Centre; Milad Hossainzadeh, Bonsai Cultivation; Raphaela Potter, The Puppetry Guild; Christopher Hildrey, The Specialist Tobacconist; Rhys Jones, Auguracula; Natasha Telford The Snail Restaurant; Chung Ming Janice Wong, Butterflies and Plants Research Centre; Kevin Kelly, Dapper Dogs: Hair Boutique; Anna Hastings, Ode to Vellamo: the Finnish Fishing Village. Show Cat 08.indd 148
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Left: Maria-Eugenia Chiotopoulou-Isaia and Lida Kokorelia, City Garden. Right: Martin Brooks, The Weather Station; Facing page: Evie Tsigeridou, The Mechanical Garden.
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Dip Unit 23 Yr4: James Barrington, Francis Gilks, Justin Goodyear, Richard Lipson, Matthew Shaw; Timothy Taskor, Katrina Varian, Andrew Yorke. Yr 5: Jonathan Duffett, Thomas Dunn, Dale Elliott, Kristof Hanzlik; Matthew McTurk, Sara MohammadiKhabazan, Thomas Shelswell, Joseph Swift
Protoarchitecture Protoarchitecture is part real, part ideal. It is a proposition that is prompted by vision rather than convenience. It may be plural or singular, evolutionary or revolutionary, temporary or permanent. It is at once a construct of the physical and the virtual. It does not conform. It is by definition, an exception. The unit operates a two year plan, beginning in Y4 with a small building design project. This year, it was ‘live’; to design and if luck has it, to build a small mobile space for experimental theatre with the Central School of Speech and Drama. We named this protoarchitectural investigation ‘from the ideal to the real’ and exhibited the work at CSSD in March. This was followed by more experimental and speculative ideas on performance, for which we built prototype after prototype. Ending with a work in progress, Y4 students have already begun to carry individual agendas into their final year. Y5 students meanwhile work from prototype to protoarchitecture, ending the year on a speculative visionary proposition fuelled by personal belief in the direction of their practice. It’s always surprising, it’s always diverse, it’s always made, it’s always collaborative, and it’s always architecture.
Bob Sheil and Emmanuel Vercruysse
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Clockwise from top: Model case at ‘Perform’ (CSSD April 2008), Ric Lipson, Timothy Tasker.
Clockwise from top left: Katrina Varian, James Barrington, Matthew Shaw, Andrew Yorke, Justin Goodyear, Francis Gilks.
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Top: Sara Mohammadi-Khabazan. Bottom: Jonathan Duffet.
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Top: Kristof Hanzlik, Bottom: Matthew McTurk.
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Diploma Year 5 Thesis
Diploma Year 5 Thesis The thesis is the place where Year 5 students have the opportunity to develop a series of focused research questions that underpin their design work. These questions may be informed by disciplines such as, architectural, scientific, cultural, technological, literary, historical or philosophical theories. As a result, a reflexive relationship is created between the portfolio and thesis, each informing the other. Peg Rawes, Mark Smout Thesis Co-ordinators
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Jonathan Hagos: Defining Blasphemy(ies) – Injuring Reputation in the 21st Century. As a result of research into the politics of Salman Rushdie’s work, ideas concerning free speech are significant to this project. What can be said through ‘speech’ in today’s society, and the antithetical notion of blasphemy, figure here as primary research topics. The overall architectural ambition of the design project lies in the creation of a new urban territory aimed towards the vocal empowerment of the individual. This thesis is intended to run as a direct parallel to form a literary territory positioned towards the empowerment of the author and reader alike. The thesis acts as an investigative literary device through which a critical framework is set up to improve the theoretical aspects of my design. Four research titles present interpretive readings through the history of free speech, as well as offering an insight into its implications: ‘Speaking architectures’, ‘On speaking’, ‘On hearing and listening’, and ‘How can we be heard’.
Pil Joon Jeon: Picture through to Design. In room 38 in the National Gallery, there are seven pictures of Venice by Giovanni Antonio Canal, better known as Canaletto. Looking at the pictures, each of which shows a different aspect of Venice. I was reminded of a trip to Venice, which was fragmented due to its myriad images on both ground and water. However, in comparison to my memory, the pictures seem to be organised from a monocular point of view, resulting in an astonishingly wide view that could not be achieved with the naked eye. It made me question how the spaces in pictures were constructed and consequently, what it is that I am actually seeing. My design project and this thesis were the journey to find answers to these questions.
Owen Jones: Optical Forms: the Expressive Manipulation of Light. This thesis is an exploratory work, using physical experimentation and analysis of visual precedents to investigate and develop an expressive form of architecture that manipulates the behaviour of light. The investigation concentrates on developing a visual language for an Opium refinery in the public space of a medical research facility at St Thomas’ Hospital. The critical issue for the programme is the manipulation of daylight as the basis for a larger orchestration of light within the public space. By experimenting with surface qualities and the peculiarities of different forms under lighting, this thesis hopes to propose an architecture that produces an intensity of experience in the public sphere that is generated from lighting the opium poppies. Light is manipulated in two ways to provide the adequate amount of daylight required for growing and also to lead the public gaze towards the refinement and growing processes: first, the thesis addresses principles of lighting developed in 1950’s film noir cinema, and secondly, by examining the science of optics that describes the interaction of light with matter.
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Gemma Noakes: The Orchestral Island. The Orchestral Island considers the fusion of music and space. The island produces sound through its responsive environment, acting as an audible landscape. Acoustic theory shows how sound travels through a space, and how the design of spaces can help enhance and produce music. The island orchestrates sound from three different scales of interaction: the small, localised interaction with the users, the relationship of the various built structures, and the global scale interaction with the coastal conditions. As the orchestral piece of music changes from hour to hour, or day to day, the island’s personality changes. Some of the sounds coming from the island are characteristic of their surroundings. The collaboration with foreign musical elements creates unique experiences for the children in a music school, the general public walking along the pier, the fishermen out at sea. Sounds are not measured, but remembered.
Ben Ridley: An Architecture of Myth: Generating an Emotional Attachment to Landscape and Architecture. The thesis is a technical analysis of two intrinsically related programmatic determinants of a large and complex building in Thingvellir, Iceland. The first research question concerns the building’s ability to provide a range of remarkable environmental experiences through a series of design devices. A key objective is to develop an appropriate understanding of the methods by which the design enhances certain peculiarities of climatic conditions (such as daylight, steam and snow) to playfully distort one’s understanding of scale and visual depth. The second research question concerns the rich literary tradition of myth making in Icelandic literature. The thesis analyses the success of a design strategy that allows the occupation of the building to determine mythical interpretations. This research question is directly linked to the first, as it is the remarkable environmental manipulations that are carefully controlled to encourage mythical understandings of their operation.
MArch Architecture Students 2007-08: Lena Andersen, Joveria Baig, Ruairi Glynn, Thomas Holberton, Nathaniel Keast, Jimmy Kim, Tobias Klein, Hannes Mayer, Juliet Quintero, Richard Roberts, David Roy, Nick Tayler.
Students who successfully complete the Bartlett’s Graduate Diploma Architecture programme may undertake a further course of study in order to receive the higher award of an MArch Architecture degree. Students produce an original and sustained investigation focusing on one of the areas of design, history & theory, professional studies, technology, or a combination of these areas. In the area of professional studies, this work can also be related to the Certificate in Professional Practice and Management in Architecture (ARB/RIBA Part 3).
Lena Andersen Lena Andersen’s work creates an architecture resonating with memory, utilising the Art of Memory and the second order cybernetics of memory. It also utilises a range of technologies to create allusions, ambiences and minute vibrations. Her family owns a very dilapidated house in Sweden, now empty but with a rich prior history as farmhouse, doctor’s house and granny’s house. Andersen designs a series of small and very subtle architectures that hint at pass events and interactions. The pieces are composed of simple domestic utensils, spoons, bowls, bottles, pieces of plough and an ancient blood transfusion unit. All of these pieces are given a little power by wind catchers in the adjacent wood, enabling them to subtly change position over long periods of time. These mnemonic micro architectures exist in Rembrantian shadow, until occasionally highlighted by a redirected sun’s ray.
Directors: Prof Neil Spiller (Design) Susan Ware (Professional Studies)
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MArch Architectural Design Students: Alicia Cecchini, An-Li Chen, Ming-Ya Cheng, Maria Danilatou, Claudia Ebenhahn, Aditi Kambuj, Danai Katsiveli, Dietmar Koring, Raj Umesh Lavingia, Ming-Hsuan Lo, Marcus Lundh, Masayuki Nakahata, Chin-Jung Nien, Parazid Pezeshkpour, Ravi Prakash, Erik Schonsett, Ivan Soldo, Eva Christina Sommeregger, Yi Ting Serene Wang, Dominik Wenzel, Cyril Chong Yin Xu, Meiqing Zhang, Gongpu Zhao, Xin Zhao.
Advanced Virtual And Technological Architecture Research (AVATAR) The masters studio in architectural design is a 12-month full-time programme concentrating on advanced design. It directly encourages the individual to discover her or his individual expression. The first three months introduce students to the theoretical concepts which underpin AVATAR through lectures and initial design projects. Students then confirm the subject of their thesis project and work in specialist teaching groups. There is continuous discussion of work via tutorials and reviews. The programme is designed for both recent graduates and for qualified architects: people who wish to be part of a more speculative design environment. In its first decade, the programme has attracted students from more than 35 different countries, many of whom have been awarded major scholarships, bursaries and prizes. In-house critics include Prof Iain Borden, Prof Colin Fournier, Prof Christine Hawley, Prof Jonathan Hill, Prof cj Lim and many other Bartlett Architecture staff. The mastersâ€™ studio is also visited by renowned critics: recent visitors have included Thom Mayne, Lebbeus Woods, Elizabeth Diller, Neil Denari and the late Enric Miralles.
Programme Director: Prof Neil Spiller. Tutors: Prof Ranulph Glanville, Nic Clear, Simon Herron, Shaun Murray, Andrew Porter and Phil Watson
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Eva-Christina Sommeregger Top:xxxxxx
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Top: Gongp Zhao. Bottom: Alicia Cecchini. Opposite: Parizad Peteskkpour.
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Top: Meiqing Zhang. Bottom: Yi Ting Serene Wang.
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Yi Ting Serene Wang.
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MArch Urban Design Students: Arezou Aboutalebi, Nurul Azreen Azlan, Kyung Hyun Baek, Abhijit Bagade, Theodora Chryssaki, Nada Riyad Dhaif, Yan Gao, Christine Gkortsiou, Daniel Horner, Chen Hsu, Maja Luna Jorgensen, Jonathan Knapp, Archis Kulkarni, Man-KwongLi, Gonzalo Li Perez, Edouard Moreau, Graciela Moreno, Heike Neurohr, Dawn Osterbauer, Gaurav Powale, Emily Read Masaya Sato, Sen-Wei Tao, Ricardo Veira, Wu Wan-Yu, Sarah Winge-Sorensen, Wei Zhang.
During the 2006-07 academic year, the programme of the MArch Urban Design course was focused on the issue of sustainability. The brief put emphasis on the need to explore ‘eco-city’ concepts and the ‘triple bottom line’ objectives of sustainable development were the key criteria for the evaluation of student projects. The small town of Northstowe, near Cambridge, was chosen as the initial area of investigation. Responses to the brief have been diverse and inventive: while some students adhered strictly to the confines of the site, others took the liberty to transgress them and to study the Cambridge region as a whole or even Greater London. One project proposes a floating eco-city on the North Sea and there is a proposal for virtual urbanism in cyberspace. These creative interpretations of the brief have lead, in the final urban design theses, to a great variety of individual and group projects, of which a few have been selected for this catalogue. All the projects, including those that appear to have transgressed the scope of the original brief, have explored in their own specific way some aspect of sustainability, in many cases from a fresh perspective that had not been anticipated. The body of work as a whole reached a commendable level of resolution in terms of both research and design on the complex issue of urban sustainability and will form the basis for further work in this field.
Programme Director: Prof Colin Fournier. Tutors: Martin Birgel, Robert Dye, Jonathan Kendall, Olaf Kneer, Owen O’Doherty
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This page: Heike Neurohr, Njord reconfigured. An off-shore city in the North sea, made of an assemblage of recycled ships and other floating components, addressing the global issue of climate change and rising sea levels; it produces its own energy, grows its own food and can reconfigure itself to respond to changing environmental and social requirements. Previous page, clockwise from top left: Ricardo Veira Kyung Hyun Baek, Man-Kwong Li.
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This page: Martin. Facing page: Paul Jakulis. Dan HornerRyan and Edouard Moreau, Urbanism 2.0, This project explores the interweaving of urban environments with the ever expanding digital world, emphasizing the impact of second generation web-based communities (web 2.0), dynamic, collaborative, creative platforms that are spreading across the world with unprecedented momentum, transforming the ways in which the city is perceived and performs its functions.
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Above: Emily Read and Quake Hsu Chen, DIY Urbanism, A â€œbottom-upâ€? approach promoting urban activism as a means to foster a new sense of citizenship and empower people to participate in the design process for the future development of Shoreditch, leading to a series of small scale interventions as catalysts for social and environmental change in the area.
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Top and right: Arezou Aboutalebi, Synthetic Landscape. A synthetic landscape developed on the marshlands along the south coast of England, designed through an understanding of how natural forces such as floods produce forms, and how urban development following such forms can obviate the need for extensive flood control infrastructure and sea walls.
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Top: Arezou Aboutalebi, Synthetic Landscape. A synthetic landscape developed on the marshlands along the south coast of England, designed through an understanding of how natural forces such as floods produce forms, and how urban development following such forms can obviate the need for extensive flood control infrastructure and sea walls.
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This page and opposite: Theodora Chryssaki and Christina Gkortsiou, Agro_polis, A proposal for an inhabited urban landscape, located within the Cambridge green belt, aiming to reconcile the continued expansion of the city with the need to preserve the natural environment and productive agricultural land. A mixed-use, hybrid, sustainable development which blurs the distinction between city and landscape.
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MA Architectural History
Graduating Students 2007-8: Carol Choi, Jessica Hoffman, Susana Holguin-Veras, Wei Lee, Vas Oikonomopoulos, Jacob Paskins, Paul Whitehouse.
Started in 1981, the MA in Architectural History is a unique institution in the field of architectural history, theory and criticism. Over the past 25 years it has provided a coherent and intensive forum in which students develop and test their own approach to the subject, engaging with established and emerging subjects, theories and methodologies. The work produced is innovative and rigorous, and many graduates from the programme have gone on to research, teach and publish at universities and other institutions worldwide. Organised around a cohesive set of core methodological and inter-related option modules, and lasting for 12 months, the programme is taught by Prof Iain Borden, Ben Campkin, Prof Adrian Forty, (Course Director), Dr Barbara Penner and Prof Jane Rendell. Over the past twenty five years the course has been continually developed and revised, prioritising the exploration of new and existing methodologies and critical theories as they might be applied to the study of architecture and cities. Rather than dealing with architecture solely through the work of famous individuals, stylistic classification or normative categories, the course locates architecture within social, ideological, creative, political and urban processes, and in doing so explores the boundaries of what might be regarded as legitimate architectural objects of study, and of the interpretations which might be made of them. The main focus of the course is on architecture and cities of the 19th, 20th and 21st centuries, but to provide a perspective on the events and interpretation of this period occasional reference is made to
a wider range of historical material. The main teaching mode is the seminar, supplemented by lectures from internal staff and visitors, building and gallery visits, video and film screenings, group working and one-to-one tutorials. The Architectural History & Theory section of the Bartlett also organises public lectures by distinguished visiting speakers, focusing on the intersection of historical and critical theory with different kinds of architectural practice, as well as a PhD seminars and conferences on advanced architectural historical and critical method. The course is for architects already qualified or are in the process of qualification, and for graduates of other disciplines such as art history, history, geography or anthropology who wish to develop a specialist knowledge of architectural history or acquire a foundation for research in the history of architecture. The student cohort comprises home, EU and overseas participants. The MA Architectural History provides skills in the historical and critical techniques for the research and critique of any architectural subject. A student having completed the course will be equipped to undertake research in the history or criticism of architecture, and to evaluate work done in that field. The culmination of the course is a supervised research project undertaken on a topic of the student’s choice, the outcome of which is a 10,000 word Report. In 2006-7, two Reports were awarded a Distinction: excerpts from them are printed here.
Wei Lee ‘Lives of the Dead. Thoughts on Bodies in Spaces of Transition from Life to Death, Observing Smithfield Market and St. Bartholomew’s Hospital’. In the heart of London, two prominent institutions have been neighbours for nearly 900 years. The curious proximity of St. Bartholomew’s Hospital and Smithfield Market, today a wholesale dead-meat market, prompts thoughts on the body, and the spatial proximity of life and death. It is where ‘mass transition’ from life to death occurs – in peacetime, on a daily basis. People were dying, corpses traded and dissected, animals traded and slaughtered. This dissertation reflects on the relations we have with our bodies, live and dead; with others’ bodies, human or animal. It thinks about how we build in relation to the body, warm flesh and dead meat. It began with the question of why buildings are conceived for idealised, abstract or statistical ‘bodies’, rather than bodies of living flesh. The body often seems out of place in the pure creation of mind. This kind of prejudice is represented in Peter Greenaway’s film The Belly of an Architect, which draws a vivid illustration of the mind’s alienation from the body – while the mind’s capacity is highly developed and appreciated, the body remains an unsophisticated, clumsy burden that is susceptible to chaos and destruction. The body is the main source of our misery as human beings. As Freud wrote in Civilization and its Discontents, ‘Suffering threatens us from three sides: from our own body, which, being doomed to decay and dissolution, cannot dispense with pain and anxiety as warning signals; from the external world, which can unleash overwhelming, implacable, destructive forces against us; and finally from our relations with others. The suffering that arises from this last source perhaps causes us more pain than any other’. The body is of organic matters, as opposed to the
Course Director: Prof Adrian Forty. Tutors: Prof Iain Borden, Ben Campkin, Dr Barbara Penner and Prof Jane Rendell.
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‘pure’ mind of reason; the body is flawed, vulnerable, and inevitably to perish – the first and foremost predicament of human beings. Even humans’ relationships with each other are potentially jeopardised by our ‘animality’. Our eternal struggle with our animal body and human mind contributes towards so-called ‘civilization’. I compare how the systems of food and of building manipulate our bodies from within, and from without; how our relationships are regulated with nature, and with others, are regulated – through materials, and through ingredients, through spatial planning and dining etiquettes. A building, as much as a meal, delivers a message about (in Mary Douglas’s words) ‘hierarchy, inclusion and exclusion, boundaries and transactions across the boundaries’. […] Death haunts us all in every corner of civilization. The tale of the Hospital and of the Market unfolds a series of questions that somehow echo the contemporary obsessive oppression of the body, issues of eco-social balance, debates on animal rights and biomedical ethics, war, torture, violence in media, or, overall the terror of the body and death. My aim is to imagine a fresh interpretation of Smithfield, with the aid of the histories of medicine, food and the urban economy, and with the focus upon the ‘direct grip’ of its relationship with the bodies, living and dead. I look to reveal the evidence, sometimes contradictory, of the proximity of life and death, in terms of conceptual and physical distances. Finally, I reflect on how spatial achievements segregate/ compartmentalise life and death, and whether it could be heading to another direction, to acknowledge and accept the death in ourselves.
resentful sentiment from the public was verging on an outburst. Dickens wrote in 1851, ‘Of a great Institution like Smithfield, [the French] are unable to form the least conception. A Beast Market in the heart of Paris would be regarded an impossible nuisance. Nor have they any notion of slaughter-houses in the midst of a city’. What Dickens referred to was a series of improvements since the early nineteenth century in France. In 1807, the first public slaughterhouses were ordered to be built, three to the north, three to the south of the Seine; in 1810, Napoleon issued a decree requiring every town of France to build public slaughterhouses, outside the city limits. In this way all slaughtering could be centrally supervised. Over the years between 1863 and 1867, Haussmann completed the vast Paris central slaughterhouse at La Villette, the first to serve a population of millions, accommodating ‘the number of beasts
needed for Parisian consumption over a period of several days’. On the other hand, in London, being a ‘rotten apple of the Corporation’s eye’, ridiculed Dickens, ‘the blessings of Smithfield are too well understood to need recapitulation’. […] Cattle were driven on the hoof into London to Smithfield where, according to Dickens, the shambolic melange of ‘cattle-driving, cattle-slaughtering, bone-crushing, blood-boiling, trotter-scraping, tripedressing, paunch-cleaning, gut-spinning, hide-preparing, tallow-melting’ prevailed ‘in the midst of hospitals, churchyards, workhouses, schools, infirmaries, refuges, dwellings, provision-shops, nurseries, sickbeds, every stage and baiting place in the journey from birth to death’. […] Evidence of progress in public hygiene
[…] As early as the 12th century, the Priory had complained about the unpleasant conditions of the cattle market affecting the use of the burial ground. Despite the fact that it had long been an annoyance to the neighbouring citizens, the slaughter of animals at Smithfield Market was not suspended until 1852. By that time
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and medicine comes from the rebuilding of St Bartholomew’s Hospital. On maps before 1700, we can barely make out the boundaries of the hospital; its built fabric was not dissimilar from the surrounding houses. ‘Where did St Bartholomew’s end and the rest of the world begin? The hospital was a cluster of courtyards surrounded by narrow buildings’ (C. Stevenson, Medicine and Magnificence: British hospital and asylum architecture 1660-1815). The desperate measures of erecting buildings to raise money mixed with those of the hospital was, in 1729, judged to have ‘much obstructed’ the ‘free course of the air for the benefit of the poor’. The tenants were increasingly a nuisance, as ‘the genteeler sort moved away’. By 1754, ‘idle, loose and disorderly persons, beggars and others’ were ‘crying and selling all manner of commodities very improper for the patients in and about the staircases and wards’. […] The reconstruction of the hospital was carried out in phases between 1729 and 1770, ‘when the last of the wards was fitted out, and St Bartholomew’s quadrangle cleared of the remaining shops and houses to “Form the Square and area of the Hospital according to the plan & design”’. On a plan of the hospital from the mid-nineteenth century, we can locate the dissecting room, anatomy theatre and post-mortem room.
moreover, the ‘after-life’ of the dead, human and animal. However, the terror of the body and of death are inseparable. ‘To a degree that is hard to imagine nowadays, visible, tangible flesh was all too often experienced as ugly, nasty and decaying, bitten by bugs and beset by sores; it was rank, foul and dysfunctional; for all of medicine’s best efforts, it was frequently racked with pain, disability and disease; and death might well be nigh’. Susan Bordo adds, ‘The body as animal, as appetite, as deceiver, as prison of the soul and confounder of its projects: these are common images within Western philosophy’. […] In this dissertation we see that sometimes so-called ‘corrective measures’ only treat the surface of the problems; actual progress in civilisation is determined by the tireless struggle between the forces of economy, politics, science and religion. The systematic ordering and classification of matter is sometimes as volatile and as flexible as the geographic condition in the old Smithfield.
[…] Through photographs of the hospital interiors, I reflect on our physical ‘distance’ to death on a bodily level. We see an extraordinary contrast between the medical discipline and the general public, with regards to the ’intimacy’ with death, the aspect of ‘nature’ in human life. The paradox seems to me that the more scientific knowledge is advanced, the more we lose touch with nature, over which we intend more control. […] From a critique of the loathing and terror/ fear of bodies, I have moved to a focus discussion on the culture of death – the killing, as well as the saving of life, and,
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Jacob Paskins ‘Architecture and the Ear: the Aural Experience of Travelling on the London Underground’. Whether escaping it in an innersuburban oasis, or drawn to it by standing in Shepherds Bush Empire for an amplified music gig, city life today is unavoidably connected to sound in all its manifestations. For two years I lived in ‘The Lakes’ residential development in London’s Docklands – marketed as a peaceful haven on the doorstep of the City – and twice a day commuted for a miserable twenty five minutes on the London Underground from Canada Water station to Warren Street. Concerned that I might be bored on the journey, my housemates offered me a personal music player so that the soundtrack of my choice could accompany my daily descent into the Tube. I accepted the gift but my musiclistening habits were short-lived. I missed the sounds of swans flapping on the water as I approached the station, and more surprisingly, I felt disorientated and outof-control if listening to my headphones while passing through the ticket barriers, down the escalators, onto the platform. Despite knowing my route inside out, learning which carriage to enter to make the journey as quick as possible on exit, when I listened to my iPod I felt unsure of my step when running down to catch a train, and onboard, engrossed in music, I sometimes even forgot to get off at the correct stop. The device that was supposed to bring a little pleasure to my commute in fact made me stay longer underground, and so after several months I stopped wearing headphones and began listening to the Underground. The London Underground (a.k.a. the noisiest place on earth). (Tom) Immediately I realised I was as familiar with the sounds of the Underground as the ever-repeating contents of my play list. Subconsciously or not I had learnt how to interpret and respond to the sound of footsteps round a blind corner of a corridor, the rumbling of an invisible yet approaching train, the hissing of
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the electric rail, and the beeping of the closing doors. I knew how to alter my pace to avoid collision, to mind the edge of the platform, or to slick into a closing door. I had obtained these skills thanks to the perception of my body’s senses; a complex operation of vision, hearing, touch and even smell, learnt by my body from the very first journey I made on the Tube. Returning to my commute without headphones made me realise that with my ears blocked from the other sounds of my journey I had been temporarily disabled, and that in order to negotiate travel as efficiently as possible I had to depend on all my senses, especially my ears. I listened to architecture. […] As the centre of urban experience, the actions of the body – incorporating listening – ‘organises a here in relation to an abroad, a “familiarity” in relation to a “foreigness”’. (M. de Certeau, The Practice of Everyday Life). But this familiarity does not necessarily presume a clear-cut physical distinction between self and other, between inside and outside. The active listener sees a door not as a divide between two physical spaces but as a sonic door that separates two different types of ‘listening experience’ (J.-P. Thibaud, ‘The Sonic Composition of the City’ in The Auditory Culture Reader), and so the city is understood and performed by making decisions based on sounds that the individual can tolerate, rather than by adopting behaviour associated with inside or outside, public or private spaces. Such behaviour is particularly evident on the Underground. I travel with the Victoria Line, and the first time I used those earplugs, I had to take on off in the middle of the journey and I wondered: how could I stand this noise before? put them on, you forget your’re in the train, put them off and youu get all the noises and that annoying voice which gets stuck in just one sentence 9stand clear of the closing doors … stand clear of the closing doors … stand clear of the closing doors … until infinitum!) If it wasn’t because they can’t isolate from the general carriage vibrations, they would be the
golden Underground accessory! (Sole) I travel on the Victoria line between Vauxhall and Finsbury Park each weekday, and noticed my ears hurt after each journey, […] now I wear earplugs on every journey and hate when I occasionally forget them. (Rod). Yep, on the Victoria line I find that I do have to turn up my headphones to drown out the sound of the line. (Marcin Tuspin) (Comments re. Going Underground blog, 31 Jan 2007) Users of noise-reducing headphones on the Victoria line attempt to maintain a private existence free from the sound of the public transport, despite maintaining a visual awareness of the carriage. This paradoxical territorialization blurs the clear distinction between home and travel space: the inside and outside created by the ‘sonic bridge’ of the artificial silence or music on the headphones. Choosing to listen to the sound of the train’s engine and rumble through the tunnel is a type of relationship with the city that unsettles fixed notions of where public and private space is located. The body’s passage through the city, enhanced by listening, unsettles other navigational practices that are based on the ‘spatial and visual order of the city’ (Thibaud). Unlike following maps, plans and signs – trains this way – guiding oneself through the station by listening to its sound becomes both a mental and a physical exercise that ‘structures and articulates the experience and understanding of space’ (J. Pallasmaa, The Eyes of the Skin). In doing so, listening to architecture, detecting the temporal and spatial progress of a journey by responding to an inbuilt memory of sound – even the asynchronous sound of a passing escape shaft – further unsettles fixed typologies of built form such as interior and exterior.
MPhil/PhD Architectural Design
Graduating students: Ersi Ioannidou. Current students: Adam Adamis, Nadia Amoroso, Ana Paola Araujo, 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.
The MPhil/PhD Architectural Design programme 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 internationally one of the most influential doctoral programmes dedicated to architectural design. 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. An architectural design doctoral thesis has two inter-related elements of equal importance – a project and a text – that share a research theme and a productive relationship. 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. 36 students from over 15 countries are currently enrolled on the programme.
UK and overseas. This is followed by Research Projects in Term 2, an exhibition and conference with presentations by current practice-based PhD students in UCL. Invited critics in 2008 were Dr Hugh Campbell (University College Dublin), Prof Penny Florence (UCL Slade School of Fine Art) and Dr Lorens Holm (University of Dundee). Throughout the year, Research Conversations seminars are an opportunity for PhD candidates to present work in progress. In addition, students are invited to participate in the Architecture & Interdisciplinary Seminars in the Bartlett and The Creative Thesis in the Slade School of Fine Art, which is tailored to practice-led research.
Lesley Naa Norle Lokko Out of Africa: ‘Race’, Space, Place ‘Race’ has always been a troubling and unsettling notion within the study and production of architecture, a fact generally compounded by its confusion with ‘racism’ which, this dissertation argues, is a separate issue. Historically, the identity of the architect has generally been positioned as white, male and universal, speaking on behalf of and to a global audience whose histories and ways of seeing the world are anything but. In the past thirty years or so, however, a dramatic rise in the scope and influence of a flurry of ‘new’ disciplines such as cultural studies, critical and literary theory and social anthropology has resulted in a profound shift in a number of Western disciplines. In literature, art, history and philosophy, the opening up of those disciplines to include ‘other’ histories and
voices has brought an added depth and critical perspective to bear that few would argue against. In certain areas – perhaps most notably literature, art, dance and music – the recognition that ‘other’ cultures may have something to offer has changed not only the disciplinary canon, such as it is taught and practiced, but also, and perhaps more significantly, the structure of knowledge itself. In contrast, however, architecture has remained stubbornly resistant to ‘otherness’. Although teaching methodologies, the role and nature of practice, contract law and the scope and reach of technology have dramatically altered the parameters of the profession and its study, the actual body of knowledge that constitutes the discipline has remained largely unchanged. There is very little evidence to suggest that ‘otherness’ (however it is defined) has contributed in any significant way to the study or production of the built environment. The dissertation can be read in two parts – one, having taken place largely in the UK, which involved more traditional modes of research and analysis centred around the historicity of ‘race’ and the other, which has taken place (literally) in Africa and involves a different model of research – building – and a context which may be largely unfamiliar to the majority of its readers. The four built projects covered by this dissertation are situated in Ghana, West Africa and are symbolic not only in the sense of being ‘home’ for the author of this dissertation but also in relation to Ghana’s role as the first independent nation in sub–Saharan (or ‘black’) Africa.
The Bartlett School of Architecture’s two PhD programmes organize three annual events for doctoral students. In Term 1, the Bartlett and the UCL Slade School of Fine Art host Research Spaces, a conference and exhibition with speakers from the
Directors of MPhil/PhD programmes: Prof Jonathan Hill and Dr Barbara Penner. Supervisors: Dr Jan Birksted, Prof Iain Borden, Dr Victor Buchli, Dr Marjan Colletti, Prof Peter Cook, Dr Marcus Cruz, Prof Penny Florence, Prof Stephen Gage,
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Marjan Colletti Digital Poetics: An Enquiry into the Properties of ‘Mimetic Intrafaces’ and the ‘Twoandahalf Dimensionality’ of Computer-Aided Architectural Design The written and pictorial work discussed and presented in the thesis ventures to grasp the properties of ‘Mimetic Intrafaces’ and the ‘Twoandahalf Dimensionality’ of computer-aided architectural design (CAAD). It attempts to bridge the gap between architectural theory and the built environment by providing a phenomenological alternative to the understanding and the production of CAAD, hitherto less theorised, discussed and taught than contemporary educational doctrines built upon strict, methodological, linear design techniques. Throughout the thesis, the concept of ‘volution’ is adopted in order to spiral around (advolution), away (devolution), and back towards (evolution), to penetrate inwards (involution) and egress from (revolution) a designer–digitality interaction and feedback system. Multiple viewpoints of observation are thus proposed in order to reveal, or at least approach, Digital Poetics. A second main prerogative of the PhD is constituted by the principle of ‘convolution’ – blur, superposition and interference – being applied to a plethora of apparently binary conditions. Hence the thesis endeavours to reconcile the actual with the virtual/ digital, the technological with the poetic/ intuitive, the mathematical with the artistic/blissful, the gestural with the figural/figurative, the intermediary with the medium/mediated, and the symbolic with the social/reflexive. This synthetic approach pursues an organic spatial and strategic vision of design that includes materiality, atmospherics and use. Nor do technology and progress exclude the intuitive and poetic freedom of designers as truly creative thinkers.
digital mimesis, poetic automatism and symbolic bliss. Constructing a possible intellectual, intuitive and intimate feedback system that allows intrafaces to thrive, the PhD criticises objectivity as invariance, evolution as method, users as observers. The concept of the computer as soft toy is brought forth in order to overcome feelings of alienation and estrangement, as well as to annihilate any residual gender-specific concerns and master-slave relationships during human-computer interaction. From the narratives of digitality emerges the figure of the ‘CAADemiurge’: author of spaces, places, images, things and words that may come within reach of the poetic image – vessel of digital properties – and of Digital Poetics. The subject matters of the PhD have been researched in a threefold manner: as text, as design experiments focused on establishing an immediate 1:1 relationship with the digital domain, and as architectural proposals. These attempt a transfer of digital experiences and properties established in the text and in the experiments back into the realm of human evaluation, interaction and inhabitation. The design output results from the understanding of the digital architectural avant-garde as the merger of (analogue) parameters and (digital) properties. The projects are developed through 2D and 3D software and Computer Numerically Controlled (CNC), Rapid Protoyping (RP), ComputerAided Design and Computer-Aided Manufacturing (CAD/CAM) technologies.
In order to enlarge the digital architectural vocabulary, a multitude of arguments beyond the domains of technics, techniques and technologies are involved and invoked: performance (as staging and as task), (re)production, (re) presentation, as well as psychic projection,
Prof Ranulph Glanville, Dr Penelope Haralambidou, Prof Christine Hawley, 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.
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Marcos Cruz The Inhabitable Flesh of Architecture This PhD thesis is dedicated to a future vision of the body in architecture, questioning the contemporary relationship between the human and the architectural flesh. Conceptually it delves into the arena of disgust on which the aesthetic flesh is standing, and it explores new types of ‘neoplasmatic’ conditions in which the future possibility of a neo-biological flesh is lying. Through the analysis and design of a variety of projects, Flesh is proposed as a concept that extends the meaning of skin, one of architecture’s most fundamental metaphors. It seeks to challenge a common misunderstanding of skin as a flat and thin surface. In a time when a pervasive discourse about the impact of digital technologies risks turning the architectural skin ever more disembodied, the aim of this thesis is to put forward a thick embodied flesh by exploring architectural interfaces that are truly inhabitable. Today’s architecture has failed the body with its long heritage of purity of form and aesthetic of cleanliness. A resurgence of interest in flesh, especially in art, has led to a politics of abjection, changing traditional aesthetics, and is now giving light to an alternative discussion about the body in architecture. Different concepts of Flesh are investigated in this thesis. This concerns not just the architectural and aesthetic, but also the biological aspects of flesh. More than derived from scaled-up analogies between biological systems and larger scale architectural constructs, Synthetic Neoplasms are proposed as new semi-living entities. These ‘neoplasmatic’ creations are identified as partly designed object and partly living material, in which the line between the natural and the artificial is progressively blurred. Hybrid technologies and interdisciplinary work methodologies are thus required, and lead to a revision of our current architectural practice.
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Kristen Kreider Toward a Material Poetics: Sign, Subject, Site The aim of this practice-led PhD thesis is to develop a material poetics, informed theoretically. Cultivating a poetic practice in relation to fine art and spatial practice, I originate a body of artworks including poetry, artist books, installation art, moving image and textual interventions into architectural and urban sites. Six artworks are documented in this thesis, interlocking with five ‘critical acts’ where I explore elements of poetic practice (‘word,’ ‘line,’ ‘page,’ ‘voice’ and ‘punctuation’) in relation to materiality, spatiality and subjectivity by looking specifically at Jenny Holzer’s Lustmord, Fiona Templeton’s Cells of Release, Emily Dickinson’s later manuscripts, Theresa Hak Kyung Cha’s Passages Paysages and Roni Horn’s Pair Object III: For Two Rooms. From my creative and critical practice emerges a triadic relation of intersecting concerns between ‘sign,’ ‘subject’ and ‘site’ that I explore in my theoretical writing. Arguing that formalist linguistic theory is capable neither of accounting for the material quality of the sign nor its relation to an object, I cultivate an appreciation of the sign as an indexical symbol, in a material sense, as the basis for the sign in a material poetics. I then demonstrate how the material qualities of sign and site (including the materiality of the page, spatial context and body of the recipient) are integral to the ways in which meanings are generated and received. The indexical symbol, in both a grammatical and material sense, underlies my theory of subjectivity in terms of a discursive and embodied relation between two speaking subjects, as ‘I’ and ‘you,’ premised on ‘voice’ as an act of material spacing. Each artwork and each critical act in this thesis reveals a different configuration of this complex intersubjective dynamic, ultimately offering a reconsideration of the lyric ‘I’ and ‘voice’ located at the crossover between contemporary poetry and textbased art.
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MPhil/PhD Architectural History & Theory
Graduating Students 2007-08: Graduating Students: Pinai Sirikiatikul (MPhil); Josephine Kane, Jonathan Noble (PhD)Current students: Nicholas Beech, Julia Bodenstein, Willem de Bruijn, Reid Cooper, Edward Denison, Alison Hand, Yi-Chih Huang, Anne Hultzsch, Shih-Yao Lai, Rebecca Litchfield, Yat Ming Loo, Suzanne Macleod, Jacob Paskins, Victoria Perry, Sue Robertson, Aslihan Senel, Pinai Sirikiatikul, Lea-Catherine Szacka, Sotirios Varsamis, Nina Vollenbroker
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. 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. Approximately 20-30 students are enrolled at any one time in this programme. The Bartlett School of Architecture runs an active series of events for students from both the MPhil/PhD Architectural Design and the Architectural History and Theory programme to provide advanced discussions of research methodology. These include a series of seminars (Research Conversations), an annual student-led conference held in conjunction with the Slade (Research Spaces), and an annual graduate conference at which students present work to invited respondents (Research Projects). With the Slade since 2005, we also run a special PhD workshop, The Creative Thesis. Current dissertation titles include: Nick Beech “Everyday Life and Architecture: London’s South Bank in the Post-War Period”
Willem de Bruijn “Book-building: a Historical and Theoretical Investigation into the Alchemical Practice of Architecture” Yi-Chih Huang “The Discursive Formation of Chinese Architectural Modernization Movement in Post-war Taiwan” Alison Hand “Spatial Anxiety:Thrill-Seeking in Contemporary Art and the City” Rebecca Litchfield “Psychotopography: the Individual, the City and Apocalypse in the Works of Steve Erickson” Pinai Sirikiatikul, Remaking Modern Bangkok: Urban Renewal on Rajadamnern Boulevard, 1832-1957 This thesis explores the ways in which architecture and urban space are used as a vehicle for social and cultural agendas; and how social, cultural as well as political identity can be translated into spaces and built forms. Unlike other Southeast Asian countries, Thailand was never a colony and therefore Thailand’s assimilation of Western culture cannot be satisfactorily interpreted through post colonial discourse, although this has been used productively elsewhere. This study is of Bangkok between 1932, when the monarchy was overthrown, and 1957, when the monarchy was restored. The main features of this period were the establishment of a new constitution, the emergence of the People’s Party, and the events of World War II and its aftermath. The progressive nationalist policies of the People’s Party extended into many aspects of cultural and social life, including the city’s development, and in particular, urban renewal on Rajadamnern Boulevard in the centre of old Bangkok. The thesis examines the transformation of urban space and architecture on Rajadamnern Boulevard between 1932 and 1957. The focus is on the ways in which the new state inserted its identity, ideology and propaganda into the city by
remaking its fabric. It investigates how the new state used urban space as a stage set to establish and display collective identity, as well as the ways in which pre-existing urban forms were given new narratives. The aim is to show how Rajadamnern Boulevard, whose physical appearance and use changed over time, reconstituted meanings in the city during a period of political change. This research draws upon archival sources: documentary evidence from state papers, ordnance maps, and unpublished documents at the Crown Property Bureau (Bangkok), and upon first-hand analysis of urban space and architecture. The findings revise existing histories of architecture in post-1932 Thailand. Jonathan Noble, White Skins–Black Masks: Public Architecture in PostApartheid South Africa In recent years there have been a series of architectural competitions for South African public buildings. An agenda has been set to symbolize the new nation, to search for an ‘African Identity’ in design. Due to colonial and apartheid legacy, however, the terms of architectural reference are far from clear. Emphasis is placed upon the designer’s imagination, an imagination which needs to engage questions of personal and collective identity. This circumstance introduces themes important to contemporary political philosophies which highlight the negotiations of identity-difference that form the basis of civil society (Young, Benhabib, Taylor). This PhD studies these architectural competitions as subjective and visionary contributions to the current public debates over identity. My study thus crosses a variety of identities, nationalpolitical, personal-subjective, as well as narratives of public participation. The thesis combines formal architectural analysis (symbolic language) with study of architecture seen as a project for social negotiation (civic participation).
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.
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It also engages in dialogue with a range of literature, including: political philosophy (especially ideas of subjective identity, public space, and a politics of the imagination), postcolonial identities (Fanon, Mbembe and Bhabha), South African cultural and political history including aspects of pre-colonial heritage, as well as conventional ‘Western’ architectural history and theory. The architectural competitions I study include: Freedom Park, Apartheid museum and monument, Pretoria; Freedom Square, monument to the Freedom Charter, Kliptown Soweto; Constitutional Hill, old Johannesburg Fort, new Constitutional Court of SA; Mpumalana Legislature, new local government building complex.;
experience. Though drawing on a diverse range of existing leisure practices, the particular entertainment formula they offered marked a radical departure in terms of visual, experiential and cultural meanings. The huge, socially mixed crowds that flocked to the new parks did so purely in the pursuit of pleasure, which the amusement parks commodified in exhilarating new guises. Between 1906 and 1939, nearly 40 major amusement parks operated across Britain. By the outbreak of the Second World War, millions of people visited these sites each year. The amusement park had become a defining element in the architectural and psychological pleasurescape of Britain. This thesis considers the relationship between popular modernity, pleasure and the amusement park landscape in Britain 1900-1939. I argue that the amusement parks were understood as a new and distinct expression of modern times which redefined the concept of public pleasure for mass audiences. The research on which this thesis is based was driven by three key questions. First, how did the
amusement park define the experience of modernity for its mass audience? Second, how were notions of pleasure reflected in and shaped by the amusement park landscape? Finally, how did the experience of pleasure and modernity at the amusement park change during the period 1900-1939, and why? The research focuses on three sites (Blackpool Pleasure Beach, Dreamland in Margate and the Kursaal at Southend), contextualising their development with references to the wider amusement park world, particularly the London exhibition sites. The meanings of these sites are explored through a detailed examination of the spatial and architectural form taken by rides and other buildings. The rollercoaster – a defining visual symbol of the amusement park – is given particular focus, and the extent to which discourses of class, gender and national identity were expressed through the design of these parks, forms a primary area of discussion. This study aims to demonstrate that the design of the earliest amusement parks
and Northern Cape Legislature, new local government building complex. Josie Kane, ‘A Whirl of Wonders!’ British Amusement Parks and the Architecture of Pleasure, 1900-1939 The amusement parks which first appeared in England at the turn of the twentieth century represent a startlingly novel and complex phenomenon, combining fantasy architecture, new technology, ersatz danger, spectacle and mass consumption in a new collective
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forged new understandings of ‘pleasure’ for mass audiences, in which mechanically produced multi-sensory stimulation or thrill was central. The heady mix of rides, sideshows and crowds combined to create a visceral spectacle in which people suspended the behavioural constraints of everyday life. The amusement parks, therefore, represent a landscape in which people encountered modernity in a new and intensely physical manner. The thesis is founded on two key propositions. First, that the appropriation of technology for the purposes of respectable mass pleasure in the early 1900s is a defining and decisive moment in the experience of popular modernity. Second, that the mechanical pleasures on offer were modern: not just in the sense of creating a new heterogeneous social space for technology, but also in the particular kinaesthetic experiences they created. The production of pleasure continued to determine the amusement park
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landscape during the inter-war period but, I argue, the meanings and status of amusement parks shifted in the wake of new ideas relating to leisure. The experience of popular modernity in Britain was increasingly qualified by the discourse of ‘new leisure’ and modernist design principles which became closely allied with it. ‘Being modern’ came to be defined in visual as well as experiential terms and, at the most successful parks, the modern aesthetic superseded technology as the prime vehicle for expressing modernity. Though some attempted to redefine themselves in response to changing values and new forms of competition during the 1930s, the amusement park formula proved fatally at odds with the drive for order and planning which has shaped mass recreation in the second half of the twentieth century.
park phenomenon in Britain has been attempted to date. From the perspective of architectural history, these sites are relatively unexplored – with the exception of brief references to Emberton’s Pleasure Beach redesign or the new Dreamland cinema complex in overviews of 1930s modernism. As fixed-site environments in a constant state of flux, amusement parks have lain beyond the scope of architectural histories of Britain. This research is, therefore, the first attempt to define, document, and offer an interpretation of, the amusement park landscape in Britain. My research raises a number of questions about shifting notions of pleasure and new attitudes towards technology and, in doing so, contributes to a developing interdisciplinary field which seeks to identify more adequately the experience of British modernity.
Authors who have dealt directly with the rise of the amusement park are few and far between and limited, in the main, to an American perspective. No interpretation of the amusement
The Bartlett School of Architecture will this year host its third Summer School. A group of 60 participants ranging in age from 16-50 and from differing backgrounds including prospective Bartlett students and international students will develop their interest in architecture. In 2007 attention was focussed on St Pancras Railway Station and nearby Kings Cross. This year the Summer School will be a Micro-festival of Architecture. Students will explore the built history of festivals from the South Bank of the Thames to the Crystal Palace, looking at the events and their legacy. A design based programme will lead to the creation of the elements of the festival. These may be structures, events, films or whatever is required to enliven and excite the spaces around the Bartlett School to attract the public as well as those in the know. As part of UCLâ€™s Widening Participation Programme we are able to offer 20 sponsored places to secondary school students.
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Abi Abdolwahabi, Ben Addy, Laura Allen, Tilo Amhoff, Ana Araujo, Sonia Arbaci, David Ardill, Abigail Ashton, Martin Avery, Philippe Ayres, Julia Backhaus, Scott Batty, Nicolas Beech, Johan Berglund, Elena Besussi, Martin Birgel, Jan Birksted, Iain Borden, Matthew Bowles, Dan Brady, Jason Bruges, Bim Burton, Michelle Bush, Matthew Butcher, Ben Campkin, Rhys Cannon, Aran Chadwick, Elisabete Cidre, Nic Clear, Jason Coleman, Marjan Colletti, Janet Collings, Wendy Colvin, Marcos Cruz, Peter Culley, Chris Cutbush, Colin Darlington, Willem de Bruijn, Max Dewdney, Elizabeth Dow, Robert Dye, Bernd Felsinger, David Ferguson, Peter Fink, William Firebrace, Pedro Font Alba, J. Adrian Forty, Colin Fournier, Daisy Froud, Stephen Gage, Jean Garrett, Christophe Gerard, Yuri Gerrits, Emer Girling, Ranulph Glanville, Ruairi Glynn, Richard Grimes, Penelope Haralambidou, Supapim Harinasuta, Christine Hawley, Thea Heintz, Simon Herron, Jonathan Hill, Stina Hockby, Bill Hodgson, Susanne Isa, Chris Jackson, Kevin Jones, Jan Kattein, Jonathan Kendall, Simon Kennedy, Jason King, Kristen Kreider, Julian Krueger, Stefan Kueppers, Chee Kit Lai, Lucy Leonard, Chris Leung, Saskia Lewis, CJ Lim, Rebecca Litchfield, Helen Little, Katie Lloyd Thomas, Luke Lowings , Yeoryia Manolopoulou, Niall McLaughlin, Stoll Michael, Adrian Joe Morris, Shaun Murray, Denise Murray, Christian Nold, Owen O Doherty, Nadia O Hare, James O Leary, Brian O Reilly, Luke Olsen, Donatus Onyido, Barbara Penner, Vesna Petresin Robert, Stuart Piercy, Jonathan Pile, Simon Pilling, Frosso Pimenides, Andrew Porter, John Puttick, Kim Randall, Robert Randall, Peg Rawes, Jane Rendell, David Rosenberg, Shibboleth Schechter, Renee Searle, Gabby Shawcross, Bob Sheil, Naz Siddique, Jason Slocombe, Toby Smith, Paul Smoothy, Mark Smout, Anna Solarska, Neil Spiller, Brian Stater, Philippe Steadman, Peter Stickland, Gareth Stokes, Wycliffe Stutchbury, Peter Szczepaniak, Jerry Tate, Tse-Hui The, Ann Thorpe, Nikolaos Travasaros, Catalina Turcu, Emanuelle Vercruysse, Nina Vollenbroker, Soo Ware, Phil Watson, Clyde Watson, Patrick Weber, Andrew Whiting, Robin Wilson, Oliver Wilton, Simon Withers, Brendan Woods, David Yates.
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The Bartlett School of Architecture would like to thank our sponsors for their generous support Show Catalogue
Adrem Creative Recruitment.
Allford Hall Monaghan Morris
For details, T. 020 7679 4642 or email firstname.lastname@example.org
Private Reception Additional Sponsors Bespoke Lee Associates
The School’s programme of publications and associated events has been generously supported by:
Supporters of the Summer Show Bartlett Architecture Society Aedas Hamiltons Pringle Brandon Rogers Stirk Harbour + Partners UrbanBuzz
UCL Friends Individual units have also received kind support from numerous other companies and institutions.
Opener’s Prize White Partners Ltd
Bartlett Architecture Society
Fletcher Priest Trust
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.
Rogues and Vagabonds
For details, T. 020 7679 4642 or email email@example.com
Bursaries Kohn Pedersen Fox Associates Rogers Stirk Harbour + Partners The Leverhulme Trust Bartlett Architecture International Lecture Series
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. This year’s event is sponsored by
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The KPF Foundation has as its mission the support and encouragement of students training to be architects. The foundation operates globally and supports a variety of programs in the U.S., Europe and Asia. Because of the firmâ€™s passion for design excellence, KPF is particularly pleased to support students in the Bartlettâ€™s outstanding architecture program.
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UrbanBuzz is… •a unique UCL Bartlett-led £7.75m 2 year (ends Dec 08) knowledge exchange ‘impact’ programme in the field of sustainable communities. UEL are the prime partner. •converting research evidence mainly from within universities into new practical tools and processes for the benefits of all stakeholders in this domain. •a portfolio of 28 projects including diverse areas such as energy usage, environment, social engagement, inclusive design, cultural demographics, community action, mapping and spatial analysis, regeneration, sustainability policies, transportation, security and crime, students and interns. Why not register on our website and join the other 3,000 members in being the first to hear news of events, publications and education and training opportunities. To find out more about UrbanBuzz visit our website where you can also download the ‘Essential UrbanBuzz 2008’ pocket guide.
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Rogues and Vagabonds reception
Supporter of the Summer Show
Supporter of the Summer Show
Sheppard Robson Prize
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Bartlett International Lecture Series 2008/09 Supported by Fletcher Priest Trust The Bartlett International Lecture Series 2008/09 features speakers from the Bartlett and across the world.
â€œColouring the Mind: The significance of contextâ€?
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Forthcoming lectures are publicised within the Bartlett, on the website and through the Bartlett Architecture Listing.
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firstname.lastname@example.org www.bartlett.ucl.ac.uk/architecture/events/ lectures/lectures
â€œFLESH MATTERS and other storiesâ€? â€œThe Hanging Cemetery of Baghdadâ€?
CV?V YZDhidh 6ai]dj\]VgX]^iZXihine^XVaanYZh^\c[dgXa^Zcih!i]Z=Vc\^c\8ZbZiZgn^hcdi VWdjidg[dgi]ZeZdeaZd[7V\]YVY!adXViZYdkZg)!&%%`bVlVn[gdbAdcYdc# >i^hVWdjiVX^ingZegZhZciZYVcYedgigVnZYYV^ani]gdj\]^ciZgcVi^dcVaIKVcY cZlheVeZgh0VeaVXZVabdhiĂ’Xi^dcVa^ci]ZViiZci^dc^i\ZcZgViZhWjiZfjVaan dcZhd[VggZbdkZY[gdbAdcYdcĂ‰h^bbZY^ViZe]nh^XVagZVa^in# 6ii]^h[dgi]Xdb^c\Wdd`aVjcX]i]ZVji]dghl^aaiVa`VWdjii]Z^gejWa^XVi^dc l^i]Zbe]Vh^hdcYZh^\chigViZ\^ZhVcYa^iZgVgn^cĂ“jZcXZh# CV?V YZDhidh ^h V AdcYdc"WVhZY VgX]^iZXijgVa hijY^d i]Vi ]Vh WZZc YZkZadeZY Vh V eaVi[dgb [dg ZmeZg^bZciVa VgX]^iZXijgZ jh^c\ cVggVi^kZ iZX]c^fjZh! [dgbZY Wn i]Z VgX]^iZXih CVccZiiZ ?VX`dlh`^ VcY G^XVgYd YZ Dhidh#Id\Zi]Zgi]ZnVgZi]ZVji]dghd[Ă†I]Z=Vc\^c\8ZbZiZgnd[7V\]YVYĂ‡ Heg^c\Zg L^ZcCZlNdg`! '%%, VcY VgZ XjggZcian ldg`^c\ dc i]Z cZmi ^chiVabZcid[EVbe]aZi6gX]^iZXijgZ'.Eg^cXZidc6gX]^iZXijgVaEgZhh!'%%-# I]Z^g egd_ZXih ]VkZ WZZc Zm]^W^iZY l^YZan! ^cXajY^c\ i]Z +i] >ciZgcVi^dcVa 6gX]^iZXijgZ 7^ZccVaZ ^c HVd EVjad VcY i]Z '%%+ GdnVa 6XVYZbn d[ 6gih HjbbZg:m]^W^i^dc#I]ZnVgZYZh^\cijidghd[VcJcYZg\gVYjViZJc^iVii]Z 66HX]ddad[6gX]^iZXijgZ# lll#cV_V"YZdhidh#Xdb
7VgiaZiiHX]ddad[6gX]^iZXijgZ!J8A .?Vc J>KHI:7O*E9JE8;H(&&- J7BA0 ,$)&FC =&( M7J;I>EKI; KD?L;HI?JO9EBB;=;BED:ED ((=EH:EDIJH;;J BED:EDM9'>&G8 8EEAB7KD9>0 7FFHEN$.$&&FC J>;87HJB;JJBE88O=7BB;HO M7J;I>EKI; KD?L;HI?JO9EBB;=;BED:ED ((=EH:EDIJH;;J BED:EDM9'>&G8 Dr. Marcos Cruz is a practicing architect who lives and works in London. He is a co-founder of marcosandmarjan, as well as a Lecturer at the Bartlett UCL (Unit 20), and Visiting Lecturer at the University of Westminster (DS10). He studied at the ETSAB in Barcelona and the ESAP in Porto from where he graduated in 1997. After gaining a masterâ€™s degree at the Bartlett in 1999 he continued his studies in a PhD research program, which he ďŹ nished in 2007. Back in 2000 he was part of the design team for the Kunsthaus Graz competition with Peter Cook and Colin Fournier (ďŹ rst prize), while his intensive teaching activity resulted in the co-edition of the publication Unit 20 in 2002. In the following year he was invited as a co-commissioner to the Austrian Ministry of Education for the re-structuring of Viennese schools of architecture, and in 2005 as a joint tutor for the Digital Architecture Workshop in Taichung Taiwan.
â€œAlternate Anatomical Architectures: Walking Head, Partial Head & Extra Earâ€?
â€œA Free and Anonymous Monumentâ€?
*9ZX Stelarc is a performance artist who has visually probed and acoustically ampliďŹ ed his body. He has made 3 ďŹ lms of the inside of his bodyprobing two metres of space into his lungs, stomach and colon. Between 1976-1988 he completed 25 body suspension performances with hooks into the skin. He has used medical instruments, prosthetics, robotics, Virtual Reality systems, the Internet and biotechnology to explore alternate, intimate and involuntary interfaces with the body. He has performed with a THIRD HAND, a VIRTUAL ARM, a STOMACH SCULPTURE and EXOSKELETON, a 6-legged walking robot. His FRACTAL FLESH, PING BODY and PARASITE performances explored involuntary, remote and internet choreography of the body with electrical stimulation of the muscles. MOVATAR is an inverse motion capture system where an avatar can perform in the physical world by accessing and actuating a host body. He is presently attempting to surgically construct an EXTRA EAR. His PROSTHETIC HEAD project involves an avatar which speaks to the person who interrogates it- an embodied conversational agent with real-time lip syncing and facial expression. The MUSCLE MACHINE is a 6-legged walking machine completed in 2003, actuated by pneumatic rubber muscles
â€œThat which is real, that which is trueâ€?
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â€œâ€˜Norman Abbey as Romantic mise-en-scene: the story of St Georges de Boschervilleâ€™.â€?
â€œMontage in the Turbine Hall: Doris Salcedoâ€™s Political Aestheticsâ€?
Often using subjects which lie on the border of science and philosophy, Conrad Shawcross's structural and often mechanical sculptures, question empirical, ontological and philosophical systems ubiquitious within our lives. While at ďŹ rst appearing rational and functional, his often complex mechanised systems in the end deny all rational function and so the viewer is forced down philosophical and metaphysical avenues to deduce a 'rasion d'etre'. From early works such as The Nervous System, 2002 - a monumental spinning machine that endlessly weaves a length of coloured rope into the form of a double helix, the shape of DNA - to his recent giant spiral work Continuum, 2004, the artist has attempted to visualize, among other things, the incomprehensible of human concerns, time.
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Extra Ear: Ear on Arm - Photographer - Nina Sellars
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His research further explores different concepts of Flesh. This is not just concerning the human, the architectural and the aesthetic, but also the biological aspects of ďŹ‚esh. But more than derived from scaled-up analogies between biological systems and larger scale architectural constructs, he proposes Synthetic Neoplasms as new semi-living entities. These â€˜neoplasmaticâ€™ creations are identiďŹ ed as partly designed object and partly living material, in which the line between the natural and the artiďŹ cial is progressively blurred. Hybrid technologies and interdisciplinary work methodologies are thus investigated, leading to a revision of our current architectural practice.
Geoff Manaugh is Senior Editor at Dwell Magazine and the author of BLDGBLOG, a Yahoo! Top 25 Pick of the Year (2006) and one of Time Magazineâ€™s Style & Design 100 blogs (2007). Manaugh has been called â€œthe worldâ€™s greatest living practitioner of â€˜architecture ďŹ ctionâ€™â€? by Bruce Sterling, and one of the 50 â€œmost inďŹ‚uential architects, designers, and thinkersâ€? in the ďŹ eld today by Icon magazine. The BLDGBLOG Book is forthcoming from Chronicle Books in Spring 2009.
In his research Marcos Cruz proposes Flesh as a concept that extends the meaning of skin as one of architectureâ€™s most contemporary metaphors. In a time when a pervasive discourse about the impact of digital technologies risks turning the architectural â€˜skinâ€™ ever more disembodied, his aim is to put forward the notion of a Thick Embodied Flesh by exploring architectural interfaces that are truly inhabitable. He analyses a variety of projects, including, amongst others, Le Corbusierâ€™s Ronchamp, Cook and Fournierâ€™s Kunsthaus Graz and several of his marcosandmarjan design proposals.
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Ij[f^[d8Wdd From around 1820, the Norman abbey of St Georges de Boscherville, near Rouen, was represented by means of a number of different print techniques, and in a range of different publications. Initially it was well documented in the luxurious lithographic â€˜Voyages pittoresquesâ€™. It then featured in a local antiquarian source, and subsequently in a popular â€˜magazineâ€™ of the 1830s, where it was reproduced through the new wood-block technique which catered for a mass market. This lecture discusses the socio-political and aesthetic aspects of the changing image of St Georges de Boscherville, and its place in the creation of the nineteenth-century concept of medieval architecture.
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Publisher Bartlett School of Architecture, UCL Editorial and Design Iain Borden Laura Allen, Tom Finch, Luke Pearson Cover Image â€˜Super-Sextantâ€™, Kyle Buchanan, Unit 11. Printed in England by Dexter Graphics Copyright 2008 the Bartlett School of Architecture, UCL. All rights reserved. No part of this publication may be
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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.
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