The Bartlett Summer Show Book 2018

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Engineering & Architectural Design student Toekinah Sabeni-Lefeuvre puts the finishing touches on her group’s ‘Living Light’ project

Contents 8

Introduction Frédéric Migayrou, Bob Sheil

10 Prizes 2017–18 14

BSc Architecture (ARB/RIBA Part 1) Programme Directors: Matthew Butcher, Mollie Claypool

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Year 1 / Collective Journeys – Inhabiting Spitalfields Director: Frosso Pimenides UG0 / Material Display Murray Fraser, Michiko Sumi UG1 / Flux Mads Hulsroy-Peterson, Elie Lakin UG2 / High Density Soomeen Hahm, Aleksandrina Rizova UG3 / In Rêverie Ifigeneia Liangi, Daniel Wilkinson UG4 / Subtropeia Ana Monrabal-Cook, Luke Pearson UG5 / Dreamland Alps Julia Backhaus, Pedro Pitarch Gravesbury: 4IR Charlotte Reynolds, Paolo Zaide UG7 / Wasn’t the Future Wonderful?

Pascal Bronner, Thomas Hillier UG8 / Everything Loose will Land: Journeys through the Stack Thomas Pearce, Greg Storrar UG9 / Met[a]ropolia 2046 Jessica In, Chee-Kit Lai UG10 / Informed by Materiality Kostas Grigoriadis, Guan Lee UG11 / Otherworldly: New Colonies of the Anthropocene Jennifer Chen, Maren Klasing UG12 / Escape-Disrupt Johan Hybschmann, Matthew Springett

158 Architectural & Interdisciplinary Studies BSc

Programme Director: Elizabeth Dow 170 Engineering & Architectural Design MEng

Programme Director: Luke Olsen

180 Architecture MArch (ARB/RIBA Part 2)

Programme Directors: Julia Backhaus (on sabbatical),

Barbara-Ann Campbell-Lange, Marjan Colletti 182

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Unit 10 / In Search of Architectural Narratives and Manifestos Simon Dickens, CJ Lim Unit 11 / National Reserve Laura Allen, Mark Smout Unit 12 / A City in a Building in a City Elizabeth Dow, Jonathan Hill Unit 13 / Hinterlands Sabine Storp, Patrick Weber Unit 14 / Pioneering Sentiment Jakub Klaska, Dirk Krolikowski Unit 17 / The Protagonist Yeoryia Manolopoulou, Níall McLaughlin Unit 18 / Heterodox Natures Isaïe Bloch, Ricardo de Ostos Unit 19 / Disruptive Architectures Jeroen van Ameijde, Mollie Claypool Unit 20 / Nature 2.0: Constructing the Avant-Garde Marjan Colletti, Marcos Cruz, Javier Ruiz Unit 21 / Actions, Agents and Buildings Abigail Ashton, Tom Holberton, Andrew Porter Unit 22 / Campaigning!

Izaskun Chinchilla, Carlos Jiménez Cenamor Unit 24 / Sculpting in Time Penelope Haralambidou, Michael Tite Unit 25 / Activating Architecture Nat Chard, Emma-Kate Matthews Unit 26 / Strategies Against Architecture David Di Duca, Simon Kennedy Year 4 – Design Realisation Module Coordinators: Pedro Gil, Dirk Krolikowski Year 4 – Advanced Architectural Studies Module Coordinator: Tania Sengupta (on sabbatical), Robin Wilson Year 5 – Thesis Edward Denison, Robin Wilson, Oliver Wilton

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Our Programmes Short Courses Open Crits Public Lectures Events and Exhibitions Alumni Staff, Visitors & Consultants

SUMMER 2018

Introduction

The Bartlett School of Architecture 2018

Welcome to the 2018 edition of our Summer Show book, a publication series now in its fourteenth year, with every past issue available to download online for free. It started out as a slim volume of just 58 pages, but now approaches 400 pages as the series consolidates into an extraordinary archive of the school’s exciting trajectory. This year we also spun out an online ‘Design Anthologies’ series, in which unit pages from annual Summer Show books have been assembled into one volume per unit, tracing the lineage of each. In the age of social media the dissemination of our students’ creativity is abundant, but nowhere can you see the year’s progress more comprehensively than here, especially as the text that accompanies each image adds vital discourse, critique and context to the visual banquet.

2017-18 has been a year of change.

Nine of our 12 BSc units and four of our 15 MArch units were either led by entirely new staff or new staffing partnerships. Some of this is due to growth, some of it to introduce new agendas and discourse, and some of it down to sabbaticals. We also 8

welcomed the first group of staff and students to our new Engineering and Architectural Design MEng degree, some of whose work is on display within the exhibition and this publication. Change is essential to maintaining a vibrant and fresh outlook: it keeps us all on our toes, and it offers the essential adrenalin of discovery and surprise. We explore not only what architecture is, but what it could be, and although the school has a clear unit structure in place, the greatest learning comes from transgressing boundaries, infiltrating alternative agendas, and collaboration.

From Lebbeus Woods to Zaha Hadid to Liz Diller, our Summer Show has been opened by many of the world’s leading figures in architecture over the last 30 years. We are especially privileged that this year’s guest opener is the renowned architect Eva Jiřičná, who fled her home city of Prague exactly 50 years ago as it was stormed by Soviet tanks. 1968 was a year of turbulence, in many ways a condition that is echoed in the world today. Eva’s subsequent career as one of the UK’s most influential and talented architects

Introduction

Professor Frédéric Migayrou Chair, Bartlett Professor of Architecture, The Bartlett School of Architecture Professor Bob Sheil Director of The Bartlett School of Architecture The Bartlett School of Architecture 2018

illustrates the enormous value of globally connected cities, populated by talent from all over the world, and London in particular. Some of her work can be seen in the fabulous Superstructures exhibition running at the Sainsbury Centre for Visual Arts until September. Eva’s early stomping ground, Fitzrovia, is a stone’s throw from The Bartlett, where to this day many of our key associates, especially in engineering, continue to operate.

Her career and her persona of optimism, activism, and passion for excellence have inspired us all, and we are deeply honoured that she has accepted our invitation.

Finally, none of the wonderful projects described here would have been possible without the devotion of our extraordinary staff, of whom the majority are part-time.

Their commitment and dedication underpins the school in every way and we are hugely privileged to be part of such an inspiring community, one that reaches far beyond the boundaries of our campus as a vibrant and active global network.

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Prizes 2017–18

The Bartlett School of Architecture 2018

Bartlett School of Architecture Medal

Drawing/Model Prize Mabel McCabe

Architecture BSc James Cook, UG5 Joe Johnson, UG3 Thomas Leggatt, UG4

Model/Drawing Prize James Della Valle

Architecture MArch Anna Andronova, Unit 10 Sophie Barks, Unit 12 Elliott Bishop, Unit 10 Laurence Blackwell-Thale, Unit 11 Boon Yik Chung, Unit 12 Daryll Brown, Unit 20 Tom Budd, Unit 11 Emma Colthurst, Unit 11 Samuel Coulton, Unit 12 John Cruwys, Unit 24 Laurence Flint, Unit 22 Jason Hon Ho, Unit 10 Patrick Horne, Unit 11 Sonia Magdziarz, Unit 24 Eleanor Sampson, Unit 11 Elin Soderberg, Unit 12 Tristan Taylor, Unit 10

Victor Kite Prize for Design Technology, sponsored by AHMM Kit Lee-Smith, UG5 Annabelle Tan Kai Lin, UG6

Architecture BSc Year 1 Herbert Batsford Prize Emma Bush

Trevor Sprott Prize for Distinguished Work in History and Theory Victor Tsz Hin Leung, UG6

Conceptual Clarity Prize Joshua Rothwell

Experimental Technology Prize Paul Brooke, UG11

Tectonics, Structural and Materials Prize Rebecca Miller Chak (Anthony) Tai

Environmental Design Prize Joe Johnson, UG3

Spatial Exploration Prize Anahita Hosseini Ardehali

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Architecture BSc Year 2

The Grocers’ Company, Queen’s Golden Jubilee Scholarship Migena Hadziu, UG5 Asseal Architecture Award for Professional Practice and Enterprise Miles Elliott, UG9 Architecture BSc Year 3 RIBA Donaldson Medal Joe Johnson, UG3

Fitzroy Robinson Prize To be announced Making Buildings Prize Yuqi (Kenneth) Cai, UG11

Architectural & Interdisciplinary Studies BSc Distinguished Work in History and Theory Seowon (Sharon) Chang Engineering & Architectural Design BSc Council for Aluminium in Buildings Prize To be announced Architecture MArch Year 4 History and Theory Prize Dominic Walker, Unit 12 Kohn Pedersen Fox Associates Bursary Alessandro Conning-Rowland, Unit 19 Rogers Stirk Harbour + Partners Bursary Dominic Walker, Unit 12 Hawkins\Brown Bursary Dimitar Stoynev, Unit 14 WES Lunn Design Education Trust Scholarship Niki-Marie Jansson, Unit 12 Saint-Gobain Innovation Award Andrew Chard, Unit 11 Alastair Johnson, Unit 22 Tasnim Eshraqi Najafabadi, Unit 13 Naomi Rubbra, Unit 11 Vilius Vizgaudis, Unit 10

Architecture MArch Year 5 Ambrose Poynter Prize Emma Colthurst, Unit 11 Fitzroy Robinson Drawing Prize Jack Clay, Unit 21 Samuel Coulton, Unit 12 Jason Hon Ho, Unit 10 Sonia Magdziarz, Unit 24 Max Fordham Environmental Design Prize Anna Andronova, Unit 10 Brewer Smith Brewer Gulf Adaptive Technologies Prize Alexander Wood, Unit 13 Carl Pihlveus, Unit 26 Krystal Ting Tsai, Unit 17 Shi Qi (Kiki) Tu, Unit 20 Sir Andrew Taylor Prize Paddy Fernandez, Unit 14 Sir Banister Fletcher Medal Samuel Coulton, Unit 12 WES Lunn Design Education Trust Scholarship Patrick Horne, Unit 11 Professional Practice & Management in Architecture Postgraduate Diploma (ARB/RIBA Part 3) Ross Jamieson Memorial Prize Sebastien Gey

Installing Year 1 work in The Bartlett Summer Show 2017

Architecture BSc (ARB/RIBA Part 1)

Architecture BSc (ARB/RIBA Part 1) Programme Directors: Matthew Butcher, Mollie Claypool

Year 1 Director Frosso Pimenides Year 1 Design Associates Lucy Leonard, Gavin Robotham, Manolis Stavrakakis

The Bartlett School of Architecture 2018

Year 1 Design Tutors Alastair Browning, Zachary Fluker, Alicia GonzalezLafita, Joel Cady, Vanessa Lafoy, Stefan Lengen, Lucy Leonard, Samantha Lynch, Emma-Kate Matthews, Rupert Scott, Jasmin Sohi, Manolis Stavrakakis, Graeme Williamson, Umut Yamac Year 2 & 3 Design Tutors UG0 Murray Fraser, Michiko Sumi UG1 Elie Lakin, Mads Peterson UG2 Soomeen Hahm, Aleksandrina Rizova UG3 Ifigeneia Liangi, Dan Wilkinson UG4 Ana Monrabal-Cook, Luke Pearson UG5 Julia Backhaus, Pedro Pitarch UG6 Charlotte Reynolds, Paolo Zaide UG7 Pascal Bronner, Thomas Hillier UG8 Thomas Pearce, Greg Storrar UG9 Jessica In, Chee-Kit Lai UG10 Kostas Grigoriadis, Guan Lee UG11 Jennifer Chen, Maren Klasing UG12 Johan Hybschmann, Matthew Springett

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This programme concentrates on providing extensive knowledge and understanding about what architecture is as a subject, a discipline and a practice, with a distinct emphasis on architectural design through researchbased education. It aims to establish the student’s core knowledge, critical ability and skills through drawing and making (both analogue and digital), technology (including environmental design, sustainability and computation), history and theory, and professional studies.

The Year 1 cohort is organised as a single group, and a vertical design unit system begins in Year 2. A core ethos of the entire programme is that students relate their design projects to all other taught modules on an incremental basis. This culminates in Year 3, where design and technology are developed in synthesis, augmented by complementary self-selected themes in history and theory, and professional studies. This year, our 13 undergraduate units had diverse themes and agendas that included explorations into the relationship between architecture and landscape; digital and computational design methodologies; and the role of narrative in architecture.

Year 1 The first year is a ‘contextual’ year, in which core architectural expertise and knowledge around cities, buildings and practice is developed through diverse experimentation and exploration, including drawing, making, writing and film. The ‘History of Cities and their Architecture’ module is shared with fellow students from The Bartlett School of Planning, and the ‘Making Cities’ module is shared with fellow students from The Bartlett School of Planning and The Bartlett School of Construction and Project Management. The final building design project evolves in parallel to separate coursework, and the year finishes with a common springboard into Year 2.

Year 2 Year 2 centres on ‘diversity’, which is exemplified by the unit system, complemented by computing seminars and workshops, as well as seminar groups in history and theory and a lecture series and seminars in professional studies. Although distinct from one another, units deliver a common set of principles that include: spatial organisation, communication, culture, critique, context, and environmental and social impact. In tandem with the final building design project, the technology module requires strategic and detailed technical investigations, including how fragments of the project could be built. This presents a tactile introduction to architectural design, its relationship to construction techniques and associated disciplines, and the challenge of making information with which buildings can be made. Over the course of the year, students must demonstrate their understanding of a selected theme

Architecture BSc (ARB/RIBA Part 1)

in architectural history, an understanding of ideas drawn from professional studies, and core skills in computing.

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Year 3 Year 3 centres on ‘synthesis’: of architectural design, critical understanding, core skills, professional practice and creative exploration. Design projects evolve as individual responses to the unit brief through innovative research in tandem with a comprehensive technical dissertation. Projects are rooted in the core principles of spatial and physical design, supported by an extensive network of practice-based consultants. Students are also encouraged to speculate on the conventional boundaries of architectural production and architectural representation. In their third year students also demonstrate an understanding of a selected theme from modules in architectural history and theory.

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Year 1

Collective Journeys – Inhabiting Spitalfields Director: Frosso Pimenides

Director Frosso Pimenides Design Associates Lucy Leonard, Gavin Robotham, Manolis Stavrakakis

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Design Tutors Alastair Browning, Zachary Fluker, Alicia Gonzalez-Lafita, Joel Cady, Vanessa Lafoy, Stefan Lengen, Lucy Leonard, Samantha Lynch, Emma-Kate Matthews, Rupert Scott, Jasmin Sohi, Manolis Stavrakakis, Graeme Williamson, Umut Yamac Lectures Nat Chard, Peter Cook Media Studies Tutors Joel Cady (Coordinator), Johanna Just, Stefan Lengen, Agostino Nickl, Thomas Parker Special thanks to: Izzy Blackburn, the B-made team, Peter Cook, Paul Crudge, Emer Girling, Roberto Ledda, Ric Lipson, Oliver Phoenix, David Shanks, Bob Sheil, Viktoria Viktorija, Paul Weston Partners B-made workshop, Survey of London Thank you to: Jenna Al-Ali, Laura Allen, Dimitri Argyros, Abigail Ashton, Andy Bryce, Blanche Cameron, Barbara Campbell-Lange, Nat Chard, Jennifer Chen, Hannah Corlett, Edward Denison, Richard Jeffries, Stephen Johnson, Christine Hawley, Johan Hybschmann, CJ Lim, Jeremy Melvin, Jack Newton, Luke Pearson, Jonathan Pile, Alistair Shaw, Colin Smith, Nick Westby, Patrick Weber, Guang Yu, Paolo Zaide

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The journey that students make in their first year at The Bartlett is an extraordinary one. Arriving from all over the world, they are encouraged to learn skills and enter the world of ideas and creativity, whilst forming a collective spirit of generous critical collaboration with their peers.

This year began with an individual observational and experimental project ‘Routine Object, Displaced Routine’, where students examined the displacement of personal domestic routines as they settled into university life. This was followed by a day trip to Chatham Dockyard where we sketched structures and studied forming techniques in preparation for the group making project. For this, we designed and constructed nine full-scale installations to form a ‘City in a Room’ in The Bartlett’s ground-floor gallery.

In January we travelled to Berlin for our field trip, which was a great source of inspiration and culture. Highlights included visits to Hans Scharoun’s Berlin Philharmonie and a day trip to Wolfsburg where we experienced some extraordinary architecture by Alvar Aalto and Zaha Hadid. On our return, we launched into our individual building design project.

The historic neighbourhood of Spitalfields in East London, famous for its weavers’ garrets and markets, was both the site for the building design project, and the inspiration for the installation project. Spitalfields has been home to waves of immigrants from Europe and beyond, who have enriched the character of the area with their skills and cultures. For ‘City in a Room’ we worked in nine groups, each designing and making an installation inspired by the life of a displaced character from the history of Spitalfields.

We were inspired by the craft skills and philanthropic spirit that students uncovered as they researched these characters. In designing ‘A Building for Spitalfields’, students developed this legacy to respond individually, critically and imaginatively to the needs of the local community. We designed live/work spaces for imagined clients, providing useful skills, services or social spaces for the community on 14 sites located across the neighbourhood. Designs were based on radical responses to the programmes and character of the sites and emerged through an open dialogue between imagination and the realities of the place. The project was an opportunity for the students to explore the importance of context, enclosure, and the spatial qualities and materiality of their proposed vision.

The life of our first-year students is a continuous process of testing, questioning, rethinking and visually communicating a series of design explorations, as part of a vibrant studio culture. It is a journey of learning skills and knowledge that gives students the tools to think, experiment, make mistakes and celebrate their failures – and finally, to have fun designing.

Ana Dosheva, Christina Economidou, Ceren (Jeren) Erten, Maria (Masha) Gerzon, Isabelle Gin, Eudon Gray Desai, Daniel (Eytan) Grubner, Alice Guglielmi, Yannick (Ocian) Hamel-Smith, Gabriel Healy, Kevin Ho, Dinu Hoinarescu, Rebecca Honey, Anahita (Ani) Hosseini Ardehali, Olivia Hoy, Sumayyah (Mayah) Jannat, Evelyn Jesuraj, Marina Kathidjiotis, Henri Khoo, Yeree Kim, Ye (Yeha) Kim, Edmund King, Defne Kocamustafaogullari, Paul Kohlhaussen, Monika Kolarz, Dilara Koz, Cheuk (Felix) Lau, Ashley Law, Dongheon (Julian) Lee, Oscar Leung, Zeb Levoi, Sabrina Li, Zicong (Charles)

Liang, Seng (Aaron) Lim, Ian Lim, Ziwei (Philip) Liu, Sut (Eunice) Lo, Jiying Luo, Mabel McCabe, Aaliyah Mckoy, Luke McMahon, Maria Mendoza Guerrero, Loukis Menelaou, Rebecca Miller, Heba Mohsen, Michela Morreale, Oliver Munby, Ben Murphie, Diana Mykhaylychenko, Ellen Nankivell, Jennifer Oguguo, Zaneta Ojczyk, Cira Oller Tovar, Evan O'Sullivan, Punnapa (Poon) Pairojtanachai, Jingxian (Jacqui) Pan, Freya Parkinson, Konrad Pawlaczyk, Amy Peacock, Carmen (Ligie) Poara, Natalie Rayya, Zuzanna (Zuzia) Rostocka, Joshua

Rothwell, Ewa Roztocka, Hanna (John) Said, Sarfaraz Salim, Evelyn Salt, Barbara Sawko, Matthew Semiao Carmo Simpson, Alice Shanahan, Hanlin (Finn) Shi, Olivia Shiu, Martins Starks, Josef Stoger, Anastasiia Stoliarova, Theo Syder, Natalia Sykorova, Chak (Anthony) Tai, Milon Thomsen, Rosy Todd, Luke Topping, Long (Ron) Tse, Kar (Tiffanie) Tseng, Sinziana Vladutu, Yunzi (Zoe) Wang, Chueh-Kai (Daniel) Wang, Yerkin (Eric) Wilbrandt, Oscar Wood, Kehui (Vic) Wu, Yujie Wu, Suzhi Xu, Sevgi Yaman, Siyuan (Amy) Yao, See (Phylis) Yu, Wenxi Zhang, Amy Zhou

BSc Architecture Year 1

Students Nasra Abdullahi, Hania Abramowicz, Inez AcquahAikins, Maciej Adaszewski, Ahmed Al-Shamari, Renee Ammann, Tisha Aramkul, Shabnam Aswat, Long Au, Marius Balan, Hazel Balogun, Alisa Baraboshkina, Jean Bell, Dominic Benzecry, Tengku Sharil Bin Tengku Abdul Kadir, Heather Black, Albert Brown, Emma Bush, Niamh Cahill, Rory Cariss, Charlotte Carr, Lok (Recina) Chau, Herui (Henry) Chen, Yuge (Julie) Chen, Ernest Chin, Giorgos Christofi, Charlotte Cole, Nicholas Collee, Peter Cotton, Sonya Daniltseva, James Della Valle, Samuel Dodgshon,

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BSc Architecture Year 1

Fig. Y1.1 ‘City in a Room: A City of Garrets and Markets in a Room’. Year 1 Spitafields Installation Project. Spitalfields has been home to waves of immigrants from Europe and beyond.

This collection of individual cultures brought together in London is a form similar to all our Year 1 students joining the course from all over the world. The nine individual installations, inspired by nine displaced characters from the history of Spitalfields, came together to form a ‘City in a Room’ in the foyer of The Bartlett. Fig. Y1.2 Anahita (Ani) Hosseini Ardehali ‘The Secretive Cobblers’. A symbiotic relationship is fostered between the cobbler and the client as their two routes intertwine within the building. The client must use all their senses to infer the process of shoemaking, whilst the mysterious cobbler designs the client’s shoes through

watching them as they walk through. Figs. Y1.3 – Y1.4 Ernest Chin, Seng (Aaron) Lim ‘Routine Comforts’.

Suits that analyse the mechanisms of sleep and wake by replicating comforts of the bed outside of context; the bolster (left), and the duvet (right). Fig. Y1.5 Isabelle Gin ‘Infestation’. A reinterpretation of the loom as a silkworm’s habitat. Different components relate to various stages of the silkworm’s lifecycle, the thread as spun silk and the weights as cocoons.

The Bartlett School of Architecture 2018

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Y1.4

BSc Architecture Year 1

The Bartlett School of Architecture 2018

Y1.5

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BSc Architecture Year 1

Fig. Y1.6 Maciej Adaszewski ‘Beekeeping Club’. Adjustable façade elements provide the best sunlight exposure for the bees, protecting them from prevailing wind. Light wells made of brass bring natural sunlight down into the building to illuminate shaded areas. Because of its spatially open character, the building simultaneously serves as a shelter for club members and as a simple filter for the bees to fly through.

Fig. Y1.7 Rebecca Miller ‘A House for Paul, the Oldest Paper Bag Seller of Spitalfields, and his Fellow Independent Traders’.

Here, amate, traditional bark paper, is made as a celebration of community-based trade. The sounds of the paper-making process are a cry from the independent traders, whose businesses are threatened by the growing gentrification of Spitalfields. Fig. Y1.8 Mabel McCabe ‘Vertical Launderette,

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a Rejection of the Modern Washing Machine’. Laundry is washed in outdoor pools and brought through the building on pulleys as it dries. A wooden structure sways gently as both fabric and people move freely throughout a building fully centred around the traditional washing process that the owner grew up surrounded by.

BSc Architecture Year 1

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BSc Architecture Year 1

Figs. Y1.9 – Y1.10 James Della Valle ‘A Home for Silk Printing’.

The silk printer’s house is a celebration of the local community’s heritage, influenced by extensive experimentation with fabric formwork. The drawn section and planimetric model describe the fluid façades of the building and the spatial interplay between the draping silks within and the exterior concrete walls. Fig. Y1.11 Joshua Rothwell ‘Alleyway Pigeon Postal Service’. The public’s handwritten letters ascend the building’s vertical sorting system before ceremonial release from an exposed west-facing balcony. Locals and commuters can reminisce of a time past, as flocks of carrier pigeons gracefully flit through the post office’s transitory spaces, before scattering to destinations across London.

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BSc Architecture Year 1

The Bartlett School of Architecture 2018

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BSc Architecture Year 1

Fig. Y1.12 Tengku Sharil Bin Tengku Abdul Kadir ‘Bookbinder Occupies Wall’. Through the programmatic intervention of a bookbinder, the Old Bishopsgate Station’s excavated viaduct wall is reused and reassembled. The wall morphs from an architectural by-product to an independent architectural edifice. Fig. Y1.13 Albert Brown ‘A Pub Made of Darts’.

Preserving the memory of a pub found on Toynbee Street this new pub is made of a series of rooms where the concrete and the felt blend in order to create a micro-cosmos. The owner of the pub creates his own darts which he then places all over the labyrinthine building where he also lives. Fig. Y1.14 ‘City in a Room: A City of Garrets and Markets in a Room’. Year 1 Spitafields Installation Project. Spitalfields has been home to waves of immigrants from Europe and beyond. This collection

The Bartlett School of Architecture 2018

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of individual cultures brought together in London is a form similar to all our Year 1 students joining the course from all over the world. The nine individual installations, inspired by nine displaced characters from the history of Spitalfields, came together to form a ‘City in a Room’ in the ground-floor gallery of The Bartlett.

BSc Architecture Year 1

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Y1.14

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UG0

Material Display Murray Fraser, Michiko Sumi

Year 2 Victoria Blackburn, Kai (Kelvin) Chan, Alys Hargreaves, Celina Harto, Holly Hatfield, Karl Herdersch, Noriyuki Ishii, Francis Magalhaes-Heath, Sung (Ryan) Wong

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Year 3 Ella Adu, Jack Barnett, Eleanor Evason, Shu (Michelle) Hoe, Maya Patel, An-Ni Teng, Chun (Derek) Wong Thank you to our consultants and critics: Laura Allen, Alessandro Ayuso, Tim Barwell, Anthony Boulanger, Eva Branscome, Matthew Butcher, Rhys Cannon, Mollie Claypool, Marjan Colletti, Sam Coulton, Tamineh Hooshyar Emami, William Firebrace, Ewa Hazla , Jonathan Hill, John I’Anson , Luke Olsen, Thomas Parker, Stuart Piercy, Frosso Pimenides, Sophia Psarra, Sara Shafiei, Manolis Stavrakis, David Storring, Ben Stringer, Elly Ward, Henry Williams, Stamatis Zografos We are grateful to our sponsors: Bean Buro Forterra Building Products Ltd

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What are the kinds of materials – whether physical or intangible – that make up the architectural fabric of a global city like London? How can architects participate in the material production of this city, and what insights and techniques might we bring to the design and making of innovative urban materials?

It is important always to ask where materials come from, and how they are transformed and applied. Yet materials are not merely about physical or aesthetic qualities: their meaning also derives from how they are framed and presented. London, like other cities, is as much about the act of display as it is about ordinary social and economic processes. Within an urban setting, therefore, how might architecture play its part in revealing and presenting people, objects or buildings? The Latin origin of the word ‘display’ suggests unfolding, dispersing and scattering: could this be used to provoke different ideas about what it means to design for display?

Might an investigation into the concept of display in relation to materials itself create innovative spatial forms?

Following an initial project of their own devising, students in UG0 were each asked to develop their individual briefs for buildings or other urban interventions on sites they selected around London. This year’s field trip was to eastern India, notably Kolkata, Chennai and Pondicherry, where we saw different approaches to the idea of materials and how they can be displayed within the urban realm.

The unit’s underlying aim was for students to learn how to carry out a process of intensive research into contemporary architectural ideas, urban conditions, cultural relations, and practices of everyday life – and then to learn how to use these findings to create innovative and challenging forms of architecture for the contemporary city. Students used the unique speculative space offered by academic study, and combined this with a commitment to social engagement and urban improvement as if their projects were actually going to be built. A clear understanding of the technological, environmental and developmental issues involved in design projects was vital. To develop their design proposals, students capitalised on a wide range of methods of investigation and representation including physical modelmaking, digital fabrication, photography, drawing, computer modelling, rendering, animation, and filmmaking, to allow for intuitive and spontaneous design-based reactions to the issues being investigated. After all, a strong design idea produced by speculative or lateral thinking can stimulate specific theoretical insights just as much as the other way around.

Architecture BSc UG0

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Architecture BSc UG0

Fig. 0.1 Shu (Michelle) Hoe Y3, ‘Swan Island Boatyard, Thames Tideway, Twickenham, TW1’. Part elevation. This detailed colour study of the façade for a brand new boatyard on a small island in the River Thames shows the concept of a web of glistening threads, formed by the rigging ropes and canvas sails covering much of the building and reflected in the water. Fig. 0.2 Jack Barnett Y3, ‘Building Maintenance Exposition (BME), Bridport Place, Islington, N1’. Elevation drawn onto cyanotype tiles. This proposal speaks to the increasing public concern for the conservation and ecology of buildings.

It proposes a ‘taskscape’ wherein architectural components are dismantled for preservation purposes or auctioned off for new-build schemes. The various pavilions, both permanent and transitory, hint at interventions that change our perception of

permanence and invite building maintenance to play a role in the design process. Fig. 0.3 Alys Hargreaves Y2, ‘Haptics of Fire, Faraday Gardens, SE17’. This early study model uses a rotational ‘fore-casting’ process that would lead to the design of a haptic pavilion and obfuscated heat shaft for the extension of the Bakerloo Line. Fabricated from four distinct materials, the structure is formed through a process of rotation, each stage of casting is rotated by 90 degrees to provide the formwork for the next stage.

The architecture becomes a material display of its own creation. Fig. 0.4 Ella Adu Y3, ‘Brockwell Park Community Centre, Tulse Hill, SW2’. Model. A mass of materials salvaged from a partially demolished 1970s housing scheme are recast and reshaped into brick rubble walls and other constructional

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Architecture BSc UG0

elements for an extension to a small existing community centre on the western side of this popular South London park. Fig. 0.5 Jack Barnett, Y3 ‘Soane’s Mnemonic Museum, Lincoln’s Inns Fields, WC2’. Cyanotype ‘memory’ plan. Initially, this famous museum was 3D-scanned to create an interactive virtual model. Paradoxically, this process neglected Soane’s key legacy, which is the realisation that drawing is an act of creating. Hence the making of a virtual 3D computer game that is envisaged as a virtual ruin in which the players, acting as ‘conservationists’, draw in space their own memories of the museum as well as they can remember, providing a steadily accumulating digital archive.

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Architecture BSc UG0

Figs. 0.6 – 0.7 Maya Patel Y3, ‘Inherited Residue, Hammersmith Bridge, W6’. Oblique projection; perspective from water level. With London’s high land values making dwellings so much smaller, this tower provides a space to store and release the religious objects currently held in domestic Hindu shrines. It reinterprets the Thames as an ancient sacred river, with the tidal rhythms and flows powering the decay and destruction of these precious personal objects.

Fig. 0.8 Victoria Blackburn Y2, ‘Billingsgate Roman Baths, Lower Thames Street, EC3’.Geometric projection. Currently buried away in the basement of an office block, this fine surviving example of a well-to-do house and baths from the time of the Roman Empire’s rule is now made accessible through a twisting structure that also links above to the

ruins and gardens of St Dunstan in the East. Fig. 0.9 Alys Hargreaves Y2, ‘Haptics of Water (The Urban Well), Shadwell Basin, E1’. Slip-cast models. These diverse, repeated components and formworks were utilised in sequence to make the haptic changing rooms for the visitors to public baths located within a quiet low-rise docklands site. Water is channelled behind the slipped panels, amplifying the sound and atmospheric temperatures created by water whilst hidden from sight, playing with the concepts of wet and dry. The building is connected to an adjacent open-air lido and Shadwell Basin.

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Figs. 0.10 – 0.12 Eleanor Evason Y3, ‘Con[curve], Lots Road, Chelsea Creek, SW10’. Interior view; physical prototype models; ground floor plan. Inventing a technique to produce water-formed precast concrete as ultra-thin curvaceous pieces, to be patented as ‘Con[curve]’, a vast tank set into this riverside site in Chelsea has a gantry overhead and associated services buildings above and below ground. Over time the building’s elevations will grow thicker with more concrete test panels.

Fig. 0.13 Shu (Michelle) Hoe Y3, ‘Swan Island Boatyard, Thames Tideway, Twickenham, TW1’. Site plan. A special viewing tower for Mike Webb to use when visiting is located on the river’s eastern side in the Hamlands, with a ferry over to the boatyard and to Twickenham beyond, creating a much-needed river crossing in this area.

Figs. 0.14 – 0.15 An-Ni Teng Y3, ‘Extreme Yoga Centre, Regent’s Park Canal, NW1’. Prosthetic model; perspective view. On the canal cut next to London Zoo, a leafy landscaped building for various intensive forms of yoga is composed of timber colonnades and walkways, with its pools and service areas dug into the ground. Aided by prosthetic devices that stimulate the contortion and stretching of the human body, users can happily partake in the likes of aqua yoga, aerial yoga, wall yoga and hot yoga.

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Fig. 0.16 Sung (Ryan) Wong Y2, ‘Stockwell Skatepark Skin, Stockwell Road, Brixton, SW9’. Also known as ‘Brixton Beach’, this well-known site is under threat from a new luxury high-rise development. This design imagines a thin protective wall that can safeguard the skatepark, like a crust, while also allowing skaters to glide through it as they wish. Fig. 0.17 Kai (Kelvin) Chan Y2, ‘Death as a Commons, Temple Place, Victoria Embankment, WC2’. Model. London becomes a necropolis in this proposal for a new form of inner-city crematorium that mixes facilities for funeral services with an open public park where other citizens can simply eat their lunch, walk their dogs, relax or play sport. Fig. 0.18 Noriyuki Ishii Y2, ‘Reading Rooms, Charlotte Street, W1’. Collage. Intended as a largely unprogrammed space for free and adaptable use as an urban

commons and for the numerous students in central London, this slim tower makes allusion to Mies van der Rohe.

Figs. 0.19 – 0.20 Chun (Derek) Wong Y3, ‘Post-Brexit Foxskin Hattery, Duck Island, St James’s Park, SW1’. Interior view; exploded isometric. In an impoverished Britain after Brexit, to meet nationalist demands for self-sufficiency, the Queen’s Guards are to be kitted out with foxskin busby hats, made using the pelts of foxes that die regularly in London. Where else to site the hattery but in St James’s Park, in plain sight of Horse Guards Parade and Buckingham Palace? The skinning, curing, cutting and stitching of the pelts takes place in a tall tower, as processes in descending layers.

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Fig. 0.21 Karl Herdersch Y2, ‘Unitised Urbanism, Russell Square, London SE1’. Isometric studies of interior spaces.

This project is realised by creating a cultural condition for a ‘life without work’, imagining a Universal Basic Income in the future. A kit of parts creates an apparatus for agency for a community within an inhabitable wall. This apparatus is pushed to the limit until the urban condition begins to resist variation and moves towards mass homogeneity.

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UG1

Flux Mads Hulsroy-Peterson, Elie Lakin

Year 2 Christopher Collyer, Imogen Dhesi, Wan Feng, Zhongliang Huang, Yixuan Lu, Agnes Parker, Baldeep Sohal, Maya Whitfield Year 3 Gunel Aliyeva, Nur Mohamad Adzlee, Liana Buttigieg, Ela Gok, Margarita Marsheva, Jolanta Piotrowska, Giselle Thong, Jun Yap The Bartlett School of Architecture 2018

Thank you to our consultants and critics: Stephen Gage, Kirstine Jaeger, Marie Munk, Tetsuro Nagata, Danae Polyviou, Richard Roberts, Sabine Storp, Viktoria Viktorija

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This year UG1 examines an architecture which is able to sense, interpret, adapt and respond to an identified altering or evolving situation – an architecture which is in a constant state of flux. We are inspired by forms that can mutate, materials that can record, and technologies with embodied behaviours that perform; all tools that alter in state in response to changes within a condition.

Our work is heavily contextualised within a certain place and a certain time. The consideration of the physical context at both macro and micro scales, as well as the design life of our proposals, has been critical to our thinking. The existing condition, fabrication and construction phases, as well as occupancy and even post-occupancy phases, are all key considerations throughout our design development. Making is a key part to our iterative design process. We nurture a design process where the drawn and speculated are swiftly realised through the making, testing, and prototyping of scaled or 1:1 components of our proposals, to be re-imagined onsite as part of the built whole.

We started the year by identifying, observing, recording and mapping an identified flux within a site close to The Bartlett. We designed and made physical devices, installations and small building proposals that respond to or enhance the experience of a flux. Responses include an interactive mirror that extends views around corners, personal space protectors, selfperpetuating wax timing devices and closed-loop localised leaf-shredding devices. Following our site trip to Lyon we applied the knowledge gained from our first project to develop highly resolved building proposals. The proposals embodied the essence of the ‘flux’ investigations and thus evolved, responded or adapted over time either to situations or to the behaviours of occupants or those who passed by. Proposals include a Hydrological Research Centre which is in a constant state of renewal as it harvests its own building material from the two rivers it is located close to, and a bakery which acts as a timing device as it responds to the specific location of the sun for the key stages of the making of bread.

We have been keen to describe how our proposals have changed over time so have looked to represent transitions in both drawing and built form.

Our technical understanding of the proposals has been key, thus leading to part-realising the speculated form through making, testing, and prototyping.

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Figs. 1.1 – 1.3 Jolanta Piotrowska Y3, ‘Temple of Wood’.

A compagnonnage house, school and workshop allow the woodworking students of Lyon to explore and experience the hidden potential of timber. This project considers the evolution of the building as a whole from fabrication to occupancy, exploring the potential for the reuse of the concrete formwork for other parts of the its construction and use. Fig. 1.4 Gunel Aliyeva Y3, ‘Restaurant Pomme de Terre Lyonaise’. This restaurant and research facility aims to celebrate the refined potato cuisine that Lyon is famous for.

Fig. 1.5 Giselle Thong Y3, ‘Earth to Earth’. The architecture of the this Trappist monastery echoes the repetitive daily cycles of the cheesemaking and brewing processes taking place within the building. The decaying rammed-earth building

exhibits the memory of its users through its materiality.

It requires continual renewal to prevent it from degrading and returning back to the ground.

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Figs. 1.6 – 1.7 Ela Gok Y3, ‘Transferring Warmth: A New Language School for Lyon’. Exploring language as tool for integration and heat as a tool for social interaction, the school teaches and promotes the French Language whilst also providing a public hub for community gatherings. The public space around the building uses heat and communal fireplaces to attract people to congregate. When heated, embedded thermochromatic pigment within the building’s fabric causes the building to ‘glow’ in the hours of darkness.

Fig. 1.8 Liana Buttigieg Y3, ‘The Karate House; Altering Perceptions of the Art and the Self’. Exploring the connection between French and Japanese cultures, the building aims to return the practitioners of this art to traditional karate practice. Phase change materials embedded within walls and

windows provide the public with glimpses into the journey of the practitioner. Figs. 1.9 – 1.11 Zhongliang Huang Y2, ‘Fight Club’. Drawing on observations of an underground tension within French society, this proposal aims to create an underground space for the citizens of Lyon to alleviate stress through physical combat.

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Fig. 1.12 Nur Mohamad Adzlee Y3, ‘Rhône and Saône Learning Centre’. Located at the confluence of the two rivers, the Learning Centre acts as a river-specific climate change laboratory and educational facility. The building harvests and fabricates its own building material from the sediment of the two rivers; its architecture therefore reflects and exhibits the characteristics of two distinct rivers and their journeys. Fig. 1.13 Jolanta Piotrowska Y3, ‘Temple of Wood’.

A compagnonnage house, school and workshop allow the woodworking students of Lyon to explore and experience the hidden potential of timber.

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Fig. 1.14 Christopher Collyer Y2, ‘The Leaf Shredder’. Mass leaf collection in London parks is ironically costly in carbon and labour, despite its intention to benefit the city’s environment.

The leaf shredder device is a proposed localised solution to the absurdity of this mass leaf collection. Fig. 1.15 Baldeep Sohal Y2, ‘#notme’. Inspired by the #metoo movement, the device tests the acceptable limit of personal space encroachment in different situations. The device transforms from a skirt to personal space protector in response to perceived threatening behaviour from those around. Fig. 1.16 Liana Buttigieg Y3, ‘The Second Space’. Exploring the idea of providing assurance and transparency within the public realm, the interactive installation visually connects two distinct spaces. Upon the approach of an observer the responsive mirror rotates to

reveal the hidden spaces beyond. Figs. 1.17 – 1.18 Agnes Parker Y2, ‘A Series of Time Machines’. A series of specialised analogue clocks explore concepts of time, duration,repetition and rhythm through sound, the movement of light and the transformation of materials. The final version is a selfperpetuating cyclical candle, which chimes hourly to signify the passing of time. Figs. 1.19 – 1.20 Nur Mohamad Adzlee Y3, ‘The Wind Machine’ The Wind Machine visualises the abundance as well as the complexity of energy within the environment.

The device translates wind energy to motion, creating wind mappings, each distinct to a particular time and location.

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UG2

High Density Soomeen Hahm, Aleksandrina Rizova

Year 2 Sadika Begum, Yu Chow, Bryn Davies, Rusna Kohli, Hugo Loydell, Szymon Padlewski, Wei Tan, William Zeng Year 3 Jie Yi Kuek, Jiyoon Lee, Linggezi Man, Joanna Mclean, Patrycja Panek, Renzhi Zeng

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Special thanks to COBE Architects, BIG and Henning Larsen for welcoming us to their offices and giving us insight into their design approach and projects in Copenhagen and beyond Thank you to our Year 3 Technical Tutor, David Edwards and to Thomas Bagnoli and David Edwards for Digital Workshops Thank you to our critics: Yota Adilenidou, Thomas Bagnoli, Ping-Hsiang Chen, Mollie Claypool, Serena Croxson, David Edwards, Alicia Hidalgo, John McElgunn, Federico Nassetti, Jack Newton, Igor Pantic, Knot Saenawee, Jeroen Van Ameijde

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UG2 investigates ideas through digital simulations, analogue prototypes, material tests and digital fabrication. We are keen to go beyond the conventional and explore building prototypes that are innovative, adaptive and responsive to the programme, users and context. Students develop individual architectural projects utilising algorithmic design methodology, iterative process physical and digital models and installations. This year we explored the notion of high density on a material, architectural and urban scale.

Students began the year by designing a small-scale architectural proposal: a pavilion, inspired by making and construction techniques, material studies and environmental performance. The projects question how architecture relates to time by looking at states of transformation from temporary to permanent on a material and spatial scale. Students adopted hybridised analogue and digital design methods in order to achieve highly articulated spatial constructs. The pavilion project informed the architectural language of the main building project whilst bringing in new parameters such as programme, context and local materials.

In response to our theme of ‘high density’, we investigated multi-use and multi-programmatic architectural typologies. The building projects are situated in Copenhagen, known for years for its horizontal skyline broken only by the spires and towers of its churches and castles. Its mixed-use centre is recognised as an example of best practice in urban planning.

In recent years there has been a boom in urban development and modern architecture with large-scale, high-density projects being realised in the areas around the city centre. We looked at the juxtaposition between the medieval inner city of Copenhagen and the newer residential boroughs on the outskirts featuring new types of urban planning and high-density, mixed-use contemporary schemes by BIG amongst others.

Most of our sites are located in Nordhavn, a harbour area in Copenhagen which is the largest metropolitan development masterplan in Scandinavia. The projects raise a series of questions. How can we design for the future of co-working, co-living and cohabiting whilst improving the sense of community and relationship to nature? Can we create density without compromising space or quality? Can density improve the way we inhabit our cities? The final building projects are contextually sensitive while being contemporary and innovative in their architectural agenda.

They are diverse in their scale and include a mixed-use bee hub, an innovative co-working centre and a boat repair house to name a few.

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Fig. 2.1 Jiyoon Lee Y3, ‘Community Bee Farm’. Located in the centre of Copenhagen, the project proposes a new typology for urban living, integrated with an active vertical bee farm.

A carefully choreographed dense system of porous filters allows for the cohabitation of bees and people. The beehive becomes the central piece in the proposal serving as an urban beacon in the area. Figs. 2.2 – 2.3 Wei Tan Y2, ‘Modular Aggregation’. By adopting modular aggregation techniques the project introduces a range of possible symbiotic inhabitations.

Studies in material weathering and modular connectivity inform a flexible pavilion that responds to the user and weather. Fig. 2.4 Szymon Padlewski Y2, ‘Cancellous Pavilion’.

The project investigates the spatial qualities of cancellous bone using digital simulations and material prototypes. The

final pavilion features porous concrete shells that appear to grow naturally from the landscape. Fig. 2.5 Renzhi Zeng Y3, ‘Inhabited Bridge’. The project proposes a structure that connects two important facilities on site: the Orientkaj metro station and Copenhagen International School. The building is designed as an inhabited bridge which functions as both infrastructure and social space for the local students. The envelope of the building was explored though a range of digital and physical models focused on optimised mesh tessellation.

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woven structural system. A series of physical and digital prototypes using threads and points were made to achieve the optimal structural system. Multiple cycle and pedestrian paths weave through the building and connect to the existing infrastructure, allowing visitors to freely pass through and over the building at any time.

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Fig. 2.6 Joanna Mclean Y3, ‘Living Landscape Pavilion’.

Situated in the Serpentine Gallery grounds in Hyde Park, London the project explores the constant and ever-changing process of destruction and renewal, catalysed by the natural geological processes of erosion, weathering and deposition.

The landscape pavilion augments in response to rainfall and time. Fig. 2.7 Yu Chow Y2, ‘Nordhavn School’. The building presents ways of facilitating non-verbal communication between the students by utilising vertical atria and classrooms on different levels. Sleeping pockets and play areas are hidden within the façade and a central spine wall, all hidden under a large landscaped roof accessible to the public on the outside.

Fig. 2.8 Linggezi Man Y3, ‘The Elevated Theatre’. The building comprises an elevated auditorium within a dense lightweight

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Fig. 2.9 Jie Yi Y3, ‘Hydrotherapy Rehabilitation Centre’.

Located in the Nordhavn Harbour area, the building consists of an integrated system of public and private routes, pools and enclosed volumes, all woven together by a complex timber structural system. Variations of wood bending and layering are used to create primary structure, shading devices and transitions between slab and façade. Fig. 2.10 Bryn Davies Y2, ‘Public Market’. The project is inspired by initial studies of local Danish allotments. The building features elevated stepped allotment platforms which overlook a flexible market place on the ground underneath. Fig. 2.11 Jiyoon Lee Y3, ‘Folding Pavilion’. The pavilion explores the idea of folding and unfolding in response to time and solar movement. A series of physical devices trace and capture various lighting conditions

throughout the day. Figs. 2.12 – 2.13 Jiyoon Lee Y3, ‘Community Bee Farm’. The symbiotic relationship between bees and people is controlled by a series of meshed filters with a range of opening sizes. The building also incorporates modular vertical gardens which provide an improved acoustic environment but also food source for the bees.

The accommodation units feature private gardens and courtyards, allowing for views towards the central beehive and beyond.

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Fig. 2.14 Joanna Mclean Y3, ‘Charlie and The Green Juice Factory’. The proposal is an organic fruit and vegetable market place, providing fresh goods to the growing community of Nordhavn. Produce unsold in the market is transferred into juice production, whereby the traditionally linear production process is reconfigured vertically and exposed in order for the visiting public to wander, explore and experience the process of fresh juice production. A variety of green juices are produced, changing in accordance with the available produce. Figs. 2.15 – 2.16 Patrycja Panek Y3, ‘Water House’. The project aims to explore entropic architectural design in the context of the hydro-environmental education and wellbeing centre in Copenhagen. The design encompasses two distinctive spectrums of experience, inside and outside, via bioengineered

brick façades and natural light filtering. The light is diffused via wall perforations and cascading waterfalls. The user is encouraged to engage with and explore the methods of water purification by visiting various zones within the landscape.

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Figs. 2.17 – 2.18 Rusna Kohli Y2, ‘Elderly Community Villas’.

In response to Nordavn’s mission to be the most sustainable district of Copenhagen, the project interweaves public and private activities, through layered landscape and greenhouses organised by a water channelling system. The project is comprised of modular living quarters under a horizontal system of water pools and falls, establishing a new horizontal density typology. Fig. 2.19 William Zeng Y2, ‘Street Food Market’.

Inspired by traditional market arcades and canopies, the project incorporates covered streets and pavilions under an undulating colourful roof. Layers of perforated panels filter the light, creating an ever-changing spatial experience throughout the day. The roof structure is used to organise the spaces and circulation at ground level.

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Figs. 2.20 – 2.22 Hugo Loydell Y2, ‘Maritime Education and Training Centre’. Located in Redmolen, an island to the east of Nordhavn, the centre incorporates sailing teaching facilities and communal space. The site is known for its nautical past, originally having been rebuilt from industrial docks. A series of digital fragment studies inform the overall structural system, which consists of large glulam structural timber frames and concrete deck. The new water inlets are sculpted to better integrate the boats with the internal working of the building.

With the main harbour of Nordhavn located to the left of the building, the structure rises to open itself to the public. The main atrium provides access to the workshop, boat inlets, lecture theatre and classrooms. The timber structure transitions from the roof into the interiors to envelop

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circulation and internal volumes, allowing the public and sailing students to navigate the space fluidly while still experiencing the building’s aesthetics.

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UG3

In Rêverie Ifigeneia Liangi, Daniel Wilkinson

Year 2 Vladyslav Bondarenko, Elizabeth Day, Bijou Harding, Chit (Jessica) Liu, Muyun Qiu, Yue (Nicole) Ren, Faustyna Smolilo, Yu Yue, Mengxuan Zhao Year 3 Lola Haines, Florence Hemmings, Joe Johnson, Oscar Maguire, Lauren McNicoll, Katherine Ramchand, Olivia Trinder The Bartlett School of Architecture 2018

Special thanks to our technical tutor Jason Coe and our computer technology tutor Egmontas Geras Thank you to our critics: Bihter Almac, Kyveli Anastassiadi, Alessandro Ayuso, Amy Sullivan Bodiam, Mollie Claypool, Naomi Gibson, Stefana Gradinariu, Emma De Haan, Jonathan Hill, Helena Esther Howard, Vasilis Marcou Ilchuk, Phuong-Tram Nguyen, Louis Sullivan, Stefania Tsigkouni, Wolfe Von Lenkiewicz, Seamus Ward, Gabriel Warshafsky, Alice Whewell, Simon Withers, Xuhong Zheng We are grateful to our sponsors: GROUPWORK + Amin Taha

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‘Don’t try to be modern, it’s the most old-fashioned thing there is.’

Roberto Benigni, The Tiger and the Snow During the codification of architecture into a fixed discipline, the word modello could be used to refer to both a drawing and a model. An explicit distinction was not considered necessary. Our brief this year, ‘In Rêverie’, collapses our current distinctions between drawing and model through working with modelli by way of a hybridisation of these approaches.

In a story, there are a variety of times: writing time, reading time and story time. This year we explored these times in our architectural proposals through modello time, experiential time and plot time. Umberto Eco considers fiction to be a parasite that feeds off reality, which gives us pleasure because, unlike life, it always has meaning. This is why, he says, we try to read life as if it were a piece of fiction, constructing our own life as a novel. In proposing fictitious and narrational responses which permeate their host conditions, this year we explored trajectories of architecture which convey meaning.

‘We think we understand the rules when we become adults but what we really experience is a narrowing of the imagination.’

David Lynch We began the year considering ideas of figuration in relation to architectural design. Working with clays, waxes, fabrics and more, we developed sculptural suggestions which were used to create our own morphological designs. While the human body may be the obvious starting point, other non-anthropomorphic ideas such as a personified object or an animal that holds a concept or an emotion are also considered as being figurative. ‘Figure’ can also be understood through its Latin origin as something that gives form, as a peculiar use of words which build meaning different from usual, or as a cut or diagram inserted within a text.

Integral to our work were pictorial depictions of figures within space.

Throughout history, the painted surface has been considered as a veil between realities: we expanded upon the painterly qualities of these veils through spatially imaginative investigations.

Writers use a variety of tools to weave reality and fiction. These are not only literary but can also be architectural. One of the most striking of them is scale and as such we considered the role of proximity and enclosure in using relationships as a compositional principle. Through modelli, which took the form of built drawings, we created experiences that respond to our need for meaning and beauty.

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Fig. 3.1 Katherine Ramchand Y3, ‘Mother and Daughter’ from ‘The Performative Garden and The Ophelian Order’. Through a simultaneous investigation of Millais’s depiction of Hamlet’s Ophelia, and herself, the project defines an Ophelian architectural order, reliant on ideas of femininity, her own figure, self-love and sass. Fig. 3.2 Florence Hemmings Y3, ‘A Mould Of The City’. Using three processes of casting, the project proposes an architecture which acts as an archive of the entirety of Catania in preparation for its next catastrophic earthquake in 2400. Fig. 3.3 Vladyslav Bondarenko Y2, ‘A Tailored Sexual and Mental Health Clinic’. Working as a tailor-architect, this project is set in the ruins of Catania’s Red Light District. The ruin is dressed with fabrics, creating spatial garments where the scale of the body is considered at the

scale of the building. The building changes and decays over time with its fabrics being weathered, eventually disintegrating when the red light district stops functioning in the near future.

Fig. 3.4 Bijou Harding Y2, ‘Ruin, Arousal and Reawakening’.

A ceramics studio in Catania’s Red Light District explores ideas of the physical act of looking. The building consists of a kiln which is its heart and a bougainvillea flower wall whose epidermis blossoms by expressing the movements of the bodies within it. Fig. 3.5 Lauren McNicoll Y3, ‘The Figure and The Figurative’. Using her own flesh as a canvas for a self-portrait, Lauren engages with depictions of the human body in relation to its absence. The project developed into a gallery concerned with depicting the presence of absence in relation to lost Sicilian masterpieces.

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Fig. 3.6 Mengxuan Zhao Y2, ‘A Storyteller’s Library for Scarborough’. Sited in Scarborough’s neglected harbour, this project looks to a zoomorphic history of architecture to propose a civic library which documents Scarborough’s coastal folk history. Fig. 3.7 Yue (Nicole) Ren Y2, ‘A Floral Tempietto’.

Taking on Bramante’s example of a caged architectural animal, Nicole proposes a seed bank housed within a Catanian courtyard, occupied by its muscular gardening guardian, Emmett. Fig. 3.8 Faustyna Smolilo Y2, ‘Vegan Temple’.

Proposing a 12-step recovery programme for what is identified as a social addiction to the consumption of dead animals, the project riffs on the Garden of Eden as a metaphor for a social development towards a sensual and baroque veganism.

Fig. 3.9 Muyun Qiu Y2, ‘Muyun’s Mannerist Garden of

Metaphysical Delights’. Situated within a ruin in the harbour area of Palermo, this project is formed of devices which exist for the exercising of the intellect, and also the creation of pizza in a socialist manner. Relating to the mayor’s positive attitude towards refugees, the project looks to integrate both local and displaced children through the mechanised creation and socialised consumption of pizza, some of which may include pineapple.

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Fig. 3.10 Lola Haines Y3, ‘A Figurative Bloom’. Drawing parallels between the wilt and bloom of floral lifecycles and the gestures of the characters from the Commedia dell’Arte, this project proposes a puppet theatre, workshop and puppeteer’s residence for San Berillo in Catania. Through an architectural reading of its three main characters – Isabella, Arlecchino and Colombina – the project developed outwards from its starting point of a 1:1 light fitting.

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Fig. 3.11 Olivia Trinder Y3, ‘Lava In Brace’. Viewing Catania’s proximity to Mount Etna as both a blessing and a curse, the project proposes an orthodontist’s ‘erupted from Sicilian ground’. Acting as both an orthodontic practice and a prosthetic jewellers, the proposal was developed according to a dual reading of the term ‘enamel’ in relation to basalt.

Fig. 3.12 Elizabeth Day Y2, ‘A Primary School for Catania’.

This school acts as a teacher for children between the age of 5 and 11, weaving environmental narratives related to the city of Catania, such as the protection of its palm trees from weevils. Through figuration, the school engages both body and mind in the act of learning. Fig. 3.13 Chit (Jessica) Liu Y2, ‘You Are Never More Than 7ft Away From a Dog Poo’. Reacting to Catania’s recent difficulties with its stray dog population,

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this project proposes using dog poo to fuel an integrated canine and human teahouse which questions the hierarchy between ‘man’ and his best friend. Fig. 3.14 Oscar Maguire Y3, ‘A Small Claims Court for Catania’. Developed through its three driving parameters – stones, gridshells and justice – this project proposes a small claims court for Catania in relation to the grassroots anti-mafia Addiopizzo movement. Starting with the standard peanut shell we all know and love, the proposal is interrogated through 1:1 structural tests and manipulations of existing gridshell typologies. Fig. 3.15 Joe Johnson Y3, ‘Embodied Learning: A Low Carbon Library’. Relating to ideas of pentimenti, this library reveals its own compositional histories, abandoned trajectories and previous iterations so that users can understand how the building itself has been created.

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UG4

Subtropeia Ana Monrabal-Cook, Luke Pearson

Year 2 Patricia Maria Castelo, Chan (Jason) Chan, Emily Mak, Nandinzul Munkhbayar, Joshua Richardson, Thomas Richardson, Constance Stafford, George Stewart, Zifeng (Simon) Ye

The Bartlett School of Architecture 2018

Year 3 Assankhan Amirov, Gabriele Grassi, Zachariah Harper Le Petevin dit le Roux, Thomas Leggatt, Chandni Patel, Yuk (Gordon) Yip Many thanks to our technical tutors Gavin Hutchison and Will Jefferies for their dedication and insight.

Thanks to all our critics for their invaluable feedback throughout the year: Laura Allen, Jeroen van Ameijde, Julia Backhaus, Shumi Bose, Eva Branscome, Matthew Butcher, Ian Chalk, Mollie Claypool, Ryan Dillon, Tom Dyckhoff, Penelope Haralambidou, Oliver Houchell, Phuong-Trâm Nguyen, Pedro Pitarch, David Roberts, Nina Vollenbroker, Owain Williams

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UG4 explores architectures that embody a character, challenge a stereotype and engage with the public through all the varying media that the contemporary designer has available to them. Our unit is intrigued by contemporary pop culture mediated by new technologies, and how this may be introduced into architectural design methods. We pursue speculative work that combines new technologies with the traditional tools of architecture, exploring digital worlds through physical artefacts and vice versa.

Our research this year revolved around architectural ‘tropes’: implied conventions or storytelling devices that act as a shortcut to describe a situation or convey an idea. The trope can mean something pleasantly familiar, but can also become a banal cliché. We are interested in places that have built themselves around a fabricated image fuelled by different types of media, subsequently creating their own particular architectural language.

Having explored the fabricated images of Las Vegas last year, this year we visited Florida, a whole state given over to the trope. Inspired by our road trip across the state, we used new technologies in our design projects to reframe Florida through original eyes. Our research responded to a state where rocket science meets the theme park and retirement communities meet cities framed through the neon seduction of police shows. Here, in the 1980s, popular media reinvented Miami as a seductive and dangerous landscape, creating the legend of a place that the locals would not have recognised.

Today, our students have responded with architectures that critique tropes using new technologies, while embracing them as a delivery mechanism for architecture. We imagined how Virtual Reality could extend the mobility and memories of ageing communities by making virtual and physical spatial hybrids. We prototyped new forms of suburban high street and even municipal courthouses that functioned as film sets, the architecture becoming an active protagonist in the drama of the courtroom.

Our research discussed how self-driving cars and their robotic eyes might allow companies such as Google to subvert the stringent style guides of Celebration first laid out by Disney. Explorations into ersatz materials drove the development of a new hotel chain for Donald Trump, where every facet of his ego is encoded into a steroidal golden palace.

We planned hotels that fused overt Americana with the logics of Islamic nomadic architecture and a series of motels that each held a cinematic trope within. Our architecture looked out to the stars, seeking to recreate the conditions of space flight, and repurposed Space Mountain to tell the history of NASA. We made Virtual Reality experiences, video games, films, models, graphic novels and experimental drawings. We designed architecture that operated through twists of fact, fiction and entertainment. These are our Subtropeias.

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Fig. 4.1 Gabriele Grassi Y3, ‘Li(e)DAR Laboratory for Celebration.’ Disney’s American suburbia Celebration is the site for a new headquarters for Waymo, Alphabet’s self-driving car subsidiary company. Subverting Celebration’s copyright laws, the architecture of the proposed laboratory rewrites the rules of the town’s existing design guidelines by constructing for the eyes of the autonomous vehicle and the laser scanner. The new street scene is a replica of Celebration seen through the eyes of the car. Inspired by Ed Ruscha’s ‘Every Building on the Sunset Strip’, stealth materials such as mirrors, slit-scan errors and iridescent materials are employed to create a new suburban streetscape operating between Disney’s parochial rules of design and the rules of real-time scanning. Fig. 4.2 Gabriele Grassi Y3, ‘97% Palm Tree’. This project investigates the

impact of machine vision on architecture. By using machine learning systems the project trains an AI to detect Miami’s palm trees. However, what the machine learns can be subverted by the designer, posing questions about how our built environment will be read in the future. Here a painted mop stands in for a palm tree, and does a 97% acceptable job. Fig. 4.3 Zifeng (Simon) Ye Y2, ‘Orangeland.’ The project addresses a once-upon-a-time lucrative industry and attempts to boost tourist interest by designing a theme park as an ode to the orange. Set within a 10x10m gridded landscape defined by the requirements of the orange tree growth, a series of five factory follies embody the process of selecting, squeezing, pulping and juicing the orange. Fig. 4.4 Emily Mak Y2, ‘1 Celebration Avenue – The Celebrationite’s Theatre.’ Set in

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commentary on the grotesque and ostentatious Trump empire.

Ersatz materials convey opulence but in fact conceal and disguise viewing platforms for the staff to observe and ridicule guests. Ornamentation tells the story of Trump’s controversial past; fixtures and fittings play out a political parody and a commentary on Trump’s polemic reign.

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the context of the suburban town of Celebration, this proposal for an immersive theatre entices local residents to live out a precarious version of their mundane daily routine. The building sits at an angle on the site defying the rules of the Celebration Pattern Book. Each elevation addresses a neighbouring building, reworking each architectural element to create a distorted mimicry of the typical house. The theatrical performance is carried out as a journey through a twisted domestic context. Fig. 4.5 Chandni Patel Y3, ‘The Chiteau’.

President Donald Trump is a key investor in Key Biscayne – one of Miami’s wealthiest islands – and has previously bid to attain Crandon Park as a site for a new hotel complex. ‘The Chiteau’ proposes a five-star hotel as Trump’s ultimate franchise, subverting the perceived and real value of materials as a

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Fig. 4.6 Zachariah Harper Le Petevin dit le Roux Y3, ‘Miam-o-bility.’ The project is a retirement home based on the principle of the ‘exer-game’, using Virtual Reality (VR) to encourage the retired snowbirds of Miami to exercise their way to happiness. The design incorporates the VR technologies alongside the practicalities of designing for the elderly. This creates a virtual landscape which encodes the attractions of Miami Beach without leaving the comforts of the retirement home. Techniques such as re-directional walking, change blindness and visuo-haptics reduce the physical space required to recreate the experience. The proposal provides the ultimate exercise route by sampling existing buildings from the nearby strip and memories of the elderly inhabitants in a controlled environment. Fig. 4.7 Assankhan Amirov Y3,

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‘Space Oddity.’ Florida has built an attraction out of the popular fascination with space travel, although NASA’s facilities are sited in the state for scientific and political reasons.

Referencing filmic tropes of space flight, the Space Oddity is nestled next to a golf course in Key Biscayne, simulating a space adventure through its architectural form. In the manner of Disney’s utilidors, giant enclosing walls conceal routes through the building, accessing each key stage of the implied journey without spoiling the continuous illusion. The project condenses the physical conditions of space flight by using optical trickery, rotating sets, curved chambers and controlled light projections to provide a cinematic experience for visitors without undergoing the rigorous training of astronauts.

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Fig. 4.8 Patricia Maria Castelo Y2, ‘Florida 2.0.’ The project compares Florida as seen through the eyes of visitors and permanent residents. This becomes a four-way split-screen video game, combining views from snowbirds, spring breakers, Floridians and Orlando-visiting families. Together these views challenge the image of Florida we think we know. Figs. 4.9 – 4.10 Joshua Richardson Y2, ‘The Chaotic Customs House.’

Fisher Island, just south of Miami Beach, is the wealthiest neighbourhood in the US. Residents describe it as its own country and in response this project is proposed a as customs house for those trying to emigrate to the island. While the building appears to offer escape, it actually sifts and judges people, offering them a close-up view of an unobtainable life.

If rejected you will spend a day luxuriating in the building, only

knowing your folly once you are on the ferry looking back.

Fig. 4.11 Thomas Leggatt Y3, ‘Undermining the Weight of the Law’. A courthouse doubles as a film set in response to Florida’s strict laws on location scouting and cinematic filming. In contrast to the image of stability and justice, this alternative courthouse uses architecture to manipulate and potentially impact the outcome of trials. and poses the question: ‘Can Architecture undermine the weight of the law?’. The building incorporates crime scene reenactment into the typology of the courthouse, creating an architecture of drama. The building uses water from Biscayne Bay to physically move and atmospherically change the environment within the building to manipulate the wellbeing of the jury, defence and prosecution culminating in a physical outpouring from the building itself.

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Fig. 4.12 George Stewart Y2, ‘The Ali Baba Inn’. The project is sited in Opa Locka, a neighbourhood of Miami designed in Moorish-revival style in the 1920s by a developer obsessed with The Thief of Bagdad. The building is an American-style motel utlising architectural tropes from Islamic architecture including the caravanserai and Bedouin tent. Through this the project plays with current tensions between US politics and Islamic culture while being highly site-specific for an historically protected ‘designated theme zone’. Fig. 4.13 Chan (Jason) Chan Y2, ‘Miami Beach Anti-Intoxication Hut’.

Located in South Beach, Miami this police HQ addresses drunk and disorderly behaviour perpetuated on Miami Beach. Inspired by the architecture of the Japanese police kobans and Miami’s lifeguard huts, the building functions as a game, where

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inhabitants can prove their sobriety by overcoming mental and physical challenges. Fig. 4.14 Yuk (Gordon) Yip Y3, ‘Sanostosa: A Jelly State of Mind.’ A retirement home for those with digital dementia presents a vision for a population in 2050, nostalgic for today’s world. Based on the idea that the development of our brains is being altered by our use of smartphones and laptops, the building addresses a different approach to caring for the elderly by creating sensory architecture made predominantly of gelatine. Jelly building blocks are used to create chromatic aberrations or optical distortions that mimic our interaction with screens. Altered states of gelatine enlarge the surface of the building, diffusing scents that can identify stages of dementia. The tactile qualities of the material create safe and playful social environments.

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UG5

Dreamland Alps Julia Backhaus, Pedro Pitarch

Year 2 Vitika Agarwal, Danheng Bai, Migena Hadziu, Kit Lee-Smith, Harriet Orr, Maria Petalidou, Thomas Roylance, James Van Caloen Year 3 James Carden, Yung Chan, James Cook, Yee (Enoch) Liang, Samuel Martin, Zhi Tam, Chloe Woodhead

The Bartlett School of Architecture 2018

Many thanks to Mike Davies, Anja Kempe and Jack Newton, for their superb technical support and a special thanks to Martin Tang for his generous computer workshops. Thank you to Damien Eley and Daniel Wright for attending some of our technical seminars.

Thank you to our critics: Abigail Ashton, Mike Davies, Pedro Font, Stephen Gage, Penelope Haralambidou, Bruce Irwin, Carlos Jiménez Cenamor, CJ Lim, Thandi Loewenson, Anja Kempe, Jack Newton, David Roberts, Sabine Storp, Martin Tang

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Only three centuries ago, the act of climbing Alpine peaks would have been considered an act of lunacy. Until the late 18th century the Alps were a source of fear to travellers and a mystery to scientists – an uncharted wilderness at the heart of the world’s most crowded continent. Yet, within a remarkably short space of time, they became one of the earliest tourist destinations, with the crossing of the Alps seen as a sublime experience for the European elite. Soon, the Alpine peaks became the source of wonder and inspiration and attracted mountaineers, pioneers, writers, engineers, architects and scientists alike. All of them came for adventure and epic panoramas, for fresh air and milk, escaping tuberculosis and smog in the cities. The Alps, and Switzerland in particular, became a destination for health enthusiasts, luxury retreats, desire and an elevated rush of adrenaline.

As the initial respect and admiration for the epic grandeur of the Alpine panorama have gradually made way for the unrestrained exploitation of Alpine mass-tourism, scientists warn that global warming is accelerating glacial melt. What architectures can we propose for these scarred landscapes? In a land where tradition is as important as innovation, can we find a new Alpine typology? How can new ways of collaborating between habitat, tourism, production and innovation preserve or create new and unexpected environments?

This year, our unit explored the future of the Swiss Alpine landscape and its complex relationship with technology, nature, tourism and its cultural identity. Whilst term 1 was research-based, with a speculative and experimental investigation into Alpine ground conditions, the main projects aimed to synthesise some of the complex relationships between the natural and the man-made, landscape and the built form, preservation and progress, innovation and tradition on a real site. Our interrogations ranged from weather control and artificial snow cannons to cow power, from health retreats to disguised Swiss military infrastructure, from high-altitude research stations to the reflective space of an Alpine echo.

In January we travelled the Alpine Arc by bus, foot and cable car, starting our journey in Switzerland, the country that produced Le Corbusier and precision measurement. On our journey we visited remote villages, ski resorts and architecture by Zumthor, OMA, Oligati, Scarpa and SANAA as well as the model archive of Herzog de Meuron. We also spent time at one of the most complex experimental facilities ever built, the Large Hadron Collider at CERN. From here we crisscrossed the Alpine scenery by train and bus to Milan, relieved to find a more affordable final group meal in warmer climates.

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Fig. 5.1 James Carden Y3, ‘World Culture Collection’. Taking the economic (pharmaceuticals) and political status (neutrality) of Switzerland and creating a world bio back-up. Based in a remote location in the vicinity of the Aletsch Glacier, drawing upon the naturally cold climate as a way of cooling the spaces.

The architecture focuses on building methods that allow for an unpredictable future, reacting to potential fluctuations both in environment and demand. Figs. 5.2 & 5.4 James Van Caloen Y2, ‘The Unplugged Collective’. Exploring the Swiss traditions of medical tourism and high-tech innovation, this project is a reinterpretation of the Alpine sanatorium. A collection of floating pods form technology retreats on an isolated, high-altitude lake. Fig. 5.3 Kit Lee-Smith Y2. This alpine conservation retreat houses the final stand against the rising

treeline and shrinking upper montane. The building expands annually with the summer influx of volunteers and over the century decomposes as hope of preserving the slopes declines becoming the final grove of native species.

Fig. 5.5 Vitika Agarwal Y2. This scheme sits on an avalancheprone site, where labs trigger seasonal avalanches, thereby making it a spectacle for visitors. The water collected is celebrated throughout the building, where visitors have the opportunity to bathe and bottle the water from pools.

Fig. 5.6 Yee (Enoch) Liang Y3. An alternative conference centre for the publicly open and inclusive discussion of the Alps’ wellbeing. Using inflatable structures, the ephemeral centre inflates to celebrate the importance of Swiss transhumance and direct democracy.

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Fig. 5.7 Migena Hadziu Y2, ‘Sublime Re-written’. A writing retreat that focuses on opening up an opportunity for people to seek refuge amongst the sublime of Lac de Moiry and be at liberty to write with no restrictions. Manipulating and distorting the views captured by the reflective and mobile façade of the writing pods allows the landscape to be recorded in a variety of different ways. Fig. 5.8 James Carden Y3, ‘World Culture Collection’. Taking the economic (pharmaceuticals) and political status (neutrality) of Switzerland and creating a world bio back-up. Fig. 5.9 Harriet Orr Y2, ‘The Alpine Lightning Spectacle’. A new Landform architecture based on a dystopian narrative where global warming has resulted in powerful storms replacing snow in the Swiss Alps, encompassing a sustainable future through lightening harvesting and spectacle

tourism. Fig. 5.10 Samuel Martin Y3. Situated above a melting Alpine glacier and adapting popular Alpine technology, a tensile structure is suspended above the Rhône glacier into which research capsules are plugged on a seasonal basis. The project further proposes a system through which the act of glacial research can become the basis for a new mode of Alpine tourism. Fig. 5.11 Yung Chan Y3. This project exposes the underlayer of Brutalism existing beneath the alpine façade.

Powered by Swiss stereotypes of precision and by borrowing from themes of religion, the architecture forms a labyrinth with pockets of intensity which set up a pilgrimage in hope of finding the Swiss nationals’ Helvetic identity.

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of sacrificial ice, keeping it cool. This maintains small portion of the Swiss-Italian border and local Swiss tourism.

Fig.5.14 Maria Petalidou Y2. A swimming and training centre composed of a series of interior and exterior pools filled by the water obtained from the melting Rhône Glacier. These ice structures symbolise and revive the experience of the Glacier that is constantly retreating. Fig. 5.15 Chloe Woodhead Y3.

An open-air performance space which marries the idyllic natural landscape of the Swiss Alps with the dynamic and fluid nature of Lake Brienz. The performance continues onto the lake, where the Stage Boats follow a system of choreographed underwater pulleys to centre the picturesque backdrop to the Auditorium Pontoons.

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Fig.5.12 Tom Roylance Y2. The decline in traditional Swiss meat farming is inevitable, but emerging biotechnology has the potential to shape a new relationship between species.

This project explores engaging customers with a harmless meat production market. Fig. 5.13 Zoe Tam Y3, ‘Glacier Rescue’. The building is a spa and ice resort located on the Swiss-Italian border next to the Theodul Glacier in the Alps. As a result of global warming and shrinking glaciers, a considerable shift in the watershed line has resulted in shifting borders and Switzerland gaining territory. The building collects and changes water in its various state of snow and ice in the winter and rainwater in the summer to maintain the Theodul Glacier. The radiant ice fridges produce ice bricks within the resort which are laid on the glacier, forming a layer

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Fig. 5.16 Kit Lee-Smith Y2. This alpine conservation retreat houses the final stand against the rising tree line and shrinking upper montane. Working on two timeframes, the building expands annually with the summer influx of volunteers and over the century decomposes as hope of preserving the slopes declines, becoming the final grove of native species.

Fig. 5.17 Yee (Enoch) Liang Y3. An alternative conference centre for the publicly open and inclusive discussion of the Alps’ wellbeing. Using inflatable structures, the ephemeral centre inflates to celebrate the importance of Swiss transhumance and direct democracy. Fig. 5.18 James Cook Y3. Opus Two is a Winery and Swiss-themed Leisure Resort located inside a volcanic crater in the Mojave Desert, California. The volcanic site utilises its rich nutrients in vine

growth for wine production. The project is informed by the village of Corippo; a small, remote village in Switzerland where the CEO of Opus Wineries descends from. Swiss technologies are integrated in the design to tackle the extreme climate and provide optimal conditions for grape vine growth.

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UG6

Gravesbury: 4IR Charlotte Reynolds, Paolo Zaide

Year 2 Amy Kempa, Zakariya Miah, Indran Miranda Duraisingham, Marcus Mohan, Imogen Ruthven-Taggart, Annabelle Tan Kai Lin, Tini Hau Tang, Arina Viazenkina Year 3 Theo Clarke, Maxim Goldau, Yo Hosoyamada, Tsz (Victor) Leung, Lingyun (Lynn) Qian, Kenji Tang, Ching (Cherie) Wong The Bartlett School of Architecture 2018

UG6 would like to thank our guest critics: Will Armstrong, Peter Bishop, Barbara Campbell-Lange, Andy Friend, Christine Hawley, CJ Lim, Joe Paxton, David Roberts, Sabine Storp, Patrick Weber and friends of the unit George Courtauld, Jin Kuo, Kerry Lan, Enoch Liang, Yiki Liong, Jerome Ng, Max Shen, Sam Tan, Gordon Yip Thank you to Lynne Goulding and Matthew Carreau from Arup Foresight for the Emerging Futures workshop Thank you also to Emma Kitley, Robert Newcombe and Yip Wing Siu for running various media workshops, to our computing tutor Jack Holmes and our technical tutors Dimitris Argyros and Clyde Watson

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We are on the brink of 4IR – the fourth industrial revolution. Building on the momentum of last century’s digital revolution, 4IR is beginning to merge our cyber networks with our physical infrastructure at an accelerating rate, creating new hybridised environments. With every mile of optic fibre laid and each new artificially intelligent device embedded in the Internet of Things, the ways in which we interface with our physical environment are modified and the ways we interact with one and other are shaped. In this technological storm our culture and economy will be forged. How will these advances fundamentally alter and ultimately challenge our way of life?

Intrigued by this fragile tension between cultural tradition and technological progression, this year’s brief was an invitation to enter tomorrow’s brave new worlds.

This year’s programme was sited on the city’s edge, a suburban landscape that will be reinvented with 4IR. Gravesend, once a naval and shipbuilding town, is now a commuter zone that maintains only a small proportion of industrial activity. Across the water, Tilbury remains the principle port of London with a rich industrial history. East Tilbury’s 1932 Bata factory provided a unique model of a company town. Unique to the architecture of Bata Town was its utopian vision of community living that offered a farm to supply the eggs and milk for the guests at the Bata Hotel, tennis courts, football pitches and a swimming pool for the workers’ leisure, and a local cafe complete with an espresso bar and jukebox. Thriving sites of production and manufacturing in previous industrial revolutions, these forgotten factory townscapes are now promised a new lease of life, set to boom with new creative and cultural economies. The factory typology is now being optimised through automation, but how do we picture our homes and neighbourhoods will be? In a digitally oversaturated world, what kinds of spaces do we design in which we can live, learn or simply do nothing?

The connection between these towns was the focus for our main building project: to reimagine the impact of technology on the production, spaces and communities along the Thames Corridor. What will be important for these towns’ communities? How will the hybrid of technology and space support our lifestyles beyond the functional and pragmatic?

How will it help to reconnect to its historic past, the societies of today and the ecologies and architecture of tomorrow? With a focus on the community over technology, what types of programmes and forms of living will cater for the welfare, ambitions and dreams of these neighbourhoods?

4IR provides an opportunity to think about how we can connect and reconnect with these virtual and physical realities. Still untested, ‘Gravesbury’ presents a site for sensitive experimentation, wonder and a taste for the unknown.

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Fig.6.1 Theo Clarke Y3, ‘Philharmonic for Relics’. Cliffe Marshes, a landscape of decoys, becomes a wetland reserve hiding behind the guise of a controversial proposal for a new London airport. The project immerses itself within this political debate, creating a Potemkin airport to appease political demands, whilst simultaneously preserving the ecological diversity of the Thames Estuary. Fig. 6.2 Arina Viazenkina Y2, ‘Tollesbury Slowscape’. The sanctuary is embedded in the undulating marshlands of Tollesbury, exploiting the natural resources to create a unique environment for palliative care and physical wellbeing. Fig. 6.3 Victor Tsz Leung Y3, ‘Tilbury Future Climates Academy’. Powered by the neighbouring Tilbury Power Station, the school serves as an agricultural education facility for the local communities of Gravesbury whilst hosting

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a number of smaller satellite campuses within the cityscape of London. Water serves as the protagonist of the building as it works to heat, cool and irrigate the agricultural production of a controlled, projected future climate to reflect impending climatic extremes. Fig. 6.4 Yo Hosoyamada Y3, ‘Supermarket Collective’. In a society of overconsumption and production, ‘degrowth’ proposes a counter-thesis focusing on cooperation, self-sufficiency, and ‘bottom-up' approaches. The project is a model for a cooperative community which sets itself on top of a supermarket. Parasitically attaching itself to the existing facility, the scheme imagines a landscaped intervention of symbiotic exchange systems between the existing and the new.

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Fig. 6.5 Amy Kempa Y2, ‘Resorting to Malt’. Following the degeneration of Gravesend into a commuter town, the project aims to revitalise the area through the reintroduction of lost traditions and community. Malt production drives the building, recycling and reusing waste industrial water to provide a more public aspect of bathing to the otherwise private, industrial processes. Fig. 6.6 Imogen Ruthven-Taggart Y2, ‘Gravesend Pier: A Crafted Intervention’. The project introduces an open creative hub into the shoreline of Gravesend. The language of the interventions aims to bridge the gap between the surrounding industrial landscape and the developing residential town, introducing a place for the community to work, explore and interact. Fig. 6.7 Ching (Cherie) Wong Y3, ‘Gravesend Maritime Academy’. The academy is a critical commentary

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on today’s cruise ship industry. The school provides training to local youths whilst exposing the wider community to the unique working environments of the cruise ship by repurposing dismantled parts of the iconic QE2. These typically less visible conditions of the cruise ship industry are highlighted to the public through a series of reconstructed theatrical sets.

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the centre is a playful riverside workroom focusing on experiential learning. The proposal examines the current trends in early childhood education and suggests an alternative way of learning through play, the environment and tinkering. Fig. 6.12 Lingyun (Lynn) Qian Y3, ‘Ama-zone’.

Ama-zone depicts a dystopian future in which Amazon builds a giant fort of relocated facilities around its largest UK fulfilment centre in Tilbury. As part of its imagined Tax Avoidance Scheme and Apprenticeship Programme, Amazon offers the residents of Tilbury free training at the Amazon Training Centre and leisure activities in the Amazon Sports Hall to offset its tax bills. The crane-like infrastructure continues to grow over the years and disguises the enormity of the logistical space behind.

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Figs. 6.8 & 6.10 Annabelle Tan Kai Lin Y2, ‘Condensed City’.

Responding to different industry-centric social models, the proposal explores a new live/work typology to revitalise post-industrial Gravesbury. The scheme harnesses special moments in the landscape to construct a narrative attracting youths, entrepreneurs and digital nomads to create alternative communities along the Thames estuary. Fig. 6.9 Tini Hau Tang Y2, ‘Kitchen Follies’. The project explores the interstice between public and private through a series of suspended kitchens designed to act as common public platforms. A series of digital curtains form a softer interface between the virtual and the real to encourage community interaction. Fig. 6.11 Marcus Mohan Y2, ‘The Maritime Childcare Centre’. Carved out of the existing industrial landscape along the River Thames,

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Fig. 6.13 Kenji Tang Y3, ‘Butcher by the Bay’. A lab-grown meat production plant and dining experience are embedded within Gravesend’s riverside leisure area and parkland, where the public can actively learn about the scientific processes behind the clean, environmentally responsible food produced onsite.

In response to the growing concerns around meat consumption, the project combines two emerging bio-technologies – in-vitro meat and mycelium cell cultivation – to bring a feasible and appetising substitute to dinner tables. Visitors travel along a ‘blood vessel dining route’ within the building whilst enjoying a four-course gastro experience within suspended ‘dining cells’.

Fig. 6.14 Maxim Goldau Y3, ‘Homo Faber’. A growing community of craftsmen revive a barren plot between Tilbury and East Tilbury that has been violated for decades, used for landfill:

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this land becomes a ground for industrial tree farming, revitalising local skills and manufacturing in timber production.

The new forestry community explores the qualities of inhabiting the woodland, living symbiotically with its cyclical growth in the form of community-built slender modular tower structures, linked by elevated roads, constructed from harvested wood. The tree becomes a keystone of the architecture which forms the village’s constructed and natural fabric.

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UG7

Wasn’t the Future Wonderful?

Pascal Bronner, Thomas Hillier

Year 2 Charlotte Evans, Yu-Wen (Yvonne) Huang, Megan King, Ting (Sharon) Lee, Chinwe (Siobhan) Obi, Benjamin Webster, Vanessa Yau Year 3 Teresa Carmelita, Yoojin Chung, Caitlin Davies, Sarah Jones, Kyuri Kim, Annette Choi de Leon, James Robinson

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We would like to thank our technical tutor, David Storring and computing tutor, Sean Allen. Special thanks goes to our critics throughout the year: Edwina Attlee, Iain Borden, Bill Hodgson, Megha Chand Inglis, CJ Lim, Shaun Murray, Manolis Stavrakakis, Andrew Whiting, Stamatis Zografos

As we travel deeper into the digital age, are we losing the ability to look at the future in a fantastical way? Past visions of the future were teeming with distinct qualities and weird and wonderful worlds. From Jules Verne’s novels to Jean-Marc Côté’s illustrations, they had an eccentricity that was endearing to the eye and delightful to the mind. Now we look back at them with nostalgia. In 200 years will people look back at our visions in the same enchanted way?

The internet has concentrated our perception of what’s new and given us countless ways to revisit what’s old. Perhaps we already know too much about the future because we have seen so much of the past? We certainly live in a futuristic and ever-changing time, with driverless cars, Amazon Go and self-lacing trainers all on the verge of becoming commonplace, but arguably the biggest change is the visual disappearance of technology.

We can no longer see it: it blends seamlessly into the world that surrounds us.

To explore this, the unit travelled to Bangkok, a city both old and new that has in places moved slowly in terms of technological integration, but is arguably none the worse for it. From age-old markets to historic Grand Palaces and Buddhist temples, to food recipes passed down through the generations, this city became the perfect testbed for the students’ brave new world.

RetroPast If we want to create a better tomorrow then perhaps we should start by searching for a better today. Students were asked to ‘peel away’ the layers of yesterday and critically and creatively examine the past or ‘a’ past of Bangkok. They analysed an area, building, artefact or tradition of Bangkok through the ages to understand how it has changed, why it has changed and its socio-political consequences for the city. They speculated on what could have been done differently and how, leading to a parallel masterplan of their chosen subject. This speculative reality was used to explore and question how the students would construct their work, and with what tools: analogue, digital, both or neither?

RetroFuture These speculative realities were then used alongside students’ field trip investigations to develop a programme and site for the main building project. Inspired by Retrofuturism and Science Fiction, we wanted their buildings to be propelled into a new realm that feeds on the technological advances of the future and to be extrapolated to the imaginable extremes.

The work produced aims to embody the unit’s agenda of craft, speculation, experimentation, wonder and delight, alongside being filled with an overriding sense of joy and optimism for this new future.

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Figs. 7.1 – 7.2 Kyuri Kim Y3, ‘The Baan Krua Weavers’. Sited within and above the now lost weaving community of Baan Krua, a new hub aims to bring back the lost art of silk weaving that once thrived here. Silkworm production takes place within the adapted existing dwellings on the site which, once converted to yarn, is processed on a new weaving landscape that sits on the rooftops above. This yarn is then woven to create a delicate and patterned skin that over time grows to create a new roof structure enveloping the entire site. Fig. 7.3 Megan King Y2, ‘The Mobilisation of Khlong Toey’.

Located along Bangkok’s elevated ‘Skytrain’ system sits this new infrastructure that aims to highlight and explore the connections and contrasts between the slums of Bangkok and their more affluent counterparts set only three stops away.

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A series of spatial devices are grown and hung from the elevated structures to create a new set of living conditions allowing for upward mobility for those condemned to live in poverty.

Fig. 7.4 Charlotte Evans Y2, ‘A Veiled Women’. Building into the ruins of the Grand Palace in Bangkok, historically a site of female enslavement, the project aims to reverse history and rehouse and rehabilitate the modern day sex workers of Bangkok. Fig. 7.5 Charlotte Evans Y2, ‘Sirikit’s Legacy’.

Bulging concrete-fabric forms and new spatial organisations drape and disguise Nana Plaza as a weaving house in the heart of Bangkok’s Red Light District. The project reimagines what today’s sex industry could look like if Queen Sirikit’s proposal to teach the sex workers of Bangkok arts and handicrafts was realised.

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Fig. 7.6 Teresa Carmelita Y3, ‘Community Kiln Cathedral’.

Sited and built around a redundant kiln on Pottery Island, this new resource aims to revitalise the lost tradition of Thai earthenware. The building will be the central hub for the island’s potters, where the process of making, glazing and firing pots will become a celebrated event that plays out across this terracotta landscape. Fig. 7.7 Yoojin Chung Y3, ‘Mound Meru’.

Inspired by Mount Meru, the sacred five-peaked mountain of Buddhist cosmology, this hidden Buddhist retreat situated in a firefly forest acts as a meditation space for spiritual practice and enlightenment. Fig. 7.8 Yu-Wen (Yvonne) Huang Y2, ‘Archaeological Institute of Thai Film’. During the 1980s, Western film dominated the market in Thailand leading to the near abandonment of both Thai film and traditional Thai

cinemas. This new institute acts as a binding agent to metaphorically and physically hold up Thailand’s oldest cinema, and support the Thai film industry. Fig. 7.9 Ting (Sharon) Lee Y2, ‘Coconut Sugar Farm’. Set within the abundant coconut forests of Bangkok sits a refinery for coconut sugar. The coconut palm weaves its way through the architecture creating new and organic spaces that aid in the production of this, the sweetest of substances. Fig. 7.10 Caitlin Davies Y3, ‘A Monk’s First Journey’. Located deep in the heart of a mysterious bamboo forest on the fringes of Bangkok lie a series of structures draped in saffron. Constructed from manipulated bamboo, these eight architectural insertions are designed to aid a newly ordered monk’s transition to the strict lifestyle where they spend their life with only eight belongings.

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Fig. 7.11 Annette Choi de Leon Y3, ‘The Dog Sanctuary of Lumphini’. Dog lovers John and Jill from Dorset have retired to the District of Lumphini in Bangkok. Together with the Soi Dog Foundation, they are creating a new sanctuary that aims to provide a safe haven for the hundreds of stray dogs that roam the streets of Bangkok, aiming to improve the welfare of both dogs and the local community through careful rehabilitation.

The building embeds a choreography of specific smells into the fabric and materiality of the building and surrounding manicured landscape, producing an architecture that stimulates the dogs’ recovery from life on the streets.

Figs. 7.12 – 7.13 Benjamin Webster Y2, ‘The Hat-Makers of Bang Pahan’. A community of hat-makers have migrated from the northern districts of Thailand into the heart of the capital,

Bangkok. With a desire to preserve their craft, which has been passed down through the generations, they use their skills to design and build a hat-makers atelier in which they can weave the traditional Thai farmer’s hats and display their craft in the bespoke showroom. Taking inspiration from the intricate woven palm leaf and bamboo hats, the translucent skin of the building filters the light, creating an animated space of dappled sunlight that mimics the rippling riverscape surrounding the workshop, which the building floats upon.

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Figs. 7.14 – 7.17 James Robinson Y3, ‘The House of Thai Heritage’. Situated along the wall of the historic Fort Mahakan under the watchful eye of the famous Golden Mountain Temple sits the new House of Thai Heritage. For the past 25 years the local residents and craftspeople of Fort Mahakan have been embroiled in a lengthy uphill legal battle with the government who have successfully evicted all but ten of the remaining residents of this once thriving creative community. The proposal posits a positive relationship between these conflicting parties, allowing for cohabitation of the land, ensuring the local community can continue living and working on the site whilst the government gets the tourist park it so greatly desires. For this to occur the residents must agree that this new architecture follows a set of stringent visual rules

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that have been applied to many of the historic buildings across the city of Bangkok. To do this, this subversive piece of architecture plays a variety of optical games, creating spatial illusions, such as veiling and employing two and three-dimensional camouflage techniques, that allow the inhabitants to work, uninhibited across the day, in a secret craftsmen’s guild whilst externally appeasing the government.

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UG8

Everything Loose will Land: Journeys through the Stack Thomas Pearce, Greg Storrar

Year 2 Mohammad Aldoori, Jahba Anan, Vasily Babichev, Hiu (Victor) Chow, Amanda Dolga, Maria Jones Delgado, Yingying (Iris) Lou, Diana Marin, James McLaughlin, Carlota Nunez-Barranco Vallejo

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Year 3 Grant Beaumont, Theo Brader-Tan, George Brazier, Sebastian Fathi, Negar Taatizadeh, Hon (Arthur) Wong, Daniel Johnston Special thanks to our technical tutor Ralph Parker and to our long-time accomplice Simon Withers.

Thank you also to our critics, skills tutors and speakers: Charles Arsène-Henry, Alastair Browning, Tom Budd, Mark Campbell, Barbara Campbell-Lange, Kate Davies, Anna Drakes, Penelope Haralambidou, Freddy Hong, Steven Johnson, Joe Johnson, Korbinian Kainz, Mara Kanthak, Fergus Knox, Vsevolod Kondratiev-Popov, Aleksandra Kugacka, Ellie Manou, Ralph Parker, Thomas Parker, Arthur Prior, Caroline Rabourdin, Peter Scully, Bob Sheil, Jerry Tate, Mike Tonkin, Emmanuel Vercruysse Thank you as well to our sponsors ScanLAB Projects and Tata Steel Building Systems

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In UG8, we welcome the brave and the curious. We value the type of individuality and character that thrives from a will to find out, rather than the need to prove. We like to give time and space for the development of an approach to design research that is personal and grounded.

We value work that is inventive, risk-taking and as precise as it is intuitive.

In 2018 we travelled to Los Angeles, where we learnt how to navigate what we call ‘the Stack’. The Stack is both the city’s infamous four-level tangled freeway, and a conceptual scaffold for this year’s research. It is a contemporary condition in which notions of the singular, real or original – whether within creative production, scientific knowledge or images of the self – have become secondary, irrelevant or often indeed non-existent. The Stack is a hybrid pool of entangled doppelgängers, cross-contaminating simulations, and bastardising representations.

‘Tip the world over on its side and everything loose will land in Los Angeles’, Frank Lloyd Wright notoriously joked. Delving deep into LA, we set out to debunk the myth of a city lacking density and complexity, harbouring a flat and superficial urban sprawl. We uncovered endless spaces of stacking, difference and multiplicity, exploring the coexistences and complexities that endure within a city of contradicting realities. We scratched beneath the surface to reveal its strange character; we drove on the city’s Lost Highways, taking shortcuts that only exist between the frames of film; we travelled between the as-built Case Study Houses and their idealised representation in a glossy magazine; we chased the space of doubling and difference within a city that constantly plays itself.

In our first project we used the exploration of these spaces within and between the layers of the Stack as the diving board for our own creative process. Inhabiting the uncanny distortions between these doppelgängers, we embraced the opportunity of mistranslation, the bending of time and space, and the shifting of scales that become inevitable when navigating the Stack. Having ventured between media and models, drawn and made, digital and analogue, technical and psychological, social and perceptual – the false and real fields that constitute our creative process – we moved on to formulate building proposals for downtown LA.

Each project interpreted the notion of the Stack in a highly personal way: a methodology for forensic facial reconstruction metamorphoses into the layers of a laboratory; photographic focal stacking becomes a subversive architectural strategy; the climatic stack effect is harnessed in an Iranian architecture of absence dictated by the Trump travel ban; UNESCO culinary heritage is safeguarded in an architecture that slowly erodes through the layers of time. The Stack becomes a tool for architectural invention.

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Fig. 8.1 Theo Brader-Tan Y3, ‘An Investigation of the Spatial Lie Within the Filmic Punch.’ The project focuses on a fight scene from the 1999 film Fight Club. The actor’s fist never makes impact, it is the perspective of the camera that compresses the void between the knuckles and the face. Thereafter, 23 voids are sculpted by the defined parameters of the film screen. The sculpture of merged voids becomes the desk for the sound artist to create the sounds of the punch.

Fig. 8.2 Carlota Nuñez-Barranco Vellejo Y2, ‘Stahl’s Volume’.

A spatial score translating the movements and actions of film characters in Koenig’s Stahl House. The composite of human interactions sculpts voids for occupation. Figs. 8.3 – 8.4 Sebastian Fathi Y3, ‘Into the Lost Photograph’. Street photographer Garry Winogrand left behind 75,000 undeveloped

negatives of LA when he died. This photography museum develops and exhibits these lost photographs and architecturally immerses the user into their lost photographic conditions. Fig. 8.5 George Brazier Y3, ‘DTLA’s Gig Economy Guild’. An ephemeral monument to an ever-changing industry scattered across Downtown LA, the building for gig economy workers spatialises – block by block, member by member – the anthropogenic sublime.

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Figs. 8.6 – 8.7 Theo Brader-Tan Y3, ‘2019ers [1849ers]’. A space for LA’s current gold prospectors and smiths, within which the boundaries between body and building, and body and jewellery are blurred. Sculpted pieces become either the mould or the cast and perform at both the scales of the building and jewellery by using the shifting scales of the body as a hinge.

Fig. 8.8 Vasily Babichev Y2, ‘Landscapes of Accelerated Erosion’. Prototypes for a Museum of Ancient Recipes harnessing the process of erosion as a building method to shape and reveal, over centuries, market stalls, ultimately safeguarding UNESCO culinary heritage. Figs. 8.9 – 8.10 James McLaughlin Y2, ‘Los Angeles Museum of Glitches’.

1:1 replicas of destroyed and forgotten urban fragments are refabricated from their corrupted virtual online existence.

The museum, constructed according to their glitched logic, houses these artefacts, captured between a state of construction and deconstruction. Fig. 8.11 Vasily Babichev Y2, ‘Landscapes of Accelerated Erosion’. Fig. 8.12 Hon (Arthur) Wong Y3, ‘Caffeinated Analogue Mechanical Organism’. Housing rituals of energy transformation in the spirit of post-coffee, post-car, and post-gentrification. An embodiment of, and response to, this energy in flux, the coffee shop awakens as an analogue mechanical organism.

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Fig. 8.13 Maria Jones Delgado Y2, ‘La Sagrada Lavanderia de Cochineal’. A laundromat and fabric dyeing space that blends the materiality of the undulating patterned concrete vaults with the drying fabrics in the arches and mezzanines above and the washing machines below. Fig. 8.14 Hiu (Victor) Chow Y2, ‘Inhabiting the Focal Stack’. Counterfeiting a bank note through photographic focal stacking. The note is exploded into a series of focal ranges, layered objects forming spaces of design opportunity, both within the shadow of these objects and within the out-of-focus zones of the focal stack. Fig. 8.15 Yingying (Iris) Lou Y2, ‘Eavesdrop Speakeasy (Bronzeville Jazz Hub)’. Jazz is infused with public space, using interactive structures to gather people and rebuild the vitality of the neighbourhood, aiming to provide comfort and equality for the

audience. Figs. 8.16 – 8.17 Daniel Johnston Y3, ‘Fabricating the Splash: So Far So Good’. A forensic reconstruction, through various time-based media, of the splash created by Holden’s death in the final scene of Sunset Boulevard. The splash is recreated, reconstructed and fabricated, capturing its ephemeral quality, the moment of inevitability before impact, and probing its alternative narrative framings. Fig. 8.18 Grant Beaumont Y3, ‘The LA Hop-Drying House’. This project explores how the procedures of hop-processing – taking place across the building’s hop-drying floors, market place and soaking spaces – can etch directly into the zinc surfaces of the building fabric.

Inscribed surfaces are repurposed as cladding elements, forming an ongoing record of the operations within the building.

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Fig. 8.19 Amanda Dolga Y2, ‘Los(t) Angeles’. A public archive.

Veil-like steel reading spaces are suspended from and embrace a central core holding artefacts – reminiscences of LA’s evicted people, demolished houses and lost memories – that were erased during the extensive urban expansion and the erection of ‘The Stack’ as part of the Highway Revolt in 1960s and 70s. It is an act of ‘anti-erasure’ of the past. A memorial.

A ghost. Fig. 8.20 Jahba Anan Y2, ‘Materialising the Gaze’.

A series of study objects and drawings attempting to unpick and physically encapsulate the motion of the gaze whilst navigating various architectural and narrative environments, eventually developed into a method of drawing with the eye.

Originally inspired by Giacometti’s hand-eye translation and his language of mark making, the project confronts these methods

with contemporary technologies of eye tracking, digital modelling and rapid prototyping. Fig. 8.21 Mohammad Aldoori Y2, ‘PLAY LA’. A social platform functioning as a video game academy situated in Downtown LA, exploring spaces of speculation by reimagining the notion of play and blurring the line between the real and the virtual. The objective: to provoke, engage and interact with the public realm.

Figs. 8.22 – 8.23 Negar Taatizadeh Y3, ‘In Absentia’.

Reinventing an architecture formed and shaped by the poetry of wind. Both the building and its fictional inhabitant are awaiting the elimination of President Trump’s 2016 travel ban from Iran to America. Wind continues to perform as a metaphor for the distant inhabitant within the house, intricately designed to control occupation and circulation throughout the building.

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UG9

Met[a]ropolia 2046 Jessica In, Chee-Kit Lai

Year 2 Daeyong Bae, Alexander Balgarnie, Miles Elliott, Yuen (Peter) Kei, Alessandro Rognoni, Malgorzata Rutkowska, Yaqi Su Year 3 Daniel Boran, Wei (Vanessa) Chung, Xavier De La Roche, Aleksy Dojnow, Grey Grierson, Anna O'Leary, Edward Taft, Rupert Woods The Bartlett School of Architecture 2018

Thank you to our consultants: Matt Lucraft, Sean Malikides, Andre Sampaio Kong, Donald Shillingburg, Denis Vlieghe UG9 Photography Workshop: Brotherton Lock Special thanks to our critics: Alessandro Ayuso, Paul Bavister, Amy Begg, Jason Chan, Nat Chard, Marcus Cole, Alessandro Conning-Rowland, Richard Difford, Florian Dussopt, Winston Hampel, Penelope Haralambidou, Jonathan Hill, Alex Holloway, Vasilis Marcou Ilchuk, Carlos Jiménez Cenamor, Asif Khan, Andre Sampaio Kong, Elie Lakin, Matt Lucraft, Patrick Lam, Caireen O’Hagan, Mads Peterson, Arturo Revilla, David Roy, Donald Shillingburg, Giles Smith, Andrew Tam, Ivo Tedbury, Nicole Yu Xuan Teh, Mike Tite, Tim Yue Special thanks our sponsors: Panopus Printing PRS Ltd

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‘In Wong Kar-Wai’s films, there is not a single shot of Hong Kong skyline, that picture-postcard metaphor of Hong Kong, conjuring up images of power and desire. Wong’s Hong Kong is a city of a different kind, and the secret of that city is not power, but impotence…The city is not only a physical scape, but also a psychic one. This is one reason why the city is never shown whole, but only in fragments, in metonymies and displacements.’

Ackbar Abbas, ‘The Erotics of Disappointment’ This year, Unit 9 considered identity not as a singular construct but as multiple entities. Spaces, like identities, are multiple in their definitions and are constructed – by ourselves and by others. The unit considered the spaces and identities of a city as a series of dynamic and layered abstractions, a Met[a]ropolia (Meta + Metropolis). These layers refer to each other to continually change meaning, and in doing so complete or add to the original. We are interested in using self-reflexive techniques to construct identity and space. Met[a]ropolia explores frames within frames, plays within plays, and cities within cities to ask: How can a meditation on space illuminate our understanding of identity?

Our field trip led us to Hong Kong, a city in which Ghost in the Shell director Mamoru Oshii recognised the ability of the city to take on new identities – the city for him was the perfect starting persona from which he could create his futuristic urbanism. Our main projects for the year are propositions for the year 2046 – the year when Hong Kong marks the end of the ‘one country, two systems’ constitutional principle formulated by China. In Wong Kar-Wai’s film of the same name, 2046 is never explicitly defined – it is a place, a room, a year, and a state of mind. Our projects this year draw influence from Wong’s multiple non-chronological narratives, saturated visual style and complex composition, to create reflective architectures that address questions about reality and illusion, identity and self-discovery, to continually question relationships between viewer and occupant.

The mediation between matter and form, the relationship between design and occupation, the spatial implications of new technologies and the restructuring of social relationships that follows are themes that continue to interest UG9.

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Figs. 9.1 & 9.5 Aleksy Dojnow Y3, ‘Destructive Détente’.

The building is a collaborative gift granted to Hong Kong – and therefore to China – by the UK, USA and Germany.

Overtly it functions as a centre for dialogue and a mouthpiece for Demosisto, a pro-democracy political party run by students who co-organised and co-led the massive protests. Covertly however, it performs the role of an inerasable critique of the Chinese political system and ultimately the inevitable fate of the Hong Kong self-determination movement after 2047.

The building gives Demosisto an illusion of dialogue and simultaneously distorts, disrupts and censors the student opposition campaign. Fig. 9.2 Alexander Balgarnie Y2, ‘Public Carpet’. Malls, subways, and walkways turn central Hong Kong into an urban-scaled interior. 380,000 migrant domestic

workers stake out rugs and mats in the public fragments of this domain every Sunday in a ritual of sociability, identity, and community. With these values in mind, a coded motiontracker projects back similar data to that silently harvested by intelligent surveillance systems, both political and commercial.

Believing that the public domain is vital to the culture of any city, coded into the carpet are incentives for those who linger and socialise underneath, who through their being together turn striated metric spaces into ‘a space of becoming’.

Fig. 9.3 Wei (Vanessa) Chung Y3, ‘Calligraphy Drawing Device’.

Traditional Chinese hand writing and the quality of calligraphy are explored and reinterpreted through tactile technological representations. Using a variety of engraved wooden plates, consisting of the eight basic Chinese character strokes, users

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can recreate any Chinese character. The ultimate goal of the device is to personalise handwriting through the teaching of written Chinese characters. Fig. 9.4 Grey Grierson Y3, ‘Lui Xiabao Device’. Traditionally many people burn paper offerings at the gravesites during the Qingming festival for their ancestors to use in the afterlife. From the noughties onwards these offerings have included paper replicas of housing, clothes and iPhones. Assuming the future of this tradition would be entirely based in the digital world, the device enables people in the UK to honour their family shrine in Hong Kong.

Through the study of Lui Xaiobo the final device is able to channel a new narrative of secrecy and subversion within the act of offering. The device utilises emerging photogrammetry technology, Arduino controlled sensors and Instagram to

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create a new iteration of the Qingming ritual. Figs. 9.6 – 9.9 Grey Grierson Y3, ‘Negotiations of States’. A crematorium and columbarium for Hong Kong that speculates on the division between analogue death and digital life. Through the creation of a new funerary system, existing rituals that have been slow to evolve and inhabit existing digital realities are critiqued.

The crematorium is designed to act as the spatial interface between virtual and tangible life. Each death leads to a physical addition within the columbarium’s landscape and a virtual addition to the data bank. The physical addition is soon lost under layers of erosion, addition and activity within the landscape whereas the virtual addition becomes perpetual.

This curation of ancestural departure provides a spatial setting for contemplation, reflection and remembrance.

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Fig. 9.10 Daeyong Bae Y2, ‘Kwun Tong Love Hotel’. The density and cramped domestic environments of Hong Kong often leave young couples without space for intimacy. Seedy hotels letting rooms by the hour are often their answer. By manipulating fog, and using sculptural forms that echo qualities of tenderness, the proposed hotel aims to break down the taboos and difficult thresholds of the typology. Fig. 9.11 Xavier De La Roche Y3, ‘Choreography of Decay’. Sheung Wan Sculpture Centre serves as a hub for creatives and non-creatives alike to make sculpture. Unlike painting, sculpture has the ability to physically manipulate the viewer, arguably making it more tangible than other art forms. The building is allowed to decay over time in a controlled manner, causing yellow rust to bleed into the urban landscape as a silent reminder of the recent

Umbrella Movement. Fig. 9.12 Alessandro Rognoni Y2, ‘Architecture for Visual Economies’. The project attempts to mediate between Hong Kong’s small independent traders and the government’s desire for recognisable (and controllable) commercial agglomeration. It preserves the intensity and diversity of independent traditional pharmacists within a department store framework by substituting traditional architectural elements like windows with the wares of the traders. Fig. 9.13 Yuen (Peter) Kei Y2, ‘Dai Pai Dong Hub’.

The traditional streetfood stalls of Hong Kong, Dai Pai Dong, are highly endangered. This proposal considers Dai Pai Dong as much a part of Hong Kong’s cultural identity as its economy.

The proposal increases the connectivity of the area with vehicle and pedestrian routes bridging over a large public

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perception of pollution. Using found data on the predictions of worsening pollution in Hong Kong, the artificial acid rain can erode materials to match the data and form a 1:1 collage of materials for visitors to experience and be informed on how the material world will look if pollution isn’t improved.

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space, with ample room and some specific infrastructure for independent, rather than corporate, food stalls. Fig. 9.14 Rupert Woods Y3, ‘Re-Branding Hong Kong Pollution’. In 1997 Hong Kong was returned to China and the Hong Kong government feared that it would become ‘just another Chinese city’.

To avoid this, the scheme Brand Hong Kong was launched to promote Hong Kong as ‘Asia’s World City’, advertising the city’s heritage and natural beauty as a key focus. However the scheme failed for many reasons, two of which were declining natural beauty and the erosion of heritage buildings due to acid rain from worsening pollution and air quality. Buildings have become indicators of pollution, due to acid rain staining and eroding buildings. This is considered a dirty and negative image for Hong Kong, however this project proposes to reposition the

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Fig. 9.15, 9.16, 9.18 Edward Taft Y3, ‘Museum of Hong Kong’s Lost Urban Fabric’. Within the next 30 years Hong Kong is destined to face an all-too-familiar situation of uncertain identity and a new nostalgia for the recent past, a time when there were still faint remnants of pre-handover culture.

The memory of this culture was ingrained within the urban fabric, which has since been lost at the helm of redevelopment.

This is ultimately the goal of the Museum of Hong Kong’s Lost Urban Fabric. The architectural proposal uses cinematic footage from the city’s Nostalgic Cinema archive to construct lost urban spaces into three-dimensional photogrammetry models. In an experience that relies heavily on the continuing development of augmented reality technology, the visitor will be able to wander through various reconstructions of sites

within Hong Kong that have since been lost. The resulting role of the architecture is to act as a backdrop for potentially infinite AR scenarios, whilst enhancing the scope for scale deception in order to fit as much of the lost city within the walls as possible. Fig. 9.17 Edward Taft Y3, ‘Dreams of Kowloon Walled City’. The project concerns Kowloon Walled City, Hong Kong, known as the biggest slum on earth. With the handover approaching, the snap decision was made to demolish Kowloon Walled City. By 1995 there was no evidence that the Walled City had ever existed. The suddenness of the decision to demolish the Walled City meant that there was very little documentation of the site prior to its demolition. A book called City of Darkness created by architect Greg Girard and photographer Ian Lambot is the only true documentation of life inside Kowloon. This

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project attempts to recreate resident Albert Ng Kam-ko’s dream, tracing his journey through the stairs and alleyways to retrieve his family’s water, using photographs and accounts from City of Darkness. The project explores various methods of reconstruction, with the ultimate outcome being a digital recreation of the Walled City in Albert Ng Kam-ko’s dream. This reconstruction is then occupied through Virtual Reality to bring the user as close as possible to the dreamlike experience.

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UG10

Informed by Materiality Kostas Grigoriadis, Guan Lee

Year 2 Sheryl Beh, Issariyaporn Chotitawan, Katarzyna Dabrowska, Maria De Salvador, Bengisu Demir, Benedict Edwards, Nanci Fairless Nicholson, Yiu Lee, Lucy Millichamp, Mimi Osei-Kuffuor, Sam Rix Thank you to our partners: Grymsdyke Farm

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UG10’s interests are firmly set in the realm of buildings and architecture shaped by engagement with material tectonics. Every student engages hands-on with materials in an architectural design project. Our emphasis on making serves both as a vehicle for experimentation and as a theoretical framework for exploring ideas in design. Materiality is not an abstract condition but a tangible one. The unit’s interests lie not only on the surface but also at the core of construction. Our conversations surrounding materials – whether they are industrially manufactured or bespoke – typically go beyond their properties, and revolve around their cultural and social implications. Our design proposals critically examine material characteristics that are ‘least like nature and yet most natural’.

This type of thinking around tectonics in architecture is inevitably tied to the processing and assembly of matter in its various states.

Athens was the site for deploying these interests – a city that is characterised by great conflicts generated by years of unregulated urban development and augmented by the current financial crisis. On a material level, the life of the city is driven by architectural artefacts: built, used, being replaced or in the pipeline. In effect, the cohesion and dynamism of its neighbourhoods are often intimately linked to the ‘yet to be’ and the ‘no longer there’. Its urban infrastructures are, as a result, constantly in flux.

Responding to all this, we used recursive making explorations and drawing studies to generate unique urban, architectural, and most importantly material proposals that address the various problems and conflicts currently latent in this contemporary metropolis in crisis.

Our aim, in effect, was to become urban acupuncturists, strategically placing our proposals in unique and conflicting contexts and attempting to reconcile diverging and overlapping infrastructural, cultural, spatial and social parameters.

At a material and tectonic level, our projects aimed to provide continuity and resonance at different scales. This ecology of construction demanded us to ‘work with’ and not ‘work on’ the context. Focusing on notions of fabrication, we endeavoured not to produce buildings devoid of context, but to use the environment itself as means of intervention.

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Figs. 10.0 – 10.1 Katarzyna Dabrowska Y2, ‘The Piraeus Bathhouse’. Structure model and bird’s eye view render.

The project presents itself as an opportunity to rethink and reintroduce the public bathhouse in the contemporary city.

The role that bathing plays within a culture reveals its attitude towards human relaxation. It is a measure of the degree that individual wellbeing is regarded an indispensable part of community life. The intent here is for the urban public bathhouse to become more than a place for bathing, in effect initiating new social dynamics, and new public and communal behaviours. Fig. 10.2 Katarzyna Dabrowska Y2, ‘The Piraeus Bathhouse’. Façade water channel drawings. Sculpted façade panels allow water to travel through not only the bathhouse areas, but also the surfaces that define the various spaces.

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Fig. 10.3 Issariyaporn Chotitawan Y2, ‘Honey Production Facility and Process Museum’. The building consists of a series of connected gardens that maximise the spaces for bee pollination and allow the organisation of the various other production and public programmes around them. The beehives themselves are organised strategically to maximise the natural and undisrupted environment for each bee colony, as well as to distribute honey production evenly throughout the building.

Public educational areas are dedicated for people to walk around and experience glimpses of the production processes and to educate the public about honey production. Fig. 10.4 Nanci Fairless Nicholson Y2, ‘The Colour Museum’. The intention of this project for a Colour Museum is to augment the experience of colour through light and form. The main aim is to convert its

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various spaces that are painted in different colours used in antiquity or are designed to form immersive installations to experience the environmental colours of Athens, into full-scale exhibits themselves.

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Fig. 10.5 Issariyaporn Chotitawan Y2, ‘Street Essential Oils’.

On the streets of Athens there is an abundance of bitter orange trees. Too bitter to be consumed by people in the city, they are left to grow and decay. To make use of this asset, the building explores the production of essential oil extracts from these citrus fruits, as well as Neroli blossoms, to generate economic value in a city that has not yet recovered from the devastation of the recent financial crisis. Fig. 10.6 Sheryl Beh Y2, ‘Ethnic Retail and Hotel’. A place for the ethnic groups in the centre of Athens to mingle, trade and rest. The retail and hotel spaces are organised around a central atrium/energy core that generates the appropriate environmental conditions for the various areas of the building through passive cooling and heating. This system enables the vertical retail spaces to

have the atmosphere of local outdoor markets, with a series of communal gardens acting as semi-outdoor spaces for interaction between the traders, and the hotel guests.

Figs. 10.7 – 10.8 Maria De Salvador Y2, ‘Recycling and Creating in Athens’. Physical model and process design study. The project consists of temporary housing for rotating workers, as well as a place where various restaurants and shops around the area of Psyrri in Athens can bring their plastic waste in order to recycle it, repurpose it and make it useful again for other industries. Byproducts of the process get converted into 3D-printed tectonic building elements, while the programme of the building is also reflected in its aesthetic of exposed services and expressive structural organisation.

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Sculpture show takes place here

Comes out in the case of rain or too much sunshine

Gardens for residents

Solar panels Tubes for exhaust gas

Housing for workers “Bleacher s� for visitors to watch sculpture show

Tubes for good smell

Main material: Re-used timber

Transparent wall for visitors to see inside the workshop

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Balcony for visitors Pulley system to transport materials between floors

Slide for repurposed materials/art to be transported from work shop to storage

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Storage Shop Passageway Plastic Drop-off Sorting room Resizing room Wet separation room Dry separation room Compounding Storage Bathroom Art workshop Repurposing workshop

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be housed in state institutions due to the collapse of the welfare state. The design seeks to accommodate both in a threedimensionally arranged network of continuously connected spaces, facilitating the mutually beneficial engagement of human and animal life. Fig. 10.12 Benedict Edwards Y2, ‘Exarcheia Rehabilitation Centre’. The project is a temporary response to the public drug epidemic in Exarcheia, Athens, in the form of various harm reduction services. The neighbourhood offers opportunities due to its self-imposed anarchist culture that the government cannot, providing services that probe the barrier into illegality, such as a supervised injection facility and research chemical shop. The design itself plays with illegality, moulded by the idea of concealment. The other part of the project comprises a rehabilitation centre designed with an

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Fig. 10.9 Maria De Salvador Y2, ‘Recycling and Creating in Athens’. Recycled plastic wall study. Fig. 10.10 Yiu Lee Y2, ‘Urban Monastery’. The project is a place for apprentice monks to learn the techniques of traditional Orthodox wood carving, as well as to provide accommodation for them. The design objective is for the building itself to become part of the educational experience, an aim which is manifested in the so called ‘didactic’ core, placed in the centre of the project and made entirely out of wood that can be carved openly by the apprentices exposing the process to the rest of the building’s inhabitants. Fig. 10.11 Bengisu Demir Y2, ‘Care Home and Animal Shelter’. The building houses domestic animals that have been abandoned due to the financial crisis in Athens.

In addition, it accommodates elderly people who can no longer

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emphasis on the environmental psychology of healing and utilising the benefits of nature by drawing the adjacent park into the design. Fig. 10.13 Yiu Lee Y2, ‘Urban Monastery’.

SLS print of the ‘didactic’ core of the building. Fig. 10.14 Issariyaporn Chotitawan Y2, ‘Street Essential Oils’. Process photographs showing the making of the 1:1 concrete detail of the topologically optimised structure. Fig. 10.15 Yiu Lee Y2, ‘Urban Monastery’. CNC wood detail showing the various stages of the wood carving learning process. Fig. 10.16 Katarzyna Dabrowska Y2, ‘The Piraeus Bathhouse’. A series of prototypes built in concrete, plaster, and plaster mixed with mortar to test out the hydrophobic properties of each material.

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Fig. 10.17 Bengisu Demir Y2, ‘Care Home and Animal Shelter’.

Physical model. Fig. 10.18 Katarzyna Dabrowska Y2, ‘Votanikos Inhabitable Flood Barrier’. A series of curved barriers redirect the excess river water generated during the frequent flash floods in the area into a three-dimensionally organised system of pools. The water then goes through filtration cycles, eventually being used for cooling in the hot summer season, as well as in communal pools that are shared by the housing community living above and within this aquatic landscape.

Fig. 10.19 Benedict Edwards Y2, ‘Exarcheia Rehabilitation Centre’. Bird’s eye view of the project showing its integration into the adjacent residential and institutional context.

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Fig. 10.20 Lucy Millichamp Y2, ‘Public Vehicle Market’. The proposal resolves a congested, high density car park through the hybrid combination of the parking of vehicles with the selling of produce in a market-type setting, as well as providing units of temporary accommodation. The journey which market-sellers make into the centre of Athens, at various times throughout each week, forces these individuals to seek a place to park their vehicle, a place to sell their produce and a place to stay overnight. For each seller, the opportunity to sell their produce from their own vehicle in an internally controlled environment could have great advantages. This architectural proposal is a space in which all three conditions can occur.

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UG11

Otherworldly: New Colonies of the Anthropocene Jennifer Chen, Maren Klasing

Year 2 Temilayo Ajayi, Alp Amasya, Arsenij Danya Barysnikov, Frances Leung, Su Yen Liew, Jiana Lin, Pinyi (Joicy) Liu, Chuzhengnan (Bill) Xu Year 3 Paul Brooke, Yuqi (Kenneth) Cai, Hao Du, Camille Dunlop, Chi Ka (Vincent) Lo, Harrison Long, Gabriel Pavlides

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Thank you to our Technical Tutor: Jeroen Janssen Thanks to our Digital Media Tutors: Harry Spraiter, Nathan Su Thank you to our critics: IsaĂŻe Bloch, Ricardo de Ostos, Andreas KĂśrner, Yael Reisner

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What does it mean to live and design in the age of the Anthropocene?

Human activity is now considered the dominant influence on the earth’s climate and geology. In its 4.5 billion years of existence, the world has never experienced such acceleration in its transformation. In UG11 we argue that our current relationship to nature and its resources is no longer a sufficient response to the warming climate and its volatile conditions.

They could be re-imagined as a key driver in the way we design communities that are versatile, resilient and resourceful. The built environment must adapt to the continuously changing surroundings.

New cultures must emerge from these strange new natures.

Like pioneers of unchartered territories in the stories told to us, we too donned our helmets and headlamps, snow boots and ice grips, braved the arctic wind and rain to explore the diverse landscapes of Iceland.

Our expedition took us to volcanoes and glaciers, from waterfalls to the windswept coasts, ancient formations in the lava fields to shiny new glass buildings in the capital. We traced the power of nature from its rawest state, to the energies harnessed by people in steam-filled power plants.

At these sites of extremes, we learnt from the ingenuity of humankind and imagined what new architectures and ecologies could emerge. To do this, we used computational design tools and borrowed techniques from storytellers and filmmakers to help us observe natural phenomena, map current conditions, simulate systems and transformations. Through the process, we began to understand the mechanisms that drive this planet, and to discover new ways to engage with it.

We started by designing artefacts that might have been from the future or an alternate present. The new connections to nature conceived at the scale of our bodies were then extended to the scale of our communities.

The result is a range of projects where these new opportunities and approaches to engaging with the environment and natural resources are tested. We speculated on programmes designed for a range of communities, from climate refugees to tourists, scientists to patients; on sites underground to mountaintop, from inland forests to eroded coastlines. Along the way, we forecasted industry and economy, considered our heritage and culture, and speculated on how architecture might grow and adapt. These projects are a survey of our current hopes and anxieties, failings and endeavours. They make up an atlas of possible new ecologies.

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Fig. 11.1 Camille Dunlop Y3, ‘Pipeline Hijacking’. A response to the current Icelandic housing crisis using narrative as a driving force to speculate on community formation and its architectural implications. The site of this proposal is very close to the Hellisheidi Geothermal Power plant, and surrounds a pipeline that carries hot water to and from the power plant. A community is envisioned as a closed-loop piping system that feeds from this existing infrastructure. A variety of intricate pipe formations and patterns create specific thermal conditions for the domestic programme. Figs. 11.2 – 11.4 Cha Ka (Vincent) Lo Y3, ‘The Bivouac’. The problem of overpopulating tourism has led to a burgeoning demand for accommodation and privacy, and obstructs the true beauty and tranquillity of the Icelandic landscape. This project proposes a solution for tourists to

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enjoy unpopulated areas of Iceland, with well-designed cabins that function like tents or bivouacs. As opposed to visiting the more popular attractions this programme encourages people to go hiking and camping. The project starts off with a number of critera that are derived from the hazardous yet beautiful nature of Iceland. Spaces are to be constructed with minimal intervention to the natural habitat of the national park, but can be relocated around the park annually to promote different hiking areas and expose Iceland’s hidden beauty.

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Figs. 11.5 – 11.8 Camille Dunlop Y3, ‘Pipeline Hijacking’.

A response to the current Icelandic housing crisis using narrative as a driving force to speculate on community formation and its architectural implications.

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Fig. 11.9 Camille Dunlop Y3, ‘Pipeline Hijacking’. A community cluster developed within the landscape along an existing pipeline. Individual dwellings group together and share communal areas. Distinct thermal properties divide between private, public and communal spaces without a need for any explicit demarcations. Fig. 11.10 Gabriel Pavlides Y3, ‘House of Bardud’. Recognising the needs of Hellnar as a declining fishing village located on the Snaefellsness Pensinsula in Iceland, this project aims to create a new community and new land off the coast, to tackle erosion while promoting new, sustainable activities such as fish farming. The project considers the characteristics of off-coast concrete defences and floating fish farms. The shallow water around the eroded peninsula will provide a site. Both concrete cured under water

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and floating concrete provide foundations for different sections of the proposed elements. Permeable concrete has been developed to allow for water to filter through without compromising its structural intergrity. Acknowledging the fact that water can penetrate the mix, mangrove seeds are mixed into the cast and over time grow out of the concrete. This methodology can be adapted for marine environments to enhance biodiversity and support new ecosystems to thrive.

devastating electromagnetic forces that the civilian population are subjected to as a result of Ozone depletion.

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Fig.11.11 Hao Du Y3, ‘Ice-Age Community and Gardens’.

It is 2060. The world has been cooling down for 20 years.

Most of the land is covered by snow and ice. The world average temperature breaks -1 °C and scientists are predicting a new ice age. At the same time, people are in need of affordable, sufficient and renewable energy. A solution is geothermal energy. This project proposes Iceland’s Krysuvik geothermal area as a testing ground to start a community. Inhabitants excavate the ground up to 200 metres deep in order to build underground gardens with different climatic conditions. Using the excavated rocks, they build vernacular architecture using drystone technique to shield themselves from the extreme cold. Fig.1.12 Paul Brooke Y3, ‘Glitched Network’. This building primarily serves as refuge point from the invisible but

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Figs. 11.13 – 11.18 Paul Brooke Y3, ‘Glitched Network’. In 1989, the international community ceremoniously rejected the Montreal Protocol, whose chief aim was to protect and revive our dwindling atmospheric layers, which was our only true barrier from the vacuum of space and the cruelty of solar winds. Life on planet earth has changed forever, and in few places is this more pronounced than in Iceland, that, due to the total absence of the Ozone above, has been rendered defenceless to such devastation. This building primarily serves as refuge point from the invisible but devastating electromagnetic forces that the civilian population are subjected to. As it spans along the Icelandic Reykjanes ridge, the construction embodies a unification of the natural world and mediated design; capitalising on the natural magnetic

abnormalities of the ancient rock that forms the ridge, while extrapolating these qualities to form zones of safety by way of point clouds that control the extent to which the vulnerable populace are exposed to harmful solar rays, allowing the post-atmospheric community to dwell safely.

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Figs. 11.19 – 11.23 Yuqi (Kenneth) Cai Y3, ‘Limestone Farm and Auction Hall’. It is the year 2118. Overpopulation and overconsumption have taken their tolls on earth. Natural resources that were once widely available are now quickly depleting. The value of natural materials skyrockets as they become scarcer and less economic to mine. Limestone is considered precious. The building, an Auctioneers’ Limestone Farm, is strategically located on the edge of the Blue Lagoon, because it requires a reliable geothermal heat source, large amounts of water and basalt rock grounds, all of which need to be locally available for the farm to function and can be found in abundance at this southwestern tip of the island. The farm utilises cutting-edge carbon capture technology to ‘grow’ limestone from CO2 and basalt, which will then be ‘harvested’

and sold in the auction hall. Due to unpredictable market prices and economy, the quarry would develop and expand irreguarly over time. It reads like an agile crack in the basalt field that constantly changes its direction and appearance in response to a dynamic market and its cost efficiency demands. An initially pragmatic decision and strategy to maximise basalt surface areas in order to grow more limestone resulted in surprisingly ornamental surface qualities and unique spatial experiences.

The result is an impressive architecture that is in harmony with and subtracted from the basaltic lava field surrounding it.

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UG12

Escape-Disrupt Johan Hybschmann, Matthew Springett

Year 2 Theodosia Bosy Maury, Joe Douglas, Georgia Green, Eleanor Harding, Karishma Khajuria, Owen Mellett, Justine Shirley, Tom Ushakov, Jake Williams Year 3 Oliver Ansell, Lauren Childs, Megan Makinson, Hanmo Shen, Jarron Tham, George Wallis, Gabriella Watkins The Bartlett School of Architecture 2018

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The world is in flux and seems to be shifting at speed. Democratic and political decisions have split large population groups within Western nations. Last year, UG12 designed embassies and explored the themes of ‘belonging’ and ‘cultural attachment’ in response to shifting political climates in Europe and the United States. This year, we explored the notions of escape and disruption by ‘disruptors’; a term now used to describe system changes in our society currently being enacted by non-governmental initiatives. Drastic change normally starts with an urge to escape or disrupt the status quo. Revolutionary ideas usually flourish in micro-environments of like-minded people. Throughout history, people have escaped their everyday lives by becoming part of self-chosen groups that exist in parallel to wider society. From the fictional film Fight Club, to the mysterious world of the Freemasons, to 1960s hippie culture, we can get glimpses into micro-societies that may remain protected (sometimes even hidden) within a known context. Even if it’s just for a few hours a day, the micro-social environments of such groups have their own rules, traditions and rituals that all offer an alternative existence for their members. Similarly, people escape by immersing themselves digitally in the universe of a computer game or by flicking through others’ lives on social media platforms.

This technological escapism has also changed the greater political landscape. Political and social breakthroughs are often synonymous with mystery and secrecy, and flourish in environments that turn their backs on the normal to escape the everyday. This year we wanted to explore architecture that accommodates spaces of escape, ambition, disruption and change. We looked into how the next generation of architecture will fit, add to, or counteract the public space of Chicago, which has historically been home to some of the key global disruptors and agitators.

Home city of the Obamas, Chicago sits uneasily with the current Presidential landscape. Historically a destination for those escaping discrimination, Chicago is a place where migrants and refugees could find a home and assert an identity, from its early settlement by Irish and German immigrants to African American and Mexican people escaping persecution. It also became a symbol for the alternative struggles of the Unions and the democratic left, as well as for organised crime.

All the unit’s final building projects are sited in Chicago and respond to personal and individual observations that were established by the students before and during our field trip. The result is a series of complex buildings, for identified communities looking to change how they inhabit, work in and disrupt the city of Chicago.

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Fig. 12.1 Megan Makinson Y3, ‘Institute of Architectural of the Chicago Expo. It will also celebrate the amazing future Relics’. Both a preservation institute and construction school, that Elon Musk is pushing for and give an insight into the world the architecture follows Chicago’s tradition of architectural of Musk. salvaging. Visitors can walk around and witness, through specific curated views, the didactic ‘creative re-use’ of fragments from demolished buildings by the students.

Figs. 12.2 – 12.3 Lauren Childs Y3, ‘840 Wells Street’.

The nature of Airbnb has changed. It is no longer solely homeowners renting out their extra space with professional landlords now renting out spaces as homes. The project is a commentary on this. The proposal is for a hotel built and owned

by Airbnb that provides guests with different Chicago homes.

Fig. 12.4 Tom Ushakov Y2, ‘Man behind the Musk’ The Musk Expo, set to open in 2043, will celebrate the 150 th anniversary

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Figs. 12.5 – 12.6 Jake Williams Y2, ‘Union Park Community Shelter’. Interim housing prototype for Chicago’s homeless population. Housing and communal facilities are raised above the ground plane, freeing the space below for public use. This creates a densification of domestic and civic life, and hosts the diversity of the community. Fig. 12.7 Megan Makinson Y3, ‘Institute of Architectural Relics’ Fig. 12.8 Jarron Tham Y3, ‘DOMESTI(CITY)’. The project aims to act as a civic manual presented as an architectural graphic novel for a vertical retirement neighbourhood. Taking its cue from the graphic novel No Small Plans, the project draws inspiration from the retirement typologies of suburban Florida and the systemic layout of the cruise ship to become a vertical intergenerational neighbourhood.

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Figs. 12.9 – 12.11 & 12.13 George Wallis Y3, ‘Overlapping Territories’. A High School for Chicago’s South Side which responds to a fragmented and migrating learning community by proposing social engagement through the negotiation of territory between participants and local stakeholders.

Fig. 12.12 Oliver Ansell Y3, ‘The United Flight Centre’.

Incorporating both a training centre for new pilots and a series of residences for retired pilots, the United Flight Centre is designed to acclimatise its users for new lives ‘airside’ and ‘landside’, with the architecture based upon universal wayfinding mechanisms employed within airports worldwide. Fig. 12.14 Justine Shirley Y2, ‘Chicago Union of Health’. The project aimes to connect the Chicago health unions with the promotion of exercise. The building houses

both office and training facilities as well as a landscape of running and cycling tracks across its multiple façades.

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Figs. 12.15 – 12.16 Hanmo Shen Y3, ‘Suburbia in the Loop’.

The project envisions a future where the essence of Chicagoan Suburbia and the American Dream is stacked in the form of a high-rise residential tower. Fig. 12.17 Joe Douglas Y2, ‘Pilsen Community and Cultural Centre’. A community and cultural centre for Pilsen, a neighbourhood district undergoing gentrification in South West Chicago. The building encircles an excavated debating/forum room, analogous to an ancient Greek Agora. The main centre includes a media room and an archive/exhibition space. Universal public space and built-in market stalls, all open to appropriation, traverse the length of the site. Fig. 12.18 Owen Mellett Y2, ‘Amazon Headquarters, Chicago’. This project explores the disruption and subversion of a community through the creation of spaces for Amazon’s

second headquarters. By developing spaces which respond to Amazon’s ideals and methodologies, this project examines the modern company town, the ways in which it integrates itself into the community while maintaining a positive perception, and the ways in which advertising and living are integrated into company life. The project hopes to gain insight into the future impact of the increasingly large knowledge base of these multinational companies.

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reflect the grand scale of buildings in Chicago. Dramatically flying over the site is the elevated CTA train line.

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Figs. 12.19 – 12.20 Gabriella Watkins Y3, ‘West Loop Women’s Refuge’. The refuge provides private, adaptable living units as well as open communal spaces, which can be tailored to suit the women’s preferences for enclosure and intimacy depending on their level of recovery. This allows the women to take control of their own domestic environment once more.

Fig. 12.21 Georgia Green Y2, ‘Chicago District 1 Community Police Canteen and Mediation Village’. In 2016, Chicago’s gun crisis peaked and the city was dubbed ‘Chiraq’. The design language is based on free movement through the site, the mediation rooms are raised up and a grassy parkland is the terrain of the ground level. The organisation of the mediation rooms is based on that of a village to encourage ‘flaneuring’ through the site and the canteen is a large and open space to

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Figs. 12.22 – 12.23 Theodosia Bosy Maury Y2, ‘MOVIE[ING] PALACE: Image immersion’. In the two-year delay between the demolition of the landmark Chicago Theatre and the erection of a new tower block, permission is given for a Theatre Historical Society, a group of Chicago experimental filmmakers, to build a temporary building that celebrates the contingent, time-based video as a medium and the role of filmmakers in today’s society. Parts of the existing building are repurposed, and combined with an adjustable fabric envelope and an immersive viewing experience is facilitated, involving projection onto vapour. Fig. 12.24 Eleanor Harding Y2, ‘The United State-less’, Inspired by the current plight of the Rohingya people in Myanmar, and their recent influx into Chicago via the United Nations Refugee Programme, this project aims to provide

temporary accommodation for new arrivals, housed above a commercial market space. Integration is intended to be an autonomous process, with the individual able to determine the level to which they are ‘seen’. The market is used as a tool for integration and catalyst for community, providing an ‘in-between’ buffer space to the city. Fig. 12.25 Jarron Tham Y3, ‘DOMESTI(CITY)’. The project aims to act as a civic manual presented as an architectural graphic novel for a vertical retirement neighbourhood.

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Architectural & Interdisciplinary Studies BSc

Architectural & Interdisciplinary Studies BSc Programme Director: Elizabeth Dow Architectural Research Ruth Bernatek, Barbara Penner, Sophie Read Dissertation in Advanced Architectural Studies Brent Carnell, Sophie Read, David Roberts Project X – Design & Creative Practice 1 Gabriel Warshafsky, Michelle Young The Bartlett School of Architecture 2018

Project X – Design & Creative Practice 2 Chee-Kit Lai, Ifigeneia Liangi Project X – Design & Creative Practice 3 Kevin Green, Freddy Tuppen Computing for Design & Creative Practice Bill Hodgson

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Architectural culture has never been exclusively a product of certified architects, but now, more than ever, there are many other people working in related fields (film, media, curation, design and creative practice) who shape debates and ideas around architecture in significant ways.

In bringing together architectural research with design and creative practice, Architectural & Interdisciplinary Studies graduates are equipped to participate in these complex debates. The programme is unique in the UK, allowing students to tailor their own degree by taking modules at The Bartlett School of Architecture alongside modules from across UCL, including Anthropology, History of Art, Archaeology, Economics, Geography, Languages, Psychology, Philosophy and Mathematics, to name just a few recent choices.

The greatest strength of the programme is its interdisciplinary nature.

As such, the course is ideal for highly motivated, independent students who are interested in architecture, design and urban studies, but who also wish to take advantage of electives on offer elsewhere at UCL. Graduates from the programme enjoy excellent employment opportunities and pursue careers in the fields of art, journalism, set and theatre design, film, media, curatorship, as well as related fields such as environmental and urban planning or project management.

There are two specially tailored module streams for Architectural & Interdisciplinary Studies students at The Bartlett – our Design and Creative Practice modules – Project X 1, 2 & 3 and also our Architectural Research I & II and Dissertation modules. Images from the resulting design projects and extracts from two dissertations can be found on the following pages.

Module Coordinators: Brent Carnell, David Roberts Module Tutors: Stylianos Giamarelos, Sophie Read

The Dissertation in Architectural & Interdisciplinary Studies enables students to undertake an independent research project of 9,000 to 10,000 words. The emphasis in this course is on conducting original research and producing an investigative in-depth written piece, supported by appropriate visual and textual documentation. This module is taught through individual and small group tutorials, supplemented by occasional seminars and group meetings. The aims of the module are to enable students to conduct primary research, to think critically about issues with architectural implications, to develop writing skills, to work with peers to improve the work, and to think creatively in terms of the overall design layout and composition.

Year 3 Seowon (Sharon) Chang, Li'Er Chen, James Curtis, Luofei (Christina) Dong, Yufan Jin, Oliver Mitchell, Tanzim Naser, Ryuhei Oishi, Grace Simmonds, Andrea-Ioana Vihristencu, Jonathan Whitfield, Liuying (Yolanda) Ye The Bartlett School of Architecture 2018

Sharon Chang Towards Holistic Wayfinding: A Critical Capability Approach of Assistive Technology to Architecture, Disability and Technology Global Positioning System (GPS) technology has dramatically transformed urban life. With GPS technology in the palm of our hand (both literally and metaphorically), trial-and-error travels are rare, and ‘trust-your-instincts’ wanders are even rarer. At unknown destinations, we turn to a suite of travel apps and accept the quickest or shortest possible routes readily available to us. Yet, there are occasions where we choose longer and more comfortable routes, draw on others’ help, and most significantly, ‘have different individual needs according to [our] corporeal and cognitive states’.1 This claim strongly resonates with the circumstances of disabled people, as they heavily rely on the availability of accessible environments and of human and/or technological assistances to decide on the feasibility of their travel. While technology has the potential to offer both social and urban accessibilities to disabled people, such potential is yet to be fully realised.

Despite the growth in contemporary assistive technologies, the parallel development in methodologies of assessment has been almost non-existent. Often, the development and use of assistive technologies do not show straightforward and linear patterns; the challenges of disabled users cannot always be foreseen, and they need constant alterations to suit users’ physical and psychological conditions. Because of the complex and lacking nature of assistive technology, it is especially valuable to have rigorous, up-to-date principles that identify problems as early as possible.

In this dissertation, I develop a new theoretical perspective for evaluating the effectiveness of assistive technologies. Drawing on multiple bodies of literature from Architecture, Disability Studies and Social Sciences, and bringing together The Bartlett School of Architecture, The Bartlett Centre for Advanced Spatial Analysis and the UCL department of Statistical Science, I propose the Critical Capability Approach of Assistive Technology (CCAAT). In developing this approach, I explore the application

Year 2 Isabelle-Maria Arusilor, Nyima Murry, Eva Tisnikar

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1. Symonds, P., Brown, D. H. K., Lo Iacono, V. (2017), ‘Exploring an absent presence: Wayfinding as an embodied sociocultural experience’, Sociological Research Online 22, no. 1.

The Bartlett School of Architecture 2018 1. Norman, N., ‘Pockets of Disorder’, City Projects, 2005. http://www.cityprojects.org/ cityprojects_content. php?id=167&i=29.

2. Russell, W., Sharing Memories of Adventure Playgrounds, Play and Playwork. University of Gloucester, 2017. https:// issuu.com/wendykrussell/ docs/smap_report_131016_ for_web_hs

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of audio wayfinding technology, using the data generously provided by a non-profit organisation, Wayfindr, alongside qualitative interviews with members of staff that I conducted. Applying the CCAAT, different stakeholders of assistive technology can better tackle the socio-urban challenges of disabled people.

In dealing with these challenges, it is significant that we sidestep from the conventional search for efficiency: how to be quicker, more powerful and more profitable as a collective system. Instead, there are clear opportunities and responsibilities to use the CCAAT to provide an alternative set of solutions: how to be fairer, more accessible and more adaptable as a society.

Grace Simmonds Ground for Disruption: The Radicality of Adventure Playgrounds in Over-Regulated Urban Environments Adventure playgrounds initially grew out of bombsites and disused urban spaces which children instinctively inhabited, organically evolving into established playgrounds and run by experienced playworkers. These playgrounds are often based in disadvantaged communities who have little outside space and provide these children with a stimulating, playful environment. City streets that were once the home of children’s play are now congested and polluted, residential areas are plastered with playdeterring signage and there has been a significant increase in pseudopublic space. The increasingly hostile city leaves no room for the disruptiveness of children’s play. However, adventure playgrounds create necessary ‘pockets of disorder’ for activities that would otherwise be considered antisocial in society.1 Further to this, they provide a valued community space used by diverse groups of people. Yet in the UK, adventure playgrounds are now considered an ‘endangered species’ due to unprecedented cuts to public play provision and sterile redevelopment.2

My dissertation addresses the radical nature of adventure playgrounds, not only as grounds for play but as necessary sites of disruption in an increasingly over-regulated urban environment. As hundreds of children’s play provisions close across the country, I analyse the contemporary practices of Glamis Adventure Playground in Shadwell, London, sharing examples of how it has learnt to adapt and thrive despite adversity.

Aimed at my allies working in adventure playgrounds, I provide a toolkit for continued survival. I address issues of funding with a historical context and the importance terminology plays to these misunderstood places. Issues of planning and redevelopment are combatted by examples of adventure playground activism. I reveal these as a microcosm of 1960’s utopian ideals and a radical form of city building and community organisation. I restate and claim value in the importance of these spaces to local communities and the implications their loss will have. Adventure playgrounds are all unique but all should be valued as a vital component of a child’s urban experience.

Year 1 Rory Alexander, Filip Dzieciol, Yingqi (Jessie) Gao, Maya Garner, Mari Katsuno, Lily Ketzer, Alexia Koch, Inbar Langerman, Tseng-Han (Christina) Lin Hou, Quyin (Sienna) Liu, Eloi Simon, Motong Yang, Emma Yee Year 2 Isabelle-Maria Arusilor, Elizabeth Atherton, Anna Cabanlig, Esme Chong, Isabel Dorn, Roxanne Gonzales, Sara Hererra Dixon, Emilie Morrow, Nyima Murry, Camilla Romano, Eva Tisnikar, Yasmine Zein El Abdeen Year 3 Seowon (Sharon) Chang, Li’Er Chen, James Curtis, Luofei (Christina) Dong, Lillie Hall, Yufan Jin, Oliver Mitchell, Tanzim Naser, Ryuhei Oishi, Grace Simmonds, Andreea Vihristencu, Jonathan Whitfield, Liuying (Yolanda) Ye, Yurou Zhang Year 4 Siufan (Antonia) Adey Affiliates: Christina Ehrmann, Christopher Gruber On study year abroad: Lucy Brown, Vikram Nagra Thank you to: Matthew Blunderfield, Alfonso Borragán, Amanda Campbell, Grace Catenaccio, Rachel Cole-Wilkin, Stephanie Farmer, Stefana Gradinariu, Richard Hackney, Geraldine Holland, Jessica In, Thomas Kendall, Mara Kanthak, Matt Lucraft, Anders Luhr, Rob Lye, Raphae Memon, Alan McQuillan, Anna Mill, Betsy Porritt, James Shaw, Magdalena Strzelczak, Stefania Tsigkouni, Rosanna Wan, Tobias Warwick 161

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Project X: Design and Creative Practice aims to help students build a creative and reflective practice of their own. It enables them to undertake a mode of working that particularly interests them and an independent practice-based project in which they can research and pursue a subject of their preference. Students are asked to think about architecture in interdisciplinary ways, explore alternative approaches to design and situate their work within a broader cultural context. The work is developed in conjunction with a short written piece. A series of questions confront students, concerning the nature of their practice, the contribution of their work to the broader field, the originality of their project, and the selection of appropriate media for the ideas pursued.

Year 1 Project X students investigated the reflexive relationships between rituals and the spaces that house them. Discussion of ritual was not limited to prescribed religious rites, but included the vast range of gestures that make up our language of social interaction: a greeting, a handshake, a shared cup of tea. Students began by rapidly and intuitively assembling a lexicon of individual gestures in a design marathon. They went on to refine these early concepts through making, before bringing the resultant artefacts together in a carefully staged and choreographed communal feast. Finally, students were asked to individually reconsider their work in a carefully observed site or social context.

In Year 2 we designed two projects that provided layered readings of existing places, discussing relationships between fact and fiction to reimagine otherwise familiar settings. For Project 1 we worked collaboratively to design and make dioramas. We began by choosing sites that spoke to us. We asked questions such as: Would a door think of itself as a helper of privacy, or as an agent of human alienation? Would a window think of itself as a ventilation tool or as a passage to daydreaming? Personifying objects has been a classic narrative tool of comedy since antiquity and so our dialogues took on a comical dimension. For Project 2 we worked individually to create an ‘Object of the Imagination’, with only three rules.

The object had to relate to our diorama, be well crafted, and be in some way original. In this way we developed our own creative spatial practices.

The Year 3 Project X brief was ‘Heroism and the City’. Initiated by two short projects encouraging an engagement with a wider public: ‘Mutation in the Spectral City’ and ‘Making Iconic.’ The project explored how the fictional hero and the landscapes that he/she inhabits embody popular fantasies and anxieties about how we live in the daunting contemporary metropolis, and how we can use this to design for communities and individuals. The first term’s work developed into individual projects examining a broad range of themes. As final year students, about to embark on their own individual creative practice journeys, they were encouraged to develop strategies for collaborative practice, peer review, public engagement and exhibition presentation.

Architectural & Interdisciplinary Studies BSc

Project X: Design and Creative Practice I, II & III

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Fig. X.1 Year One Students ‘Feast Crit’. Immersive ritual and crit collectively choreographed by Year One students as a sequence of individually designed and manufactured artefacts and gestures. Fig. X.2 Emma Yee Y1, ‘Subtle Connections’. How can one’s body language be heightened so that such gestures are just as important as verbal language in a social interaction?

An outsized balancing beam stimulates playful mechanisms of social and spatial negotiation at the dinner table. Fig. X.3 Alexia Koch Y1, ‘Games Without Rules’. A set of lovingly turned timber characters, drawn from literary reference, are used to enact a wordless farewell between mother and daughter.

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Through a rigorous and obsessive interest into the techniques of spiralling accretion, a fired earthenware vessel and woven rope-stand are the centre of an intimate ritual of communal handwashing.

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Fig. X.4 Yingqi (Jessie) Gao Y1, ‘Tea for Differences’. With a focus on synchronicity, a teaset and ceremony carefully acknowledge and accommodate opposing tastes in an etiquette of reconciliation, pouring two types of tea from the same pot in a single action. Fig. X.5 Ethan Low Y1, ‘Metal Futures Vessel’. A self-portrait in the form of a distorted reflection. The project hypothesises that our ritualistic relationship towards shiny chromed machinery goes beyond a merely visual attraction and nostalgia, and interrogates this desire through exploring the hypersexualisation of new technologies, concluding with a series of devices that give tangible form to esoteric financial trades. Fig. X.6 Mari Katsuno Y1, ‘Purification Jar’.

How do communal celebrations reinforce social solidarity?

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Fig. X.9 Elizabeth Atherton Y2, ‘Tapestry of Domesticity’.

Elizabeth made a 1:1 embroidered tapestry of a store cupboard in her kitchen, untouched and filled with items owned by previous residents, reflecting on communal/student living and traces of past lives. The laborious process emphasised the permanence and fixed quality of this space, elevating it beyond the mundane. Fig. X.10 Emilie Morrow Y2, ‘Defence Mechanism: A Forest Automaton’. An automaton made out of watch mechanisms for those who prefer to use storytelling to express themselves. Within it exist the characters of the mind, each one telling something of joy, passion, struggle, or confusion. The piece is accompanied by a series of written stories, which, seen together with the miniature characters, can create innumerable stories.

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Fig. X.7 Sara Herrera Dixon Y2, ‘Flo(we)r’. This project looks at the idea of people as carriers of place, through handmade clothing and projections. The clothing is foldable, packable, transportable; a second skin. It represents the body as a vessel of places we have lived and live. The projected drawings were developed as a form of spatial art activism at protest sites such as the Nicaraguan Embassy and Trafalgar Square.

Fig. X.8 Roxanne Gonzales Y2, ‘Gesture Jewellery’. An investigation of relationships, rituals and social gestures shared between two people, particularly focusing on Filipino culture. The ambiguous form of the ornaments creates a larger conversation between its wearers through reinterpreting existing rituals to construct their own and exploring how they may have adapted over time within new social contexts.

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translations. They engaged with architectural drawing and explored anamorphic projection through physical and digital models. A series of imaginative exercises on translations from analogue to digital and reverse, and from both to text and film, resulted in a project that makes an argument for intersemiotic translation being a space for the training of the imagination.

Fig. X.14 Isabelle-Maria Arusilor, Justas Brazauskas, Eva Tisnikar Y2, ‘Perspection: Distortion of Perspective and Perception’ became the base for Justas Brazauskas’ ‘A Mazing London’. This image overlaps two projects, the second becoming a video game where one of London’s homogenous residential neighbourhoods slowly shifts in colour and form, to accentuate its similarities and become a maze.

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Fig. X.11 Elizabeth Atherton, Esme Chong, Sara Herrera Dixon, Lillie Hall Y2, ‘Hidden’. In this group project the students explored the idea of spatial storytelling. In a parallel to literary storytelling where spaces have the capacity to unfold through words, the group worked with architectural drawings and paper pop-up mechanisms, making spaces that speak through movement, light, and play of scale. Fig. X.12 Anna Cabanlig Y2, ‘The Moments of Self-Reflection’. A device through which one can see the reflection of oneself overlapped with the reflection of another. The project involves the act of drawing and engages with the idea of reading oneself through another.

Fig. X.13 Isabelle-Maria Arusilor, Justas Brazauskas, Eva Tisnikar Y2, ‘Perspection: Distortion of Perspective and Perception’. In this group project the students explored spatial

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Fig. X.15 Siufan (Antonia) Adey Y4, ‘Architecture of Abortion’.

This image is a still from a short film set on an eight-hour ferry crossing between Dublin and Liverpool – a journey which thousands of Irish women were forced to endure in order to have a safe abortion in the UK. The film is the capstone to a project that seeks to destigmatise abortion, bring the audience closer to its emotional experience, and raise awareness of the injustices of anti-abortion laws. Fig. X.16 Christopher Gruber, ‘Speaker’s Corner’. A research project investigating the historical, environmental, political, social and architectural fabric of Speaker’s Corner, Hyde Park. The project explores notions of gender, public hygiene and mobility in the city. Fig. X.17 Christina Ehrmann, Luofei (Christina) Dong, Andreea Vihristencu Y3, ‘Generic Upon Individual’. This

two-channel film is an examination of the topics of mutation and taste. Private/personal domestic space is mirrored and confronted with the generic interior of a showroom suite in Blake Tower, Barbican. The main character and symbolic object in this juxtaposition is a generic vase. The mutation happens in space: the relation between the object, its surroundings, the play of light and altered spatial perceptions.

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city dwellers with the soil, both physically and spiritually.

Fig. X.20 Christopher Gruber ‘Untitled’, is a three-channel film speculating on notions of body experimentation, visualisation and the mutation of the human species.

The context of a non-place is seen as a palimpsest for a scripted narrative. The physical territory is unknown but is represented through different media and making processes.

The infrastructure and hierarchies of the city are explored through notions of spatial expansion. Fig. X.21 Andreea Vihristencu Y3, ‘Off limits’ is a project that reveals a space that is inaccessible to the public, through recollected memories depicted in drawing. It delivers an opportunity to experience the lifestyle and living quarters of a travelling community in Streatham.

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Fig. X.18 James Curtis, Ryuhei Oishi Y3, ‘Point Drawlock’.

Rendered images give a view of architecture through an idealised lens, often hiding certain aspects of the reality.

This project explores how viewpoint can alter perceived reality through film. The film presents a static shot of a scene from two angles, one making the space out as a perfect lunch spot, with riverside views over Canary Wharf, the other exposes the reality of the situation: two individuals who become engulfed by the rising tide. Fig. X.19 Luofei Dong Y3, ‘Absence of Soil’.

The project explores the absence of soil in the urban environment of central London. A combination of personal explorations, ritual performances, site studies and theoretical researches unveil the significance of soil in the creation of civilisations and cultures. The soil sculpture aims to reconnect

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Fatema Panju puts the finishing touches to her group’s Living Light project

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Engineering & Architectural Design MEng Programme Director Luke Olsen Structural Design and Engineering Lead Liora Malki-Epshtein Environmental Design and Engineering Lead Dejan Mumovic Year 1 Design Make Information Klaas de Rycke The Bartlett School of Architecture 2018

Masterclass tutors Simon Chambers, Claire Ellul, Elisabeth Lemercier, Christopher Leung, Alan McRobie, Gianluca Tabellini, Andrew Walker Year 1 Design Make Live Luke Olsen Unit 1 tutors Amy Begg, Jerry Tate, Syafiq Jubri, Jonny Martin, Klaas de Rycke Unit 2 tutors Melis van de Burg, Dave Edwards, Sam Riley, Aleksandrina Rizova Year 1 History and Theory of Engineering and Architecture Michael Stacey Essay tutors Helen Castle, Laura Gaskell, Mark Hines, Andrew Scoones Year 1 Materials Mechanics and Making Matthew Coop, Yasmin Didem Aktas, Fabio Freddi Year 1 Mathematical Modelling and Analysis Santosh Battarai, Marek Ziebart Year 1 Building Physics and Energy Ivan Korolija Year 1 Building Physics and Environment Sam Smith 170

‘Historically, architecture and engineering skills were indivisible – entirely symbiotic. UCL’s new venture at Here East recognises that what are now commonly regarded as separate disciplines can in fact be brought back together, under one roof, within a unified academic course. It is hugely encouraging.’

Sir Norman Foster Designed in close collaboration with industry leaders and now in its inaugural year, this four-year programme combines the major disciplines of the built environment, architecture and engineering, to prepare future industry leaders. With creativity and design at the centre of their engineering education, students develop advanced design methodologies whilst also growing their understanding of how they are augmented and resolved through engineering.

Year 1 In Year 1 we look at London as a proving ground for experimentation, culture, creativity, progress and innovation. Students began on a boat up the Thames, making a drawn dissection that examines how, who and why the city has been designed the way it has. Weekly walks in term 1, from point to point across the capital, led by the architects and engineers who make the city, formed part of the ‘History and Theory of Engineering and Architecture’ module, culminating in students debating the contribution of unique buildings.

The core knowledge and skills of civil and structural engineering were taught on the ‘Materials, Mechanics and Making’ module; learning through experimentation in Labs with the fundamentals of maths and calculations in engineering taught on the ‘Mathematical Modelling and Analysis’ module. The ‘Building Physics and Environment / Energy’ module introduced students to the science underlying environmental design, measuring human comfort and entropy, then presenting their findings back to the inhabitants.

Students Samuel Bloomfield, Cecilia Cappellini, Zhe Chen, Federico Chiavegati, Kasikit Dumnoenchanvanit, Luke Duncan, Michael Fordham, Fatima Khan, Simran Khurana, Michal Kierat, Maria Konstantinova, Clement Lefebure, Yuhan (Liane) Liu, Peter Liu, Sheung (Marcus) Lo, Julie Motouzka, Olivia Narenthiran, Iuliana-Andra Padurariu, Fatema Panju, Praefah Praditbatuga, Jahnina Queddeng, Toekinah Sabeni-Lefeuvre, Xi Shen, Yan To, Thomas Tremlett, Tin Tse, Rabia Turemis, Lan Wang, Kaia Wells, Sheryl Wylie, Yibin (Ben) Xu, Chenmuyuan (Eric) Zhang, Hetian Zhang, Yunxian (Jessie) Zhu Thank you to our consultants and critics: Daniel Bosia, Ian Durbin, Sir Norman Foster, Katy Ghahremani, Matthew Harrison, Amanda Levete, Michelle McDowell, Paul Monaghan, Ho-Yin Ng, Ken Shuttleworth, Ian Taylor We are grateful to our sponsors: Council for Aluminium in Buildings James Latham

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Years 2-4 To come in years 2-4, students will be spending approximately half of their time on design, taught by structural and environmental design tutors from renowned practices. This unique mix will challenge conventional models, allowing students the opportunity to understand and develop advanced design methodologies whilst acquiring expertise on how they are augmented, and synthesising engineering and architectural knowledge.

This unique programme brings together three UCL departments in a pioneering academic partnership: The Institute for Environmental Design and Engineering (IEDE), The Department of Civil, Environmental and Geomatic Engineering (CEGE) and The Bartlett School of Architecture.

Engineering & Architectural Design MEng

From term 2, students were immersed in a culture of open-ended design and making with a series of masterclasses in drawing, modelling, and computer aided design by engaging in life-drawing, sugar structure patisserie, diagramming flux, CAD/CAM, Geographic Information Systems and big data. Students went on to design, make and inhabit a series of pavilions open to the public for 24 hours at UCL at Here East, in the Queen Elizabeth Olympic Park. The pavilions – several of which can be seen on the following pages – were designed, built and tested to destruction. The theme this year for the ‘Design Make Live’ module was ‘Living Light’. Working in teams of 5-6, students were able to use the project to gain a deeper understanding of a particular engineering and architectural concept.

Key ideas were established, researched and analysed from structural, environmental and architectural perspectives.

Engineering & Architectural Design MEng

Bittersweet – Michael Fordham, Simran Khurana, Olivia Narenthiran, Fatema Panju, Rabia Turemis, Yibin (Ben) Xu Marilyn Federico Chiavegati, Michael Kierat, Iuliana-Andra Padurariu, Ellie To, Jason Tse, Sheryl Wylie Figs. MEng.1 – MEng.3 This group project explores sugar as a building material in the form of translucent reinforced moulded panels. These panels become walls, roofing, seating and lighting without compromising the organic, baroque and playful nature of the sugar. Fig. MEng.2 Sugar that melts off the structure over 24 hours is collected on a giant canvas, recording the pavilion’s demise. Fig. MEng.3 The colour of the panels relates to the temperature of the sugar mix and they are located to correspond to the colour temperature variance of the sunlight during the day.

Marilyn – Federico Chiavegati, Michael Kierat, IulianaAndra Padurariu, Ellie To, Jason Tse, Sheryl Wylie Fig. MEng.4 An inviting, relaxing, adaptive seating area for the public while incorporating a large fabric roof canopy that elevates or drops via a system of rigid and flexible elements attached to pulleys and gimbals. If the public want shelter from the wind in one direction they can rotate the furniture and the system opens or closes down as preferred. This design takes inspiration from Marilyn Monroe’s famous white dress in The Seven-Year Itch.

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Bottled Illusion – Fatima Khan, Yuhan (Liane) Liu, Toekinah Sabeni-Lefeuvre, Ian Wang, Yunxian (Jessie) Zhu Figs. MEng.5 – MEng.8 Built from the equivalent number of plastic bottles consumed at UCL in 24 hours, this pavilion presents a play of light, shadows and reflections, creating a unique show experience. Fig. MEng.6 The pavilion absorbs light in the day. Fig. MEng.7 The pavilion emits light at night.

Fig. MEng.8 The enigmatic reflective cube can configure itself to close up for private events or open out on castors to allow light to flood in during the day or out during the night via embedded LED lights. The function of this pavilion is intentionally ambiguous to enable users to enjoy the potential of embodied energy and light revolutions unique to the site over 24 hours.

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Team Tall – Samuel Bloomfield, Zhe Chen, Zhang Chenmuyuan, Kasikit Dumnoenchanvanit, Xi Shen, Jahnina Queddeng Fig. MEng.9 A super-lightweight spaceframe structure made of ropes, tubes and nets to form a spiral hammock that doesn’t touch the ground but hangs from the rafters. Influenced by tetrahedrons, children’s play areas and an aspiration to float and be tall.

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Make Fake – Maria Konstantinova, Sheung (Marcus) Lo, Peter Liu, Thomas Tremlett, Kaia Wells, Kimberly Zhang Fig. MEng.10 Testing how the built environment can reflect the invisible workings of society. Using 1:1 film sets, greenscreens, scale models and film techniques to produce staged fictional narratives that exist in the landscape of UCL at Here East, shown on large screens for 24 hours, playing cinematic tricks with scale, location and authenticity.

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Tea Room – Cecilia Cappellini, Luke Duncan, Clement Lefebure, Julie Motouzka, Muse Praditbatuga Fig. MEng.11 Inspired by traditional Japanese tea rooms, the Tea Room is a lightweight pavilion made from interlocking beech tiles held in place by tension and friction, tessellating to form a stable structure that adapts as a wind-screen to form a shelter to enjoy the best environment for drinking tea. Fig. MEng.12 Clement Lefebure Next iteration CAD visualisation for the ‘Tea Room’ as a lightweight pavilion sited in a Japanese park with the tiles adapted to its unique microclimate.

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Open Crits 2018

Architecture MArch (ARB/RIBA Part 2)

Architecture MArch (ARB/RIBA Part 2) Programme Directors: Julia Backhaus (on sabbatical), Barbara-Ann Campbell-Lange, Marjan Colletti

Advanced Architectural Studies Tania Sengupta (on sabbatical), Robin Wilson Design Realisation Pedro Gil, Dirk Krolikowski Thesis Edward Denison, Robin Wilson, Oliver Wilton

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Unit 10 Simon Dickens, CJ Lim Unit 11 Laura Allen, Mark Smout Unit 12 Elizabeth Dow, Jonathan Hill Unit 13 Sabine Storp, Patrick Weber Unit 14 Jakub Klaska, Dirk Krolikowski Unit 17 Yeoryia Manolopoulou, Níall McLaughlin Unit 18 Isaïe Bloch, Ricardo de Ostos Unit 19 Jeroen van Ameijde, Mollie Claypool Unit 20 Marjan Colletti, Marcos Cruz, Javier Ruiz Unit 21 Abigail Ashton, Tom Holberton, Andrew Porter Unit 22 Izaskun Chinchilla, Carlos Jiménez Cenamor Unit 24 Penelope Haralambidou, Michael Tite Unit 25 Nat Chard, Emma-Kate Matthews Unit 26 David Di Duca, Simon Kennedy

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The study of architecture is in many ways the study of prepositions – of how we position ourselves in relation to a complex world. At Master’s level the work of our international student body confronts issues, raises questions and initiates conversations. The knowledge it draws on is academic as well as practical, pure as well as applied. As architectural education has the responsibility to feed the imagination in ways not always possible in practice, we negotiate this threshold where the discipline challenges the profession. We cherish the unexpected dialogues that arise between design, history and theory, technical realisation and thesis. We travel all over the world to feel and see at first hand. We write, model, film, simulate; we think, comment, criticise, mock; we ask, observe, investigate, examine; we listen and we dare to advise.

In our real–imaginary projects, the hinterlands of Essex become a post-industrial arcadia of just and equitable neighbourhoods built around cooperative and sustainable dwellings; super-scale satires on developer architecture integrate Syd Mead-inspired images with technical rigour; and experimental spatial propositions for the Euston area combine a wide knowledge of buildings and architectural texts with a deep scepticism towards prevailing social, political and financial mechanisms. Further from home, the design of research centres in Varanasi bridges culture and science, labs and ritual spaces, going beyond light and sound to use scent and odour as materials. A cathedral-sized timber parliament, camouflaged in a Swedish forest, argues for sustainable logging. And Jeff Koons and Alice in Wonderland, among others, provide the inspiration for masterplans, architectures and manifestos that address participatory governance and climate change.

In the serious and visionary work of our students, the spatial and material architectures of digital glitches and analogue actions reveal new readings of familiar landscapes; non-linearity and interactivity are designed into cinematic spatial experiences to make extraordinary political films; smart gadgets and the Internet of Things disrupt value with kit-of-parts fabrication systems and non-hierarchical organisational structures; and virtual reality and sleight of hand are translated into building strategies where what we see – events, actions and time-based systems – is completely different from what is designed. Possibilities that elude more conventional design methods are opened up by correlations between idea and technique, human and non-human parts, the animate and the inanimate, computation and crafts. And, at a time when machinelearning, Artificial Intelligence and robotisation are profoundly changing society, nature’s extraordinary geometric and material complexity is explored through environmentally sensitive generative architectures.

Just as our students are experimenting and pioneering in their design and writing, our tutors are actively engaged in cutting-edge research and practice. We encourage alternative forms of entrepreneurial collaboration

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across year groups, between departments and institutions, and between academia and industry. For us, these syncretic relationships and the radical dialogues they generate are the means to elicit the self-scrutiny that is vital to the life of the programme and the quality of its work.

Our projects strive to be attentive to people, politics, cities, buildings, industries, infrastructures, landscapes, technologies and communities – to consider the forgotten, the overlooked, the undervalued and the lost.

Our students learn to be multilingual: to translate their ideas in order to communicate with users, clients, policymakers, artists, scientists, industry partners, film-makers, writers, activists and each other.

The programme encourages questioning and experimentation in order to avoid assumptions and drill down to the things that really matter in any situation, whether given or discovered. We do not seek conventional success or easily-won solutions, but understand architectural form – articulated through arrangements of space and time, narratives and statistics, strategic and global, detailed and local – as a way of engaging collective responsibility to make the world a better place. That our projects are imperfect is a given. Complex ideas are often hard to communicate.

Failure and doubt are materials we work with and, as with all exceptional built architectures, our cumulative efforts cannot be measured in a straightforward way. What you will witness in the manifestos and projects that follow, however, is that as tutors and students we work with humility and humour: ever-critical, ever-rigorous. In education, we believe in taking risks.

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Unit 10

In Search of Architectural Narratives and Manifestos Simon Dickens, CJ Lim

Year 4 YueZai Chen, Nicole Cork, Junchao Guo, Peter Hougaard, Jinrong Lai, Hoi (Kerry) Ngan, Benjamin Simpson, Phot Tongsuthi, Vilius Vizgaudis, Lu Wang, Ananda Wiegandt Year 5 Anna Andronova, Elliott Bishop, Jason Hon Ho, Mohamad Qaisyfullah Bin Jaslenda, Tristan Taylor The Bartlett School of Architecture 2018

Thank you to Jon Kaminsky for his teaching of the Design Realisation module and David Roberts for the Manifesto Workshop

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Roland Barthes comments that ‘narrative is present in every age, in every place, in every society; it is simply there, like life itself.’ It is therefore significant that buildings and cities, as physical repositories of and monuments to human culture and history, should now imply meaning beyond their quotidian functions. In pre-secular times, it was not unusual for buildings to be constructed of and around narrative, and determined by metaphor. In his 1978 book Delirious New York: A Retroactive Manifesto for Manhattan, Rem Koolhaas employs this strategy, depicting the city as a metaphor for the diversity of human behaviour. However, not only is narrative unfashionable in contemporary practice, but the modern age has also been unkind to architectural manifestos. Many manifestos in their purest forms are uncompromising calls for change. In 1914, Antonio Sant’Elia wrote in the Manifesto of Futurist Architecture that ‘every generation must build its own city, and for which we fight without respite against traditionalist cowardice’. Even Walter Gropius, a scrupulously practical architect, called for architects to ‘engrave their ideas onto naked walls and build in fantasy without regard for technical difficulties’; he suggested they make ‘gardens out of desert’ and ‘heap wonders to the sky’. Nearly every important development in the modern architectural movement began with the proclamation of these kinds of convictions. The manifesto for Ebenezer Howard’s garden city, for example, was inspired by Edward Bellamy’s utopian tract, Looking Backward: 2000–1887. Published in 1888, Bellamy’s novel immediately spawned a political mass-movement and several communities adopting its utopian ideals – open space, parkland and radial boulevards that carefully integrated housing, agriculture and industry.

This year, Unit 10 focused on the potential of architecture and urban design to address the fundamental human requirements to protect, to provide and to participate. The design projects explore issues of sustainability, resilience and the challenges posed by climate change, and the reciprocal benefits of simultaneously addressing the threat and the shaping of cities. Climate change offers the opportunity for imaginative interventions, as a new lens through which cities are forced to rethink priorities and established dogma. No longer should climate change be considered solely in the realms of scientific policy: the effects of climate change on architecture include changes in culture, behaviour, demographics, population growth and economic environment. Narrative is most valuable in its speculative function, and can inform the built environment. The stimulus of our projects derives from postulated narratives and processes gleaned from literature and fiction as well as the current body of scientific knowledge regarding changing environmental impacts on architecture and cities.

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10.2 Fig.10.1 Tristan Taylor Y5, ‘New Martha’s Vineyard: A “New World” Colony for the Reverse Climate Pilgrims of America’.

Inspired by the extraordinary journey of the Pilgrim Fathers, a new tribe of American Climate Pilgrims, disenfranchised by the anti-environmentalist stance of Donald Trump, embark on a reverse pilgrimage back across the Atlantic to plant a new colony in Aberavon, South Wales. Figs. 10.2 – 10.3 Elliott Bishop Y5, ‘The Sweet Proposal: A Cautionary Tale of the Corporate City’. Nestlé converts the city of York into a corporate dystopia veiled in a façade of sweetness inspired by F. Scott Fitzgerald’s The Great Gatsby. The confectionery city is a critique of urban privatisation where corporate infrastructures control our governance, employment, housing and nutrition.

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Figs. 10.4 – 10.5 Anna Andronova Y5, ‘The Grand Paris of Niger’. This sublime, lush oasis on a major human trafficking route aims to empower local communities and discourage their dreams of migrating to Europe. Regeneration is made possible through a holistic water management system of harvesting, treatment and usage.

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10.6 Figs. 10.6 – 10.7 Mohamad Qaisyfullah Bin Jaslenda Y5, ‘The Holy City of Detroit’. Highlighting the delusional state of Trump’s America, the project aims to critique the policies under his administration, and the manipulation of Christianity for political and economic gain. Figs. 10.8 – 10.9 Jason Hon Ho Y5, ‘The United Kingdom in the Southern Hemisphere’.

A branch of the UK in the post-Brexit era, the retirement wonderland protects the British economy, ecology, the National Health Service, and the hydrocarbon zone within the territorial waters of the Falkland Islands. Inspired by the portable floating Mulberry Harbour developed by the British Army during the Second World War, the extraordinary project transforms water into inhabitable land in 12 days.

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Unit 11

National Reserve Laura Allen, Mark Smout

Year 4 George Bradford-Smith, Andrew Chard, Wei-Kai Chu, Oliver Colman, Stefan Florescu, Paul Humphries, Douglas Miller, Naomi Rubbra Nicholas Salthouse Year 5 Bethany Bird, Laurence Blackwell-Thale, Tom Budd, Emma Colthurst, Patrick Horne, Alexander Liew, Joe Roberts, Eleanor Sampson The Bartlett School of Architecture 2018

Many thanks to our Design Realisation tutor Rhys Cannon, and to Stephen Foster, for their support Thank you to our critics: Roberto Botazzi, Kyle Buchanan, Margaret Bursa, Edward Denison, Holly Lewis, Aisling O’Carroll, Luke Pearson, Emanuela Tiley, Tim Waterman

The ‘National Reserve’ brief interprets the landscape of margins and architectures ‘on the edge’, to expose overlooked stories of life and data.

Spatial opportunities within the often-misunderstood interlacing of unplanned and planned, designated and uncontrolled urban and rural landscapes are exposed through interrelated landscape scenarios.

The green belt – which provides a curated buffer zone, an idealistic hinterland between city, suburb and ‘satellite’ village – is a perpetually threatened (spatial) concept and (legislative) landscape. The public perception of the green belt as countryside is at odds with the reality of this landscape. Much of it is classed as ‘neglected’, with derelict buildings, rubbish, electricity pylons and other blots on the landscape. Less than half is green and much of that is monoculture farmland, spending whole seasons beige or brown.

Open in perpetuity The original and enduring role of the green belt is to prevent urban sprawl by keeping land permanently ‘open’. However, in the UK, no aims are set for acceptable land uses and no indication is given as to their preferred form beyond a general concern that green belts should retain their ‘openness’.

This vaguely defined requirement is inevitably renewed and transformed as our territorial requirements change to keep up with the demands and desires of the 21st century – be they local, national, technical, cultural or social – and by consequence, provides an essential landscape for defining the transforming prospect of Britishness itself.

Occupying the ‘Terrain Vague’ Green belts were never explicitly provided for nature conservation or to preserve the appearance of the UK’s rural idyll, but rather to produce a peri-urban edge to the city in the form of a national reserve: land squirreled away, not left to squirrels.

‘Open’ also doesn’t necessarily mean natural, accessible or absent from development. In fact, much of its area could be described as Terrain Vague, a term coined by Ignasi de Sola-Morales to suggest a spatial phenomenon that, contrary to the legislative designations that surround it, defies categorisation – an in-between ‘ambiguous space’. Its unexpected lack of definition, and appearance of being left to its own devices, permits a kind of freedom from the palimpsest of previous lives and the promise of future ones. This is the territory where our architectural imaginations can thrive.

Alongside our interest in the UK’s legislative landscapes, we also delved into international territories (Palm Springs and Los Angeles) where parallel stories of urban speculation offered alternative narratives on architecture’s capricious relationship with landscape.

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11.3 0.0 Fig. 11.1 Eleanor Sampson Y5, ‘The Fourth Estate’. Sited within the once idealised suburban state of ‘Metro-Land’, North-West London, this project is a testbed for a new template of British housing. The multi-layered landscape seeks to emulate the convenience and contradictions of the suburbs whilst updating the semi-detached housing typology to the needs of today.

The urban-to-rural gradient influences both the cultivation of the landscape and the uses of the buildings rooted within it.

Fig. 11.2 Joe Roberts Y5, ‘The Post-Growth Community’.

What would it mean for the city to be accountable for all the elements that sustain it, not as an abstraction, but as a fully bounded system obliged to take care of itself? The Post-Growth Community’s ecological footprint is correlative with its political boundary. Fig. 11.3 Tom Budd Y5, ‘Bigger Than a Hamlet, Smaller 194

Than a Town’. Chobford-Barrow challenges the notion of creating new garden village communities from scratch. By using the motorway as the economic starting point for a settlement, a new ‘service station village’ typology is proposed. Here the collision of multiple scales of pace are mediated through the fusion of the village green, high street and motorway service station. Fig. 11.4 Patrick Horne Y5, ‘How Do You Feel?’. This project explores virtual environments as a platform to test the psychological effects of architecture. Through five experimental buildings, it examines which forms of useful data we can extract from participants in virtual environments and speculates on how this data might knowingly inform architectural design. Each building is shown before and after revision, highlighting the changes enacted through each consultation process.

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Fig. 11.5 Bethany Bird Y5, ‘Ojai Wildfire Response Centre, California’. Purpose-made materials such as Nomex and Kevlar are developed to aid firemen and women to tackle fires.

The project applies these modern firefighting technologies in tandem with dressmaking techniques, to explore fire safety within architecture. Fig.11.6 Wei-Kai Chu Y4, ‘Future P[Reserve] Archive’. The governmental act of releasing green belt land for housing development inspires the process of digitally recording London’s green belt landscapes. Fig. 11.7 Oliver Colman Y4, ‘Occupying the Green Belt’. A series of dynamic mechanical models flip the National Planning Policy Framework to question the occupation of green belt land. Each model explores the protected land around Epping, Essex through augmented landscapes, faux historical façades and illusionary

interventions. Fig. 11.8 Andrew Chard Y4, ‘Filtered Oasis’.

California’s accidental Salton Sea once provided tourism and wealth to this desert region. Now receding, the shores flood the surrounding communities in toxic dust. This elementary school provides a filtered safe haven to the community’s most vulnerable inhabitants. Fig. 11.9 Douglas Miller Y4, ‘Mapped’.

Exploring the divide between the map and the world it depicts, this project investigates the manipulations and absurdities that are thrown up by comparing the bleeding-edge technology of mapping and navigation to its two-dimensional predecessor.

Using modern mapping technologies such as LIDAR in conjunction with drawing, a new graphical language is built.

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Fig. 11.10 Paul Humphries Y4, ‘The Letchworth Achievement’.

This new town hall celebrates the garden city in the hope of it thriving as the blueprint for new town development in response to the current housing crisis. Fig. 11.11 Nicholas Salthouse Y4, ‘An Architecture of Uncertainty’. In politically uncertain times the building offers extraterritorial amnesty from Theresa May’s ‘Hostile Environment’. The architecture reconfigures itself with the tides, metaphorically representative of this political ebb and flow, allowing variable programmatic flexibility within an otherwise open-plan space; its configuration at any one time graphically embossed in the façade. Fig. 11.12 Stefan Florescu Y4, ‘Under the Grid’. An Apiculture Centre, where bees live and produce honey all year long, provides a new building typology for the hazardous open land under power lines in the green

belt. The building uses its geometry and materiality to shield its occupants from electromagnetic radiation. Fig. 11.13 George Bradford-Smith Y4, ‘Dirty Greenbelt’. Heathrow Airport has the highest levels of pollution within the green belt, exceeding EU limits. This project captures, diffuses and reconfigures air pollutants and aircraft noise, transforming these into structural movements. Hotel guests’ negative perceptions of pollution are subverted through the hotel experience. Fig. 11.14 Alexander Liew Y5, ‘The British Overseas Territories Exposition’. The exposition is designed to bring the global patchwork of 14 intriguing communities and territories together into one site, in order to highlight the diverse range of attributes in their landscapes and communities, whilst re-linking them to Britain.

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11.16 Fig. 11.15 Naomi Rubbra Y4, ‘New Citizens’ House’. This project looks at providing a space for communal gathering, whilst supplying much-needed services to the boating community along the Lee Navigation. The work evolved from a 1:1 installation on Tottenham Marshes exploring structural mobility, into an architectural response to the temporality of boating lifestyle, water reuse and habitat restoration.

Fig. 11.16 Emma Colthurst Y5, ‘The Circumambulation of Cranham’ explores the richer narratives between the community of Cranham and their collective landscape: a suburbanised village on the outskirts of London. The future civic functions of the village relocate along the ancient parish boundary on 26 alphabetised boundary markers. Each civic function harbours a secondary political function, for example 200

uniting the pub (A) with Havering Political Surgery and the butcher’s shop (C) with Adult Welfare. The residents and local council collectively embark on this circumambulation to further discover and celebrate the community of Cranham.

Fig. 11.17 Laurence Blackwell-Thale Y5, ‘Sublime Landscape Generator’. Foothills, fingers of lakes, shoulders of mountains: the body-landscape metaphor is the basis for a trans-scalar production of new landscape iterations. The Sublime Landscape Generator uses aerial photography techniques to produce stereoscopic visions of cartographically quantified, sublime experiences.

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Unit 12

A City in a Building in a City Elizabeth Dow, Jonathan Hill

Year 4 George Entwistle, Niki-Marie Jansson, Francesca Savvides, Serhan Ahmet Tekbas, Yu (Nicole) Teh, Yat Chi (Eugene) Tse, Dominic Walker, Yushi Zhang Year 5 Sophie Barks, Boon Yik Chung, Samuel Coulton, Iga Martynow, Daniel Meredith, Elin Soderberg, Eleni Zygogianni The Bartlett School of Architecture 2018

Thank you to our Design Realisation tutor James Hampton and our DR structural consultant James Nevin Thank you to our critics: Ana Araujo, Alessandro Ayuso, Roo Bernatek, Nicholas Boyarsky, Eva Branscome, Tom Coward, Edward Denison, Max Dewdney, Ben Ferns, Jan Kattein, Constance Lau, Ifi Liangi, Thandi Loewenson, Hugh McEwen, Tom Noonan, Samir Pandya, Rahesh Ram, Peg Rawes, Sophie Read, David Roberts, Tania Sengupta, Takero Shimazaki, Sayan Skandarajah, Eva Sopeoglou, Ro Spankie, Catrina Stewart, Michiko Sumi, Dan Wilkinson

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The Roman god Janus looked two ways simultaneously: to the past and to the future. The most creative architects have also looked to the past and to the future in order to reimagine the present. In many eras, the most fruitful architectural innovations have occurred when ideas and forms have migrated from one time and place to another, by a process of translation that has proved to be as stimulating and inventive as the initial conception.

Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.

According to Vincent Scully, the architect will ‘always be dealing with historical problems – with the past and, a function of the past, with the future. So the architect should be regarded as a kind of physical historian…the architect builds visible history’. The architect is a ‘physical novelist’ as well as a ‘physical historian’. As a history is a reinterpretation of the past that is meaningful to the present, each design is a new history.

Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil.

As well as being tangible and physical, a city may exist in our memories and in our imaginations, and no-one shares the exact same knowledge or experience. Architects from the Renaissance to the present day have repeatedly emphasised the analogy of a house to a city, which is notably expressed in Andrea Palladio’s remark that ‘the city is nothing more or less than some great house and, contrariwise, the house is a small city’.

The house he refers to is not the private house that we know today, but a house that combines private and public lives, whether a farm, a business or a workshop. Precedents for such a megastructure – that incorporates multiple functions in a single form – include Old London Bridge, Kowloon Walled City, and the welfare state universities of the 1960s. In response to climate change and the need to create a compact, sustainable and seasonal city, Unit 12 proposes that all the programmes – houses, schools, farms, cinemas, businesses, industries – necessary to sustain a rich and varied urban life should once again be integrated into a single complex – a city in a building in a city – an intimate megastructure.

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Fig. 12.1 Elin Soderberg Y5, ‘The Woodland Parliament’. The Swedish Riksdagshus (eng: Parliament) is in need of renovation.

The project proposes an alternative seat for the Riksdag, relocated from central Stockholm to the depths of the Royal National City Park forests at the fringes of the city, and speculates on a revived Swedish timber architecture that continues to draw upon the primitive memories of the forest.

Figs. 12.2 – 12.4 Eleni Zygogianni Y5, ‘The Village of the Two Rivers: A New Hope for the Future of Greece’. The project is a believable utopia, a modern myth and hypothesis on how Greece could be transformed in the future by repatriating the emigrated ‘Generation G’ that left the country after the economic crisis. The project reconstructs and revives the public ‘heart’ of the Cretan village in a surreal and symbolic

dialogue with the culture, history and stories of the island. Fig. 12.5 Sophie Barks Y5, ‘The Central Civil Registration Bureau’.

The project reddresses the mandatory civil registration integral to the underpinning of our status within society and the key life events of birth, marriage and death. It considers the process as moments of civil celebration and reflection. Furthermore, the project examines architectural language and historical ‘styles’ with the hybridisation of the image of history within modern design.

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Figs. 12.6 – 12.8 Iga Martynow Y5, ‘Slavic Free Theatre’.

Inspired by the Belarus Free Theatre and designed with the aim of becoming its main performance space, this open-air theatre combines the aesthetics of Soviet Modernism with traditional North Slavonic architecture. Set within an artificially-created tidal meadow, the building explores notions of modern Slavic identity through symbolic ornament. Fig. 12.9 Boon Yik Chung Y5, ‘A Portrait of London’. A tragicomedy, this project explores the potential of architecture as a commentary on the human condition through designing spaces that reveal social tensions and existential angst, represented in paintings, embedded with political, social, cultural and art historical allusions, mirroring the grandeur and grotesque of contemporary urban living.

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Fig. 12.10 Yu (Nicole) Teh Y4, ‘City of Darkness’. The City of Darkness is a critique of the over-conditioned environment of Singapore, from the excessive use of artificial lighting to air-conditioning. The proposal focuses on the design of the first building of the city, the house of the Mayor – a place of work and display for architecture and art of the dark.

Fig. 12.11 Francesca Savvides Y4, ‘The Green Line Parliament’.

The project is sited in Cyprus in the Nicosia buffer zone and is a new parliamentary building to be used in the event of a solution to the ‘Cyprus problem’. Until that day the building stands as a monument and as a space for ongoing peace talks and communal projects. Fig. 12.12 Dominic Walker Y4, ‘The Monastic School of Architecture’. One might see architecture itself as a sort of quasi-religion, rich with tradition and myth.

Its practices have long been associated with ideas that stretch beyond economics and utility. This proposal seeks to celebrate such a mythic notion of architecture, through the implementation of a lifelong hermetic educational model.

Fig. 12.13 Niki-Marie Jansson Y4, ‘The Independent Province of Angel’. The Slow City responds to the erratic and fast paced nature of urban redevelopment prevalent in today’s society, and aims to exploit brick as London’s default material. The project manifests itself as an incremental infrastructural development within Angel, Islington, reintroducing brick manufacture as a local productive industry, in order to provide a catalyst for integrated social development.

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Fig. 12.16 Yat Chi (Eugene) Tse Y4, ‘The Guild of Bitcoin Miners’. The project outlines the disarray and ugliness of the capitalist society in the UK by using the rise of Bitcoin to pose the question ‘what is the most valuable?’. The Guild would develop a new Gothic language for the 21st century and offer a school to re-educate unemployed Welsh coal miners with a new craft. Fig. 12.17 George Entwistle Y4, ‘Transactions of the Ancient Monuments Society’. The project takes the form of a design for the headquarters of a new and alternative planning authority for London. A subverted spatial sequence and curious detailing in the design of the headquarters aims to assist in tackling the corruption that is currently present within the planning process.

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Fig. 12.14 Yushi Zhang Y4, ‘An Art Academy for the Forgotten Coal Miners’. The project responds to the closure of the largest open pit coal mine in Fushun, China. It seeks to re-imagine the life within the coal mine after its industrial life span. The project explores the process in finding a new architectural language and identity for the abandoned site and its forgotten people. Fig. 12.15 Serhan Ahmet Tekbas Y4, ‘The Monument To The Lovers of Famagusta’. Sited within the contested grounds of Famagusta in Northern Cyprus, the monument and performative architectural characters are constructed of social, cultural and political stories that propose a future for the ghostly Salamis Ruins. The project investigates the role of the storyteller architect and explores dichotomies that include written/oral stories, human/machine and human/architecture.

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Fig. 12.18 Daniel Meredith Y5, ‘HMYOI Hutton’. The project is a young offenders institution, sited near Torridon in the Western Highlands of Scotland. The institution is located directly over the Lewisian Complex, the oldest bedrock geology in the UK. Through building with such ancient materials, excavated from the site, the institution aims to instil an appreciation of the present. Fig. 12.19 Samuel Coulton Y5, ‘London Resomation and Physic Garden’. Inspired by Derek Jarman, and Yves Klein’s blue monochromes, the project is a proposal to introduce a resomation necropolis and physic garden; in which our relationship with death is readdressed through the implementation of a botanical garden on the site, fed by the nutrient rich effluent water, generated through resomation.

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Unit 13

Hinterlands Sabine Storp, Patrick Weber

Year 4 Nicola Chan, Tasnim Eshraqi Najafabadi, Rui Ma, Emily Martin, Giles Nartey, Allegra Willder Year 5 Ye Lone (Jarrell) Goh, Gintare Kapociute, Kannawat Limratepong, Sara Martinez Zamora, Katriona Pillay, Yan Kee (Adrian) Siu, Mai Que Ta, Yui Sze Wong, Alexander Wood The Bartlett School of Architecture 2018

Thanks to Toby Ronalds, Design Realisation Structural Tutor, and Rae WhittowWilliams, Design Realisation Practice Tutor Thank you to our critics: Samson Adjei, Barbara-Anne Campbell-Lange, Edward Denison, Edward Farndale, Andrew Friend, Christine Hawley, Simon Herron, Inigo Minns, Matt Lucraft, Thomas Parker, Guan Yu Ren, Nikolas Travasaros, Paolo Zaide

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In the previous two years, we explored the ‘Hinterlands’ of the Bata Estate in East Tilbury. This year we explored Essex further – as both a site for projects and as inspiration for a broader investigation into how we inhabit spaces.

The way we live in and inhabit spaces is not fixed, it is in constant flux: changing not only with fashion but alongside subtler shifts in culture, economics, the social fabric and, ever more importantly, questions of sustainability. Surprisingly, the dream of the single-family detached dwelling is still very much alive – set in a perfect arcadian rural or suburban landscape.

Cities used to be heavily dependent on their surrounding land for the supply of food. Slowly the structures within our society are shifting, the work environment is changing, the way we supply ourselves with the necessary provisions can be challenged. ‘Off-grid’ is suddenly aspirational, rather than being perceived to be at odds with our modern way of life.

Over the last hundred years, Essex has been a testing ground for a variety of new models of alternative inhabitations and communities.

From the Plotlanders leaving the city behind, occupying and dwelling in simple sheds, to the company towns and villages built by Bata Shoes in East Tilbury and the Crittall Window Factory in Silver End; the Hadley Colony for the poor; the Osea Island community for living without alcohol or drugs; Purleigh Colony – a Tolstoy-inspired colony living by anarchist principles; and the famous Permaculture Anarchist workshops at Dial House, a community set up by the anarcho-punk band Crass; the list seems to be endless.

Nowadays, Essex has a very different reputation: known for the television series TOWIE and its star Joey Essex, bottle-blondes with white stilettos, boy racers, and Saturdays spent in the Lakeside Shopping Centre or the Festival Leisure Centre in Basildon, affectionately called ‘Bas Vegas’.

Instead of repairing this ‘broken suburbia’, Unit 13 is interested in ways the abandoned industrial landscapes of Essex can be used to create different ways of living. Each approach is different, all our readings are personal, and every solution is driven by innovation. We are interested in how we inhabit spaces and cities, what forms new communities can take on, how technology and production can drive this progress, and where different methods of procurement can lead us.

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Figs. 13.1 – 13.2 Yan Kee (Adrian) Siu Y5, ‘The Diggers Festival of Peace.’ A speculative settlement is proposed to relocate an evicted squatting community called ‘The Diggers’. Formerly inhabited in Runnymede, the squatters craft an off-grid woodland village to provoke a land reform. By highlighting disused lands in London, they advocate an ecologically sustainable living model with cultivation and dwellings built with local materials, establishing their own Arcadia within nature. The speculated settlement encapsulates collective visions that various squatting communities attempt to realise, creating an alternative ecosystem. The annual pilgrimage of nature, the Festival of Peace celebrates the reform of squatting communities, promoting social autonomy and equality. Fig. 13.3 Gintare Kapociute Y5, ‘The Southall Oasis:

The New Arrival City.’ The urban regeneration of Southall imagines an alternative future for high-density multigenerational living for culturally diverse communities.

Through the lens of Hindu notions of spacemaking and community engagement studies, the Southall Oasis investigates how the use of wasteland can provide selfsustaining areas for habitation and stimulate alternative planning approaches though the cultivation of health and wellbeing. The project seeks to provide for integration and cohesion between the existing and future communities by encouraging participation in the design and construction of habitats, which are able to adapt and transform to the changing needs of a multigenerational family.

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13.5 Fig. 13.4 Ye Lone (Jarrell) Goh Y5, ‘The Ganesh Chaturthi Festival Grounds’. The project proposes a new Hindu festival site in Leigh-on-Sea, Essex, for the annual celebration of Lord Ganesh’s birthday. The architecture embodies the fleeting nature of the ten-day festival with temporary buildings that fully exist only during the celebrations. The traditional ritual of dissolving clay idols in the River Thames is reflected in an impermanent, dissolving architecture created by the draping of clay-dipped fabric. The Festival Grounds consist of a temple, feasting halls, and visitor accommodation within a productive landscape that harvests the materials that support the event.

Fig. 13.5 Katriona Pillay Y5, ‘Performance Accelerator of Pushkar Lake’. Pushkar in India is transformed into a host city for a one-day festival in celebration of the New Year.

The project aims to critique the intrinsic institutional division set between attributes classified under ‘tangible’ and ‘intangible’ cultural heritage, as inscribed by UNESCO. The mandala symbol is reflected upon as a spatial archetype, unintentionally maturing into an artform of scattered festival follies, expressing a symbiotic unity of the intangible conscious mind and imagination with the meticulous tangibility of its construction.

Thus, an intangible process generates a tangible product.

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13.7 Fig. 13.6 Alexander Wood Y5, ‘Dirty Money.’ The project speculates on the relocation of the London Stock Exchange to the mudflats of Foulness Island off the Essex coast. Occupying this remote landscape, high-frequency trading takes place using servers powered by the tide and housed within concrete bastions. A lone maintenance person is the sole inhabitant of this remote landscape. Fig. 13.7 Yui Sze Wong Y5, ‘An Essex Love Story.’ A new typology in wedding architecture which provides an affordable and more convenient version of ‘lavish’ weddings. A series of stage sets are designed to compose perfect moments within a camera’s lens. The contrast between the ‘stage’ and the ‘back of house’ is a critique on how contemporary nuptials have evolved into superficial performances, utilised by individuals to display their social 216

status and identity. Fig. 13.8 Sara Martinez Zamora Y5, ‘Hacking the Green Belt: A Proposal for a Common Ground.’

In the context of the current housing crisis in London, the project studies the issue of land and its lack of availability.

Attempting to unlock new land, the project takes the form of a manifesto advocating for the release and development of the green belt for a new type of housing. Through the reinterpretation of the current legislation, the ‘good design’ guide utilises the loopholes that allow for the proposal of a new village typology. These settlements promote new types of land ownership.

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Fig. 13.9 Mai Que Ta Y5, ‘Dichotic Territories.’ The project seeks to address the phenomenon that without ever leaving home, we exist in two places simultaneously. It is designed as an urban site strategy for housing along the railway’s ecological corridor in Harringay. The proposal seeks to understand the dichotomies of space through the negotiation between the interior and the culturally fluid boundary of the exterior, where the common has the same cultural significance as the home itself. Explored through textile manipulations, the tactile tectonic structuring of the landscape forms a relationship with a plan which is able to shift, move and adapt – exploring the fragility and impermanence of both the home and the shelter. Figs. 13.10 – 13.11 Kannawat Limratepong Y5, ‘Paradise on Archipelago.’ Reimagining Wallasea Island in

Essex as new British seaside retirement resorts. The project aims to reclaim the lost seaside heritage and highlights the growth of the third-age population. The design suggests a new model of retirement inhabitation as festive ground by utilising and revitalising the attributes and landscape of seaside towns.

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13.13 Fig. 13.12 Nicola Chan Y4, ‘The Dagenhamlandia Showhome’.

The rise of electric vehicles and the UK’s pledge to ban the sale of all diesel and petrol cars by the year 2040 provides the starting point for a conceptual rebranding of the major car company, Ford, in a strategic venture into the housemaking industry. The brand’s history as a pioneer of Fordist methodologies of mass-production and the assembly line have inspired an alternative form of highly customisable housing, consisting of pre-cast concrete platforms and prefabricated living components. Ford Homes aims to reform the pre-existing disciplines of home acquisition and ownership in light of changing social dynamics within suburbia. Fig. 13.13 Emily Martin Y4, ‘Essex Caravanserai’.

In response to the failing and tragic conception of the

‘New Town Utopia’ Basildon, Essex Caravanserai aims to offer a new radical strategy for living in Essex by advertising a solution to the throwaway attitude of society endorsed by the council through providing a highly sustainable and self-sufficient living scheme which uses and promotes earth as a means of construction. The project proposes providing new qualifications in new building techniques to under-qualified people in Essex.

Residents will use the newly developed excavation-extruder device to build their own homes made of earth and recycled concrete to form their own Essex Caravanserai.

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Fig. 13.14 Rui Ma Y4, ‘Tollesbury Living Observatory.’ Facing climate change and ecological degradation, wetlands are lost.

This is having negative effects on the natural landscape and dependent human life. The project gives a positive response to such changes on the tidal marshland. It focuses on finding new ways to explore the changes, proposing a new living model in these areas. Fig. 13.15 Allegra Willder Y4, ‘Jaywick Lagoon.’

The project proposes an alternative and radical way of living for the coastal community of Jaywick in Essex. Set within a reconstructed landscape, the design proposal is to build a land pier with community spaces. The project dicusses how to reinvent Jaywick’s holidaying community (and rebuild its associated tourist-driven economy) in a way that keeps the residents of Jaywick afloat, physically and economically.

Fig. 13.16 Giles Nartey Y4, ‘The Workers’ Club.’ An exploration of materiality through the proposition of a community-focused intervention within the industrial landscape of Dagenham.

Using the surrounding industries as a ‘quarry’ for raw materials, the project explores a ‘hyper-recycling’ ethos, from materials to skillsets, with an aim to splice and collage a new formal expression. Fig. 13.17 Tasnim Eshraqi Najafabadi Y4, ‘Radical Regionalism: A New Inter-Tidal Habitat.’ In reaction to the degradation of saltmarshes along the Essex coast, the project envisages an off-grid habitat for volunteer conservationists interested in dwelling in and protecting these invaluable landscapes. Hybridising boats and barns, the design explores an alternative vernacular which responds to the fragility, ambiguity and dynamism of the site.

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Unit 14

Pioneering Sentiment Jakub Klaska, Dirk Krolikowski

Year 4 Yat Ning Au-Yeung, Daniel Avilan Medina, Finbar Charleson, Matthew Gabe, Charles Harris, Boyan Hristov, Dimitar Stoynev

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Year 5 Ryan Lee Blackford, Alexander Bramhill, Paddy Fernandez, Maggie Lan, Natasha Marks, Thomas Michael Smith, Joshua James Thomson, Simon Wimble, Christopher Singh Thank you to our consultants and critics: Andrew Abdulezer, Julia Backhaus, Barbara-Ann Campbell-Lange, Paul Clemens Bart, Rasti Bartek, Monika Bilska, Damian Eley, Michela Falcone, Martin Gsandtner, Manuel Jimenez Garcia, Will Jefferies, Eva Jiřičná, DaeWha Kang, Filippo Nassetti, Ho-Yin Ng, Gilles Retsin, Michal Wojtkiewicz, Daniel Wright

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At the centre of Unit 14’s academic exploration lies Buckminster Fuller’s ideal of the ‘the Comprehensive Designer’, a master builder who follows Renaissance principles and takes a holistic approach. Fuller refers to this ideal of the designer as somebody who is capable of comprehending the ‘integratable significance’ of specialised findings and is able to realise and coordinate the potentials of these discoveries. Like Fuller, we are opportunists in search of new ideas and their benefits via architectural synthesis. Unit 14 is a testbed for exploration and innovation, examining the role of the architect in an environment of continuous change. We are in search of the new: leveraging technologies, workflows and modes of production seen in disciplines outside our own. We test ideas systematically by means of digital as well as physical drawings, models and prototypes.

Our work evolves around technological speculation with a research-driven core, generating momentum through the astute synthesis of both.

Our propositions are ultimately made through the design of buildings and through the in-depth consideration of structural formation and tectonic constituents. This, coupled with a strong research ethos, generates new and unprecedented, viable and spectacular proposals. They are beautiful because of their intelligence: their extraordinary findings and the artful integration of these into architecture.

This year Unit 14’s focus shifted, to examine moments of ‘pioneering sentiment’. We researched how human endeavour, deep desire and visionary thought interrelate to advance culture and technology, and drive civilisation. We searched for pioneering sentiment and expanded our findings into imaginative tales with architectural visions fuelled by speculation. The underlying principle and observation of our investigations is that speculation inspires and ultimately brings about significant change.

We looked to the work of the Californian artist and designer Syd Mead who envisages and has scripted a holistic vision of the future with his designs.

The testbeds and territories for our investigations and proposals are as universal as our interests. Possible sites may be global or specific to our visits, according to what individual investigations suggest and the opportunities that arise. Unit 14 is supported by a working relationship with innovators across design. We liaise with experts from practice and engage specialists, but remain generalists ourselves, synthesising knowledge towards novel ways of thinking, making and communicating architecture.

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valuable water storage and an outlet for the Rio Grande, located on the American side for security reasons. Restaurants and high-end apart ments encircle the marina itself while a delivery depot occupies the strip of land adjacent to the Mexican side.

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14.4 Fig. 14.1 Paddy Fernandez Y5,‘Mitsubishi Mariculture’.

Depiction of a first encounter with synthetic tuna in a vision for the new Tokyo Fish Market, which imagines a future for the Japanese market less reliant on the depletion of the oceans.

Fig. 14.2 Ryan Lee Blackford Y5, ‘Amexica’. A new nation, free trade zone and glitch in the system on the American/Mexican border in the form of the Great American Wall. Here, Midway City Marina, part of the flagship development of Midway City within El Paso, offers recreational opportunities for Amexican residents in a ‘rocky cove’-style environment. The reservoir also provides valuable water storage and an outlet for the Rio Grande, located on the American side for security reasons.

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to the Mexican side. Fig. 14.3 Paddy Fernandez Y5, ‘Mitsubishi Mariculture’. Section through the market with its destinct tectonic deriven from an interpretation of traditional Japanese joinery. Fig. 14.4 Yat Ning Au-Yeung Y4, ‘Piccadilly Circus’.

Piccadilly is a node, with one of the deepest tube stations and multiple music venues as well as existing theatres situated underground. The proposed structure taps into the literal underground culture scene, speculating on the pedestrianisation of the West End. Key to the retaining system is a ring acting in compression to resist the ground forces.

Optimised beam structures double up as circulation routes across the site and into the neighbouring basements. The project introduces a new urban typology, integrating transport and cultural infrastructure.

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14.5 Fig. 14.5 Alex Bramhill Y5, ‘Duisburg Chinatown’. China is looking to open a direct transportation route to the heart of Europe. Entitled the ‘New Silk Road’, the final terminus is set to be Duisburg, Germany. The project explores the resultant influx of trade and frames the New Silk Road in the context of the Hanseatic League; a powerful medieval trade league that utilised the Rhine river network and North Sea, now creating a new modern Hansestadt at the heart of Duisburg. The megastructure is a new city, a melting pot of Eastern and Western culture.

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Fig. 14.6 Paddy Fernandez Y5, ‘Mitsubishi Mariculture’.

A tectonic fragment of the new structure exploring the integration of technology, programme and structural system.

Fig. 14.7 Thomas Michael Smith Y5, ‘Kings Cross Airport’.

The project speculates on the unifying and disruptive nature of the aviation industry. The intended outcome is for the airport typology to take on a greater civic role. Key future technologies are two patents released by Boeing in 2017, these being a proposal for a commercial jet with the capacity to take off vertically, which will allow the airport to move further into the city centre as it disregards the need for a runway.

Fig. 14.8 Maggie Lan Y5, ‘The Good Water Corporation’. The project investigates the future of Los Angeles, where water has become an extraordinarily valuable commodity. The right

to water is highly commercialised and regulated by the Good Water Corporation, which stores the valuable liquid in the covered LA River bed. The project critically questions private ownership of one of the most essential resources.

Fig. 14.9 Simon Wimble Y5, ‘The Deutsche Bank Museum of Unexpected Objects, New York’. The project envisions a hyper-commercialised cultural infrastructure in the future.

The protagonists generate value through public exposure and publicity, utilising Duchamp’s principle of the readymade.

It critically debates a scenario where our cultural infrastructure has been ransomed by corporate interests and where institutions exist, not under the directorship of cultural output, but to satisfy the requirements and promote business.

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14.11 Fig. 14.10 Yat Ning Au-Yeung, ‘Piccadilly Circus’. The project explores the potential of excavating the space inbetween ground surface and tube level at Picadilly Circus down to level five as a spatial opportunity for the increasingly dense city of London. Fig. 14.11 Ryan Lee Blackford Y5, ‘Amexica’. Within the 4000-mile long state The ‘Amex’ Stadium is situated adjacent to large public parks on either side of the border and aims aims to unite and collide both cultures. As part of the Olympic bid for Amexica to kick start its role as a centre of unique culture, the stadium is a unique investment opportunity and kickstarter for Amexican development in general.

Featuring a raised sports pitch along with shared services such as kitchens and toilets, it maintains border separation between all three nations.

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Fig. 14.12 Dimitar Stoynev Y4, ‘Euro Place’. The City of London is known as the banking district of the UK, holding the biggest cross-border banking sector in the world. Although no one can predict the outcome of the events of Brexit, the project suggests another alternative: The City of London leaves the UK. This union will be marked with the establishment of a new bigger base for the European Court of Human Rights, which will serve as a celebration of the bond with EU and will maintain EU influence and interest in the City of London together with a new Eurostar Station. Fig. 14.13 Matthew Gabe Y4, ‘Hanson Robotics Center’. Central to the project is the relationship between man and robotics. It envisages a future in Hong Kong where humanoid robots are treated as a commodity and the robotic staff of the building become part of the servicing

strategy with their own circulation space. Fig. 14.14 Charles Harris Y4, ‘Queensboro Culture’. Returning to Manhattan’s legacy infrastructure, the project is located below Queensboro Bridge, intensifying under-used space. The scheme houses a large-scale, cellular meat facility, offering affordable meat products and ‘bio-allotments’. In the pioneering spirit of Manhattan’s infrastructure, the long-span structural system is biomimetically informed, developing a typical box girder to a central spine system, which is highly differentiated in response to load conditions and programmatic requirements.

Fig. 14.15 Natasha Marks Y5, ‘United Seoul’. The project explores the scenario of a future reunited Korea, which is becoming increasingly likely. Assumed mass migration from North to South Korea will cause a population surge in Seoul.

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As an alternative solution to high-rises to achieve densification, canyon-like urban arrangements below existing street level create an additional city. These canyons make use of the low-use negative space between buildings in the city centre.

Daylight analysis as well as Depthmap is used as a tool to aid decision-making and the integration of Seoul’s street networks.

It results in an intense speculation on how ultra-densification could be achieved with alternative strategies.

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Fig. 14.16 Boyan Hristov Y4, ‘Amazon Greyhound’. Proposal of a new bridge typology exploring the synergy of an AmazonGreyhound terminal as a new social node with a saloon within the heart of the American landscape. Figs. 14.17 – 14.18 Finbar Charleson Y4, ‘Totem Tower’. Located in the heart of Vancouver, the timber structure is envisaged to be owned by the Hul’qumi’num Treaty Group, an association of indeginous tribes and First Nations, as a key element in their legal battle for territorial and cultural rights. It is the speculative climax of the repossession of owed territories with a structure that fuses the iconography of the North American high-rise with the cultural significance of the longhouse and totem pole entrance. Tattoos historically signify tribal resilience and represented an invaluable tool against the breakdown and

cultural dispossession of indigenous tradition. The project translates the tradition of expressive surface marking onto the building where the load-bearing timber elements receive ‘structural tattoos’ in the form of scorched lines which mirror the structural stress lines of the system.

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14.21 Fig. 14.19 Christopher Singh Y5, ‘Circus Maximus’. The project intends to revive The Circus Maximus, a Roman chariot-racing stadium as a prototype for proactive preservation and to challenge existing conservation strategies towards the ancient relics of Rome. The stadium has been adapted for today with regards to programme and tectonics. The proposal attempts to invigorate the development of the next programme phase in the form of a Piaggio electric test track. Fig. 14.20 Daniel Avilan Medina Y4, ‘Occupy Vitkov’.

Section through the conversion of the Czech National Monument Vitkov, once occupied by Nazi and Soviet regimes, into the Czech National Brewery in pursuit of the monument’s democratisation. Fig. 14.21 Paddy Fernandez Y5, ‘Mitsubishi Mariculture’. The Sakura Terrace. Perspective looking towards

the northern edge of the building. The sakura is in full bloom and the movements of the inner market are semi-visible through the Laminated Veneer Lumber (LVL) slats, with a subtle effect of figures gently appearing and dissolving from view.

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Unit 17

The Protagonist Yeoryia Manolopoulou, NĂ­all McLaughlin

Year 4 Nathan Back-Chamness, Luke Bryant, Grace Fletcher, George Goldsmith, Hanrui Jiang, Rikard Kahn, Alkisti Anastasia Mikelatou Tselenti, Andreas Mullertz, Cheuk Ko Year 5 Jinman Choi, Ashley Hinchcliffe, James William Greig, Julia Schutz, Rebecca Sturgess, Sam Eu Tan, Krystal Ting Tsai The Bartlett School of Architecture 2018

Thank you to our Design Tutors: James Daykin, Maria Fulford Thank you to our critics: Jessam Al-Jawad, Peter Besley, Alastair Browning, Barbara-Ann Campbell-Lange, Joanne Chen, Hannah Corlett, Will Hunter, Jan Kattein, David Kohn, Anna Liu, Jack Newton, Stuart Piercy, Sophia Psarra, Sabine Storp, Michiko Sumi, Victoria Watson We are grateful to our sponsors: Allies and Morrison James Latham Stanton Williams

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Architectural education is not merely a preparation for professional practice, in which skills and techniques are acquired in anticipation of the challenges of the working world. It constitutes a form of practice in its own right.

We believe that the concept of a seven-year warming-up period is untenable and that it is essential for students to put themselves forward as protagonists in the architectural discussions of their time. They should create experimental forms of practice that stand in a critical and enhancing relationship to the world of building. The teaching studio can test propositions in a critical culture that allows for flexible thinking, inventiveness and openness to failure, in a way which is impossible in professional practice. For this process to be effective, the studio practice must understand the realities of social, political and financial mechanisms, without necessarily accepting them. It is this discourse between the possible and the conceivable that is fertile ground for architectural speculation.

In order to act ambitiously, an architecture student would need to acquire a formidable range of skills from inside the discipline of architecture. A profound literacy in the architecture of the past and its continuing relevance to the future is a cornerstone of our discipline.

Architectural plans and sections, for example, embody a way of thinking that belongs only to architecture. They give us our potency and authority among other languages and forms of production.

Unit 17 engages directly in issues that are relevant to the public life of our city now. In London, there has been a looming sense of crisis about the role of the architect and the relationship between construction expertise and public life. The mainstream media have openly questioned the role of architects in the creation of just and well-integrated urban communities.

Architects are often seen as the cowed servants and tools of a dominant and predatory capitalist mode of production. They are equally accused of unrealistic forms of idealistic or liberal thinking, at odds with the realities of contemporary economy and construction culture. This alleged balance of powerlessness and impracticality is deeply corrosive to the discipline of architecture. Developers speculate that architecture might die out as a discipline, while architecture schools look to teach new specialisations, often undermining the expert knowledge of architecture itself.

Architecture in London has a fight on its hands. Our students have seen themselves as protagonists in this battle for relevance and influence.

They have produced proposals for the area that stretches between Euston Station and Mornington Crescent, each student designing one building while considering the relationships between the site’s housing stock, public buildings, infrastructure, landscape and public space. How can different voices intermix successfully? How can architecture help create a just and equitable neighbourhood?

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Fig. 17.1 James William Greig Y5, ‘Euston Terminus’. This project questions the HS2-led widening of the existing Euston Station, proposing instead a dual layer, 24-platform subterranean station, freeing the ground level to provide a large public space back to the city. The station takes on a phantasmagoric quality, creating poignance and significance at the point of arrival and departure into and out of London. Fig. 17.2 Rikard Kahn Y4, ‘Higher School’. The project seeks to define a new vertical school typology for the London Borough of Camden raised above the railway. Publicly shared functions are located at ground level, forming adjacent a new square, whilst private spaces, such as classrooms, are arranged above. The strategy allows the structure to be utilised beyond the typical school hours; a mere 14% of the calendar year.

Fig. 17.3 Nathan Back-Chamness Y4, ‘Euston Train Station’.

The station is reimagined as a series of gridded streets with the concourse removed. Instead of going to the platform, the traveller finds an address within a piece of city, entering at street level and descending to the train carriage below ground. The node gives rise to an exploration of subterranean architecture. Fig. 17.4 Julia Schütz Y5, ‘The Drummond Street Weave’. This community proposal seeks to reconnect the people of Drummond Street. Lightweight, transformable timber components and tensile elements form a framework that is inhabited by a variation of spatial qualities. An architecture of changes offers flexibility and non-prescribed space.

The principle of opposites acts as an underlying order.

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17.6 Fig. 17.5 Krystal Ting Tsai Y5, ‘Institute of Behavioural Neuroscience: A Semi-Naturalistic Rat Lab’. The chosen brief is to design a new model habitat concerned with the welfare of rats in a neuroscience laboratory. The proposed research facility design focuses on the development of an evolving rat wall habitat providing a semi-naturalistic environment, around which human laboratory spaces conform. Fig. 17.6 Ashley Hinchcliffe Y5, ‘Ampthill Place: A Co-Housing Model for London’. A model for high-density co-housing alongside the train tracks. Offering a solution for the vast removal of earth by HS2, the housing rises out of clay to form a network of courtyards, intimate paths and flexible modules. Internally, it removes the corridor, proposing split-level circulation interweaving private and communal.

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Fig. 17.7 Jinman Choi Y5, ‘Euston Cloud’. Above Euston Station, an adaptable system produces and contains a new model of shared economy, driven by interactive feedback from its inhabitants. Building elements, appliances and furniture are distributed to a range of accommodating spaces by the protagonist. The temporary occupation of these spaces forms a kaleidoscopic field of structure, system and use - a cloud.

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Fig. 17.8 Grace Fletcher Y4, ‘Refurbishing the Towers at Ampthill Square’. Architecture is too often used as a scapegoat for political failure; demolished and replaced at great loss to the community. Instead, 240 residents will return to their homes to find interior courtyards, double-height spaces and collective vertical streets. Fig. 17.9 Cheuk Ko Y4, ‘Innerworlds’.

The project reconsiders non-medical spaces in a cancer treatment centre, such as waiting rooms and healing gardens, as part of the healing process. Creating calmness and comfort through thresholds allows patients to temporarily forget what they are going through. Fig. 17.10 Hanrui Jiang Y4, ‘Existent Nonplace’. The project is located on the site of a historic burial ground that has developed rapidly due to its proximity to Euston Station. The proposed HS2 development offers an

opportunity to explore a mixed programme of transport infrastructure and housing, embracing natural light.

Fig. 17.11 Andreas Müllertz Y4, ‘Re-Establishing Euston Grove’.

The Euston terminus is re-imagined as a green set-piece in a Nashian promenade extending north from Somerset House.

The physical infrastructure takes the shape of a vaulted circus cloister, acting as a threshold between the subterranean platform spaces and a daylit pine forest at ground level.

Figs. 17.12 – 17.13 Rebecca Sturgess Y5, ‘Life of the Tolmers Tower’. On a site with a history of conflict between the community and developers, the provision of a new public square becomes the catalyst for the sequential construction of an incremental tower. The architect resides within the tower to orchestrate an iterative amalgamation of fragments.

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Fig. 17.14 Luke Bryant Y4, ‘Past Best Before’. The project aims to provide a positive new identity for the residents of Ampthill Estate, who experience uncertainty about their future due to the HS2 expansion. The creation of a ‘past best before’ market, selling food that is still good for consumption, offers a cheaper alternative whilst responding to London’s food waste.

Fig. 17.15 Alkisti Anastasia Mikelatou Tselenti Y4, ‘The New Secondary School for Deaf Students in Euston’. The secondary school aims to create an educational environment with internal spaces designed to enhance visual communication through vertical openings and diagonal connections, while an alternative learning method - the peripatetic - is employed to shape the journey through the building. Fig. 17.16 George Goldsmith Y4, ‘A Reinvention of UCL Central Campus’. The proposal suggests

an alphabet of small architectural interventions which extrude through the heavy, domineering façades of UCL’s central campus, creating a dialogue between the faculties and increasing spaces of shared programmes. The new interventions and thresholds establish a coherent material and tectonic identity. Fig. 17.17 Sam Eu Tan Y5, ‘The Euston Ravine’. In challenging the decontextualised spatiality of the London Underground, The Euston Ravine offers the commuter an alternative route down to their platform, emphasising instead the deep physical earth one must traverse through, the transient condition of travelling, and the heurism it has the potential to incur, conflating the daily commute with larger arcs of movement in nature.

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Unit 18

Heterodox Natures Isaïe Bloch, Ricardo de Ostos

Year 4 Mahalah Attwell Thomas, Teodor Cuciureanu, Palaan Lakhani, Krasimir Mitrev, Jack Moreton, Farah Omar, Cameron Overy, Liang Qiao, Tul Srisompun, Rashi Vijan Year 5 James Joseph Bashford, Josh Corfield, Stefan Necula, Matthew James Rogers, Alisa Silanteva, Ren Yang Tan, Hui Ye The Bartlett School of Architecture 2018

Thank you to our consultants and critics: Anthony D'Audia, Andre Baugh, Pedro Gil, Robert Haworth, Fredrik Hellberg, Maren Klasing, Maya Laitinen, Matteo Mauro, Nicholas Stamford, Anat Stern, Nathan Su, Harald Trapp, Anthanasios Varnavas, Graeme Wallace, Anna Woodeson, Adrian Yiu

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Are you in a relationship right now? Only one?

More often than not we are asked the first question regarding personal instead of professional status. Rarely does a clerk in a bureau somewhere ask about one’s architectural relationships. Are they healthy?

Monogamous? Convenient? And what about cities’ relations? Straight, curved, high-maintenance? Cities, like humans, are involved in a collection of relationships. Some are layered, confusing and ambiguous, others precise, progressive and clear, but more often than not they come as multiples instead of being singular. One can be a father, an accountant, a churchgoer and be part of a bingo club without much trouble. Cities are no different. They can be modern, old, sacred, smart and polluted and at the same time.

One of the best examples of the complex relationship between humans and cities is Varanasi, India, our research ground for Unit 18 this year.

Varanasi is one of the most sacred cities for Hindus, hosting thousands of pilgrims who visit its ancient streets and bathe in the waters of the River Ganges. However, Varanasi is also experiencing many of the contemporary problems troubling most urban secular cities. Pollution, waste disposal issues and traffic congestion coexist with ambitious plans to transform the ancient city into a smart city in the near future.

In a scenario between the old and new, not in opposition but in unison is where we departed to work on the Unit 18 brief ‘Heterodox Natures’.

Students were asked to design a research centre in Varanasi investigating how knowledge is produced via science and/or ritual. Varanasi studied from afar can be a challenging undertaking. However, after our visit to the city and insightful meetings, the discussion of context, culture and geometry became a rich source of design research for the students.

Working on the issue of water culture, many students consider both ecological and cultural principles. In his project ‘A Centre for Social Hydrology’ Cameron Overy recreates the ancient typology of stepwells proposing learning and public spaces. The project reacts to the monsoon season, activating green and congregational areas.

Interested in the city’s smells, Stefan Necula designed a project to document, catalogue and research the diverse urban olfactory myriad.

Articulating a series of archival towers along open paths, the scheme used wind and water in order to create a nuanced experience of the science of smells. Alisa Silanteva crafted a tectonic and geometric experiment, treating the city as a composite multi-layered ground. In her project urban and interior spaces meet in a deviant twist of materials, users and atmospheric spaces.

Beautiful, unfamiliar, panoramic, three-dimensional, layered, crowded, and mysterious are a few of the words that describe our relationship to an unforgettable research experience. Varanasi, City of Light indeed.

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18.2 Figs. 18.1 – 18.2 Stefan Necula Y5, ‘RE_SCENT: Institute of Smells’. Investigating the engaging qualities of smell in cities, the project speculates an architecture that archives the heritage of Varanasi, India by storing and collecting its distinctive odours. The interplay between senses and heritage is deeply rooted in the Hindu culture and tradition. Located on the shores of the Ganges, the scheme harmonises research facilities, distillery spaces and archives with the existing temple and new pedestrian routes.

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Figs. 18.3 – 18.4 Josh Corfield, Y5. The research centre utilises storytelling as a way of analysing the public’s perception of a changing city. Through spontaneous, everyday storytelling and planned performances, stories are recorded, analysed and preserved to gain an insight into the fears, worries, truths, hopes and desires of the people of Varanasi.

Public spaces, with varying levels of intimacy and three different archives make up the key spaces within the scheme.

Some of the public spaces are experienced through the primary route within the scheme whereas others are more general, everyday spaces which can be used for other activities. Some of the public spaces are more desirable within the evening hours when the sun is low and temperature is much cooler, whereas others are sheltered from the heat during the day.

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18.6 Figs. 18.5 – 18.7 Matthew James Rogers Y5, ‘City of Bliss’.

The project researches how the cultivation of medicinal plants can be reintroduced into the city. Within India, mass deforestation is making it hard for the people of Varanasi to access certain types of medication. This is largely due to medicinal plants losing priority in the wake of urban expansion, agriculture, livestock ranching and logging. The proposed design aims to establish cultivation centres by repurposing abandoned step well typologies. Fig. 18.7 Sectional study of key project elements. Utilising the stepwells’ functions of human congregation and water source management, the design proposes the vertical placement of different medicinal plants. The project would work with surrounding communities and monsoon cycles to promote the use of medicinal plants.

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18.10 Fig. 18.8 Tul Srisompun Y4, ‘Re-composing Cityscape’. Based on landscape principles, the project explores learning spaces and their relationship to light and writing. Plan and section worked around existing trees, utilising their cultural symbolism and spatial presence to articulate workshop and study areas.

Fig. 18.9 Farah Omar Y4, ‘A Woman-Made Landscape’. Focusing on women’s empowerment, the project is organised into phases of implementation, water cycles and micro-organisation.

Fig. 18.10 Hui Ye Y5. The project takes the sitar, one of the main instruments in Indian music, as the object of research, creating spaces for performance, congregational and musical exchange. Positioned on the riverside, the scheme explores the sitar and raga in lyrical exterior and interior spaces.

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Figs. 18.11 – 18.13 Ren Yang Tan Y5, ‘Living Monument’.

Based in Hong Kong, the project explores the traditional Chinese burial rituals. By proposing a columbarium, the project deploys an artificial landscape and the concept of mnemonic techniques in order to create a response to the lack of burial space in the region. The sacred world is buried within the landscape, centralising death in an urban environment while the secular world extends the public realm above. Fig. 18.12 The funeral entrance space.

By exploring traditional and modern material patterns, the design elaborates the ritual journey and semi-open spaces.

Fig. 18.13 Render image exploring water and ornamental massing and relationship to background landscape. The project aims to reconnect with the tradition of encoding

stories in the land in order to combat the rapid land reclamation and urban development impact on local culture.

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Figs. 18.14 – 18.16 Alisa Silanteva Y5, ‘Movement Academy: Research Centre for Physical and Metaphysical Wellbeing’.

Exploring Varanasi’s pilgrimage cycles, its rich textures and three-dimensional qualities, the design is both a geometrical and tectonic celebration. Hosting research spaces for both ritualistic and scientific methods, the project is located alongside the River Ganges. Fig. 18.15 Model photo testing multiple material tectonic interfaces. The overlap of tectonic qualities aims to create heterogeneous spatial conditions inspired by Varanasi’s multilayered context. Based on thesis studies of perspective, object and material in transformation the model mixes not only materials, but also finishes, creating cavities, caves and pockets. Fig. 18.16 Render study of riverside threshold and building volumetric qualities.

Inspired by the pilgrimage ritual in Varanasi and its relationship to water, the building connects to the river step typology, creating different ways to access water.

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18.19 Figs. 18.17 – 18.18 Cameron Overy Y4, ‘Centre for SocioHydrology’. Render view of project and context relationship.

The proposal aims to work with both the cultural and scientific aspects of water. Learning from Varanasi, the building is organised as a network of spaces that flow in and out of one another. The research centre is comprised of three main programme groups: the research group for data collection; the broadcast group for data transfer and the park group for data reception. Fig. 18.18 As an extension of the ground, the programmatic spaces are made from soil-cement concrete created by mixing earth excavated from the kunds with cement. To contrast this rough earthen texture, the water system intersections are clad with white marble, a local and abundant material. The smooth white marble contrasts with 250

the roughness of the soil cement and plays with control and free-form. Fig. 18.19 Tul Srisompun Y4, ‘Re-composing Cityscape’. Render view of communal space and open learning areas. Architecture and literature have a very strong tradition in Varanasi with many examples of great writers visiting and narrating the city. By proposing a literary centre aimed at young writers, the project elaborates the idea of learning, landscape and materiality.

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18.22 Fig. 18.20 Teodor Cuciureanu Y4, ‘Centre for Solar Research and Education’. The project develops both new storage and infrastructural devices for the solar energy sector and introduces a public educational facility for raising awareness about the importance of using renewable energy at every scale and in every Indian household. Limestone is added to the concrete mass to provide a bright and warm surface in keeping with the surroundings. Like the ancient walls in Varanasi, the prefabricated façade panels will be chipped to unify the overall form. Fig. 18.21 Jack Moreton Y4, ‘The Future Craft of a City’s Past’. Inspired by Varanasi’s artisan skills, the project aims to introduce a digital economy space where artists, investors and the general public can meet. The plan drawing illustrates how the building opens up to the side streets enabling interactive

exhibition spaces and interchange with street usage.

Fig. 18.22 Mahalah Attwell Thomas Y4, ‘The Pseudo-Kidney of Varanasi’. Sectional drawing, showing wood structure and water waste accumulation on the building roof. The design is a provocative manufacturing lab, transforming river surface waste and embedding it within the building’s own envelope.

By utilising monsoon rains, the project articulates cycles of cleaning and data visualisation pollution in order to create social awareness and behavioural change.

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Unit 19

Disruptive Architectures Jeroen van Ameijde, Mollie Claypool

Year 4 Darren Buttar, Alessandro Conning-Rowland, Ossama Elkholy, Docho Georgiev, Kin Keung Kwong, Emilio Sullivan, Shogo Suzuki, Alexis Udegbe, Artur Zakrzewski Year 5 Milot Pireva, Alfie Stephenson-Boyles, Wonseok Woo, Lianjie (Li) Wu

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Thanks to our partners: Design Computation Lab at The Bartlett School of Architecture; UCL Institute for Digital Innovation in the Built Environment; The Bartlett School of Construction and Project Management Thanks to our collaborators Efrosyni Konstantinou and Claire McAndrew, to our Design Realisation tutor Michal Wojtkiewicz and to our Scripting Workshop tutors Andrea Bugli and Yutao Song Thank you to our critics: Diann Bauer, Alessandro Bava, Roberto Bottazi, Peter Cook, Manuel Jimenez García, Efrosyni Konstantinou, Claire McAndrew, Lukas Pauer, Barbara Penner, Gilles Retsin, Aleksandrina Rizova, Kerstin Sailer, Jack Self, Alvise Simondetti, Julian Sivaro, Yutao Song, Harald Trapp, Marco Vanucci, Manijeh Verghese, Michal Wojtkiewicz Thank you to our field trip hosts and helpers: Henriette Bier, Lonneke Bakkeren, Javier Arpa Fernandez, Alex Retegan, Bastiaan van der Sluis

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Unit 19 aims to challenge the contemporary status of building design and the construction industry, in which the role of the architect appears to have been reduced to that of an aestheticist at the service of commercial modes of project development. The unit explores how the architectural discipline could expand its control, through engagement with different models of ownership, construction and inhabitation. We develop specifically designed catalogues of discrete parts that allow architectural structures to be assembled through user-driven scenarios that unfold through time.

This year, we continued to focus on the most pervasive architectural typology worldwide: the house, or housing. Commercial housebuilders favour the most risk-averse typologies of residential blocks and apartment layouts, which are increasingly insufficient in a society moving towards more varied types of family structures and organisational patterns of life and work. Our projects explored how a diverse range of social structures, activities and relationships can drive the arrangement of domestic spaces, creating a greater range of housing options and offering residents the opportunity to participate in the decisionmaking process. By breaking down the traditional notions of housing, such as one-, two-, and threebedroom apartments, lift lobbies and private entrances, we explored more open-ended types of domestic space that stimulate engagement within resident communities and establish more synergetic, yet disruptive, relationships between buildings and their contexts.

We have placed a particular focus on the material articulation of our kit-of-part systems, scrutinising the manufacturing ecologies and value systems that currently limit the production of housing within the UK. We have embraced new technologies in digital design and manufacturing, speculating on new models of prefabrication and onsite assembly processes that use digital negotiation protocols to project future scenarios of inhabitation. This application has allowed us to test innovative architectural proposals that could be realised in the near future.

A central strategy within the unit’s approach was to combine computational design processes with the idea of part-to-whole relationships, considering architecture as ‘wholly digital’ in both process and artefact. Conceiving new types of living environments as assemblies out of discrete elements allowed us to establish a direct link between the spatial and organisational principles developed in the digital design environment and how these would perform in real life.

The projects produced in the unit cover a range of scenarios that subvert or strategically alter the existing economies of development within the housing sector, proposing typologies and spatial environments that imagine new scenarios of urban life. They respond to contemporary social, economic and cultural challenges and opportunities, imagining architectures that push beyond our current models for society.

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19.3 Figs. 19.1 – 19.2 Lianjie (Li) Wu Y5, ‘Beyond the Shell’. The project proposes a large scale community-build scenario where a community can collectively design their masterplan informed by the expertise of architects. The ‘naked’ shells of unfinished spaces that are the outcome of this process can then be further customised by the community, tailored to their evolving and changing needs over time. As a result, the unfinished naked shell helps to address the issue of over-finished yet unaffordable housing supply currently in London’s housing market, providing a strategy to take advantage of residents’ communal labour to cut down the construction cost and lower prices. Through questioning the limitations of modular living units and communal spaces in contemporary housing models, the project proposes an 254

alternative housing model for London. Figs. 19.3 – 19.4 Kin Keung (Gigi) Kwong Y4, ‘Oblique’. This project proposes a system that replaces vertical and horizontal spatial qualities of living space, resulting in housing without walls. The project uses the oblique to compose a vertically assembled landscape for living. The kit of parts consists of multiple angles to define interpersonal hierarchies and how our bodies experience a space to arrange a range of domestic activities, integrating programme, circulation and structure as a whole in one continuous landscape. Furthermore it challenges the developers’ for-profit model of room-oriented housing by removing internal walls, re-conceiving the political and social aspects of ownership and privacy between residents.

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19.6 Fig. 19.5 Artur Zakrzewski Y4, ‘A Global Village’. The project proposes the launch of A Global Village, a company that produces a Universal Building System, providing rental credit-based accommodation around the world. Occupants would be able to live for free at any A Global Village franchise, once they accumulate membership credit either by making an initial startup capital investment or renting monthly until full credit is acquired. The project in this iteration speculates on how the kit of parts for A Global Village would be deployed on a site in Dalston, East London – the first franchise of A Global Village. This speculative scenario provides artists with an alternative shared housing facility, combined with studios and exhibition areas that blur the boundaries of living, working and consuming. Figs. 19.6 – 19.7 Alessandro Conning-Rowland 256

Y4, ‘Chamfer: A Cooperative Housing Platform’. The project proposes a cooperative housing platform based on a family of discrete parts. The project aims to disrupt London’s asset -driven housing market by creating a viable alternative using the idea that through sharing, we can have more. The Chamfer platform enables resident-initiated, funded, democratically designed, self-constructed housing; made possible through the utilisation of shared living, shared knowledge and the combinatorial possibilities of chunks. The geometry of these chunks promotes desired spatial and social outcomes, such as division of space through level change and shared circulatory landscapes, whilst embracing low-cost materials and highly accessible fabrication technologies.

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Fig. 19.8 Docho Georgiev Y4, ‘The Incubator’. The project responds simultaneously to the global influence of the Third Industrial Revolution and to the local impact of the housing crisis in London. The Incubator attempts provides an alternative to the typical contemporary office. By mixing living and working within the boundaries of a three-dimenisonal field of ‘work’ and ‘live’ modes, the project responds to the changing nature of work. While not in use during the day, each dwelling’s living room can be rented out by the owners as a ‘dedicated desk’ space, thus creating an economic model that benefits all inhabitants of the project. Figs. 19.9 – 19.10 Wonseok Woo Y5, ‘The Negotiated Live-Scape’. The basic principle of this project is to share idle space in each flat through communication within the community of the building. Such an approach

proposes that a more efficient use of space can actively respond to the requirements of the residents in the future – necessitating spatial change through a set of sliding and moving interconnected kits of parts that define each flat within a housing block. Fig. 19.11 Alfie Stephenson-Boyles Y5, ‘Estate Platform’. How can estate densification be achieved in a way that satisfies both the need for additional and diverse housing, whilst also creating the conditions for social exchange?

The project imagines a scenario where the residents of housing estates in London are able to form a housing cooperative, whose aim is to improve conditions on the estate; to provide a platform for social exchange, income, jobs and additional, diverse and open-ended housing. It directly positions itself against the current model of decanting housing estates in

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19.13 London. An framework of in-situ cast concrete supports provide an organisational platform for reconfigurable CLT housing units and amenity space that can be expanded or contracted over time dependent on the inhabitants needs.

Figs. 19.12 – 19.13 Ossama Elkholy Y4, ‘Let’s Negotiate’.

Today developers and investors are banking vacant plots of land with high building potential, profiting from their trade at the expense of building affordable homes. This project explores the notion of a small community adversely possessing these vacant sites. A discrete kit of moulds are used to assist in a quick initial deployment and occupation of the sites. This kit consists of a set of moulds which allows the users to attach their units onto one another, enabling them to negotiate living space with their neighbour by rotating the combined uncast

pieces. Casting the moulds adds permanence to the squatters’ dwellings, but more importantly becomes a negotiation tool for further adaptation, expansion or evolution of the building as a whole.

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19.16 Figs. 19.14 – 19.15 Emilio Sullivan Y4, ‘Staying Put’. The project looks to disrupt the current model of community exodus in the face of regeneration by challenging authorship and negotiation on a spacial and financial level. Systematic self-assembly enabled by spatial grids allows the system to grow holistically in combination with a discrete kit of parts.

This ‘bottom-up’ configuration emboldens the variability that can be found in a city block, due to its layering over time and authorship of several different designers, meaning the resulting outcomes are fluid and responsive to needs.

Fig. 19.16 Milot Pireva Y5, ‘Pressing Matters’. A circular, incentive-based housing procurement model is proposed, driven by a group of individuals, who legally become capable of administrating government’s funds for affordable housing.

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The users and inhabitants are in charge of orchestrating a system of private and public investments. This is achieved with the help of architects to define spatial uses, programming the masterplan and local conditions through a developed kit of parts. Fig. 19.17 Shogo Suzuki Y4, ‘Digital Metabolism’.

The project reduces the unit of a Metabolist-era capsule and megastructure into digital materials which are small and generic on their own. These can be configured into structurally and spatially different dwellings through discrete parts and connections, removing the need for predefined spaces.

Robotically bent and assembled steel is used for the structure and volume of space, and timber parts of the same geometries are used to control the inhabitable space itself.

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Unit 20

Nature 2.0: Constructing the Avant-Garde Marjan Colletti, Marcos Cruz, Javier Ruiz

Year 4 William Ashworth, Yan Ho (Brian) Cheung, Naomi De Barr, Tsai Hsin-Fang, Egmontas Geras, Daniel Krajnik, Levent Ozruh, Tobias Petyt, Sophie Tait, Hong Lien Tran

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Year 5 Yulia Amaral, Daryll Brown, Yinghua (William) Chen, Fadhil Fadhil, Yiki Liong, Cristina Manta, Jevgenij Rodionov, Ho Tsang, Shi Qi (Kiki) Tu Thank you to our Design Realisation tutors, Justin Nicholls and Maria Eugenia Villafañe; to our critics Jonathan Bell, Roberto Bottazzi, Antonino Di Raimo, Andreas Körner, Dan Sibert, Theodore Spyropoulos, Barry Wark; and in Russia, Edas Kirpichev and Maria Kuptsova

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At a time of radical change, Unit 20 is looking for a new attitude in which design adjusts to a new world order determined by technological advances, environmental transformations and socio-political confrontations. Students were asked to rethink traditional architectural practice in search of a new disciplinary avant-garde that is in tune with the challenges of the 21st century.

This year’s field trip was focused on Russia – Saint Petersburg and Moscow. Students took the Constructivist legacy as a key inspiration for how to break away from outmoded and obsolete traditions. We delved into its visionary approach, exploring the conceptual and formal influences that this pivotal movement had on so many leading contemporary architects.

Most notably, Deconstructivism found its roots in early 20th century Soviet Constructivism. One of the few real avant-garde moments of our history, Constructivism can be said to have embedded abstract and dynamic compositional values within machine culture. In today’s post-digital era, cultural and technological parameters have fundamentally shifted. As well as ‘the machine’ we have machine-learning, AI (artificial intelligence) and robotisation. In parallel, nature has taken on a new role on the frontline of design, research and innovation.

Unit 20 has looked into nature as source of inspiration and subject for design. Students were asked to embrace new design paradigms that look at ‘Nature 2.0’, as an open toolbox for innovation and a focus for action.

They explored nature’s extraordinary geometric and material complexity; found environmentally sensitive solutions in the extreme climates of Russia; worked with nature’s unpredictable and adaptable intelligence; and made use of its immense beauty. Students focused on projects that tackled various contemporary opposites: from artificial to natural, from mobility to housing, from industry to landscape, from high-tech to low-tech, from state to church.

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20.2 Fig. 20.1 Yiki Liong Y5, ‘Dachniki Micro-Cities: An Alternative Micro-City of Russian Living’. An overview model of fractured landscapes constructed from micro-voxels, a medium used to explore the interplay between nature and synthetics, dynamic community densities amongst thermally stable, habitable environments. Fig. 20.2 Shi Qi (Kiki) Tu Y5, ‘The International Research Centre of Paralympic Performance: The Physiological Envelope’. A building model analogous to the human thermoregulation system. An architecture with environmental responses including vaso-regulation, shivering and sweating integrated into the building’s designed biological behaviours.

Fig. 20.3 Cristina Manta Y5, ‘Industrial Metamorphosis: An Automobile Factory Typology’. A speculative model of changeable architecture based on the dynamic flow of 264

self-organising, emergent systems. This model is used to generate ambiguous ‘soft’ spaces, constantly reorganising themselves according to the users’ participation and interaction with the environment. Fig. 20.4 Jevgenij Rodionov Y5, ‘The Anti-Monument of Revolutionary Pasts’. The Anti-Monument is a bio-informed cultural landscape materialising the stories of forgotten historical characters through a series of tectonically articulated spaces and environmental conditions.

The narrative is embedded into the building skin itself, dynamically (re-)constructed to enable the ever-changing journey of cultural discovery.

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20.6 Fig. 20.5 Yinghua (William) Chen Y5, ‘Russian Cultural Centre with VISA facilitation Complex Centre’. A project inspired by the theory of space syntax, a human-guided ‘Attractor System’ manipulates geometry, influencing the relationships between, and the deformation of, experienced architectural space. The urban proposal is a multi-vertical layered recomposition of the city context within one system. Politically, this cultural centre introduces Russian art and culture to the context of New York and serves as a concentration of multicultural exchange, immigration and education. Fig. 20.6 Ho Tsang Y5, ‘The Revival of a New Russian Banya’. A new type of social environment inspired by modern digital culture, a reconsideration of the porosity of private and public environments. Taking fog as an environmental regulator, constant variations of visibility are 266

observed and the idea of adapted visibility becomes a design strategy, offering users virtual privacy amongst a communal public programme. Fig. 20.7 Fadhil Fadhil Y5, ‘The Living Cell’.

Digital research focused on the evolution of non-relational architectural objects. It is a process that contextualises a fabrication process and decontextualises the resultant architectural product. This project develops the concept of manufacturing ‘the living cell’, a division of architectural objects into multiple systematically prefabricated parts.

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20.11 Fig. 20.8 Daryll Brown Y5, ‘The Protest Congregation Hall of Moscow: The Concrete Forest of the People’. A project of public congregation, creating a forest condition that can host the discourse and debate of those against the grand Moscow rehousing scheme. Lightweight rigidified concrete fabrics drape and stretch into naturally occurring, intuitive structural forms, empowered with the ability to radiate precious heat through their hybridised thermal mass.

Fig. 20.9 Yan Ho (Brian) Cheung Y4, ‘The Naval Research Laboratory’. A building understood through the phototropic behaviour of plants. The natural phenomena of diffusion and particle aggregation due to Brownian motion design a script to generate phototropic architectural responses, components dictated by their unique exposure to sunlight.

Fig. 20.10 Daniel Krajnik Y4, ‘The Automated Cellular Mosque’.

Through cellular automata, social tensions can be realised within an architectural reaction – a dynamic automated building system that can result in a multi-objective religious space, created to respond to the rising demand of Muslim communities for a place to gather, socialise, and worship.

Fig. 20.11 Tobias Petyt Y4, ‘Phototropic Housing’. A phototropic response drives this housing scheme, an intuitive aggregation informed by the unique sunlight conditions of Saint Petersburg.

The project aims to improve current living conditions whilst reimagining communities, proposing radical contextual design, and optimising sunlight in a town deprived of it.

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20.15 Fig. 20.12 Yulia Amaral Y5, ‘Global Cultural Exchange Centre’.

A passive ventilation system made possible by applying the principles of Venturi, manipulating zones of low windspeed flow. Architecture designed as an environmental facilitator allowing users to experience different scales of wind in and around the building, an orchestrated engagement with nature.

Fig. 20.13 Sophie Tait Y4, ‘The Driverless City: Future Transport Hubs of Moscow’. A proposal that by the year 2040 Moscow could evolve into the world’s first driverless city. Efficient electric vehicles behaving as a shared transport service (a taxi, without a driver), housed and charged in a network of transport hubs; strategically placed at each of Moscow’s busiest railway stations. Fig. 20.14 Levent Ozruh Y4, ‘The Research Campus for the State Agrarian University of 270

Saint Petersburg’. Exploring the behaviours of biological growth, the project studies the organic vegetation logics of modular capsules branching from circulatory spines. By reducing architecture to the assembly of an articulated roof and ground condition, with the absence of walls, the spaces generate a dynamic flow between and around different programmes. Fig. 20.15 Egmontas Geras Y4, ‘HyperAgri(Culture)’.

Model composition inheriting characteristics of the countryside and reinserting them into an urban context, reclaimed land on the edge of the city. This landscape is then cultivated as an architecture celebrating systems of growth, their cultural impact, construction methodologies and performance capabilities.

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Fig. 20.16 Naomi De Barr Y4, ‘The Saint Petersburg Food Market’. A cast fragment of a mass construction system for a dense rural condition, a hyper-agriculture assisting Russia in becoming self-sufficient in food production by the year 2020. Constructed with earthen materials, produce will be sold within the earth it was grown in, serving as a gateway between the rural and urban city. Masonry stoves provide thermal comfort for visitors to gather around during cold winters. Fig. 20.17 Tsai Hsin-Fang Y4, ‘The Inhabitable Bridge over River Neva’. An architectural response to the passage of water and wind through the city. This conceptually integrates the archipelago into the existing transportation infrastructure with an organic complexity of multi-bridge connections, integrated community spaces and water taxi services.

Fig. 20.18 Hong Lien Tran Y4, ‘Autonomous Urbanism of Moscow’. The building is located at the heart of the city, a plaza with grand areas of car parking. This between-building boundary is utilised for social activity, whilst maintaining the focus of car storage, embracing a future with autonomous vehicle transportation networks. Fig. 20.19 William Ashworth Y4, ‘The Inhabitable Bridge over the River Neva’. The habitable bridge masterplan proposes geometries of cohabitation for aquatic life beneath water level, and sustainable contemporary housing above. The cellular clusters have been optimised to maximise sunlight exposure, whilst creating internal winter gardens, with communal spaces protected from the often harsh weather conditions of Russia.

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Unit 21

Actions, Agents and Buildings Abigail Ashton, Tom Holberton, Andrew Porter

Year 4 Lester Cheung, Ahmed Yassin El Gamal, Ching (Jin) Kuo, Alan Ma, Misbah Mahmood, Yu Chen Pan, Oliver Parkinson, Duangkaew (Pink) Protpagorn, Cristobal Riffo Giampaoli, Minh Tran, Ernest Wang, Priscilla Wong

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Year 5 Charlotte Carless, Jack Clay, George Courtauld, Katie Cunningham, Steven Graves, Matthew Mitchell, Yasaman Mohsanizadeh, Arturs Tols, Joseph Travers-Jones, Feng Yang, Anqi Yu Thank you to our consultants: Brian Eckersley, Tom Holberton Thank you to our critics: Julia Backhaus, Roberto Bottazzi, Emma Carter, Stephen Gage, Naomi Gibson, Mina Gospavic, Christine Hawley, Francesca Hughes, Diony Kypraiou, Jamie Lilley, Sophie Richards, Sayan Skandarajah

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The Fiat Lingotto car factory, built in 1926 in Turin, was the first Futurist building in Italy. Raw materials arrived at its base and processed through assembly lines on each floor. Newly completed cars would race on the banked one-kilometre test track on its roof. The choreographed movement of raw materials and parts flowed through three-dimensional space with precise efficiency and timing. ‘[It had] to be a concrete dress around a productive process, and this had to conceal as little as possible of the flow of the materials’ Maurizio Torchio, Fiat Archive Lingotto went beyond the simple diagram of factory efficiency copied from Ford, offering a celebration of movement with flair and panache. Millions of Southern Italian immigrants arrived to work, transforming Turin from Italy’s first Baroque capital into an industrial ‘company town’. It became the centre of manufacturing in Italy, twinned with Detroit.

Whilst its focus on speed, movement and the importance of industry made the factory a success, it is a rare example of a Futurist building, made as the movement faded due to its extreme manifesto and uncomfortable political associations. Now post-industrial Turin is reinventing itself as the gastronomic and creative capital of Italy: it produces the finest chocolate and coffee, is the home of the Slow Food movement, and its new Mayor wants to create a weekly meat-free day for the city.

The unit’s first project involved identifying a series of adverbs or actions to study. Through physical or digital data, the students then created their own choreographic agents, and three-dimensional drawings and models that served to translate a vocabulary of intangible qualities into space. These related to the ideas of the Futurists such as speed and movement, environmental qualities of slowness, flavour, smell, or dynamic behaviour from the socio-political context of the city itself.

The unit travelled to Turin. We visited the work of Mollino, stayed in the Lingotto factory, explored the city to find sites for buildings, and ate well.

With the right recipe and a precise choreography, a vocabulary of actions was discovered that could be translated into industries of unexpected creativity. We developed digital tactics and conceptual tools that defined frameworks and rule systems to determine new ways of making a contemporary digital and physical space.

The unit continues to be interested in an architecture of event, action and time-based systems: buildings that react and respond, and that reject the tradition of inert and benign architecture that only implies a dynamic through frozen formalism.

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Fig. 21.1 Jack Clay Y5, ‘Bounding Bodies’. Corpo Caroli is an asymmetrical building drawn and designed at 1:1 within a limited sphere of vision in virtual reality, exploring exteroceptive, interoceptive and proprioceptive senses.

The building is the product of a design method that places bodily sensations as the counterpart to programmatic requirements and establishes a reciprocal relationship between its function as both a primary school and housing for the elderly. Fig. 21.2 Oliver Parkinson Y4, ‘Staging A Hyper Real Italian Market’. The proposal stages and facilitates an idealised Italian open air market within a new public square.

It aims to bridge a once segregated and dense piece of city, providing social and economic platforms around new civic structures, all of which retains a typical Italian scenographic

depiction. Fig. 21.3 Steven Graves Y5, ‘Casa Del Fiat: An obsessive exploration of the Fiat 500’. A cult classic that lies close to the centre of Italian identity and culture. Casa Del Fiat is the private residence and archive of Dante Giacosa, the father of the 1957 Fiat 500. The architecture explores the physical geometry, spatial complexity and ground breaking technology that lies within the Fiat 500. Fig. 21.4 Charlotte Carless Y5, ‘The Makers’ Collective’. The project speculates on the shared knowledge of automation creating a post-work society.

Technological innovation creates a societal shift from mass production to play. The urban fabric of the city is designed by those who live there. Exploring how automation changes the way we design cities, the project empowers neighbourhoods to design the spaces they live in.

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21.6 Fig. 21.5 Yasaman Mohsanizadeh Y5, ‘How Can Language Change The Way We Design Architecture?’. First, second and third generation migrants lack representation in the policies and urban planning agendas of the five star movement, Turin’s incumbent political party. As a result, there are residing social, cultural and political conflicts, further heightened by the lack of communication and use of language between these communities. Fig. 21.6 Anqi Yu Y5, ‘Towards a Slow Town Hall’.

We create the illusion of gaining more from speeding up but the truth is that we have become so addicted to rushing that ultimately, we forget what we are truly experiencing. This project sees slow architecture as a philosophy that focuses on the experiential aspects of architecture, where space is considered as a journey instead of a destination. The design

is based on the principle of using architecture as a spatial implement to slow people down by introducing and manipulating elements like pixels, water, wind, light and the view.

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Fig. 21.7 Yu Chen Pan Y4, ‘A Slow Movement Institution’.

Influenced by the Slow Food movement in Turin, the institution embraces the idea of ‘slowness’ through the choreography and quality of light. It encourages people to do everything at the right speed, to slow down and examine subtle changes as time progresses. Fig. 21.8 Arturs Tols Y5, ‘De-Constructing an Urban Experience’. Designed through techniques of musical arrangement and an industrial building morphology, the Turin Culture Factory is an urban event space that houses film studios, a cinema and open performance areas. Inspired by Federico Fellini’s ethos of observing Italian life in the street, the project aims to bridge different ways of engaging with public space, accommodating local, national and international events. Fig. 21.9 Ching (Jin) Kuo Y4, ‘National Assembly’.

A speculative project based on the current political scene in Italy. The project aims to provide a strong link between the public and their politicians, to establish a democratic example.

The building consists of various transformable spaces that accommodate different scenarios, allowing the public to participate and input to the parliament.

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Combining Turin’s rich political past with its less well-known magical history, the project explores the parallels between magic and politics, and the tensions, juxtapositions and experiences this might create through architecture.

Fig. 21.11 Lester Cheung Y4, ‘Urban Playground and Sports Complex’. Slow living addresses the desire for a more balanced lifestyle and improved sense of wellbeing. The project aims to reactivate Torino by promoting physical exercise as enjoyment.

The project consists of interactive elements that respond to the local weather and manipulate the internal microclimate.

Fig. 21.12 Misbah Mahmood Y4, ‘The Ritual Cemetery of Brave New Turin’. The proposal challenges existing typologies of cemeteries by introducing a new algorithmic distribution system, informed by the cultural funerary traditions of Turin’s population. The cemetery aims to create an awareness of social identity and an acceptance of coexisting cultures; traditional funerary customs are reinvigorated and redefined whilst physical and spatial boundaries are blurred. These notions manifest themselves in a Funeral Marker - an ever-evolving, sculptural landscape that maintains trace and identity.

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Fig. 21.13 Priscilla Wong Y4, ‘A Vegetarian Restaurant for Turin’. The Mayor of Turin has plans to make it the world’s first ‘vegetarian city’. This proposal is an architecture to promote such a scheme. The project is an investigation into the relationship between food and architecture, thus cooking and designing. Fig. 21.14 Ahmed Yassin El Gamal Y4, ‘The Moving Park’. Sited in the heart of Milan’s business hub and in between three major design districts, this project proposes the relocation of Milan’s annual textile exhibition to this focal point in response to the shift of the Chinese textile industry back to Italy. Fig. 21.15 Alan Ma Y4, ‘The Image of The City’. The project takes experimental image analysis techniques to propose new frontier spaces within the large complex city that actively respond to its digital profile by using

social media and crowdsourcing to shape how we perceive our built environment.

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Fig. 21.16 Joseph Travers-Jones Y5, ‘Tour-in Heritage’. The project seeks to re-introduce tourism to the once thriving city of Torino from a key UNESCO World Heritage Inscribed Site that lies at the intersection of the existing tourist infrastructure within the city. A strategic yet considered approach to heritage demonstrates how the architect has the potential to spatialise a new tourism industry by building on the existing heritage and value systems which can be enjoyed by the resident and tourist alike. The project exemplifies how tourism could be used as a device to promote change across the city by establishing a set of design principles that could re-shape the identity of Torino. Fig. 21.17 Ernest Wang Y4, ‘Aerofood and Four Meals’.

The project explores how recipes from Marinetti’s Futurist cookbook can be adapted for contemporary context and how

they might inform the design of space and architecture.

Although dated, the 1930s cookbook’s instructions and descriptions of food were reinterpreted to suit 21st century dining culture and drawn from to create unique culinary experiences and spaces. Figs. 21.17 – 21.18 Katie Cunningham Y5, ‘Alta Voracita’. (High Consumption) the first project proposes a number of devices at different scales to help members of the NO TAV movement to protest in the militarised zone protecting the construction site of a new high-speed railway which has come to symbolise state wide corruption and the miss spending of taxpayer and EU funds in the country.

The second, ‘Maxi Corte’ (Maxi Court) is an industrial-scale courthouse for trying the organised criminal gangs of Europe.

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Fig. 21.20 Minh Tran Y4, ‘Tree of Turin’. Fig. 21.21 Cristobal Riffo Giampaoli Y4, ‘The Passeggiata Project’. Fig. 21.22 Matthew Mitchell Y5, ‘Mechanical Mediations’. Occupying the factory floor on the site of Turin’s defunct Fiat steelworks, a mechanically actuated landscape of performance celebrates the theatricality of movement and event. Informal stages and pockets of performance space permeate the building with glimpses and phrases of incidental theatre and music, while kinetic sequences and deployable stage elements create unpredictable shifts in performer-spectator relationships.

Fig. 21.23 Duangkaew (Pink) Protpagorn Y4, ‘The Water Line’.

Fig. 21.24 Feng Yang Y5, ‘Gestural Landscapes’. Crossing the Alps is described as a ‘supreme experience’ where the seasons, the weather, the terrain and the body are intensely experienced.

This design project seeks to reinforce the existing pilgrimage route along the Aosta Valley in Italy through a series of architectural encounters in the landscape. They become beacons for passers-by, providing shelter and aid throughout the seasons.

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Unit 22

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Izaskun Chinchilla, Carlos Jiménez Cenamor

Year 4 Florence Bassa, Jun Wing (Michelle) Ho, Alastair Frederick Johnson, Anastasia Leonovich, Jonah Luswata, Robert Newcombe, Rebecca Outterside, Yinghao Wang, Nimrod Wong, Yehan Zheng Year 5 Alexandria Anderson, Isabelle Tung, Laurence Flint, Rufus Edmondson, Esha Thapar, Timothy Whitehouse, Xin Zhan The Bartlett School of Architecture 2018

We are extremely grateful for support from our consultants Marta Grinda and Roberto Marin, and our magnificent crit panels during the academic year: Marcela Araguez, Julia Backhaus, Eduardo Camarena, Maria Elvira Dieppa, Theo Games Petrohilos, Pedro Gil, Christine Hawley, Fredrik Hellberg, Kaowen Ho, Bruce Irwin, Fany Kostourou, Chee-Kit Lai, Lara Lesmes, Ifigeneia Liangi, Thandi Lowenson, Paula Montoya, Daniel Ovalle, Barbara Penner, Sol Pérez Martínez, Pedro Pitarch, Yael Reisner, Manolis Stavrakakis, Sabine Storp, Paolo Zaide

When we announced at the beginning of the year that we were going to focus on the relationship between architecture and politics, one of our intentions was to raise awareness of architecture as complicit with politics, and with financial and industrial interests. But Unit 22 is a hands-on group, in all senses, so our focus will never be pure intellectual speculation: it will always involve a call to action. This year we invited students to engage with NGOs and activists. In partnership with them, we asked students to look for ways in which architecture might contribute to augmenting societal resilience, and find alternative paths for development.

What are the problems that students of architecture think design can address? Looking at work produced this year, we observe that the environment, gender, wellbeing and identity have been our students’ four main areas of reflection. This is a complete change of paradigm from previous generations, for whom the four main areas of reflection would have been space, material, aesthetics and style.

Together we investigated how projects in our four key areas could critically implement our aspirations for societal resilience and alternative development, step-by-step. In one way or another almost all the projects articulate some of the following scenarios:

Architecture can provide people with spaces that help them overcome immediate threats in what we can call an ‘absorptive’ strategy. This operates by designating space to plant, to talk, to meet, to represent or to live affordably.

Architecture can include the proactive (ex-ante) or preventative measures people employ to learn from past experiences, with which they anticipate future risks and adjust their lives accordingly. In this sense, designing a sort of transparent architecture has been strategic: an architecture that allows us to track the decisions linked with environment, gender, wellbeing and identity. Courtyards to catch water and be conscious of your reserves; rooms that directly address gender stereotypes; gardens promoting mindfulness, or market stalls that play with the symbolism of landscape are some of our examples.

Cities and neighbourhoods developed using public engagement strategies offer the potential for people to access assets and assistance from the wider socio-political arena, to participate in decision-making processes, and to craft institutions that both improve their individual welfare and foster societal robustness toward future crises.

A special mention to our academic field trip workshop tutor and coordinator Wendy Teo from Borneo Art Collective. And finally, thank you Stanley Ngu King Hieng, for allowing us to live out your 100-houses dream We are grateful to our sponsors Luis Vidal + Architects and Borneo Art Collective

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Fig. 22.1 Alastair Frederick Johnson Y4, ‘Plastic Fantastic’.

The project is designed around the needs of the NGO, the Marine Conservation Society. The complex of architectures caters for their need to campaign and inspire the younger generation about the importance of clean living, while also offering transportation, living quarters and facilities for Marine Biologists. Fig. 22.2 Yehan Zheng Y4, ‘Newham OffGrid Communal Settlement’. Set within the underused back gardens of Newham, the programme assembles communities to construct a co-living settlement that consists of varied degrees of editability and prefabrication. Using utility management techniques via a series of architectural cores, the scheme investigates the potential of domestic architecture to be a self-sufficient, yet interdependent tool.

Fig. 22.3 Xin Zhan Y5, ‘SLOW Valley’. In the context of China’s rapid urbanisation, the project rethinks the relationships between city, community and nature. Starting with an environmental restoration project, SLOW Valley is a co-working space for a regional craftsman community, educational and recreational space for local residents with open workshops, a market, allotments and landscape gardens as a campaign for slow living. Fig. 22.4 Rebecca Outterside Y4, ‘The3million Embassy Assembly’. The project aims to support EU citizens post-Brexit by encouraging collaboration via an assembly of European ‘Embassies’. The Embassies are temporary and will rotate around the five ‘leave’ boroughs of London, hosting a variety of community engagement activities, until the structures are eventually dismantled in 2020.

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22.8 Figs. 22.5 – 22.6 Alexandria Anderson Y5, ‘Toys for Teachers’. introduce opportunities for businesses within the estate, The project is a set of gender-critical ‘tools’ to assist in as well as bringing happiness to the community. constructing space and pedagogy that will act in the equalitarian future of education. By providing these ‘tools’, be it a sentence, or term defined in a particular way, a workshop adapted or newly created, teachers and students will be able to use this research to understand, expose, and rethink the capacity ‘the norm’ has over space and the bodies it acts upon. Figs. 22.7 – 22.8 Jun Wing (Michelle) Ho Y4, ‘Retrofitting the Community Estate’.

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22.10 Fig. 22.9 Robert Newcombe Y4, ‘Hackney Ageless Co-Working Housing’. Campaigning for ‘ageless’ living, this new model of social housing is designed for the long term. Shifting living patterns inform a responsive mutating domestic setup.

In contrast with typical excessive economic and social costs of displacing tenants, the re-configurable and neighbour-negotiated units allow the community to age in place and intergenerational lifestyles to emerge. Fig. 22.10 Florence Bassa Y4, ‘Bread & Roses HQ’. A project for social enterprise ‘Bread & Roses’, who empower refugee women with floristry classes, language lessons and employment. The building emulates the roles of floristry – tactile and interactive, filled with flowers, water and natural beauty – in order to build self-worth, and create communities and job opportunities.

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Fig. 22.11 Esha Thapar Y5, ‘Women Breaking Boundaries’.

In the spirit of the era, this project explores the architect as the activist, enabler and designer through student-led feminist praxis. Collaborating with Sisters Uncut, this community engagement concludes a Women’s Building on the contested ten-acre site of HM Holloway Women’s Prison; embodying an extensive herstory of the imprisoned Suffragettes. Fig. 22.12 Isabelle Tung Y5, ‘Project UP!’.

The project is a co-working and co-living scheme with the goal of diminishing the skill and wealth gap in Hong Kong, by upskilling and improving the housing quality of domestic helpers, minorities and low-income locals who are often disenfranchised and oppressed. Fig. 22.13 Nimrod Wong Y4, ‘Guerrilla Gardening London’s River Thames’. The newly formed

‘Guerrilla Gardeners’ Trust’ would commission the construction of a new floating headquarters that would operate along London’s major water routes, with the intent or rejuvenating and recontextualising the group’s underlying ethos of urban gardening in a water-based context. The barge would form the group’s permanent headquarters and would provide facilities to empower existing members and visitors to collaborate and exchange ideas towards realising green initiatives around the capital. Fig. 22.14 Anastasia Leonovinch Y4, ‘Mental Health Foundation Headquarters’. With the goal of preventing mental health illnesses across different generations, the building promotes the activity of talking and communication by providing a variety of spaces that seek to create comfortable and stimulating conditions to accommodate the personalities

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22.16 and moods of the users. Fig.22.15 Rufus Edmondson Y5, ‘Vauxhall Pleasure Gardens’ presents a new design strategy for LGBTQ+ cultural infrastructure in London. The proposal mediates varying levels of intimacy and visibility in order to define spaces for celebration and self-expression which are safe, open and inclusive for all. Fig. 22.16 Jonah Luswata Y4, ‘TRIPLE K School in Kampala, Uganda’. A study of contemporary learning environments. Questioning the values of colonial education at the same time as capitalising from the benefits of learning outdoors, while enjoining the academic possibilities of a fully supported and equipped infrastructure.

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22.18 Figs. 22.17 – 22.20 Laurence Flint, Timothy Whitehouse Y5, collaboration between design students, activist groups, local ‘Curating London’s Latin Quarter’. London’s Latin Quarter is architects, Southwark Council and local traders to propose an under imminent threat from urban renewal. The project is sited alternative vision for the community in Elephant and Castle. in the context of the current negotiation between developer, council, Latin London community, and the wider London populace. Hacking into stalled planning applications, the design proposes to even the balance of power. Figs. 22.17 & 22.29 Through a market stall pop-up on East Street in Southwark, and classes with Cambourne Village College in Cambridge, participatory workshops explored how groups and individuals may represent their identity. Figs. 22.18 & 22.20 Working at a range of scales from 1:1 urban spaces to participatory video games we question the current urban regeneration mechanisms operating in London. This joint project has evolved through 290

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Unit 24

Sculpting in Time Penelope Haralambidou, Michael Tite

Year 4 Alexander Ball, Flavian Berar, Uday Berry, Thomas Cubitt, Lee Kelemen, Pascal Loschetter, Jerome (Xin) Ng, Sylwia Poltorak, Marie Walker-Smith Year 5 John Cruwys, Tom James, Sonia Magdziarz, Matei Mitrache, Masahiro Nakamura, Rosemary Shaw, Paula Strunden, Stefania Tsigkouni The Bartlett School of Architecture 2018

Special thanks to Keiichi Matsuda, Leap Motion, for digital film, animation and interactive media teaching Workshops/seminars: Grand Gee, Jack Holmes, Shedworks, Jasper Stevens Thank you to our consultants: Kevin Pollard, Ali Shaw, Ben Sheterline Thank you to Carl-Dag Lige, Sille Pihlak and Harri Taskinen for their help during our fieldtrip to Estonia and Finland.

Thank you to our critics: Ollie Alsop, Anna Ulrikke Andersen, Ruth Bernatek, Tom Brown, Nat Chard, Nigel Coates, James Craig, Elizabeth Dow, Grant Gee, Christophe Gérard, Pedro Gil, Kevin Green, Gonzalo Herrero Delicado, Joanna Karatzas, Chee-Kit Lai, Ifigeneia Liangi, Matt Lucraft, Martyna Marciniak, Tomas Millar, Phuong-Trâm Nguyen, Caireen O’Hagan Houx, Luke Pearson, Sille Pihlak, Fleur Praetorius , Sophia Psarra, Nick Shackleton, Sayan Skandarajah, Amalia Skoufoglou, Jasper Stevens, Kevin Walker, Fiona Zisch

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Unit 24 is a group of architectural storytellers employing design, film, animation, drawing, virtual and augmented reality and physical modelling to explore architecture’s relationship with time. We nurture free thinkers, who are prepared to explore novel ideas and techniques. We find inspiration in the dialogue between film and architecture, study their intertwined histories and seek the magical possibilities arising from their merger.

This year we turned our attention to the evolving notion of craft.

A renewed attention to craft – and its related values of authenticity, engagement with materials, personalisation, skill, care, time and provenance – has recently emerged. The popularity of Etsy, Minecraft, BrewDog and The Great British Bake-Off attest to craft’s resurrection in unexpected forms that respond to, and harness, the post-digital economy.

Today, when new digital technologies are rendering the nineteenthcentury dichotomy between the hand and the machine obsolete, where does craft lie in architecture and film? How does it manifest itself in brick, stone and celluloid, or in drawing, editing and cinematography?

To find out, in November we headed north on a road trip to the lands that shaped the work of two modern master craftsmen: an architect and a filmmaker. In Helsinki, we visited celebrated buildings by Finnish architect Alvar Aalto. He pioneered a design ideology rooted in craft, nature and technology and forged a productive relationship with industry, which allowed the hand of the studio to remain close to built artefacts: from vases to staircases and chairs to roofscapes. We then took the boat across the Gulf of Finland to Tallinn, the city whose fringes acted as the backdrop for the film Stalker by Russian director Andrei Tarkovsky. Obsessed with craft, Tarkovsky saw film as a poetic act of making: a sculpting in time. One of the best-preserved, UNESCO-listed, medieval cities, Tallinn is also dubbed ‘the Silicon Valley of Europe’, with the highest number of start-ups, a digital economy driven by blockchain and e-residency.

Our projects searched for a redefinition of craft beyond digital form-finding, using narrative and storytelling to address place, memory and performance. We defined hybrid practices between architecture and filmmaking that also blur the boundaries between design and experience.

And we asked: What is the relationship between materiality and craft?

Or craft and ethics? Is craft still grounded in local, individual skill, or can it be dispersed between many in the cloud, crowd-sourced and spread globally? And how can we overcome ‘the handmade versus the machine’ in an era when the human hand has been softly mechanised by immersive digital technologies?

Year 4 students proposed time-crafted architectures within the modern economies of Finland and Estonia and Year 5 students created architectural ‘essay-films’ that sculpt time. A series of specialist workshops with filmmakers, videogame designers, visualisers, Virtual Reality developers, musicians and sound technologists supported our work.

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24.2 Fig. 24.1 John Cruwys Y5, ‘Festival of Fulfilment’. The project explores how contemporary ideas of work, craft and ritual can shape perceptions of value in the built environment.

The tripartite essay film follows the delivery of twin public buildings – a Town Hall and a Festival Hall – as part of an indefinitely prolonged Festival of Fulfilment in the town of Rugeley, Staffordshire. Incorporating the skills and techniques of the post-digital workforce, the festival is ambivalent to form, material, tradition, and scale. It seeks to embed a meaningful practice of building for the sake of building, to create a lasting civic presence and ultimately appease the mind and soul. Fig. 24.2 Matei Mitrache Y5, ‘Edenic Polyphony’.

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operatic landscape within a charged site in Tartu, Estonia.

Preserving the imposing presence of the ruined manor, yet revitalising the site, it proposes an episodic journey through a sonic terrain. The film explores the architecture of hell, purgatory and paradise through the eyes of its subjective protagonist and its omniscient narrator. Fig. 24.3 Masahiro Nakamura Y5, ‘Imaginarium of a Legacy’. The film is an architectural polemic exploring the implications of the physical annexing of Hong Kong into a new Chinese-funded sovereign city state. It follows the journey of a young protagonist through ‘The Emancipated State of Hong Kong’ an island suspended above the ocean, as a perfect utopian version of the original city. Inspired by the role of identity in Anime, a series of dream-sequences help re-awaken the subdued democratic spirit.

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24.5 Figs. 24.4 – 24.5 Tom James Y5, ‘(Re)Creation: Constructing the Zone’. Influenced by the central thematic device of Andrey Tarkovsky’s Stalker (1979), the Zone is a proposal for a sculpture park containing recovered digital fragments of Manchester’s lost built heritage. Captured from film, using slit-scanning and photogrammetry techniques, the fragments are overlaid into the parklands of Nutsford Vale in East Manchester. The project explores themes of preservation and memorialisation and provides a platform of resistance for a city undergoing transformative waves of speculative development. Fig. 24.6 Stefania Tsigkouni Y5, ‘Silk Tales’.

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plays with cyclical time as a way of drawing out relationships between humans and the forgotten natural world within the city. Magical elements nurture the themes of displacement, labour, craftsmanship and explore mobility within the social ecology. Reality acts as a trickster and consequently, causality as an illusion. The buildings become characters in themselves, engrained with the city’s mythology, and its ongoing history.

Figs. 24.7 – 24.8 Rose Shaw Y5, ‘Ebbsfleet Town Square’. If urban space is played rather than planned can it give rise to more creative uses? Located at the epicentre of a planned Garden City at Ebbsfleet, the proposal is a speculative framework for public space ownership, re-inventing the town square for post-Brexit Britain. An illuminated game-board is placed at the centre of the process, which links to a full-scale

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triggered by the metaphorical dimension of the objects we interact with on a daily basis. Fig. 24.10 Sonia Magdziarz Y5, ‘How to Carve a Giant’. Inspired by the mystical Finnish poem ‘Kalevala’ the project proposes an architecture capable of keeping knowledge safe for millennia. Building on the granite boom of the Romantic era, it carves a folk story directly into the solid rock outcrops of the Pasila region in Helsinki over a very long period of time. A mysterious giant emerges sitting under an earthly blanket, protecting the knowledge of Finland and setting in motion the future stories of stone-crafted guardians: the blacksmith, the bear and the fox. This epic folk tale brings together a range of cosmic forces into a fabricated urban topography – from the mineral to the mythical and the mortal to the timeless.

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Unit 25

Activating Architecture Nat Chard, Emma-Kate Matthews

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Thank you to our consultants: Geoff Morrow, Jerry Tate Thank you to our critics: Barbara-Ann Campbell-Lange, James Craig, Penelope Haralambidou, Mark Morris, Shaun Murray, Phuong-Trâm Nguyan, Thomas Parker, Frederik Petersen, Alex Pillen, Mark Ruthven, Neil Spiller, Jerry Tate, Emmanuel Vercruysse, Simon Withers We are grateful to our sponsors: Studio Mark Ruthven, Tate Harmer Architects, [Y/N] Studio Thank you to Mick Delieu, Hythe Ranges Safety Officer, for making his site available to us, and to The Bartlett’s B-made workshop staff for their help and support

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The core of our unit involves helping each student to develop their own experimental practices, both in their approach to design and in the media through which they think and work. An experimental approach fosters rich design potential while also providing a productive educational method.

We value the way that working experimentally through materials and processes can open up possibilities that might elude us when working with more conventional design methods. We encourage speculative risk and not knowing where the idea will end. To operate like this, we look for rigour when nurturing the relationship between idea and technique: seeking ways in which each student might develop or invent their own media and be in control of it on their own terms. We are much more interested in the literal and figurative manifestation of the idea than in the diagram.

This year we speculated on how architecture might be implicated in between various realities. To help study this we visited Rome and Naples with a special emphasis on examples of architecture where there was a tantalising assembly of material and pictorial space. Most of the unit then proposed building projects on sites on England’s South Coast.

These include the Hythe Ranges, that combine in equal measure the cultural marks and operational strictures of the military with ecologies hardly touched by humans during the military tenure. Above the Ranges, the soft cliffs of the Roughs present a realm of diverse geologies, inventive military listening devices and all manner of walkers. Our research teases out diverse ways of activating these sites, that question the obvious oppositions between nature and culture.

Architects often feel the pressure to explain their work but we are interested in less reductive constructions. Each student has created their own worlds with apparent logics but also more hidden realms of invention.

Many of the projects are developed through constructions or drawing methods that act more as tools for discovery than as illustrations of the designs. Much of the act of design depends on tacit knowledge, and so we have been looking at ways in which, not only the research instruments, but also the propositional tools can help develop such a capacity.

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25.4 Fig. 25.1 Dougal Sadler Y5, ‘Body-Drawing-Environment: A New System for Drawing Architecture’. A physical and intellectual investigation into the relationship between drawing architecture and the climbing body. Multi-scaled models form an environment in which the act of climbing becomes a productive tool for determining an architecture. Figs. 25.2 – 25.4 Vita Rossi Y5, ‘Surface Translations: Pursuing Mutations in a Cosmetic Surgery’. Tailored formwork, drapery and transfered patterns generate an architecture which address ideas of surface and skin. Evidence of this process can be traced through the stitches and indentations present in the unfolded formworks and resultant casts.

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25.5 Fig. 25.5 Declan Harvey Y5, ‘Adaptive Imaginations’. This structured garden for a geo-botanist, responds to the slowly shifting landscape of the Roughs above Hythe. Evidence of a mischievous sub-plot is slowly captured by a series of pinhole cameras, synchronised and embedded in the model.

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Fig. 25.6 Gaoqi Lou Y4, ‘An Experimental Holiday Home’.

This house has the capacity to change state according to its occupants. The ‘Chair’ (pictured) is one of a series of studies which seeks to question our familiarity with everyday items of domestic furniture. Fig.25.7 Ben Spong Y4, ‘The Restaurant in The Roughs’. This project is situated at the end of a hike up to the Roughs above Hythe. Diners are subjected to a number of carefully curated smells from the landscape and food preparation processes. Fig.25.8 Roshan Sehra Y4, ‘Hythe Hoarding and House Clearance’. A live-in architectural salvage facility overlooks the town of Hythe and provides a place in which the objects on display are assigned value according to the way in which they are placed within the architecture. Fig.25.9 Ren Zhi Goh Y4, ‘The Cosmic

Horticultural Foundation of Hythe’. This project proposes an inhabitable instrument which connects horticulturists to the cycles of our closest celestial neighbours – the moon and sun.

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25.11 Figs. 25.10 – 25.11 Demetris Ktorides Y5, ‘Pondering on Dreams’.

This hotel is situated between the coastline and the end of the military shooting range at Hythe. The architecture activates a layering of realities and dream-like states in the occupant.

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25.13 Fig. 25.12 Naomi Hui Au Y5, ‘The Architect and the Collage Maker’. The proposed architecture is an installation within the archaeological site at Pompeii. The project embodies the architect’s sense of order and her perception of the world through a careful assemblage of domestic elements.

Fig. 25.13 Kar Tung (Karen) Ko Y5, ‘Chances, Deformation in Morphological Change’. A winery is located within the strips of land currently untouched and designated sites of special scientific interest, between the firing ranges. The rammed earth and clay walls slowly degrade over time, affecting the taste of the wine fermenting inside.

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25.15 Fig. 25.14 Yawen (Arwen) Liu Y5, ‘A Violin Workshop: Defamiliarising Spaces Through Sound’. This project proposes a luthier’s workshop, situated next to the wartime sound mirrors over Hythe. A range of acoustically reflective and absorbent surfaces controls both ambient and performed sounds within and around the architecture, at times making the occupant question the origin of the seemingly displaced noises. Fig. 25.15 Tatiana Southey Basols Y5, ‘Exploring Memory Through Printmaking: Impressions and Impressors’.

This is a proposal for a bowling green and recreational centre, nestled within the Roughs at Hythe. Analogue printmaking techniques were used to explore ideas of time, memory and surface in a way which becomes embedded in the drawing and the realisation of the architectural proposal.

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Fig. 25.16 Toby Preston Y4, ‘Domestic and Military Strategies’.

This project proposes an architecture which interrogates ideas of social hierarchy in a semi-fictional domestic setting, at the edge of a fake military town. Fig.25.17 Alex Kitching Y4, ‘Mobile Studios on the Ranges’. A series of artist’s studios with mobile Kevlar shields, move in and around the parallel programme of the firing range. The fibreglass volumes sit on tracks and can be moved and adapted to suit the individual needs of the artists in residence. Fig. 25.18 Alya El-Chiati Y5, ‘A Study into the Opportunities Held in the Conventions of Architectural Projection and Scale Drawings’. This hotel was designed using a series of perspectival devices in order to control relationships between key views and architectural sequences. The proposal was drawn and modelled in miniature.

Fig. 25.19 Carys Payne Y4, ‘Architecture for the Unconscious: The Launderette for Uninhibited Bodies’. The building seeks to encourage immersive, corporal explorations of architecture.

After trekking across the hilly Roughs, visitors arrive at a launderette, where they leave their clothes behind before exploring curious spaces and pools nestled into the landscape beyond.

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25.20 Fig. 25.20 Patrick Dobson-Perez Y4, ‘Underground Naples’.

This semi-subterranean project uses casting, scanning and microscopic photography to understand the urban condition of Naples, often experienced as a series of fragments.

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Unit 26

Strategies Against Architecture David Di Duca, Simon Kennedy

Year 4 Pitchaya Chayavoraprapa, Jolene Hor, Klaudia Kepinska, Kin Lui, David Majoe, David Park, Baifan Tao Year 5 Juan Escudero Pablos, Ezer Han, Cheung Hong Ivan Hung, Yan Yi Lee, Yiran Ma, Miten Mistry, Carl Pihlveus, Hannah Lucinda Sargeant, Carina Tran, Songyang Zhou The Bartlett School of Architecture 2018

Thank you to our consultants and critics: Alexis Germanos and 3x Architecture; Mike Hutchison and Momentum Engineers; Helen Di Duca and Jason Bruges Studio; Anam Afroze Hasan, Hal Currey, Andy Downey, Stephen Gage, Pedro Gil, Timo Haedrich, Stephen Harty, Christine Hawley, Shaun Murray, Grace Quah, Fiona Zisch We are grateful to our sponsors, BAT Studio

Unit 26 chooses to define architecture as ‘the underlying structure of anything and everything’. Architecture is everywhere and this year Unit 26 was against it. Taking inspiration from the transitional and tumultuous times we inhabit, we interrogated the idea of exiting structures, hierarchies and systems.

We freely exchange our personal data for services and access to emerging means of communication. All the while, we are bombarded by subversive and sophisticated modes of advertising and manipulation.

Energy companies are valued in the trillions, but to mobilise more than a fraction of their resources would make life on our planet impossible.

An elusive cartel of internet companies hoards assets of fabulous value: data, information and intellectual property, alongside cash reserves too large to spend. Value and power have evolved. However, outside the cartel, the information age has disrupted the traditional monopolies of power: information is free, the truth is uncertain, the transfer of knowledge and opinion has been open-sourced and democratised. Traditional power structures struggle to maintain control and new economies based on barter and exchange are beginning to thrive. Is this how architecture of the next age will be procured?

This year, the unit has produced work which is both propositional and critical. We have imagined new futures and alternatives to the present, satirised established social norms and questioned our control over our own environments.

Strategies Against Architectural Representation The structures that surround us embody ideas translated from social and historical contexts. But nothing is static, everything is volatile and dynamic. Time-based media offer us revolutionary tools both to develop and to communicate ideas. Unit 26’s ideas are developed and portrayed through film and filmic techniques. We seek to expand the modes of the cinematic medium, incorporating non-linearity and interactivity into designed spatial experiences.

Los Angeles The unit visited Los Angeles, exploring sites including the LA River and Universal Studios, Sony Pictures and Venice Beach, and sought out hyper-real architectural manifestations in Hollywood and Las Vegas.

New Forms of Practice We have created filmic architectures and architectural films that explore animated and augmented relationships between people and place. Our techniques included scriptwriting, hand-drawing, storyboards, stopmotion, four-dimensional drawing, hyperlapse, motion-matching, models and interactive mock-ups.

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26.3 Fig. 26.1 Juan Escudero Pablos Y5, ‘The Church of Science’.

The project depicts a future in which The Church of Science has emerged to control knowledge, therefore deriving from it political and economic power. Located in Death Valley, the new order is structured as a religion, obscured by smoke and mirrors and shaped as a useless machine. This mystification is understood through the ontology of the cyborg, a new almighty messiah. Figs. 26.2 – 26.3 Yiran Ma Y5, ‘The Cloud Project’.

Chinese culture divides the year into 24 phases or seasons; this intimate, detailed connection to nature is an integral part of Chinese culture. The infamous pollution of Beijing has a hidden consequence: it is slowly depriving the city’s inhabitants of this connection. This project imagines a future where the vast and increasing gap between the wealthy and 314

the poor has led to the creation of megastructures to purify the air. The structures create seasons on demand while the city around them becomes habitable only by machines and humans with breathing apparatus.

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Figs. 26.4– 26.5 Ezer Han Y5, ‘The Korean Reunification – The Architecture of Nostalgia, Transition and Unity’. The centre represents the first of many steps towards a unified Korea, the possibility of which draws nearer due to unprecendented recent movements by the two governments. The building uses shared, traditional architectural tropes to spatially facilitate reconnection and familiarisation of the two nations. The programmes within the centre enable a gradual intermingling of the now disparate cultures, building compassion and understanding in anticipation of a unified future. Figs. 26.6 – 26.7 Miten Mistry Y5, ‘D.R.E.A.M. Centre For Hackstivism’.

Cutting-edge technology, driven by algorithms and powered by big-data is being sold to police forces to aid in the prediction of future crimes. These algorithms are inscrutable, and while

they are assumed to be ‘scientific’ and ‘fair’, they actually conceal embedded racial and locational biases, encouraging self-fulfilling downward spirals within vulnerable communities.

South LA’s kaleidoscope of cultures and history of racial tension is the testing ground for confronting these tools. The centre will create and disperse mischievous deployable structures around the city, challenging the validity of surveillance technologies and usurping the power of the algorithms.

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26.10 Fig. 26.8 Hannah Lucinda Sargeant Y5, ‘Lutando Contra Fogo Com Fogo’. Set in the large, derelict agricultural estate of Rio Frio, the project explores the current struggles surrounding the management of forest fires in Portugal. The project proposes a three-pronged attack: fire fighting and detection devices, refuges for people trapped by a forest fire and a radical approach to provide a sustainable, long-term solution – deforestation. Figs. 26.9 – 26.10 Cheung Hong Ivan Hung Y5, ‘The School of the Enigmatic’. This proposal for the LA river contains two schools, one teaching film and the other architecture. The two programmes wind around and through each other, splicing views and connections for ideas and people. Designed through intimate analysis of the films of Wong Kar Wai, the project is holistically developed through 316

filmic techniques and modes of representation. The spaces are designed from key views, composing textures, colours and depth of field in response to the luscious and enigmatic scenes constructed by Wong Kar Wai in In The Mood For Love.

Fig. 26.11 Carina Tran Y5, ‘The Allure Of Nostalgia’. The American Dream has been a staple of cultural representation for the last century; a hard to define aesthetic of nostalgia and compliance, control and aspiration, frequantly applied to both utopian and dystopian visions. This thought provoking sci-fi film satires the imagery and tropes we are so often encouraged to digest. The project proposes an academy for would be American dreamers, with a floating dream home as the prize for qualification.

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26.14 Figs. 26.12 & 26.15 – 26.19 Carl Pihlveus Y5, ‘Luliwa’.

Science-fiction has predominantly been written by Western cultures. Middle Eastern cities, which have developed via rapid economic growth, appear on the surface inspired by Western visions of the future. Cultural and religious reasons have meant there are few Middle Eastern science-fiction idioms – the project therefore responds with strategic architectural devices, designed and reinterpreted from traditional, vernacular and symbolic architectural typologies. The project is manifested in a cinematic film which reimagines some of the most famous examples of Western science fiction. Figs. 26.13 – 26.14 Yan Yi Lee Y5, ‘The Quest for a New Utopia in Digital Society’. The project is a critique of the hedonistic digital world, where new forms of work, economic systems and 318

architecture have appeared. Human value has been lowered to fulfilling mundane tasks in order to fine tune artificial intelligence algorithms. Tangible currency no longer exists.

This ironic future scenario shows the dark side of life and technology; it speculates how value is changed when the behaviours of individuals are recorded and backed up by a cloud system.

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26.21 Figs. 26.20 – 26.22 Songyang Zhou Y5, ‘The Ad-Runner’.

Virtual Reality is an emerging habitable medium with different limitations and new possibilities to those of the world we normally inhabit. It is both a means of representing and a space to be experienced in its own right. This project explores how architecture can be created and experienced in virtual reality. Emerging from this research the virtual construct follows an imagined character, Ad-Runner, living in a future world where the virtual and real have merged.

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Year 4

Design Realisation Module Coordinators: Pedro Gil, Dirk Krolikowski

The Bartlett School of Architecture 2018

Lecturers Damian Eley (Expedition Engineering), Pedro Gil (The Bartlett / Studio Gil), Jan Guell (Nikken Barcelona), Laura Hannigan (AKT II), Jan Kattein (Jan Kattein Architects), Dirk Krolikowski (The Bartlett / DKFS), Victor Orive (Zaha Hadid Architects), Joanna Pencakowski (RSHP), Hareth Pochee (Max Fordham), Andrew Segwick (Arup), Mike Tonkin (Tonkin Liu), Dan Wright (RSHP) Practice Tutors Unit 10 Jon Kaminsky (Hawkins\Brown), Unit 11 Rhys Cannon (Gruff Limited), Unit 12 James Hampton (Periscope), Unit 13 Rae Whittow-Williams (EWE Projects), Unit 14 Dirk Krolikowski (The Bartlett, UCL / DKFS), Jakub Klaska (The Bartlett, UCL), Unit 17 James Daykin (Daykin Marshall Studio), Maria Fulford (Fulford Majer), Unit 18 Robert Haworth (LTS Architects), Anna Woodeson (LTS Architects), Unit 19 Michal Wojtkiewicz (Zaha Hadid Architects), Unit 20 Justin Nicholls (Fathom Architects), Unit 21 Tom Holberton (The Bartlett, UCL), Unit 22 Marta Granda Nistal (Binom Architects), Unit 24 Michael Tite (The Bartlett, UCL / Michael Tite Architecture), Unit 25 Jerry Tate (Tate Harmer), Unit 26 Alexis Germanos (3X Architects)

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The Design Realisation module provides an opportunity for all Year 4 Architecture students to consider how buildings are designed, constructed, and delivered within the context of technologies and professional practice.

Design Realisation provides a framework to facilitate testing, experimenting, invention, and innovation, through the design of buildings. It bridges the worlds of academia and practice, engaging with many renowned design practices and consultancies. A dedicated practice-based architect, structural engineer, and environmental engineer support each design unit, working individually with students to develop their work throughout the programme.

This year we have seen some exceptional work emerge, that has given rise to many wonderfully creative and inventive technical design responses.

The spirit of testing and experimentation has been exceptional and this year’s Design Realisation Saint-Gobain Innovation Award goes to five outstanding projects: Vilius Vizgaudis, Unit 10; Andrew Chard, Unit 11; Naomi Rubbra, Unit 11; Tasnim Eshraqi Najafabadi, Unit 13; Alastair Johnson, Unit 22.

Vilius Vizgaudis’s project is a tongue-in-cheek examination of designing for the Third Age aboard a cruise liner. Drawing inspiration from NHS initiatives and Cervantes’ Don Quixote, Vilius’s work strikes an intricate balance between the experimental, the innovative, the sublime, and the prosaic.

Andrew Chard’s project is an exquisitely executed and inventive idea for a building as a ‘filtration system’. Set in the challenging climate of North Shore, California, where air pollution is a huge problem due to the sand and particle pollutants in the air, Andrew proposes a school that acts as a filter whilst providing inspiring learning spaces for children.

Naomi Rubbra’s project provides a framework that facilitates and empowers the local community of Tottenham Marshes in proposing a centre for boats and community infrastructure in Edmonton, London.

This project is an engaging and ambitious attempt that looks to examine and propose ideas for community engagement, funding, and experimental construction techniques.

Tasnim Eshraqi Najafabadi’s work is a wonderful exploration of technologies and place. The project proposes a wildlife study centre on the marshlands of Tollisbury Village, Essex, and explores a variety of construction and environmental design techniques with confidence, rigour, and gusto.

The final outcomes of the project are elegant, inventive, and haunting.

Alastair Johnson’s project is a delightful embrace of recycling plastic as philosophy on a floating marine biology centre sited off the coast of Edinburgh. Packed with invention, wit, intensity, and resolve, the project seeks to establish plastic waste not as a problem, but rather as an opportunity. The ambience, possibilities, and tectonics of the project are tested to a tantalising degree.

Design Realisation Thanks to all the structural consultants who have worked with individual students to realise their projects, and to Max Fordham, environmental consultants to all design units Thanks to our Practice Tutors for their remarkable commitment and dedication

Image: Andrew Chard, Unit 11, ‘The Oasis, Salton Sea Elementary School’, North Shore, California 323

The Bartlett School of Architecture 2018

We are grateful to Saint-Gobain for sponsoring the Design Realisation Saint-Gobain Innovation Award 2018

Year 4

Advanced Architectural Studies Module Coordinator: Robin Wilson Teaching Assistant: Miranda Critchley

The Bartlett School of Architecture 2018

Seminars Flexible Bodies, Flexible Selves Tijana Stevanovic Film + Architecture Christophe Gerard U-topographics: Utopic Journeys into Postmodern Culture Robin Wilson Architecture & The People: unpicking the politics of how places are made (and what that means for practice) Daisy Froud Criticism & the History of the Architectural Magazine Anne Hultzsch Senses and the City Jacob Paskins Understanding Ecological Systems: The Architecture of the Extended Mind Jon Goodbun Architecture, Art & the City Eva Branscome Architectural Splendour: The History and Theory of Ornament 1750 to present Oliver Domeisen Architecture and the Image of Decay Paul Dobraszczyk Gothic Designs, Gothic Desires Jeffrey Miller

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The Advanced Architectural Studies module, in the first year of the two-year Architecture MArch (ARB/RIBA Part 2) programme, focuses on architectural histories and theories. Here we reflect on architecture within a broader, critical, intellectual and contextual field – simultaneously producing and being produced by it. We look at architecture’s interfaces with other disciplinary and knowledge fields – from the scientific and technological to the social sciences and the humanities. We bridge empirics and theory, design and history, the iconic and the everyday.

Depending on individual interest, the course helps the students engage with architectural history and theory as a critical approach to augment design, as a parallel domain to test out design approaches or as a discrete or autonomous domain for architectural engagement. It focuses on three key types of academic development: first, a reflective, critical and analytical approach; second, research instinct and investigative methods, and third, the skills of synthesis, writing and articulation. The module also acts as foundational ground for the Master’s thesis that the students complete in their final year.

The module consists of a set of lectures followed by a set of six tutor-led seminars on a diverse range of themes. These straddle geographically the architectural histories of various global contexts, and thematically issues such as buildings, urbanism, typology, ecology, politics, technology, production, public participation, urban regeneration, phenomenology, historiography and representation (see list of the seminars). The lectures are on the architectural, urban and spatial histories of sequential moments of the 19th and 20th centuries, but rendered through the individual conceptual and methodological frameworks of each of the seminar tutors. At the end, based on their learning from the lectures and seminars, the students formulate a critical enquiry around a topic of their choice and produce a 4500-word essay.

Advanced Architectural Studies

Dominic Walker Ornament: Between Tradition and the Imagination Tutor: Oliver Domeisen This essay focuses on the relationship between the role of tradition and the imagination in the culture of architectural ornament of the late 19th and early 20th centuries. Specifically, the applied ornament of Louis Sullivan and Frank Lloyd Wright is studied to investigate elements of intuition and of tradition in their work. Traces of the history of ornament are uncovered through a drawn and comparative analysis of their ornament with traditional motifs. A discussion of the architect as a form of author-protagonist is undertaken, supporting a conception of ornamental production that begins with the individual author rather than being attributed to a longer history or tradition.

The essay concludes by addressing the contemporary relevance of this discussion.

I argue for a return to the production of architectural ornament in contemporary architecture. The evidence generated through my combination of historical and graphically drawn analysis is employed here to argue for contemporary practices of ornamentation that are rich in meaning, that both celebrate an individual ‘voice’ or authorial position, but which also connect to a wider associable history. The essay argues that ornament has the capacity to reintroduce a sense of both surprise and familiarity in the reception of architecture: an ornamental déjà vu. It is through this play of contradiction in the reception of ornament that we might be prompted to reflect on change within architectural culture, the passing of time, and architecture’s relationship to the wider world.

Image: Deserted buildings and streets trapped in the buffer zone

Image: Analysis of Sullivan’s ornament in the Guaranty Building (author’s work) 325

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Francesca Savvides The Nicosia Buffer Zone - Past, Present & Future Tutor: Paul Dobraszczyk Cyprus has been divided along ethnic lines since 1974, with a hard border consisting of two militarised ceasefire lines with a UN-controlled buffer zone in between. The buildings trapped in this no-man’s land are in various stages of ruin and are slowly being reclaimed by nature. The essay presents a proposal of what the buffer zone, its ruins and newfound ecology should become in the event of a solution.

The buffer zone was analysed through site visits along the borders. It became apparent that barricades and graffiti were among the most tangible symbols of the divided city and have become a de facto part of the urban fabric and the city’s identity. I observed a unique urban ecosystem within the buffer zone, and this seemed worthy of recognition and preservation.

The peripheries of the buffer zone show stagnation and therefore any design should be holistic. Interviews were conducted with refugees and current and former inhabitants to ensure inclusivity of all voices. Any future design for this site must acknowledge the island’s turbulent history, not expect or force immediate integration (as it is likely to be counterproductive) and it must be flexible to accommodate various mindsets.

The most appropriate proposal seems to be the retention of the green corridor that has evolved.

A city park would allow the area to retain its traditional neutrality and could help stitch the two halves of the city back together whilst also functioning as a ‘soft’ border for those who are not yet convinced to cross. The ruins and barricades would be preserved to help facilitate access to collective memories and shared histories. Sensitive yet confrontational commemoration is essential because if we forget our past, we run the risk of repeating the same mistakes.

Year 5

Thesis Edward Denison, Robin Wilson, Oliver Wilton

The Bartlett School of Architecture 2018

Thesis Tutors Hector Altamirano, Alessandro Ayuso, Andy Barnett, Matthew Barnett-Howland, Carolina Bartram, Jan Birksted, Iain Borden, Roberto Bottazzi, Jos Boys, Eva Branscome, Andrew Budgen, Ben Campkin, Nat Chard, Emma Cheatle, Amica Dall, Gillian Darley, Meredith Davey, Edward Denison, Paul Dobraszczyk, Oliver Domeisen, Murray Fraser, Daisy Froud, Stephen Gage, Stelios Giamarelos, Gary Grant, Jane Hall, Christine Hawley, Tom Holberton, Francesca Hughes, Jan Kattein, Zoe Laughlin, Stephen Lorimer, Luke Lowings, Tim Lucas, Abel Maciel, Richard Martin, Anna Mavrogianni, Jeremy Melvin, Euan Mills, Shaun Murray, Harry Parr, Barbara Penner, Hareth Pochee, Alan Powers, Sophia Psarra, Rokia Raslan, Guang Yu Ren, David Roberts, David Rudlin, Bob Sheil, Tim Waterman, Matthew Wells, Robin Wilson, Simon Withers, Stamatis Zografos

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The Thesis enables Year 5 students to research, develop and define the basis for their work, addressing architecture and related disciplines such as the visual arts, humanities, cultural theory, anthropology, computation, physical or social sciences, engineering, manufacturing, environmental design and urbanism.

Students undertake the work in depth, supported by specialist tutors who are individually allocated to them based on their areas of interest, in consultation with their design unit tutors. The result is a study, of 9,000 words or equivalent, that documents relevant research activities and outcomes and typically includes one or more propositional elements that may include the development of an argument or hypothesis, the development of a design strategy, or the development and testing of a series of design components in relation to a specific line of enquiry or interest.

The Thesis is an inventive, critical and directed research activity that augments the work students undertake in design studio. The symbiotic relationship between thesis and design varies from being evident and explicit to being situated more broadly in a wider sphere of intellectual interest.

We anticipate that a number of theses from this year’s academic cohort will be developed into external publications.

Thesis

the fantasy of scale to greater altitudes, with larger vision and the inevitable repercussions of mass-consumption. When comparing each of the Eames’ powers to scalar moments in Tom McCarthy’s novel Remainder, a series of abstracted diagrams question the extents of these scalar experiences, trying to define what constitutes their experiential or quantifiable limits.

The combined diagrammatic and literary analysis finds the use of scale, lurking within every sketch, building, city, mountain range and aerial photo, must be understood to affect the everyday as well as the extraordinary.

Its emotional and experiential repercussions require examination through the creation of a looping-zooming trans-scalar conceit, allowing the subject to serially analyse and reason with not just the immediate experience of scale, but its simultaneous technological re-representations – the map, the aerial photograph, the CAD drawing – when these are seen in a looped combination, the subject discovers a contemporary iteration of Alice’s labyrinthine rabbit warren of scale.

Image: The Augmented Eye of Scale. Our satellite’s-eye view of the world is a trans-scalar virtual representation, a true falsity that replaces traditional notions of zooming in and out. Sketch by the author 327

The Bartlett School of Architecture 2018

Laurence Blackwell-Thale Satellite Views of Dolls’ House Sized Mountains: The Conceit of Trans-Scalar Tragedy Tutor name: Francesca Hughes The architect’s gaze, unlike that of the artist or film-maker, is always mediated by scale. This projected method of quantification not only determines how we, the subject, perceive our objectified surroundings regarding their physical dimensions, but also how we interpret their theoretical contexts.

Architects must produce at scale, as without it we would live in a gigantic proving ground, full of mock-ups and half-built structures, a pre-defined ruin created without the lengthy mediator of time. This requirement to design in the miniature in order to then extend the boundaries of what could be called a human scale during construction (as surely all things man-made are of a human scale?) suggests a need to question what the edges of these scalar territories may be. Are these models and drawings actually transitional tests that prefigure the reality of the built form, or should they be viewed simply as smaller objects that also are at 1:1? Furthermore, when these objects are imprisoned in this dolls’ house scale, how do they alter our emotional interpretations of seeing a miniaturised world?

This duality, explored in Charles and Ray Eames’ Powers of Ten films, suggests the architect’s scale rule has been enlarged from a hand-held tool to a global system, one that takes

Thesis The Bartlett School of Architecture 2018

Emma Colthurst The Circumambulation of Cranham Thesis Tutor: Tim Waterman The Circumambulation of Cranham is the event and the subject, undertaken to explore the deeper relationships and possibilities between the community of Cranham and their collective landscape: a suburbanised village on the outskirts of London. At a time of national upheaval, the local community reassures with its identity, as it has for thousands of years.

The ancient instruction of circumambulation, ‘to walk all the way around a place’, is therefore reconsidered as a process of self-discovery and communal celebration. England’s historic affinity to walking the land reveals the reiterative relationship that is community and manifested landscape; a cycle that we all in part belong to, within our past, present and future.

Inspired by the perambulatory beating of the bounds and the residents’ continued religious devotion, the walk follows the historic parish boundaries, now bisected into the parish of Cranham: Saint Luke’s (north) and Cranham: All Saints’ (south). Twenty-six alphabetical boundary markers, using A to M for All Saints’ and N to Z for St Luke’s, denote the circular itinerary. Cranham’s ancient rural edge traces the continual rewriting of parish and modern political boundaries, which have formed the current fragmented iteration of dense suburbia and expansive green belt. Author and reader set out on the connected walk around these shifting 328

landscapes, exploring the rich narratives of people and place that are revealed.

Through the theories of place identity, the circumambulation considers how communities and their inhabitants identify with their landscapes, how they shape and in turn are shaped by their place in individual conceptualisations of self. Through discussion with the residents and parish vicars of Cranham, the locals continue to reject the political grouping of their landscape into outer London.

They root their identity in the ancient Essex landscapes that have been bequeathed to them.

The village continues to exist as a hybrid in the physical realities of protected nature reserves, woods and marshlands and in the ideas that have been mnemonically passed on through generations of the community, to form their relationships as inhabitants of the land they belong to.

Image: The wayfinding post, located in the middle of All Saints’ rural fields. Photograph by the author

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understanding of the interconnectedness of his work can be seen. Research into the garden’s formal composition and its relationship to celestial time, electromagnetic weather and nuclear decay are all important in gleaning insights into the continuing effect the space has on the many who make pilgrimage to it.

Using photogrammetry to capture moments of perception and weather combined together as point clouds of Dungeness, this essay raises potential for the combination of art, science and computational methods within architectural discourse. Without such techniques, which are typical of design research, the interrelation between the various case studies would have been lost. The drawings and models of Prospect Cottage are attempts to provoke questions, with the author and reader together becoming creative author-readers who construct different aspects of Jarman’s garden.

At its core, this essay raises questions about the nature of space, and that architecture should be regarded as a holistic pursuit through which diverse ways of seeing are translated into methods of inhabitation. It calls for designs in which emotional responses, induced by light, leave traces of the spaces upon the individuals who visit them, creating a temporally sensitive and deeply experiential architecture of perception.

Image: Point cloud, generated from 20-second video.

View from perceived rear garden-edge. Heavy, fast-moving clouds, dull, dry, 10°C. By the author 329

The Bartlett School of Architecture 2018

Samuel Coulton Irradiated Landscapes: Journey to Prospect Cottage Thesis Tutor: Murray Fraser This thesis is an investigation into the delineation of inhabited space through the use of light, in all of its radiant forms, as intrinsically linked to space and time. It presents an exploration into ways of seeing, following in the tradition of studying architecture’s meaning and value beyond the formal and economic. It is hoped that the benefit of the research reaches beyond the case studies, to offer a new methodology for design research that could be applied to a wide range of investigations. Intended above all as a form of research by design – primarily using material data and written evidence from James Turrell’s Skyspace in Yorkshire, Mike Webb’s Temple Island and Yves Klein’s oeuvre – to understand Derek Jarman’s cottage garden in Dungeness, the study concludes with the production of digitally crafted artefacts that are half-designed, half-generated from the experience of perceiving the latter site. These are realised as models and drawings to be ‘read’ in conjunction with the text.

Just as weather will blemish concrete, studies were carried out into how light can be recorded as it leaves a permanent mark of decay over time – a key theme of architectural phenomenology. Above all, by analysing Prospect Cottage Garden through Derek Jarman’s films, paintings and writings, a stronger

Thesis The Bartlett School of Architecture 2018

Katriona Eleni Pillay [in]Tangibility: An Institutional Divide Thesis Tutor: Stamatis Zografos The aim of this thesis is to critique the intrinsic institutional division set between attributes classified under ‘tangible’ and ‘intangible’ cultural heritage, as inscribed by the United Nations Educational, Scientific and Cultural Organisation (UNESCO). The study examines the authenticity that the term ‘heritage’ upholds, set specifically within the multi-faceted Indian landscape. It interrogates the conventional definitions provided by the institution, which are critical to the wider conservation framework of the built environment, and highlights how its management is currently viewed through a Westernised lens. It also proposes that a sense of belonging should be integral to such a contested context, as at present conservation is often reduced to a selective past that abides by global cultural and political policies.

The thesis is structured to dissect each individual category under UNESCO’s Intangible Heritage definition, including oral traditions, performing arts, social practices, rituals and festive events, knowledge and practices concerning nature and the universe and knowledge and skills to produce traditional craft. This reductive representation is closely investigated through five ‘intangible’ inscribed heritage attributes of India – Vedic Chanting, Kalbelia folk songs and dances of Rajasthan, Navroze, Yoga and the traditional brass and 330

copper craft of utensil-making. Focusing predominantly on Charles Sanders Peirce’s theory of Semiotics, the subject matter is approached through the invented methodology of the mandala, which manifests itself through a self-initiated art practice that involves mandala recreations. Considering the mandala as a symbol of the foundation of the cosmos that is enriched with meanings of a sacred totality and synthesis, this methodology suggests that there is a physical presence in the intangible, and a notably ethereal existence in the tangible. In an attempt to unify the tangible with the intangible under the term ‘heritage’, the drawing practice of the mandala unintentionally matures into an artform itself, expressing a symbiotic unity of the intangible conscious mind and imagination with the meticulous tangibility of the pen held against paper. Thus an intangible process generates a tangible product.

Image: Mandala drawing of the intangibly inscribed practice of Yoga. Drawing by the author

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during a time of growing colonisation and capitalism, as the panoramas became the first mass-media spectacle. It reveals a growing trend of spatial consumption beginning with the Panorama House that will only be amplified further through the evolution of dynamic and immersive visual systems.

New forms of spatial typologies produced by current immersive virtual entertainments demonstrate unique interactions within traditional spaces. Our spatial cognition and perception are likely to undergo significant changes that will start with the mass adoption of commercialised virtual reality technology as it gets smaller and more flexible for the end user. As virtual dimensions proliferate throughout society, there will be an increase of traditional spaces overlapped with virtual domains. Personalised spatial typologies will be intertwined within social spatial typologies, creating a network of spatial consumption between virtual and real. How these changes to our spatial cognition will affect our everyday lives is yet to be seen. However, it is important for architectural designers to take note and be aware of emerging immersive design rules and their spatial implications.

1. Ellis, M. (2008). ‘Spectacles within doors: Panoramas of London in the 1790s’. Romanticism. Edinburgh University Press. 14(2). pp.133-148 Image title: Forms of cognition introduced through different production applications in virtual reality. By the author 331

The Bartlett School of Architecture 2018

Songyang Zhou Spatial Cognition and Virtual Immersion: The importance of spatial cognition as the fundamental driver of immersive virtual entertainment Thesis Tutor: Stephen Gage The past few centuries can be considered as the golden age of innovation. The harnessing of electricity, industrialisation and globalisation have made possible numerous technological advances. Evolving forms of visual technology from the 19th century have constantly changed how we understand and perceive the world.

Rising use of alternative realties replaces materials with virtual projections, crossing barriers of the digital-physical divide and altering our visual organisation. Alongside novel spaces, it has the potential to create new systems of social interaction, ones capable of direct communication through virtual assets instead of simplified abstraction using the human language or flat projections. This means that there is a growing importance of integrating virtual assets into the human experience. As these realties cross the boundaries of the physical, we will need to consider this as a form of architecture in its own right.

London is the pioneering centre of immersive virtual entertainment through the invention of the ‘Panorama House’ by Robert Barker in Leicester Square during the late 18th century, coinciding with the end of an era of fixed visual structures.1 Studies of this immersive space expose the relationship between spatial illusion and society

Our Programmes 335 Short Courses 336 Open Crits 337 Public Lectures 338 Events and Exhibitions 340 Alumni 341 Staff, Visitors & Consultants 342

Chandni Patel presenting her work at the Open Crits 2018

The Bartlett School of Architecture 2018

In the studio at 22 Gordon Street

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Our Programmes The Bartlett School of Architecture currently teaches undergraduate and graduate students across 25 programmes of study and one professional course.

Across the school’s portfolio of teaching, research and professional programmes, our rigorous, creative and innovative approach to architecture remains integral.

You will find below a list of our current programmes, their duration when taken full time (typical for MPhil/PhDs) and the programme directors. Much more information, including details of forthcoming open days, is available on our website.

Postgraduate Architecture MArch (ARB/RIBA Part 2) Two-year programme, directed by Julia Backhaus (on sabbatical), Marjan Colletti & Barbara Campbell-Lange Architectural Computation MSc/MRes 12-month B-Pro programmes, directed by Manuel Jiménez Garcia Architectural Design MArch 12-month B-Pro programme, directed by Gilles Retsin Architectural History MA One-year programme, directed by Professor Peg Rawes Architecture & Digital Theory MRes One-year B-Pro programme, directed by Professor Mario Carpo & Professor Frédéric Migayrou Architecture & Historic Urban Environments MA One-year programme, directed by Dr Edward Denison

Advanced Architectural Research PG Cert Six-month programme, directed by Professor Stephen Gage Architectural Design MPhil/PhD Three to four-year programme, directed by Professor Jonathan Hill Architectural History & Theory MPhil/PhD Three to four-year programme, directed by Dr Ben Campkin Architectural Space & Computation MPhil/PhD Three to four-year programme, directed by Dr Sean Hanna Architecture & Digital Theory MPhil/PhD Three to four-year programme, directed by Professor Mario Carpo & Professor Frédéric Migayrou Professional Professional Practice & Management in Architecture PGDip (ARB/RIBA Part 3) Seven, 12, 18 or 24-month course, directed by Professor Susan Ware

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The Bartlett School of Architecture 2018

Undergraduate Architecture BSc (ARB/RIBA Part 1) Three-year programme, directed by Matthew Butcher & Mollie Claypool Architectural & Interdisciplinary Studies BSc Three or four-year programme, directed by Elizabeth Dow Engineering & Architectural Design MEng Four-year programme, directed by Luke Olsen

Bio-Integrated Design MSc/MArch Two-year B-Pro programmes, directed by Professor Marcos Cruz & Dr Brenda Parker (MSc only) Design for Manufacture MArch 15-month programme, directed by Professor Bob Sheil & Peter Scully Design for Performance & Interaction MArch 15-month programme, directed by Ruairi Glynn Landscape Architecture MA/MLA One (MA) and two-year (MLA) programmes, directed by Professor Laura Allen & Professor Mark Smout Situated Practice MA 15-month programme, directed by James O’Leary Space Syntax: Architecture & Cities MSc/MRes One-year programmes, directed by Dr Kayvan Karimi Urban Design MArch 12-month B-Pro programme, directed by Roberto Bottazzi

Short Courses The Bartlett School of Architecture welcomes hundreds of students from around the world to participate in our short courses. We also run pop-up workshops locally and internationally, working closely with architectural institutions and practices.

The Bartlett Summer School Our Summer School is ideal for students looking to bridge the gap between school and university and bolster their understanding of architecture school. Taught through a series of tutorials and workshops over either two or four weeks, the Summer School culminates in an open sharing session.

Applications for 2019 will open in November 2018. A limited number of scholarships will be available.

The Bartlett School of Architecture 2018

The Bartlett Summer Studio Our Summer Studio is an academic and architectural adventure, enabling students to build their design skills and conceptual and critical thinking within a playful atmosphere of experimentation and fabrication. It is ideal for students already studying architecture or a related discipline and available as either a two- or four-week course.

Bartlett Summer School 2017 336

Applications for 2019 will open in November 2018. A limited number of scholarships will be available.

Pre-Master’s Certificate in Architecture Designed for applicants interested in applying to a Master’s Programme in Architecture at The Bartlett, the Pre-MArch prepares students for further study, developing a range of key skills alongside their English Language skills.

Beginning in January each year, the programme provides 15 hours’ teaching contact time on average per week by the Centre for Languages & International Education and additional tuition at The Bartlett, to develop research skills and critical thinking, understanding of the issues related to architecture and a small design portfolio.

Applications for 2019 are currently open.

Find out more Visit our website to find out more and to see this year’s pop-up workshops.

Contact Bartlett.shortcourses@ucl.ac.uk

Open Crits The Open Crits are a chance for distinguished external critics to critique the work of our Architecture BSc Year 3 and Architecture MArch Year 5 students. Each year, the Open Crits generate fascinating exploratory dialogues, showcasing The Bartlett’s diversity at its best.

The Bartlett School of Architecture 2018

Critics — Rachel Armstrong, Newcastle University — Andy Bow, Foster + Partners — Barbara Campbell-Lange, The Bartlett — Ed Clark, Arup — Nigel Coates — Sir Peter Cook, CRAB Studio/The Bartlett — Francesca Hughes, UTS School of Architecture — Eva Jiřičná — Yeoryia Manolopoulou, The Bartlett — Josep Miàs, MiAS Architects — Izaskun Chinchilla, The Bartlett — Narinder Sagoo, Foster + Partners — Theodore Spyropoulos, Minimaforms — Tomas Stokke, Haptic Architects — Lys Villalba — Mike Weinstock, Architectural Association — Liam Young, Tomorrow’s Thoughts Today

Participating Students Assankhan Amirov, Naomi Au, Bethany Bird, Laurence Blackwell-Thale, Theo Brader-Tan, Daryll Brown, Theo Clarke, Samuel Coulton, Eleanor Evason, Fadhil Fadhil, Laurence Flint, Maxim Goldau, Gabriele Grassi, Grey Grierson, Patrick Horne, Oscar Macguire, Sonia Magdziarz, Megan Makinson, Natasha Marks, Joanna McLean, Thomas Parker, Chandni Patel, Katherine Ramchand, Jevgenij Rodionov, Dougal Sadler, Alisa Silanteva, Elin Soderberg, Negar Taatizadeh, Ivo Tedbury, Jarron Tham, Timothy Whitehouse, Rupert Woods, Lianjie (Li) Wu

Open Crits 2018 337

Public Lectures The Bartlett International Lecture Series Attracting guests from across the capital, our International Lecture Series has featured over 500 distinguished speakers since its inception in 1996. Lectures in this series are open to the public and free to attend. All of the lectures are recorded and made available online via our Vimeo channel.

We were delighted to welcome guest speaker Thomas Heatherwick to give the Donaldson Lecture in March 2018. The event, which celebrates architecture and education, took place at UCL at Here East.

The Bartlett School of Architecture 2018

Other speakers this year included: — Sonja Bäumel — Philippe Block, ETH Zurich — Marie-Ange Brayer, Centre Pompidou — Vera Bühlmann, Vienna University of Technology — Matthew Butcher, The Bartlett — Bryan Cantley, Form:uLA, California State University — Sir Peter Cook, CRAB Studio/The Bartlett — Winka Dubbeldam, Archi-Tectonics — Fabio Gramazio, ETH Zurich, Gramazio Kohler Research — Herman Hertzberger, AHH — Inequalities: Ben Campkin, Caren Levy, Mariana Mazzucato, Peg Rawes, Jane Rendell & Saffron Woodcraft, UCL — Moon Hoon, Moonbalasso — Anouk Legendre, XTU Architects — CJ Lim, The Bartlett — Winy Maas, MVRDV — Peg Rawes, The Bartlett — Jasia Reichardt — Markus Schmidt, Biofaction — Jeremy Till, UAL — SueAnne Ware, University of Newcastle, Australia — Ken Yeang The Bartlett International Lecture Series is generously supported by Fletcher Priest Architects.

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Constructing Realities A new series at UCL at Here East, Constructing Realities welcomed a diverse range of speakers on themes of performance, interaction, design and manufacturing.

This year’s speakers were: — Robert Aish, The Bartlett — Phil Ayres, CITA — Christopher Bauder, WHITEvoid — Johannes Birringer, Brunel University — Victor Burgin — Cristiano Ceccato, Zaha Hadid Architects — Lisa Finlay, Heatherwick Studio — Dorita Hannah, Aalto University — Barbara Holub, transparadiso — Maria Knutsson-Hall, Populous — Ollie Palmer — P. Michael Pelken, University of Cambridge — Lucy Railton, Kammer Klang — Mette Ramsgaard Thomsen, The Royal Danish Academy of Fine Arts — Peter Sharpe, Kielder Art & Architecture — Phil Steadman, UCL — Mollie Wright Steenson, Carnegie Mellon — Stelarc — Dora Sweijd, LASSA — Cristian Vogel, NeverEngine Labs Constructing Realities is generously supported

by Populous.

Prospectives This newly-established B-Pro History and Theory lecture series offers a platform for presentation, discussion and theoretical reflection upon the links between digital thought, architecture, and urban design.

This year’s speakers were: — Roberto Bottazzi, The Bartlett — Vera Bühlmann, TU Vienna — Mario Carpo, The Bartlett — Ilaria Di Carlo — Matthew Fuller, Goldsmiths — Francesca Hughes, UTS School of Architecture — Daniel Koehler, The Bartlett — Frédéric Migayrou, The Bartlett — Philippe Morel — Georg Vrachliotis

Bartlett Plexus The Plexus Project is an open-to-all initiative that brings together the creative talent of different disciplines to share techniques, solve problems and build networks.

Recent speakers have included: — Nick Beech, Queen Mary University of London — Elizabeth Darling, Oxford Brookes University, and Lynne Walker, University of London — Olivia Horsfall Turner, V&A — Kim Kullman, Open University — Anna Minton, University of East London

The Bartlett School of Architecture 2018

Recent speakers have included: — Pablo Gil, GilBartolomé Architects — Tyson Hosmer, Zaha Hadid Architects — Jakub Klaska, Zaha Hadid Architects/ The Bartlett — Oliver Krieg, ICD Stuttgart — Denis Lacej, Grimshaw Architects — Theo Lalis, LASSA — Deborah Lopez and Hadin Charbel, University of Tokyo — Roblox (Anna Uborevich-Borovskaya, Chenghan Yu, Hungda Chien, Yenfen Huang), The Bartlett — Rasa Navasaityte, Lab-Eds — Matthijs la Roi, The Bartlett — Vicente Soler, The Bartlett

Situating Architecture Situating Architecture is an architectural history lecture series, affiliated with our renowned Architectural History MA and designed for both current students and members of the public alike.

Bartlett Lectures

A range of smaller lecture series and events attracted a wide range of speakers, including:

Thomas Heatherwick gives the 2018 Donaldson Lecture 339

Events and Exhibitions The Bartlett plays host to a range of events throughout the year, ranging from PhD conferences to workshops and hackathons.

This year we hosted Becoming ‘We’, a forum celebrating feminist spatial practice, and Pushing Boarders, a conference exploring the social impact of skateboarding worldwide.

In addition, a vibrant programme of exhibitions runs throughout the year at 22 Gordon Street. These include displays of student, staff and alumni projects, as well as work by invited guests. Recent examples include ‘Streetlife: Works + Practice in Progress’, in which four invited practices presented real and speculative projects engaging communities and transforming neglected streets.

The Bartlett School of Architecture 2018 Family day at The Bartlett Summer Show 2017 340

Our ‘Kiosk’ is a permanent micro-exhibition space in the front window of the school, exclusively displaying student work at street level.

Kiosk exhibitions this year have included: — Mapped by Douglas Miller, Architecture MArch Unit 11 — Unexpected Encounters by Bihter Almac, Architectural Design PhD — Future Archive: Investigating our Generation

by Architectural Research II, Architectural and Interdisciplinary Studies BSc Year 2 — The Diggers’ Festival of Peace by Adrian Siu, Architecture MArch Unit 13

Alumni All Bartlett School of Architecture alumni are invited to join UCL’s Alumni Online Community to keep in touch with the school and receive benefits including special discounts, UCL’s Portico magazine and more.

Registered alumni have access to: — Thousands of e-journals available through UCL’s Library — A global network of old and new friends in the worldwide alumni community — Free mentoring and the opportunity to become a mentor yourself — Job boards for the exclusive alumni community ucl.ac.uk/alumni

The Bartlett School of Architecture 2018

The Bartlett’s diverse and vibrant alumni play a vital role in the life of the school, as staff, visiting lecturers, mentors, sponsors, donors and participants.

Every year we organise several alumni events, including the R&V dinner, founded by and for alumni as the ‘Rogues and Vagabonds’ dinner, over 60 years ago. The event offers great food, an interesting venue, thought-provoking speakers and a chance to catch up with friends. This year’s dinner took place at 22 Gordon Street, with guest speakers–and Bartlett alumni–Roz Barr (architect), George Clarke (architect and broadcaster), Professor Mark Swenarton (historian and critic) and Graeme Williamson (architect). The dinner is chaired by Paul Monaghan, Director at Allford Hall Monaghan Morris.

Other events for alumni include a lively Pecha Kucha social event on the theme ‘Not Just an Architect’, to be held later this year at UCL at Here East.

Alumni at the 2017 R&V dinner 341

Staff, Visitors & Consultants

The Bartlett School of Architecture 2018

A Thomas Abbs Ana Abram Wesley Aelbrecht Visiting Prof Robert Aish Prof Laura Allen Kit Allsopp Dr Kinda Al-Sayed Sabina Andron Abigail Ashton Edwina Attlee B Julia Backhaus Edward Baggs Stefan Bassing Paul Bavister Richard Beckett Prof Peter Bishop Izzy Blackburn Isaïe Bloch William Bondin Prof Iain Borden Dr Roberto Bottazzi Visiting Prof Andy Bow Matthew Bowles Eva Branscome Visiting Prof Thea Brezank Pascal Bronner Alastair Browning Giulio Brugnaro Bim Burton Matthew Butcher Ivan Byrne C Joel Cady Visiting Prof Graham Cairns Blanche Cameron William Victor Camilleri 342

Barbara CampbellLange Dr Ben Campkin Dr Brent Carnell Prof Mario Carpo Martyn Carter Dan Carter Eray Cayli Megha Chand Inglis Efrosini Charalambous Prof Nat Chard Laura Cherry Izaskun Chinchilla Mollie Claypool Prof Marjan Colletti Emeritus Prof Peter Cook Hannah Corlett Prof Marcos Cruz D Luca Dellatorre Dr Edward Denison Klaas De Rycke Dr Ashley Dhanani Visiting Prof Elizabeth Diller Paul Dobraszczyk Oliver Domeisen Marco Dorneles Elizabeth Dow Tom Dyckhoff E Gary Edwards Ruth Evison Vanessa Eyles F Visiting Prof Terry Farrell Ava Fatah Zachary Fluker

Emeritus Prof Adrian Forty Emeritus Prof Colin Fournier Visiting Prof John Fraser Prof Murray Fraser Daisy Froud G Emeritus Prof Stephen Gage Octavian Gheorghiu Stylianos Giamarelos Pedro Gil-Quintero Emer Girling Ruairi Glynn Alicia Gonzalez-Lafita Perez Jon Goodbun Kevin Green Emmy Green James Green Sienna Griffin-Shaw Dr Sam Griffiths Kostas Grigoriadis Visiting Prof Nicholas Grimshaw Peter Guillery H Michael Hadi Soomeen Hahm Dr Sean Hanna Dr Penelope Haralambidou Visiting Prof Itsuko Hasegawa Emeritus Prof Christine Hawley Prof Jonathan Hill Prof Bill Hillier Thomas Hillier William Hodgson

Tom Holberton Oliver Houchell Dr Anne Hultzsch Visiting Prof Maxwell Hutchinson Vincent Huyghe Johan Hybschmann I Jessica In J Carlos Jiménez Cenamor Manuel Jimenez García Steve Johnson Helen Jones K Dr Kayvan Karimi Dr Jan Kattein Jonathan Kendall Simon Kennedy Visiting Prof Anne Kershen Visiting Prof David Kirsh Maren Klasing Jakub Klaska Daniel Koehler Dirk Krolikowski Dragana Krsic L Jonathan Ladd Chee-Kit Lai Stephen Law Roberto Ledda Dr Guan Lee Stefan Lengen Lucy Leonard Dr Christopher Leung Sarah Lever

N Filippo Nassetti Rasa Navasaityte O Aisling O’Carroll Bernie Ococ James O’Leary Luke Olsen Visiting Prof Raf Orlowski Ricardo de Ostos Alan Outten Jakub Owczarek

R Caroline Rabourdin Carolina Ramirez Figueroa Robert Randall Prof Peg Rawes Sophie Read David Reeves Luis Rego Dr Aileen Reid Prof Jane Rendell Gilles Retsin Charlotte Reynolds Aleksandrina Rizova Dr David Roberts Gavin Robotham Matthijs la Roi Martina Rosati Javier Ruiz Alice Russell S Dr Kerstin Sailer Andrew Saint

Dr Shahed Saleem Sheetal Saujani Carina Schneider Peter Scully Dr Tania Sengupta Sara Shafiei David Shanks Prof Bob Sheil Naz Siddique Amy Smith Paul Smoothy Prof Mark Smout Jasmin Sohi Vicente Soler Simon Stanier Brian Stater Manolis Stavrakakis Dimitrie Stefanescu Tijana Stevanovic Rachel Stevenson Emily Stone Sabine Storp Greg Storrar Michiko Sumi Yuri Suzuki

Gabriel Warshafsky Visiting Prof Bill Watts Patrick Weber Paul Weston Alice Whewell Andrew Whiting Rae Whittow-Williams Daniel Widrig Daniel Wilkinson Henrietta Williams Graeme Williamson Dr Robin Wilson Oliver Wilton Katy Wood Paul Worgan Y Umut Yamac Sandra Youkhana Michelle Young Z Paolo Zaide Fiona Zisch Stamatios Zografos

T Huda Tayob Philip Temple Colin Thom Michael Tite Freddy Tuppen V Jeroen Van Ameijde Melis Van Den Berg Dr Tasos Varoudis Prof Laura Vaughan Emmanuel Vercruysse Viktoria Viktorija Dr Nina Vollenbroker W Prof Susan Ware 343

The Bartlett School of Architecture 2018

M Sean Malikides Prof Yeoryia Manolopoulou Jonny Martin Emma-Kate Matthews Alex McCann Ronan McCoy Prof Níall McLaughlin Visiting Prof Jeremy Melvin Visiting Prof Josep Miàs Stoll Michael Bartlett Prof Frédéric Migayrou Jeffrey Miller Sarah Milne Ana Monrabal-Cook

P Yael Padan Sally Parekh Jacob Paskins Claudia Pasquero Jane Patterson Thomas Pearce Luke Pearson Prof Alan Penn Dr Barbara Penner Phoenix Perry Mads Peterson Frosso Pimenides Pedro Pitarch Alonso Maj Plemenitas Kim van Poeteren Andrew Porter Arthur Prior Dr Sophia Psarra

Bartlett School of Architecture Staff & Consultants

Visiting Prof Amanda Levete Ifigeneia Liangi Prof CJ Lim Enriqueta Llabres-Valls Alvaro Lopez Tim Lucas Sian Lunt Samantha Lynch

Students in B-made, the Bartlett Manufacturing and Design Exchange

Supporters

We are grateful to our generous supporters: Summer Show Main Title Supporter 2018 Allford Hall Monaghan Morris

Bartlett International Lecture Series Fletcher Priest Architects

Summer Show Sponsors Foster + Partners Brewer Smith Brewer Gulf James Latham Piercy&Company

Constructing Realities Lecture Series Populous

Summer Show Opener’s Prize Wilkinson Eyre Summer Show Friends’ Reception Adrem Haines Watts

Prizes Saint-Gobain Max Fordham Council for Aluminium in Building Brewer Smith Brewer Gulf Architecture MArch Bursaries Hawkins\Brown Kohn Pedersen Fox Architects Rogers Stirk Harbour + Partners WES Lunn Design Education Trust

fosterandpartners.com

Supporting the Bartlett International Lecture Series since 2007

www.fletcherpriest.com

Fletcher Priest’s design approach is informed by a strong interest in history, materials and fabrication. At Angel Court, we developed ‘double-frit’ glazing, a ceramic dot screen-printed onto the inside face of double-laminated glass panels. This contributed to significantly lower solar gains while appearing virtually transparent to occupiers taking in the incredible views across London.

We design the places where people love to be together

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Publisher The Bartlett School of Architecture, UCL Editor Laura Cherry Graphic Design Patrick Morrissey, Unlimited weareunlimited.co.uk Executive Editor Laura Allen, FrĂŠdĂŠric Migayrou Bartlett life photography included taken by Graham Whitby Boot, Ana Escobar, Kirsten Holst, James McCauley and Richard Stonehouse.

Copyright 2018 The Bartlett School of Architecture, UCL and the authors No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher.

We endeavour to ensure all information contained in this publication is accurate at the time of printing.

ISBN 978-1-9996285-0-5

The Bartlett School of Architecture, UCL 22 Gordon Street London WC1H 0QB +44 (0)20 3108 9646 architecture@ucl.ac.uk

ucl.ac.uk/architecture

ISBN 978-1-9996285-0-5

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