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TUESDAY 20 FEBRUARY 2018 Conference: 9.30am–6.30pm The Bartlett School of Architecture, UCL 22 Gordon Street / London



7 8




Adaptive Planning - Designing Cities to

Adapt into a More Complex and Constantly Changing World

Presenters 26 12




the Urban Landscapes of Extraction

Critical Design Pedagogy with Muktangan 30

Nagar Community 16

The Codification of Spatial Violence in the Juarez Region (2006-2012)

‘How​ ​beautiful​ ​it​ ​can​ ​be’:​ ​


in​ ​Skateboarding 18

the Built Environment through Education 34

of Railway Construction in 1860s London 20

Projection and the Shifting Imagination of Kyoto in the early modern Period

Long-Term Refugee Camps are Learning through Urban Lenses 22


A Book of Hours for Robin Hood Gardens


Authorship and Authority: Parallel


Assemblages: Eastern Africa’s Camps


Civic Pedagogy: Mediating Architecture and


Photography and Urban Change: Images


Destituent Places, Exceptional Measures:

THOMAS CALLAN-RILEY Time,​ ​Nostalgia​ ​and​ ​Pedagogy​ ​


Tender and Weird : Interventions into

A Learning Architecture: Developing a School Children and the Mariamma


Drawing as the Constellation of Ideas 14



Presenters’ Biographies



Environmental Design): Architectural


Environment in the German Democratic

Theory and the Production of the Built

Musealisation as an Urban Process:

Republic, 1960–1990

The Transformation of the Sultanahmet District in Istanbul’s Historic Peninsula 42


Absence through Layering:


From Experiencing Urban

Interspecies Spaces: Écriture Féline 44


Leftovers to Reimagining Sites 54

The Postmodern Ferment: The


of Suzana and Dimitris Antonakakis, c. 1980 46

Influenced by the Numinous Attributes of Animals

No More Elsewhere: Antarctica through the



Week and its Role in the Production of

Ordered Spaces, Separate Spheres: Women

London as a Global City

and the Building of British Convents,



Komplexe Umweltgestaltung (Complex


The Architectural History of London Fashion




Numen architecture: An Architecture


Archive of the Edward Wilson Watercolours


Kleist and the Space of Collapse

Reconsideration of the Modern, the Regional and the Critical in the Architectural Practice




Spatial Practices/Digital Traces:

Embodiment and Reconfigurations of

Urban Spaces Through GPS Mobile Apps



Make Public: Performing Public Housing in Regenerating East London 64


Constructing Participatory Environments: A Behavioural Model for Design 66


A Material History of the City of London, 1945-1993: Architecture, Planning and Finance 69


Thomas Jefferson, Sir John Soane, and

Maria Cosway: The Transatlantic Design Network, 1786, 1838 70


Scandalous Artefacts: Visual and Analogical Practice between Architecture and Archaeology 72

Alumni Biographies




PhD Research Projects 2017


Dr Nina Vollenbröker

Co-ordinator, MPhil/PhD Programmes

Prof Jonathan Hill

Director, MPhil/PhD Architectural Design

Dr Ben Campkin

Director, MPhil/PhD Architectural History & Theory


hD Research Projects 2018 is the

has five invited critics: Dr Alessandro Ayuso,

exhibition related to doctoral research

Crinson, Birkbeck, UL; Professor Lesley

twelfth annual conference and

at The Bartlett School of Architecture, UCL. The event is open to the public and involves presentations by students undertaking the

MPhil/PhD Architectural Design and MPhil/ PhD Architectural History & Theory. This

University of Westminster; Professor Mark

Lokko, University of Johannesburg; Professor Yeoryia Manolopoulou, The Bartlett School of Architecture, UCL and Professor Jeremy Till, Central Saint Martins, UAL.

Presenting this year are: Bihter Almaç,

year, we have invited contributions by MPhil/

Nicola Antaki, Nerea Elorduy Amorós,

Planning Unit and at The Bartlett School

Ferencz, Thanasis Kourniotis, Ifigeneia Liangi,

PhD students at The Bartlett Development of Planning.

Leading to a PhD in Architecture, the

two Bartlett School of Architecture doctoral

Thomas Callan-Riley, Miranda Critchley, Judit Thandi Loewenson, Ricardo Martén, Soledad Perez Martinez and Sayan Skandarajah. This publication also includes the

programmes encourage originality and

research of 16 recent graduates from the

enrolled and the range of research subjects

MPhil/ PhD Architectural History & Theory

creativity. Over 90 students are currently

undertaken is broad. However, each annual PhD conference and exhibition focuses on a smaller selection of presentations from students

who are starting, developing or concluding

their research. The purpose of the conference and exhibition is to encourage productive

discussions between presenters, exhibitors, staff, students, critics and the audience.

MPhil/PhD Architectural Design and

programmes: Pinar Aykac, Joanne Bristol,

Stylianos Giamarelos, Pablo Gil, Polly Gould,

Kate Jordan, Torsten Lange, Felipe A. Lanuza ´ Rilling, Jane Madsen, Dragan Pavlovic,

Regner Ramos, David Roberts, Theodore

Spyropoulos, Amy Thomas, Danielle Shea Willkens and Alessandro Zambelli.

Organised and curated by Dr Nina

Vollenbröker, PhD Research Projects 2018



The Image and the Imagination

Ifigeneia Liangi & Daniel James Wilkinson


he landscape of architectural

only recently that the makers of images,

textual, visual and spatial literacies

place alongside the makers of texts in the

research, a result of the intersecting

which define the Bartlett School of

Architecture’s PhD programmes, is primarily made of paper. It smells like an old garden and owns a little house on a sandy beach,

and things, are beginning to find their

construction of this story. Through both the visual and haptic aspects of drawing, our paper terrain is being resculpted.

Whether beautiful, instructive, or

but although this sentence is lost, the

better yet both, in the case of each of this

year’s PhD Research Projects conference

being built. According to Italo Calvino, the

one following is not. While some of this

participants draw forth with text, others are found to use drawing to establish subject

matter. Ideas are transposed across modes and described with pigments, whereas

others use on-site research to develop a socially just image for the development of future histories.

As identified by Umberto Eco, there

is no such thing as history, there are only

year’s conference presenters, stories are

imaginative process in the making of a story is of two types: ‘The one that starts with the

word and arrives at the visual image, and the one that starts with the visual image and arrives at its verbal expression’.

Once Upon a Time there were two giants who lived on our papery landscape.

One of them looked like an old garden.

historians. With this, the last 2500 years

He had a broken face and mossy eyebrows.

been ruled and organised exclusively

and the tips of his eyelashes, and when

dissemination and maintenance of the

blossomed. He wore a mossy shirt inhabited

of human history can be seen to have

by the makers of texts in the creation,

human narrative. History, as a construct,

is a story which results from research, thus being inseparable from it. However, it is


Colourful flowers came out of his nostrils

he was thinking through words his eyes by mosquitoes with sleeves made from

concrete, the weight balancing his steps in a straight line. His trousers were two

transparent bags filled with ink that dripped slowly through his toes.

The other looked like the right side of

paradise. She had a sandy face so that she could draw her own expressions with her

• You start with the word and arrive at the image, and I start with the image and arrive at the word.

• So who is drawing and who is writing then?

fingers, and in doing so, she would establish

They pondered and looked at each other’s

eyebrows, and when thinking in colours,

put the tent over their landscape, and the

herself. Two liquid bags hung in place of her she looked to be crying from her head. She

wore a long shirt made of porcelain, its neck opening upwards to glean the rain. She

could slide in all directions, and in the place of her sleeves were two transparent bags

filled with ink that dripped slowly through her fingers.

She used his flowers to make colour and

he used her water to write. Every day they’d

add a new page onto their paper landscape. One day he’d write and the other she’d

faces conspiratorially. That night they didn’t next day it had become wet, translucent and pliant. They could see the words through the images, and earlier lost sentences began to find their right place. Across the landscape, pigments became textual, with future

histories being unearthed as the terrain

perpetually recasts itself. Its inhabitants’

minds oscillate wildly between word and image, and with each image breeding

images, a field of stories came into being. In finding their place alongside one

draw. They had a tent to protect it from

another, they sat with our conference

overlapped, so their ideas started to drain.

landscape, and she watered the flowers

the weather, but writing and image never

• Some lines are too thick.

participants on the fringes of their paper in his eyes.

• You drew them with your thumb. You

should have drawn them with your index. • Well, it is what it is. The dotted ones are right though, drawn like a lace.

• At least we can see what’s behind us.

• We can see what’s behind us and what’s in front of us. That’s enough.

• But we can’t move on if we can’t see

within. We won’t know where we’re going. I wrote yesterday what you need to draw!

• And I drew the day before yesterday what you need to write! They sighed.




Drawing as the Constellation of Ideas


y research examines the

the diagrammatic image of The Two Self-

and consciousness within the

pursuit of becoming a distracted-being.

dialectical notions of distraction

architectural design process. This particular project, titled The Two Self-Portraits, along

with its tactile performativity, aims to discuss how our encounters and interactions with different kinds of architecture creates a

constellation of ideas, and thereby suggests

Portraits, a drawing that describes my

I am concerned with how an image is created in a manner similar to the mirror stage

(Lacan, 2006). Therefore, its methodology is to merge various ideas that might seem

discrete, incoherent and probably irrational.

The Two Self-Portraits consists of layers

a theoretical position.

that simulate our strange encounters with

the fragmented, the disrupted unconscious

other and the peculiar creativity. Therefore,

its own. The writing imagined here should

it is a deciphered colourimetric diagram that

The phase of becoming starts when

attempts to create a whole image akin to be treated as a dream report, something

that is not a conventional narrative, but a

series of cumulative images that acts like

a riddle. It is a filter in helping to conceive



the other; meeting the other, becoming the

the nature of the drawing is shaped as such;

is unveiled by RGB filtered monoculars. In the physicality of the drawing, the encounter of the audience is a pure reflective moment of observing and being observed.




A Learning Architecture: Developing a Critical Design Pedagogy with Muktangan School Children and the Mariamma Nagar Community


his live practice-led research explores

children become active citizens through

a ‘third teacher’ (Loris Malaguzzi),

cultures and practices, politics, economies

how architecture can be considered

after adults and other children. How is

architecture pedagogical and pedagogy,

spatial? More specifically, it investigates how

children can be involved in (re)designing their

design, we engage with local and trans-local and histories, proposing a collaborative pedagogy highlighting local craft as a valuable learning/design tool.

From 2012, a yearly series of workshops

environment as a wide reaching pedagogical

with a class of Muktangan School children

in a bid to democratise the city and develop

and continuous project to observe, map,

activity that develops multiple intelligences, practices of global citizenship. How can the

architectural process be adapted for children within a school structure?

Situated in Mumbai in collaboration with

Muktangan School, this research investigates socio-political contexts of democratic and citizenship practices in a simultaneously

formed an experiential, practical, reflective critically assess, and then transform learning environments. Using photography, drawing,

writing and acting, with practices of agency,

discussion, and presentation, the transformed their urban realm by designing interventions using local craft.

Focusing on challenging the current

global and local city. The research uses critical

disconnect between practice and research in

practices to include children in activating their

research aims to demonstrate the value of

spatial practice (Jane Rendell) and co-design right to the city (Henri Lefebvre), combining critical pedagogical praxis (Paulo Freire) and constructivist theories of education

(John Dewey and Lev Vygotsky), to form an interdisciplinary framework.

Developing a collective praxis entitled

reciprocal learning architecture where



the areas of pedagogy and architecture, this collective design through local craft for the

making of a more democratic learning city, to influence communities, architects, pedagogy and policy-making.




‘How​ ​beautiful​ ​it​ ​can​ ​be’:​ ​ Time,​ ​Nostalgia​ ​and​ ​Pedagogy​ ​ in​ ​Skateboarding


kateboarder​ ​and​ ​art​ ​historian​ ​

of​ ​skateboarding’ (Borden, 2018).​ ​Fluent​ ​

New​ ​York​ ​skate-spot Tompkins​ ​

posses​ ​a​ ​mythical​ ​yet​ ​inherent​ ​‘skater’s​ ​eye’,​ ​

Theodore​ ​Barrow​ ​described​ ​iconic​ ​

Square​ ​Park​ ​as​ ​‘an​ ​ever-replicating​ ​scene​ ​that​ ​ seems​ ​frozen​ ​in​ ​time,​ ​yet​ ​no longer​ ​includes​ ​ us’ (Barrow, 2017). My research ​explores​t​ he​​ idea​ ​of​ ​time​ ​in​ ​skateboarding.​ ​I​ ​extrapolate​ ​

Barrow’s​ ​quote​ ​and​ ​dig into​ ​the​ ​presence​ ​and​ ​ absence​ ​of​ ​time​ ​both​ ​in​ ​skateboarding​ ​and​ ​

in​ ​the​ ​literature​ ​on skateboarding.​ ​I​ ​propose​ ​

a​ ​reading​ ​of​ ​skateboarding​ ​through​ ​Svetlana​ ​ Boym’s​ ​studies​ ​on nostalgia,​ ​and​ ​suggest​ ​

in​ ​this​ ​embodied​ ​language, skateboarders​ ​

through​ ​which​ ​they​ ​build​ ​on​ ​the everyday​ ​city​ and​ ​are​ ​able​ ​to​ ​imagine​ ​and​ ​embody​ ​another​ ​ world,​ ​change​ ​the​ ​meaning​ ​of objects​ ​and​ ​

places,​ ​and​ ​fold,​ ​stop​ ​and​ ​construct​ ​time​ ​in​ ​ their​ ​participation​ ​and​ ​representation of​ ​

skateboarding.​ ​I​ ​explore​ ​how​ ​the​ ​‘skater’s​ ​eye’​ ​

is​ ​learned​ ​or​ ​acquired,​ ​and​ ​how skateboarders​ ​ locally​ ​interpret​ ​this​ ​idealised​ ​time.

Academic​ ​work​ ​to​ ​date​ ​has​ ​taken​ ​

that​ ​skateboarders​ ​mediate​ ​the​ ​relationship​ ​

geographical​ ​and​ ​temporal​ ​snapshots​ ​of​ ​

representations​ ​of​ ​skateboarding,​ ​through​ ​an​ ​

parts​ ​of​ ​skateboarding​ ​produces,​ ​passes​ ​on​ ​or​ ​

between​ ​local performances​ ​and​ ​global​ ​

imagined​ ​and idealised​ ​timeline​ ​or​ ​nostalgia ​ not​ ​directed​ ​towards​ ​the​ ​past,​ ​but​ ​rather​ ​ sideways​ ​into another​ ​temporal​ ​zone.

Iain​ ​Borden​ ​has​ ​phenomenologically​ ​

described​ ​the​ ​position​ ​of​ ​​being​​ ​a​ ​

skateboarder​ ​as​ ​a bodily​ ​language​ ​of​ ​ performance—where​ ​skateboarders​ ​ ‘oscillate​ ​between​ ​the​ ​immediacy​ ​of

their​ ​bodies​ ​and​ ​the​ ​global​ ​dispersion​ ​



skateboarding, but​ ​has​ ​not​ ​identified​ ​which​ ​

teaches​ ​the qualities​ ​of​ ​being​ ​a​ ​skateboarder​ ​ over​ ​time.​ ​Understanding​ ​this​ ​passing​ ​on​ ​ is​ ​important, particularly​ ​for​ ​the​ ​current​ ​

trend​ ​of​ ​skateboard-based​ ​social​ ​enterprises​ ​ using​ ​the​ ​provision of​ ​skateboarding​ ​as​ ​a​ ​

vehicle​ ​for​ ​positive​ ​change.​ ​I​ ​search​ ​for​ ​the​ ​

liminal​ ​space​ ​between​ ​a real-time​ ​learning​ ​of​ ​ how​ ​to​ ​physically​ ​ride​ ​a​ ​skateboard​ ​and​ ​the​ ​ transformation​ ​into​ ​​being​​ ​a skateboarder.




Photography and Urban Change: Images of Railway Construction in 1860s London


n the mid-nineteenth century, new

of public interest, the place of labourers in

promise social change. The railway – hailed

of change. My research also explores how

infrastructural networks seemed to

as the ‘iron missionary’ – was invested with the power to create common interests and bring the classes closer together. In the

city, new and faster communication routes were identified as a means of providing

the city, and the representation and recording methods of counting and mapping were tools of erasure as well as subject formation and how corporate and state interpretations of

the city interplayed and evolved in tandem. In this paper, I will read narratives of

improvement for all. Infrastructural

metropolitan improvement and urban

agent of progress; both utopian socialism

construction of the Metropolitan and

development became naturalised as an

and liberal institutions adopted infrastructure as a means of spreading ‘civilization’.

My research considers narratives

of metropolitan improvement in mid-

nineteenth-century London and their role in promoting the idea that new networks

could bring politically neutral, conflict-free

progress. I use railway clearances in London

from the 1850s to 1880s as a site to trace the development of these ideas and to examine and challenge arguments about modernity and fragmentation. The demolition of

homes for railway construction provides a framework for analysing discussions



change alongside photographs of the

District Railways in the 1860s. I will bring

together traces from the archive and existing interpretations of the photographs to think through the representation of change in

the city and consider whether these images of excavation and demolition – rubble and bricks in front of Westminster Abbey as if, one historian has remarked, it were under threat of destruction – can help us begin

to unpick and reveal the contradictions in

narratives that promised improvement for

all but encouraged the eviction of workingclass residents.

Image: © Museum of London




Long-Term Refugee Camps are Learning Assemblages: Eastern Africa’s Camps through Urban Lenses


he humanitarian aid system and

children, aged three to six, are learning

camps as the only and best

actors predominantly create and modify

the media present the refugee

means to provide refugee assistance

worldwide. Refugee camps in Eastern

Africa are rarely dismantled, most of them becoming permanent settlements that

pose socio-political and spatial dilemmas. These long-term camps are increasingly

under-resourced; this lack of humanitarian

from the spaces they live in and which

such spaces. Borrowing from Deleuze’s assemblage theory, I consider Eastern

Africa’s refugee camps as evolving sociomaterial assemblages of human and

non-human actors where different sets of power are at play.

Examining these assemblages through

personnel and funds contributes to the

an urban lens exposes the refugee camps’

assistance programs.

Using elements of urban theory and

standardisation and generalisation of

The dichotomy between standardised

humanitarian assistance for a vulnerable

‘homogeneous’ whole, and the complexity

of refugee and local-hosts realities is visible in the refugee camps’ built environments. Long-term refugee camps, their spaces and inhabitants are varied and change continuously. Relief aid initiatives lack

awareness of the complexity and agency of the camps’ components, disregarding

refugees’ spatial appropriations, cultural habits and preferences.

My design research investigates

the extent to which encamped refugee



complex, ever-changing and messy realities. architectural tools, I unpack the refugee-led spatial appropriations and perceptions that are otherwise hidden under discourses of

humanitarian space and spaces of exception. I investigate how encamped refugees are modifying the camps’ spaces, and how

these are in turn a learning source for young children growing up in the camps. Using

architectural and design tools such as maps, models and murals, I involve more voices

and views for a more complex and nuanced understanding of long-term refugee camps in Eastern Africa.




A Book of Hours for Robin Hood Gardens


he housing crisis in London calls

and temporality of conservation and

architectural listing plays in debates

engaging with and communicating

for a re-thinking of the role that

regarding the demolition or refurbishment of social housing. My research aims to

develop a new critical methodology for

conservation and architectural heritage

heritage, through new processes of

to my audience - government bodies,

architects and residents - processes often disregarded in conventional practice.

In this paper I present work across

practices, through the medium of the graphic

the four folios of my PhD research,

East London housing estate Robin Hood

research, ethnographic on-site practice

novel. My architectural case study is the

Gardens (1972), which was refused heritage listing in 2009 and 2015, and is currently

undergoing demolition as part of a wider local regeneration scheme.

The proposed methodology draws on my

own practice as an illustrator in publishing. My graphic novel will critically re-work the historic, material and temporal literary

form of the Book of Hours; late medieval

illuminated manuscripts where the time of

the telling is combined with the time of the

told. This reworking allows the medium itself to become a starting point for rethinking, through images and words, the processes



bringing together archival historical

and illustration/book design. Each folio

addresses a different temporality of Robin

Hood Gardens through techniques specific to the sites of research. Among these are a

picture book telling the architectural history of Robin Hood Gardens in the course of a

day using montage technique - following the architects, Alison and Peter Smithson’s way of working - and twelve graphic novels for

each calendar month, documenting through reportage drawing the lived time of Robin Hood Gardens as it undergoes demolition during the years of my PhD.




Adaptive Planning - Designing Cities to Adapt into a More Complex and Constantly Changing World


he increased need to develop more

unfold in some of the most massive urban

even larger populations comes

Olympic Legacy, King Abdullah’s Economic

sustainable and resilient cities for

alongside the challenge of a growing

complexity of environmental, social and

technological change. The scale and speed

of these changes can sometimes turn even the most promising and positive urban

interventions into an unwilling outcome.

As a result of overambitious and inflexible

planning, failure and abandonment is taking over many new urban developments and

cities built from scratch. On the other hand, old existing cities can struggle to embed and successfully integrate new smart

technologies and, at the same time cope with a wide range of natural and man-made risks. Such dynamic urban environments require proven levels of adaptability and flexibility that will enable cities to become truly

resilient, sustainable and fit for purpose.

In close collaboration with the industry,

my research dives into the heart of the

planning and design processes as these



interventions globally – the London 2012

City and more. My research explores how

multidisciplinary planning and design teams

perceive ‘change’ and design for ‘adaptability’ in their masterplans. Making it clear who is

adapting to what, why and how will provide the actual ground for helping modern

cities withstand a higher degree of change and diversity, rather than just focusing on single-purpose and limited solutions with an expiry date. Whether it’s the physical

city, its human elements or the wider urban environment, my research develops a

systemic design approach that helps both

planners and clients exploit and trigger the short and long term adaptive capacity of

their developments. Beyond design, this also touches on the sensitive but critical role of the human factors that shape, trigger and define an adaptable masterplan and its implementation.

(Industrial Partner: Burohappold Engineering)




A Tale of Tales


y research addresses the field of

and economic crisis. Figuration is found

architect-storyteller is someone

antiquity, and experientially in the

architectural storytelling. The

who makes buildings and spaces that speak. As a fictional narrative can tell

meaningful stories, so can architecture, which should speak a public language

through its message. As a fictional narrative cannot tell a story without characters, I

suggest that architecture cannot tell a story without a figure. A speaking architecture of the everyday is important through its

conveyance of meaningful and sociopolitical messages which can act as the antidotes to crises. Relating to this are two storytelling modes which were invented as methods

of sociopolitical criticism, magical realism and the fairy tale. Within my research, the idea that our normative world is a dream

manifests through the magical realist fairy tale being the method for the creation of a critical and magical architecture.

My research focusses on architectural

storytelling in Athens, a city in sociopolitical



literally in the Greek temples of classical Acropolis landscape of Dimitris Pikionis. I discuss a new idea of the figurative for

the Athenian architecture of the everyday, the polykatoikia of the antiparochi, while

alluding to the worlds of the father figure

of the contemporary Greek magical realist fairy tale, Eugene Trivizas. This idea of

the figurative engages with everyday life through magical realism as a method of

sociopolitical criticism. While writing and illustrating my magical realist fairy tale

for Athens, I am working through a series of translations. These move from text to

text, from text to drawing and model, from

drawing to model, and from all three to film. I argue that a textual translation can be a

spatial act, because it has the potential for

producing stories, and as a result drawings, models, and buildings.




Tender and Weird : Interventions into the Urban Landscapes of Extraction

T Tender.

he story of mining in Zambia is

indelibly linked to the colonisation

of the country by the British at the

end of the 19th Century. With this came the

construction of a capital city, Lusaka, through which to administer a system of political

and mineral control in the local and global

imaginary. The city continues to be an agent in, and reflection of, political and corporate interests in the country’s minerals, often

resulting in developments which cater to an urban elite, excluding the city’s majority. My research explores the continued

entanglements of the mineral and the

urban in Lusaka. This is activist research. As a counter to urban development driven by mineral extraction, I aim to uncover ‘dark

matter’, possible alternative futures rooted

in existing practices of mineral recycling in the city. This research takes the form of a

live project: a speculative tender for the city

dump, being done together with the Lusaka City Council, waste pickers and dealers,

which imagines how it could be managed

by those who currently operate on the site.




Through the tender process, I explore new methods: how stories told of a fictional

city called Mailo, a parallel and possible

representation of Lusaka developed through drawings and site-specific performances at the dump, can be used to disrupt perceived notions of the city, reinventing it to be

discovered again by those who live there. Mailo is a test of the possibilities of an

architectural interpretation of the literary genre of the New Weird; where politically

engaged, urban, secondary world fictions are created which draw on real world models

and combine elements of science fiction and

fantasy (Vandermeer & Vandermeer: 2008).

Through weird interventions into the tender, where the otherworldly becomes a lens for

reflecting on lived experience and potential futures, I am crafting a new mode of

architectural engagement between designer, state and community towards developing the city through socially and ecologically beneficial practices already taking place in Lusaka.




Destituent Places, Exceptional Measures: The Codification of Spatial Violence in the Juarez Region (2006-2012)


he recent history of violence that has

violence in Juárez can be explained as a

Mexico, and its adjoining valley,

cornered political apparatus and a relentless

plagued the border city of Juárez,

is an outstanding period in an otherwise

continuous trajectory of social turbulence that has intensified at different points in

over a century. The case of the Juárez region is also the culmination of a convoluted

continental assemblage that, precisely

result of the willing intersection between a

criminal industry – a confrontation that once triggered produced a devastating effect on

the urban fabric of the city, and which to this

day claims an even darker legacy in the ways that space seems unable to recover.

The argument herein attempts to

at this point – at this territory – reaches a

distinguish the configuration of violence

United States. My research aims to describe,

disaggregated, or layered, across different

formidable physical end, the border with the contextualise and analyse the story of violence in Juárez in its last decade.

The processes that led to the brutal

effects of violence in this region can be

identified as part of a systemic malfunction of governance that facilitated its

development into a still ongoing period

of social, political and territorial fracture. Rather than focusing on the aftermath

and the immediacy of human casualties,

my research suggests that the problem of



as an assemblage of processes that can be arenas with specific impacts – politics,

economy, planning, crime, etc. However,

instead of treating these ‘layers’ as a wide open epistemological framework, I argue that by observing the connections, the

interactions and relations between these

dimensions, where violence takes its myriad forms, it is possible to orient them into a

territorial analysis, as the moving parts that constitute spatial violence.




Civic Pedagogy: Mediating Architecture and the Built Environment through EducationÂ


his paper explores the role of

architects, and built environment professionals, as educational

Thus, connecting architecture, pedagogy and politics.

Recent initiatives have aimed to resume

mediators through their participation in

this educational role of the built environment,

interest in the built environment. It analyses

and a historical awareness. This paper will

projects which have sought to increase public three cases in Britain where architects, planners or urbanists have worked in

collaboration with teachers and communities to develop methods that used the physical environment as a resource for learning.

These initiatives, which span from the

end of the nineteenth century until the

late 1980s, had a shared aim of critically

engaging people with their environment. In

but they now lack both a critical perspective present the key ideas behind these cases

which promoted a civic pedagogy in the

past, in order to inform and promote critical practices for civic engagement in the

future. Moreover, it will explore these ideas by re-enacting and testing them in three

projects today that reflect on the lessons taken from this historical research.

Finally, this paper argues that the history

these projects, learning was situated with

of British built environment education has

the social and political issues of everyday

leaving the story of the Urban Studies Centres

architecture becoming a way of exploring life. Their methods sought to expand

people’s perception, help citizens develop new skills for engagement and prepare them for meaningfully participating in

the construction of their surroundings.



been overlooked in architectural history,

and other radical pedagogical experiments untold. Therefore, this research is an attempt to map these forms of civic engagement, so that we can learn from the past to avoid reinventing the wheel once more.

The Royal Borough of Kensington & Chelsea Local Studies & Archives




Authorship and Authority: Parallel Projection and the Shifting Imagination of Kyoto in the early modern Period


his paper conducts a close

use of oblique aerial parallel projection

as a means of spatial representation

same time maps, planning documents and

examination of parallel projection

and its political significance in the

construction of the city image. The use of

this drawing technique results in an image

of space that is more ‘read’ than ‘viewed’, as it corresponds to both no single yet all possible viewpoints. The implications of ‘reading’ the space as opposed to ‘viewing’ it presents a

question both of authorship – who can draw space from this position – and authority –

who can occupy space from this position? These shifting dynamics relate to the

creates portrayals of Kyoto that are at the works of art. Produced during a period of

both political and urban transformation, the screens provide a framework for examining

the roles of both the draughtsperson and the

warlords who commissioned them. I draw on these examples and the tools of composition they use to control the imagination of the city to build on the currently Eurocentric examination of parallel projection in the historiography of architectural drawing.

The use of drawing itself as a technique

inherent qualities of infinity, impossibility and

for both analysis and speculation presents

where the focus is not on how we experience

paintings. By inhabiting both the role

irrationality in this form of representation, space but how we think about it.

My research investigates the significance

of this through a close study of Rakuchu

Rakugai zu (‘Scenes in and around Kyoto’), screen paintings of Kyoto produced in the sixteenth and seventeenth century. The



a new methodology in the study of these of the draughtsperson and the physical

space presented by the screen paintings,

this process seeks to reveal, scrutinize and subvert the aspects of both authorship and authority in the image of the city.




Bihter Almaç is a PhD candidate at the Bartlett School of Architecture, UCL. Her research mainly focuses on tactics for peculiar creativities to trespass to the architectural unconscious. Nicola Antaki is a practicing architect specialising in including children in the (re)design of the built environment. After graduating from the Royal College of Art, Nicola worked at Cottrell and Vermeulen Architecture, where she designed sustainable schools and nurseries while corunning an undergraduate architecture unit at Nottingham University. Recently she has collaborated with Mumbai-based urban farming initiative Fresh & Local, creating community gardens to grow organic food. She is the cofounder and design director of Mumbai’s FOCUS Photography Festival that works to democratise the city through photography. She works as an architect at London practice We Made That. Thomas Callan-Riley is a skateboarder and academic. He is a tutor​ ​at​ ​UCL’s​ ​Writing​ ​Lab​ ​and is​ ​currently​ ​undertaking​ ​a​ ​PhD​ ​in​ ​Architectural​ ​ History​ ​and​ ​Theory​ ​at​ ​the​ ​Bartlett​.​ ​Thomas​ ​ holds​ ​degrees​ ​in​ ​surf​ ​science​ ​and​ ​technology,​ ​ anthropology​ ​and​ ​social policy. Thomas​ ​has​ ​been​ ​ skateboarding​ ​for​ ​20​ ​years​ ​and​ ​spent​ ​12​ ​summers​ ​ as​ ​an​ ​instructor​ ​at​ ​the world’s​ ​largest​ ​skateboardcamp​ ​in​ ​Pennsylvania.​ ​Thomas​ ​is​ ​on​ ​the​ ​UK​ ​ Board​ ​of​ ​skate-NGO Skateistan,​ ​has​ ​advised​ ​ national​ ​governing​ ​body​ ​Skateboard​ ​England​ , ​and​ ​consulted​ ​on skateable​ ​installations​ ​for​ ​ landscape​ ​architects.​ ​He​ ​is​ ​a​ ​co-organiser​ ​of​ ​the​ ​ first international​ ​conference​ ​on​ ​skateboarding​ ​in​ ​ academia,​ ​​to​ ​be​ ​held​ ​at​ ​the​ ​Bartlett​ ​in​ ​June 2018. Miranda Critchley is a member of the HERAfunded joint research project ‘Printing the Past: Architecture, Print Culture, and Uses of the Past in Modern Europe’. After her BA in History she worked as a researcher and completed the MA


in Architectural History at the Bartlett in 2016. Her current PhD research examines ideas of metropolitan improvement in mid-nineteenth century London, in particular debates about the demolition of housing to make way for the railways. Nerea Amorós Elorduy holds a BA in Architecture and Urban Planning from ETSA Barcelona and a MA from ESARQ. She has taught at the Faculty of Architecture and Environmental Design at the University of Rwanda, co-founded the architectural practice Active Social Architecture Studio in Kigali, and completed health and education projects in Rwanda and Ethiopia with an emphasis on community participation in postconflict environments. Her PhD research reflects on her previous work and questions the role of space and the architect in the learning processes of young children living in Eastern Africa’s long-term refugee camps. Her PhD research has received support from ‘La Caixa’ fellowship, UCL Culture and the Bartlett Doctoral funding. Judit Ferencz is a PhD student in Architectural Design at the Bartlett where her research explores the graphic novel as a new interdisciplinary conservation method in architectural heritage. Her research has been awarded the RIBA LKE Ozolins doctoral scholarship. She studied illustration and animation at Kingston University, London, and art history at ELTE University, Budapest. As a freelance illustrator she has worked on commissions for Vintage Classics, Random House and Granta Books among others. She is currently an illustration tutor at City Lit. Thanasis Kourniotis is an Associate Director at Wood Plc, leading the Resilience Engineering Team. He is also a Research Engineer and Visiting Lecturer at the UCL Bartlett School of Planning and the Centre of Urban Sustainability and Resilience, where he founded and leads The

Bartlett Future Cities Doctoral Network. With over 15 years’ experience as a Masterplanner and Cities Consultant globally, Thanasis’ research interest and focus cover adaptability, resilience, disaster urbanism, smart cities and urban planning. Ifigeneia Liangi is a PhD candidate in Architectural Design and a Teaching Fellow at the Bartlett. She has worked in Athens and London, designing for architecture and exhibition projects. In 2016, for Nissen Richards Studio, she led the exhibition design for ‘Shakespeare in Ten Acts’ at The British Library. She has exhibited her drawings at the Athinais Cultural Centre (2009) and at the Michalis Kakogiannis Foundation (2017), exhibiting within the frame of the fairy tales of Eugene Trivizas. She is currently writing, making and illustrating a magical realist fairy tale. She has recently been commissioned her first theatre set design project for a production in Athens, starting in 2018. Thandi Loewenson is an architectural designer/ researcher who works on the fringes of the real world; operating through design, fiction and performance. She is involved in EQUINET, a regional network promoting equitable development in East and Southern Africa, and uses film, drawing and photography to communicate and evidence community-led projects. She is currently a PhD candidate exploring the extractive agendas driving the urban development of Lusaka, Zambia. Central to her research is a live project, investigating how insertions of the otherworldly and the downright weird can support a community of waste pickers to influence the future of the city dump. Ricardo Martén is an architect, urban designer and currently a PhD candidate at the Bartlett DPU. His research is concerned with the impact of violence and territorial contest in built environments, in particular the legacies

of violence and conflict afflicting spaces of exception. Among others, he has worked the cases of Jerusalem, the Jungle (Calais) and the territories along the US-Mexico border. Ricardo has also been involved in architectural practice, particularly in post-disaster and emergency shelter solutions, and has partnered with NGOs in successful projects in Haiti, the Philippines and Tanzania. Sol Perez Martinez is an architect, researcher and educator. Before living in London, Sol lectured at the Universidad Catolica de Chile and ran an architectural practice where she and her firm partners developed projects for both private clients and the Chilean government. Their last public building was a school which encouraged her research about environment, education and engagement. Sol holds a professional degree in architecture, a master’s in architecture and a master’s in architectural history. Currently, she is a PhD candidate at the Bartlett School of Architecture and the Institute of Education, UCL while also working as an architecture consultant in Chile and the UK. Sayan Skandarajah is a designer and researcher based in London. Alongside his PhD research in Architectural Design at the Bartlett he works in architectural practice with Studio c102 and teaches design at the emerging School of Architecture at the University of Reading. Sayan has studied at both the University of Edinburgh as well as the Bartlett, and has worked in practices in London such as dRMM Architects. His current research, which is funded by the Great Britain Sasakawa Foundation, uses drawing as process of examining the subjective and political implications of urban representation through parallel projection.





Musealisation as an Urban Process: The Transformation of the Sultanahmet District in Istanbul’s Historic Peninsula


ith culture becoming a leading

process – the situation becomes far

historic cities, museums and

living mechanisms created by complex sets

policy for the regeneration of

heritage sites have become a key aspect of these regenerations. Given the increasing demands of cultural tourism, numerous historic cities have been subjected to

substantial transformations which have ranged from the systematic reuse of

more complicated, given that cities are

of relationships. My doctoral thesis aims to conceptualise and build a discourse about

musealisation which provides a perspective on its strategies along with its impact on urban contexts.

As the public face of the city, the

historic buildings as museums, to urban

Sultanahmet District in Istanbul has been

activities. Within this, the very notion of a

and museological studies. Recent discussions

projects based on the promotion of cultural museum has expanded from the boundaries of an individual building to include wider topographical areas.

Today, with almost every aspect of

culture now being exhibited in museums

and with many abandoned urban buildings

having been converted into museums, many historic centres have themselves become

open-air museums. While any museum can be regarded as a multi-faceted entity, even if just a single building, once the concept

is expanded to incorporate the rest of the

city – by what is known as the ‘musealisation’



the major focus of planning, conservation about transforming the district into a

museum area have raised concerns about the district’s built heritage along with its

historical, social and cultural associations.

By drawing upon the notion of musealisation as a two-fold process involving aspects of

both signification and eradication, which are dependent on the national politics, cultural practices and epistemologies of different

periods, this thesis analyses the effects of

musealisation in the Sultanahmet district as a means to open up alternative visions for its future.




Interspecies Spaces: Écriture Féline


y research explores the potential of

Alongside these perspectives, my research

relations between species in

practices to situate the embodiments and

performative writing to spatialise

urban contexts. Using the concept of

dorsality (Wills, 2008), I aim to articulate the unforeseen sensory, material and inscriptive

references feminist performative writing dynamics through which species coscript space.

Drawing on dorsality’s imbrication

forces which configure relations across

of organic and mechanical forces as a

capacities for shaping built environments,

performative writing to study human

species. Curious about more-than-human

I explore the material, gestural and spatial

qualities of writing to articulate the agencies and habitats of animals with whom we share worlds-in-the-making.

Catalysed by observations that built

environments displace and contain animals, my research surveys critical perspectives on the economies by which discourses of

species are entangled with those of space. If animals are influential but unspoken

in architecture (Ingraham, 2006) and a

‘medium’ of artistic production (Baker, 2012), the ethological practices by which they

condition knowledge are animated in the

emergent field of Critical Animal Studies.



technology of language, my research uses relations with felines – a family of species

whose interfaces with built environments range from ubiquitous to precarious. As

a performative writing practice, écriture

féline emerges in response to encounters with real, represented, domesticated and

free-ranging felines in sites of trans-Atlantic

colonial modernity. Its findings are assembled in a two-part artists’ book, bound within

the thesis. While one part (Essays) textually delineates the ways in which feline-human relations shape built environments, the

other (Figures) turns to writing’s potential to animate more-than-textual and morethan-human worlds.




The Postmodern Ferment: The Reconsideration of the Modern, the Regional and the Critical in the Architectural Practice of Suzana and Dimitris Antonakakis, c. 1980


thesis then follows the local repercussions

overlooked material, it follows the postmodern

architects’ formative years, it traces the

his revisionist microhistory rethinks the postmodern as a proliferation of transcultural discourses on

the modern, the regional and the critical in architecture. Considering previously historically, as an open-ended ferment

that unfolds on the discursive, design and

pedagogical planes of architectural practice. It thus moves beyond its narrow stylistic

understanding to include socially conscious aspects that were gradually muted.

My research focuses on Suzana and

Dimitris Antonakakis, the Greek architects whose work was internationally heralded

as an exemplar of critical regionalism in the

early 1980s. Starting from this ‘international’ plane, the thesis revisits the 1980 Biennale in Venice both as the generator of the stylistic

Moving to the ‘regional’ plane, the

of the inclusion of Suzana and Dimitris

Antonakakis in the ‘international’ canon of critical regionalism. Focusing on the Antonakakis’ use of the modern as a

critical tool to study the regional beyond traditionalism. Focusing on their design

practice, it further traces their understanding of the regional as a collective endeavour that challenged modernist authorship. Focusing on Dimitris Antonakakis’s pedagogical practice, it finally traces its radical

recuperation by his politically active students who articulated their own critical discourse, also inspired by the postmodern theorists of the 1970s.

Juxtaposing ‘critical regionalism’ and

understanding of the postmodern, and the

‘postmodernism’ with the work of the two

of critical regionalism. Following Kenneth

not only uncover the historical agency and

inadvertent catalyst for the articulation

Frampton’s resignation from the exhibition, it

stresses the transcultural authorship of critical regionalism through the tripartite relations of the British historian with Alexander Tzonis & Liane Lefaivre, and the two Antonakakis.



Greek architects circa 1980, the thesis does the limitations of such discursive formations. It also highlights their untapped potential to

inform novel reconsiderations of the modern, the regional and the critical in architecture.




No More Elsewhere: Antarctica through the Archive of the Edward Wilson Watercolours


n the light of recent centenaries

(Haraway: 1997, Barad: 2007), ‘transposition’

exploration, and the current focus on

1900). This method considers the distorting

remembering the heroic era of Antarctic

climate research in Antarctica, my research asks how art and writing can inform

contemporary questions regarding climate

(Braidotti: 2006) and ‘Einstellung’ (Freud: and displacing effects of medium by

practising and thinking through ‘elsewhere’. The artworks are initiated by copying

change. It pays specific attention to Edward

from archival sources and result in drawings,

practice of en plein air watercolour

glass globes, moulded glass, wax maquettes

Wilson (1872-1912) and the impossible

painting in the sub-zero conditions of the polar environment. Wilson’s biography

and watercolours are considered through

anthropologist Franz Boas’s (1858 – 1942) early work on the colour of water and his later anthropological writing.

Working across the fields of art,

anthropology and architecture, while

engaging with feminist new materialism, I establish a critical position on the role of observation within the histories of

these disciplines. I employ a refractive

methodology, informed by ‘diffraction’



watercolours, pin-board assemblages, blownand re-enacted magic lantern shows.

Informed by Jane Rendell’s Site-Writing, the writing is an ekphrasis; a literary chiasm in

which readings crossover and are refracted

through each other. This material-discursive method combines artmaking and writing

while bringing a feminist critical engagement with the race and gender normativity of

Antarctic heroism. In doing so, I argue that

the archive of Antarctic watercolours can be interpreted to produce an ecological post-

human ethics and a visuality founded on ice rather than glass.




Ordered Spaces, Separate Spheres: Women and the Building of British Convents, 1829-1939


ver the last forty years, feminist

architecture with the medieval cloister.

impact on the way that we

highly innovative and complex spaces were

discourses have made considerable

understand women’s historical agency.

Linda Nochlin’s question, ‘why have there been no great women artists’ challenged assumptions about the way we consider

women in art history, and Amanda Vickery brought to the fore questions of women’s

authority within ‘separate spheres’ ideology.

The demanding specifications for these

drawn up, overwhelmingly, by nuns. While convents might be read as spaces which

operated at the interstices between different architectures, I argue they were instead

conceived as sites that performed varying

and contradictory functions simultaneously. To understand this paradox, my reading

The paucity of research on women’s

draws on feminist theology, exploring in

however, is a gap that misrepresents

in mysticism. I suggest that the decline

historical contributions to architecture, their significant roles. My thesis explores a hitherto overlooked group of buildings

designed by and for women; nineteenth and twentieth century English convents.

Many of these sites were built according

to the rules of communities whose ministries extended beyond contemplative prayer

and into the wider community, requiring spaces that allowed lay-women to live

and work within the convent walls but

without disrupting the real and imagined

fabric of monastic traditions - spaces that were able to synthesise contemporary domestic, industrial and institutional



particular the question of women’s role

of mysticism as a formal theology, and its

retreat into the private sphere, allowed it to be marshalled by women as an organising

principal for constructing real and imaginary

spaces - those which not only accommodated but actively embraced discordant ideologies. My research makes a close reading of seven Roman Catholic religious communities,

each representing different vocations and devotional cultures. In so doing the study

explores not only women’s localised roles

in architecture but also in the emergence of an ‘international’ Catholic aesthetic.





Komplexe Umweltgestaltung (Complex Environmental Design): Architectural Theory and the Production of the Built Environment in the German Democratic Republic, 1960–1990 omplexe Umweltgestaltung

the Deutsche Bauakademie (DBA) and

sought to offer an integrative

and Art (ZAG) as well as individuals, above

(Complex Environmental Design)

model for the production of the material environment involving a wide range of

practices across different scales – landscape, buildings, street furniture, public art and visual communication. Its overarching ambition was to formulate a theory of

architecture whose socialist character would

no longer be rooted in aesthetics, but instead be defined through labour, and the quality of social relationships underpinning this

production process. Building on extensive

the Central Working Group for Architecture all the architectural theorist Bruno Flierl, whose writings give the most extensive

account of complex environmental design. Doing so reveals how, under the impact of far-reaching socio-economic changes as

well as intellectual and disciplinary shifts,

architecture was redefined as a social process of production, whose primary object – and context – was the planning and design of ‘environment’.

With the production of mass housing

archival research and hitherto unexplored

as the principal site for the implementation

rise of complex environmental design in the

second part of the thesis then provides

written sources, this research situates the

context of ‘socialist modernity’ and explores the concept’s critical dimension in relation to the realities of late socialist housing production.

The first part of my thesis charts the

concept’s emergence in the interdisciplinary encounter of architecture with cybernetics, sociology and cultural theory, focusing on a network of institutional actors such as



of complex environmental design, the

a detailed account of the planning and

construction of Berlin-Marzahn (1973–1988). Here I demonstrate how Flierl’s definition of environmental design as a democratic ‘cultural process’ involving the district’s residents in addition to experts, was

shaped in dialogue with this project, and as work progressed increasingly stood in opposition to it.




Absence through Layering: From Experiencing Urban Leftovers to Reimagining Sites


s built reality, architecture

absence in the relations between site and

to have a present use and meaning.

in South London, I analyse and interpret

constitutes presence: a place created

Absence, in contrast, reflects the condition of the no longer used leftover spaces and structures which escape the definition of

architecture, and the city, as designed and planned environments.

My research investigates absence as it

appears in the experience of urban leftovers, drawing its qualities into processes of

design and representation. Using a cross-

disciplinary approach, which is centred on

design. In two further case studies, located absence in the context of broader processes of urban transformation: Burgess Park,

intermittently built over the last 60 years on a partially effaced industrial setting which still bears the traces of its past; and the

Heygate, a modernist council estate which,

after remaining almost empty for a decade, was recently demolished to give way to a contentious regeneration project.

I reveal absence as key for a nuanced

architecture, I ground my research through

architectural understanding and

different forms of absence. Through the

city – not opposed to presence but in

a series of distinctive sites which include

layering of photographs, videos, drawings

and writings I explore absence, responding to its capacity to evoke distant, uncertain and multiple presences.

By studying an unrealised project by

Peter Eisenman for the Cannaregio Ovest

district in Venice, and George Descombes’ Parc de Lancy near Geneva, I focus on



representation of the experience of the balance and complementarity to it. Through layering I show how the awareness of, and

engagement with absence enables a richer,

denser and more inclusive dialogue between site and design, rendering absence as such:

something that remains away from our grasp so it has to be recreated through memory and imagination.




Kleist and the Space of Collapse


n 1800 Heinrich von Kleist observed that

of the island as a space of collapse. Portland

stones all want to collapse at the same

histories of material, can be traced on to its

an arch remains standing because its

time. Rather than an empirical observation, Kleist’s proposition about the stone arch as a material object, which constructs

space, inadvertently became poetic as

is a site where material histories of place, and constructed, empty spaces as a landscape of collapse. The condition of uncertainty pervades the island.

Kleist’s letter about the collapsing arch

a trope of collapse. After reading Kant’s

as material object and epistolary philosophy

transition from empirical to critical thinking.

as an architectural, social, material and

critical philosophy, Kleist made a traumatic

Kleist represented the potential for collapse

through the application of Kant’s premise of

uncertainty and in the unknowability of truth. My research is practice-based and

interdisciplinary. With the poetic, multidisciplinary and experimental writing

of Novalis being important, this inquiry theorises collapse, uncertainty and

experimentation through philosophical, historical, material, architectural and

conceptual thinking, and in experimental

film and video practice. In 16mm films, videos and still photography I explore Portland in Dorset, as an uncertain landscape where

quarrying and landslips have rendered much



is analysed with reference to Kant. Collapse

territorial space is closely examined in two of Kleist’s stories. Intersections of materiality and collapse at Portland leads back to

eighteenth century theories of the earth,

histories of geology, architecture and the use of stone. Finally, film and video as situated

practice synthesises experimental thinking and practice as a poetic of collapse. The

exploration and experimentation with the concept of collapse in theory and practice demonstrates collapse as imminence –

potential and actual – internal and external, where uncertainty creates the conditions of collapse in time and space.




Numen architecture: An Architecture Influenced by the Numinous Attributes of Animals


ustavo Bueno, in El Animal Divino,

atmospheric values resembling the action

religious sentiment and linked it

of behavioural animalistic attributes on the

studied the historical apparition of

to the evolution of man’s relationship with animals during the Palaeolithic era. These animals acquired a numinous colouration

and started to be experienced as personal entities - with will and intelligence -

that appear or disappear in unforeseen situations, seem familiar but can turn

dangerous, feel like strangers and follow an undecipherable behaviour.

Bueno reconstructed the evolution of

the relationship between religious sentiment and our experience of animals. My research examines whether this influenced the

evolution of architecture, pointing out

various influences of animals in architecture, especially religious architecture. Firstly, the establishment of an architectural model of

sacredness (the animal painted Palaeolithic cave) that probably served the design

of temples of mythical religions, such as

Egyptian and Mayan temples. Secondly, the use of animal representations in a literal

form or as parts of theriomorphic figures in sacred architecture. Thirdly, the use of



of a personal presence, and finally, the use verge of being activated, or fully dynamic,

that try to provoke users of architecture. The thesis analyses historical architecture that employed these attributes and considers

animal behaviour and features as a source of numinous attributes.

My design work explores the numinous

through projects, installations and drawings. I apply attributes from Bueno’s descriptions and my experience of animals, reflecting

on the modes of our fascination with them. This approach tries to bring back religious

sentiment to the experience of architecture. It reconsiders the principles of design that institutionalised religions employed in the

expression of the sacred, bringing back the numinous roots of the sacred which are

linked to the unpredictability and personality

of animal behaviour, which points towards an with an expression of wildness and enigma, properties absent in the contemporary city and the way we live.




The Architectural History of London Fashion Week and its Role in the Production of London as a Global City


y research investigates the role

staging of London Fashion Week shows,

symbolic production of global

Somerset House, as well as 116 Pall Mall

of the creative industry in the

cities through focusing on the visual, spatial and textual discourses produced by, and

including Olympia, Natural History Museum, and Christ Church Spitalfields.

The history of London Fashion Week

embedded in, the spectacles of London

is reconstructed through interviews, video

production of fashion, architecture and the

media reports which cover specific events.

Fashion Week. In order to link concepts of the global city, my thesis draws on David Harvey’s theory of the social construction of time

and space by analysing architectural history as retrospective of various spatio-temporal concepts, represented through narratives of fashion events.

The thesis investigates the cases of key

London-based fashion designers in the period from 1983 to 2015: BodyMap (David Holah, Stevie Stewart), Vivienne Westwood and Alexander McQueen. It also includes the

series of fashion shows Fashion in Motion

held at the Victoria and Albert Museum from

1999 to 2015, as well as the fashion exhibition

AngloMania, curated at the Metropolitan

Museum of Art in New York in 2006. The architectural focus is on the settings and



records, photographs, speeches, letters and Analysing this material in both the cultural and political context of globalisation, the

thesis examines the relationship between fashion design, the architecture of show

venues and the image of a global London. It is argued that local architectural and

urban heritage played a significant role in

the symbolic production of London Fashion Week as a global fashion event. The search for differentiation in the homogenised

culture of the global city required anchorage to local histories and places. However,

the exploitation of these traditions for global commercial purposes gradually

homogenised the foundations of this cultural differentiation reflecting the effects of neoliberal globalisation.




Spatial Practices/Digital Traces: Embodiment and Reconfigurations of Urban Spaces Through GPS Mobile Apps


y research explores the relationship

they suggest coupled themes that structure

technologies by studying the

digital peripheries, companionship/

between bodies, space and mobile

affective and spatial properties of three

GPS-based mobile applications - Grindr,

Mappiness and Waze. Discussions of how

newly constructed subjectivities experience

location, orientation and spatial movements -

both physical and digital - emerge throughout the work. The research addresses the

following questions: How are GPS-based

apps enabling the construction of new digital subjects and embodiments? How do they

the study’s analysis: physical boundaries/ wayfinding, embodiments/othering,

judgement/ confidence, gamification/

interface, intimacy/tactility and trails/digital residue. Guided by Cyberfeminist theories, the method of study is conducted through

three phases: personal empirical research, interviews with participants and the

designing of coded avatars/ impressions of the participants’ identities.

The work argues that there exists

enable users to perform these identities in

a mutual shaping between a person’s

new subjectivities create alternate forms of

these constructions affect how space is

space? How does the production of these

inhabiting urban spaces and alternate modes

of mobility? In what ways do GPS apps create new spatiotemporal relations for bodies, and how are these relations made visible by the

interfaces’ spatial and urban representations? To answer the questions, the three apps

- selected because of their GPS properties, strong link to urban space and relation to embodied performance - are treated as a series of material objects. Though each app’s particular purpose varies, as a set



subjectivity and app-technology, and that navigated and perceived. These newly

constructed identities are assembled and

disassembled by their continuous negotiation between physical and digital boundaries.

The study rethinks how Grindr, Waze and

Mappiness enable alternate embodiments for performing identities in space, while seeking to discuss how they create new spatial organisations and socio-spatial manifestations.




Make Public: Performing Public Housing in Regenerating East London


y thesis explores the history and

future of two east London housing estates undergoing regeneration;

the Haggerston Estate, a 1930s London

County Council neo-Georgian perimeter

block demolished in 2014; and Balfron Tower, a 1960s Brutalist high-rise designed by Ernö Goldfinger facing refurbishment and privatisation in 2016.

To ‘make public’ expresses a demand

and an aspiration; materially – to protect

My thesis draws on the idea of ‘multiple

publics’ to re-conceptualise a constructive

approach to public housing and to evaluate

the ethic of ‘making public’ (Fraser, 1990). It

works between architecture and performance to forge new connections with the research of Forty, Rendell, Schneider and Roms, and

choreograph relationships between buildings, texts and residents through critical acts of writing, dramaturgy and re-enactment. The practice is conducted through

and extend public housing provision

performative workshops that open a social,

dismantling it in ideal and form (Phillips

to re-enact the histories of each estate and

at a time when austerity measures are and Erdemci, 2012); procedurally – to

make visible problematic processes of

urban change that are increasingly hidden from public view under the pervasive

metaphor of regeneration (Campkin, 2013), and; methodologically – to make public the act of research through long-term

collaborations with residents and other

practitioners, using archival research and

socially-engaged performance practice that reveals spatial changes and their affects on social relations (Harvie, 2013).



discursive and imaginative space for residents build collective knowledge and experience.

This collaborative work is shared with wider

publics through a feature-length artist’s film, site-specific performance, and six-week

exhibition, and is documented in the thesis

as two acts, comprising scenes interspersed

with reflective essays. The evidence gathered is fed into formal and legislative frameworks

with the aim of influencing housing policy: in

Haggerston, a redesigned housing survey and at Balfron Tower, a successful Grade II* listing bid and online archive.




Constructing Participatory Environments: A Behavioural Model for Design


y research proposes the design

to human, human to machine and machine

attempt to explore architecture as

posed is how designers can construct

of cybernetic frameworks that

an ecology of interacting systems that move beyond the fixed and finite tendencies of

the past, and towards spatial environments

that are adaptive, emotive and behavioural. Environments within this framework are

attempts to construct interactive scenarios

that enable agency, curiosity and play, forging

intimate exchanges that are participatory and evolve over time. Interaction is understood

to machine communication. The challenge

environments that are shared, enable curiosity, evolve and allow for complex interactions to arise through human and non-human

agency. Attention is placed on behavioural features that afford rich conversational

exchanges between participants and systems, participants with other participants, and/or systems with other systems.

This evolving framework demands

as the evolving relationships between things,

that design systems have the capacity

framework to explore space as a model of

communication. Beyond conventional

which allows a generative, time-based

interfacing that shifts the tendencies of

passive occupancy towards an active ecology of interacting agents.

The work moves away from known

models that reinforce habitual responses

within architecture, towards an understanding of adaptive systems that are active agents for

communication and exploration. Architecture, within the context of the research, is explored as a medium for spatial interfacing. Design is thus considered as durational, real-time

and anticipatory through exploring human


A LU M N I 201 7

to participate and enable new forms of models that are reactive in their definition of interaction, architecture here moves

towards features that are life-like, machine learned and emotively communicated.

My thesis demonstrates and articulates

concepts of participation and behaviour

through authored prototypes and real-time experiments. Behaviour is not relegated to a generative process in the design phase;

rather it is time-based and conversational, constantly constructing models of, and for communication.

ALU M N I 2017



A Material History of the City of London, 1945-1993: Architecture, Planning and Finance


y research investigates the

as we know it now, came to be, and why

and built change in the City of

typologies, office layouts and furnishings

relationship between economic

London, London’s financial district, after

the Second World War. Buttressed by two

certain urban formations, architectural became the norm.

My research aims to unravel connections

episodes of destructive violence – wartime

between the structure of the financial

terrorist attacks of the early 1990s – which

in which it operates. It argues that the built

aerial bombing in the 1940s and the IRA

would each herald a new paradigm in urban

planning and design, this thesis investigates the City’s metamorphosis during a period of political and economic upheaval in Britain. The Government’s gradual adoption of a

neoliberal economic policy in the post-war

years resulted in unprecedented economic deregulation and expansion of financial

markets, which ultimately transformed the City from an inward-looking gentleman’s

club into a global financial hub. My research explores the way architecture and urban

planning were simultaneously transformed by, and complicit in, the dramatic cultural, technological and regulatory changes of

this period. It asks how the technologically-

advanced and deregulated financial centre,



system and the structure of the environment environment is not simply an expression

of capital flows, but rather a fundamental

component of finance capitalism. Despite the growing political-economic influence

of financial services in the latter half of the

twentieth century, there has been very little historical investigation of the places that

accommodate such practices. This thesis

reaches beyond the reading of the financial centre as ‘skyline’ by addressing change

at four architectural scales (City, Street,

Façade and Interior), moving from urban planning and public space, to buildings, interiors and furniture. In doing so, it

exposes the often-conflicting yet essential role of planners, architects, developers and users in financial services.




Thomas Jefferson, Sir John Soane, and Maria Cosway: The Transatlantic Design Network, 1786, 1838


olitical, economic and literary

shared aesthetic and social concerns.

connections between America and

landscapes, valued tradition and

historians have studied the

Europe in the late eighteenth and early

nineteenth centuries. Less consideration,

however, has been given to how transatlantic

They were united by a love of picturesque technological innovation in architecture, and

were keenly interested in learned institutions. Offering a rereading of Monticello

exchange influenced architectural culture

and Soane’s Museum through the lens of

select figures within architectural and artistic

of Soane and Jefferson as autonomous

during this period. My research examines circles, and argues that they effectively

constituted a transatlantic design network: a shared and fluid network of people,

sites, texts and objects that transcended nationalistic concerns.

The contours and impact of the

Transatlantic Design Network on

architectural culture can be traced through

a detailed study of Thomas Jefferson (17431826) and Sir John Soane (1753-1837).

Although Jefferson and Soane never met,

each man corresponded with Maria Hadfield Cosway (1760-1838), an artist, designer and educator, for over four decades. Jefferson

and Soane exchanged letters and material objects with Cosway such as drawings, books, artifacts and personal contacts, through which they cultivated a set of



the network, my thesis counters the view innovators. Their house-museums tested how architecture could be more than an armature for displaying collections: buildings could act as the ultimate artefact in being reflective of the architects’ careful study of precedents,

knowledge of contemporary archaeological and scientific discoveries, and dedication to

a design process that lasted more than forty

years. By placing the landscapes, architecture and collections of Monticello and Soane’s Museum in conversation, my research

argues that Jefferson, Soane, Cosway and

others both contributed to, and benefitted from, a transatlantic network of exchange that forged a distinct architectural culture linking the Early Republic of America and the Second British Empire.




Scandalous Artefacts: Visual and Analogical Practice between Architecture and Archaeology


f architecture is a design-centred

discipline which proceeds by suggesting propositional constructions, then my

thesis argues that archaeology also designs,

but in the form of reconstructions. My thesis proposes that whilst practitioners of these disciplines generally purport to practice in future-facing mode (for architecture)

and in past-facing-mode (for archaeology), elements of architecture and archaeology

also resemble one another. I speculate that

some of these resemblances have remained explicit and revealed whilst others have

become occluded with time, but that all such resemblances share homological similarities of interconnected disciplinary origin.

Available in the space between disciplines

related through homology, is a logically

underpinned, visually analogical practice. This

interdisciplinary practice springs from Barbara Stafford’s notion of an ‘analogical universe’ using the abductive logic of C.S. Peirce to

rationally support it. Defined as ‘scandalous’, a term derived from Claude Lévi-Strauss, this practice which I term ‘propositional

reconstruction’ defines my approach to design and historical analysis in this thesis.



My research is constructed across ‘sites

of encounter’, through which my visually

analogical practice is informed, consisting of historical analysis and design in the

form of propositional reconstructions. The prologue and epilogue describe the work

of Raphael at Villa Madama, which, I argue, provides a historical model for practising between architecture and archaeology.

Chapter 1. Reconstruction introduces the key aims, objectives, context and methodology of the thesis. Chapter 2. Discipline and

3. Undiscipline provide an overview of

architecture and archaeology as design

disciplines whose resemblances, they posit, are expressed through drawing practices.

Chapter 4. Resemblance and Chapter 5. The Analogist unpick the logical systems which I argue underpin interdisciplinary practice.

Chapter 6. London Stone Reconstructed describes my own visually analogical

practice for working between architecture

and archaeology while Chapter 7. Chimaera closes with a propositional reconstruction

relating to London Stone described through interdisciplinary drawings.




Dr Pinar Aykac holds a PhD from the Bartlett School of Architecture, UCL. She received her bachelor’s degree in Architecture and her MSc in Conservation of Cultural Heritage from the Middle East Technical University, where she has also worked as a research and teaching assistant. Her research interests include museums’ roles in urban regeneration projects, heritage politics, urban archaeology and the presentation of multi-layered historic cities. She has been involved in various conservation projects including the Presidential Ataturk Museum Pavilion Restoration Project, the Gordion Management Plan and the Commagene Nemrut Conservation and Development Programme. She is currently a Weinberg Fellow at Columbia University’s Italian Academy. Dr Joanne Bristol’s artistic practice investigates relationships between nature, culture, the body and language. She has presented performances, installations, text-based works and single-channel videos internationally. She is also active as a curator and has taught at a number of Canadian universities. Her recent research combines feminist performance and critical spatial practice with perspectives from the field of Critical Animal Studies. This research informed a SSHRC-funded doctoral thesis which she completed at the Bartlett School of Architecture in 2016. Her work has been recently published in Poetic Biopolitics: Political and Ethical Practices in the Arts (London, 2015) and Public 50: The Retreat (Toronto, 2014). Dr Stylianos Giamarelos is a Teaching Fellow in Architectural History & Theory at the Bartlett School of Architecture UCL, an Associate Lecturer in Research-led Design at Oxford Brookes University, a Visiting Lecturer at the Universities of Greenwich and East London, a General Editor for the EAHN’s Architectural Histories and a founding editor of the Bartlett’s LOBBY magazine. He has also co-edited and co-authored the books ATHENS by SOUND


(Athens: futura 2008), Uncharted Currents (Athens: Melani 2014) and The Postmodern in Architecture (Athens: Nefeli 2018). Among others, his architectural work and research have been published in the Journal of Architectural Education, FRAME, Footprint, Metalocus and San Rocco. Dr Polly Gould is a writer, curator and artist, exhibiting nationally and internationally while being represented by Danielle Arnaud, London. Lecturing in Fine Art and Architecture in the UK, The Netherlands and Denmark, she has a BA Hons in Fine Art from Central Saint Martins and has undertaken Fine Art and Theory residencies at the Jan van Eyck Academy, Maastricht, NL. Gould was awarded AHRC funding for her PhD by Design in Art and Architecture at the Bartlett, which is due to be published by I.B. Tauris. She is currently Postdoctoral Research Fellow in Designled Architectural Research with ARC Architecture Research Collaborative, Newcastle University. Dr Kate Jordan is a Lecturer in History and Theory at the University of Westminster. Her doctoral research considered the role of women in convent building and her subsequent article on the subject was shortlisted for the RIBA Presidents Award for Research in 2016. She continues to focus on monastic architecture and her co-edited volume, Modern Architecture for Religious Communities will be published in 2018. She has recently been awarded an SAHGB Research Grant to undertake the first phase of research for her monograph on twentieth-century Benedictine architecture. She is a member of the Twentieth Century Society Casework committee. Dr Torsten Lange is a Visiting Lecturer for the Theory of Architecture at the Institute gta, ETH Zurich. His research focuses on twentiethcentury architecture and urbanism, especially in socialist Eastern Europe, and examines

theories of production, labour and materiality, as well as issues of the environment, gender and alternative forms of architectural practice. With Ákos Moravánszky, Judith Hopfengärtner and Karl R. Kegler, he is co-editor of the threevolume publication East West Central: ReBuilding Europe, 1950–1990 (Birkhäuser, 2017). Together with Sophie Hochhäusl, he is founder and coordinator of the special interest group ‘Architecture and Environment’ within the European Architectural History Network. Dr Felipe A. Lanuza Rilling is a practising architect, researcher and educator. He holds a PhD in Architectural Design from the Bartlett School of Architecture, UCL. Felipe has taught and exhibited internationally, is a Senior Associate at Urban Transcripts and co-founder of Devilat + Lanuza Architects. Currently, he is a postdoctoral researcher at the UCL Urban Laboratory and the Bartlett School of Architecture, and teaches architecture and landscape architecture & urbanism at Kingston University London. Felipe’s PhD and post-doctoral research are fully funded by CONICYT scholarships, Chile. Dr Jane Madsen is a filmmaker whose work includes experimental 16mm film, video, installation and essay documentary. Her work is interdisciplinary, with the main themes being place, poetics, territory, materiality and architecture/s. She has written and published on film, art and architecture. Her work has been exhibited widely. She teaches at LCC, University of the Arts London and is currently an Early Career Researcher at LCC. Jane has a practice-based PhD from the Bartlett School of Architecture, with practice supervised at the Slade, UCL. Dr Pablo Gil Martinez is an architect with 13 years’ postgraduate experience as a professional practitioner. He currently practices with the GilBartolomé Architectural Design Workshop. Pable has been interested in the neurophysiology of art, the human reactions to animal behaviour and the school of Philosophy of Gustavo Bueno. These interests led to a PhD at the Bartlett

School of Architecture with Prof. Stephen Gage and Prof. Marcos Cruz as supervisors. Pablo also teaches architecture at Universidad Europea de Madrid. His recent project, the House on the Cliff, has been published globally in architecture journals, newspapers, television and online media. Dr Dragan Pavlovic is an architect and researcher with a particular interest in global cities, fashion and architecture, and placemaking. He holds a degree in Architecture from the University of Novi Sad, Serbia and an MA in Visual Communication in Architecture and Design from the ETSA Barcelona, Spain. He completed a PhD in Architectural History and Theory at the Bartlett in 2017. Dragan is currently engaged as a coordinator of the Bartlett Future Cities Doctoral Network with the perspective of contributing multidisciplinary thinking and researching for the future of cities, as well as supporting the collaboration between academia and practice. Dr Regner Ramos is an Assistant Professor at the University of Puerto Rico School of Architecture, where he leads an experimental design studio called Bloc 04. His current research project, funded by FIPI, uses writing, design and technology as creative tools to explore queer spatial practices in Puerto Rico. He is also Editorin-Chief of inForma Journal, Creative Director and Editor-in-Chief of LOBBY Magazine, and Space Editor at Glass Magazine. He currently lives in San Juan with his winged companion species—a charming sun-dragon called Calypso. Dr David Roberts is a Teaching Fellow in Design and History & Theory at the Bartlett School of Architecture, Visiting Professor at Aarhus School of Architecture and Research Ethics Fellow at the Bartlett Faculty of the Built Environment. Alongside his teaching and research, David is part of collaborative art practice Fugitive Images and of architecture collective Involve. David’s research, art and cultural activist practice engages community groups whose homes and livelihoods are under threat from urban policy, and extends architectural education to primary and secondary school children. His PhD won an



RIBA President’s Award for Research 2016 and received a High Commendation. Dr Theodore Spyropoulos is an architect and educator. He is the Director of the Architectural Association’s Design Research Lab (AADRL) in London. He has been a visiting Research Fellow at M.I.T.’s CAVS and taught in the graduate school of UPENN, the RCA and the University of Innsbruck. He co-founded the experimental architecture and design practice Minimaforms. The work of Minimaforms has been exhibited at MOMA (NYC), Barbican Centre, FRAC Centre, Onassis Cultural Centre, Somerset House, Detroit Institute of Arts and the ICA. Theodore has previously worked in the offices of Peter Eisenman and Zaha Hadid. In 2013 the Association for Computer-Aided Design in Architecture awarded him the ACADIA award of excellence for his educational work directing the AADRL. Dr Danielle Shea Willkens, Associate AIA, FRSA, LEED AP BD+C is an Assistant Professor of Architecture at Auburn University’s School of Architecture, Planning and Landscape Architecture. Her practice experience includes nationally-recognized design–build projects, such as the Learning Barge, and the use of archival records for spatial analysis and digital reconstruction. Through her work with the Duke University Talent Identification Program and Auburn’s Design Camps, she contributes to ‘early intervention’ design education. She was the 2015 Society of Architectural Historians’ H. Allen Brooks Travelling Fellow and studied the impact of tourism on heritage sites in Iceland, the Faroe Islands, Cuba and Japan.




MPhil/PhD Supervisors: Professor Nadia Luisa Berthouze, Dr Jan Birksted, Professor Peter Bishop, Professor Camillo Boano, Professor Iain Borden, Professor Victor Buchli, Professor Mario Carpo, Dr Ben Campkin, Professor Nat Chard, Professor Marjan Colletti, Professor Marc-Olivier Coppens, Professor Marcos Cruz, Dr Edward Denison, Professor Adrian Forty, Professor Murray Fraser, Professor Stephen Gage, Professor Jeremy Gilbert, Dr Francois Guesnet, Peter Guillery, Dr Sean Hanna, Dr Penelope Haralambidou, Professor Jonathan Hill, Dr Kayvan Karimi, Dr Jan Kattein, Dr Guan Lee, Dr Chris Leung, Dr Jerome Lewis, Professor CJ Lim, Professor Yeoryia Manolopoulou, Professor Timothy Mathews, Dr Clare Melhuish, Professor Mark Miodownik, Professor Raf Orlowski, Professor Sebastian Ourselin, Dr Brenda Parker, Professor Alan Penn, Professor Barbara Penner, Dr Sophia Psarra, Professor Peg Rawes, Professor Jane Rendell, Dr Stephanie Schwartz, Harriet Richardson, Dr Tania Sengupta, Professor Bob Sheil, Professor Mark Smout, Professor Philip Steadman, Dr Hugo Spiers, Professor Neil Spiller, Professor Michael Stewart, Dr Claire Thomson, Dr Nina Vollenbroker, Dr Robin Wilson. MPhil/PhD Architectural Design Students: Yota Adilenidou, Abdullah Al-Dabbous, Ava Aghakouchak, Bihter Almac, Luisa Silva Alpalhão, Nicola Antaki, Nerea Elorduy Amoros, Anna Andersen, Paul Bavister, Richard Beckett, Katy Beinart, Giulio Brugnaro, Matthew Butcher, Armando Caroca Fernandez, Niccolo Casas, Ines Dantas Ribeiro Bernardes, Bernadette Devilat, Ting Ding, Killian Doherty, Daniyal Farhani, Judit Ferencz, Pavlos Fereos, Susan Fitzgerald, Ruairi Glynn, Isabel Gutierrez Sanchez, Colin Herperger, Bill Hodgson, Sander Holsgens, Christiana Ioannou, Nahed Jawad, Nina Jotanovic,

Paul King, Dionysia Kypraiou, Hina Lad, Ifigeneia Liangi Rebecca Loewen , Thandi Loewenson, Shneel Malik, Emma Kate Matthews, Samar Maqusi, Matthew McDonald Phuong-Trâm Nguyen, Chi Nguyen, Aisling O’Carroll, Christos Papastergiou, Annarita Papeschi, Thomas Pearce, Luke Pearson, Mariana Pestana, Arthur Prior, Sarah Riviere, Felix Robbins, Natalia Romik, Merijn Royaards, Sayan Sakandarajah, Malika Schmidt, Alexandru Senciuc, Wiltrud Simbuerger, Eva Sopeoglou, Camila Sotomayor, Dimitrie Stefanescu, Quynh Vantu, Cindy Walters, Daniel Wilkinson, Henrietta Williams, Seda Zirek, Fiona Zisch.

This catalogue has been produced in an edition of 500 to accompany PhD Research Projects 2018, the twelfth annual conference and exhibition devoted to doctoral research at the Bartlett School of Architecture, UCL, on Tuesday, 20 February 2018.

MPhil/PhD History & Theory Students:

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

Sabina Andron, Vasileios Aronidis, Gregorio Astengo, Tal Bar, Ruth Bernatek, Thomas CallanRiley, Chin-Wei Chang, Mollie Claypool, Miranda Critchley, Sally Cummings, Sevcan Ercan, Marcela Araguez Escobar, Pol Esteve, Nadia Gobova, Esther Jimenez Herraiz, Thomas Keeley, Irene Kelly, Jeong Hye Kim, Claudio Leoni, Kieran Mahon, Carlo Menon, Soledad Perez Martinez, Matthew Poulter, Ryan Ross, Amy Smith, Lina Sun, Claire Tunnacliffe, Alessandro Toti, Maria Venegas, Adam Walls, Freya Wigzell.

Edited by Nina Vollenbröker, Ifigeneia Liangi and Daniel James Wilkinson. Designed by Avni Patel | Printed in England by Aldgate Press Limited. Copyright © 2018 the Bartlett School of Architecture, UCL. PhD Research Projects 2018 is supported by the Bartlett Faculty of the Built Environment and the Bartlett School of Architecture, UCL.

Submitted and/or completed doctorates 2017-2018: Wesley Aelbrecht, Tilo Amhoff, Jaime Bartolome Yllera, Rakan Budeiri, Popi Iacovou, Ollie Palmer, Sophie Read, Ozayr Saloojee, Ro Spankie, Huda Tayob.







On the cover: Sayan Skandarajah, Scenes From Another Kyoto, 2017

Bartlett PhD Research Projects 2018  
Bartlett PhD Research Projects 2018  

PhD Research Projects 2018 was the twelfth annual conference and exhibition of doctoral research at The Bartlett School of Architecture. The...