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Cover 2006







Bartlett School of Architecture, UCL Wates House 22 Gordon Street London WC1H 0QB UK T. +44 (0)20 7679 7504 F. +44 (0)207679 4831



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Publisher Bartlett School of Architecture, UCL Editorial and Design Iain Borden Emma Kirkman Nick Tayler Cover Image ‘Finger Evidence’ Joerg Majer, Unit 16 Printed in England by Dexter Graphics

Copyright 2006 the Bartlett School of Architecture, UCL. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

The Bartlett School of Architecture is subtly shifting tack. Greater diversity in our teaching is matched by our students, who think, write and design all at once - and so are becoming ever more adept at selecting challenging themes, undertaking research, exploring technology, and weaving historical and theoretical narratives. Above all, they are creating inventive design syntheses of complex architectural problems. As always we very much hope that you enjoy the Summer Show itself, which contains far more work than can be shown here.

ISBN 9539021-2-9 For a full range of programmes and modules please see the Bartlett Undergraduate, Diploma & Graduate Guides Bartlett School of Architecture, UCL Wates House, 22 Gordon Street London WC1H 0QB T. +44 (0)20 7679 7504

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

The Bartlett School of Architecture would like to thank Sheppard Robson for their generous support of this year’s catalogue

Prizes BSc Year 1 Herbert Batsford Prize for ‘distinguished work’ Ayeza Qureshi Bartlett Sessional Prize for ‘good Honours standard’ work Katherine Hegab, Danielle Hodgson and Sophia Jones

BSc Year 3 Donaldson Medal for ‘distinguished work’ and RIBA President’s Bronze Medal nomination Andrew Friend RIBA President’s Bronze Medal nomination Pascal Bronner Environmental Design Prize for ‘distinguished undergraduate work in the integration of engineering and architectural principles in Environmental Design’ Lucy Wood History & Theory Prize for ‘distinguished work in History and Theory’ Talla Akkawi Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Jenna Al-Ali Pascal Bronner Richard Hardy Prize for ‘best work in Professional Studies’ Eleanor Lakin

Diploma Year 4 History & Theory Prize for ‘distinguished work in History and Theory’ Ruth Oldham Bennetts Prizes for ‘distinguished work in Professional Studies’ Tim Fieldhouse Brett Lambie Harriet Lee Tess Warburton

Diploma Year 5 Sir Banister Fletcher Medal for ‘highest marks in Diploma in Architecture final examination’ Ian Laurence and Karl Normanton Sir Andrew Taylor Prize for ‘the best set of drawings combining construction and design’ and RIBA President’s Silver Medal nomination Tobias Klein RIBA President’s Silver Medal nomination and Ambrose Poynter Prize for ‘distinguished work in the Diploma Thesis’ Dean Pike Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Christian Kerrigan Victor Ka-Shun Chu Prize for ‘excellence in design’ Joerg Majer The RIBA President's Medal for Dissertation nomination Jessam Al-Jawad

Additional Prizes Ross Jamiesan Prize for ‘distinguished work in Part 3 Examination’ Thomas Gardner Emma Grindley The Hamilton Associates Prize for Design Process, and the Show Opener’s Prize, are awarded at the Summer Show opening.

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

Exhibition Layout The Summer Show is the annual celebration of student work at the Bartlett School of Architecture, UCL. Over 450 students show innovative drawings, models, devices, texts, animations and installations. Exhibition opening night and party in the Main Quadrangle and the Slade Galleries of UCL, Gower St, London WC1 Fri 23 June, 6.00-10.30pm

Unit 5

Unit 1 Unit 2

Unit 3

Unit 7 Unit 8

Official show opening by Paul Finch Fri 23 June, 7.15pm Unit 24

Exhibition open to the public Sat 24 June, 10.00am–8.30pm Sun 25 June, 10.00am–5.30pm Mon 26 & Tues 27 June, 10.00am–8.30pm Wed 28 June, 10.00am–6.00pm Thurs 29 & Fri 30 June, 10.00am–8.30pm Sat 1 July, 10.00am–5.00pm (closes)

Unit 14

Year 1


Unit 6

Unit 4 Arch Studies

Unit 15

Unit 10 Unit 12

Unit 16 Unit 19

Guided exhibition tour by the Professors of the Bartlett School of Architecture, UCL Tues 27 June, please arrive at 6.30pm for 6.45pm start, tour duration approximately 1 hour Unit 21 Unit 17

Unit 20


Unit 22 Unit 23

Unit 18

1st Floor

BSc Year 1 Design Craig Allen, Carmelo Arancon, Jacob Attwood-Harris, Zahra Azizi, Aminah Babikir, Emma Bailey, Jan Balbaligo, Nicole Barcley, Alisia Bourla, Chris Burman, Kathrine Cannon, Rachel Sung Cha, Stephanie Pui Chung, Jason Claxton, Ben Dawson, Jonathan de Wind, Canzy ElGohary, Ross Fernandez, Kim Foster, Kathrine Fudge, Dalina Gashi, Kevin Green, Min Gu, James Gunn, Rachel Wanyu Guo, Chiara Hall, Daniel Hall, Ben Harriman, Kathrine Hegab, Laura Herriotts, Danielle Hodgson, Julian Huang, Michael Hughes, Alice Iu, Lewis James, Laurie Jameson, Sophia Jones, Antony Joury, Basil Jradeh, Anastasia Kaisari, Marina Karamali, Nattakorn Kointarangkul, Rina Kukaj, Anthony Lau, Daniel Lauland, Na Li, Meng Liu, Vincelt Jialun Mao, Kate Marrinan, Anna Mill, Caroline Mok, Jay Morton, Nathaniel Mosley, Chantanee Nativivat, Dos Bodin Nilkkamhaeng, Gregory Nordberg, Gordon O'Conner-Read, Alyssa Ohse, Paniz Peivandi, Marcos Polydorou, James Purkiss, Tingting Qin, Ayeza Qureshi, Justin Randle, Ned Scott, Catrina Steward, Amy Sullivan-Bodiam, Daniel Swift Gibbs, Ashmi Thapar, Richard Thebridge, Emilia Tsaoussi, Freddy Tuppen, Afra van 'T Land, Jen Wang, Gabriel Warshafsky, Joseph Wegrzyn, Christopher Wong, Ai Yamauchi, Ruofan Yao, Jung Yoon, Jennifer Young.

The main intention is to explore 'ways of seeing': understanding and interpreting objects/events/places and learning to look beyond the visible into the unseen and 'absurd' qualities of things. In this way a place can also be seen as something with its own identity, which each student can interpret. The importance of 'character' and 'personality' is emphasised throughout the design process, whether it concerns analysis, site interpretation or architectural vision. Inventiveness and imagination are cultivated through a series of design projects which tackle a range of scales and experiences and are constructed or represented through models or drawings. These include the analytical study of an object; the critical mapping of a part of Istanbul; and a group installation in and around the main quadrangle of UCL, all of which respond to different notions of 'museum', 'theatre', 'panopticon' and 'market'. An architectural section through a key part of their installation explores a special quality of the site and the event. These initial investigations bring together all the skills developed throughout the year into a building - the 'annex' to a UCL department or society. Sited in the heart of Bloomsbury it responds to the existing condition and explores moments of density and intensity.

Year 1 Design Director: Frosso Pimenides. Coordinator: Patrick Weber. Tutors: Luke Chandresinghe, Stuart Munro, Brian O’Reilly, Jonathan Pile, Gavin Rowbotham, Matt Springett.

Opposite from top - bottom: Alyssa Ohse, Marina Karamali, Lewis James. This page: group projects in the Main Quadrangle of UCL, Museum, Theatre, Market, Panopticon.

Top: Nat Mosely. Bottom: Paniz Peivandi.

Top: Jay Morton. Bottom: Danielle Hodgson.

Top: Kathrine Hegap, Ayeza Qureshi. Bottom: Cathrina Steward, Kathrine Cannon.

Top: Craig Allen. Bottom: Daniel Hall.

BSc Unit 1 Yr 2: Victoria Bateman, Sheila Clarkson Valdivia, Helen Floate, Adam Holland, Christopher Lees, Janice Lee, Tia Randall, Chris Thompson, Natalie Tsui, Simon Walker, Bethany Wells. Yr 3: Sulawan Isvarphornchai, Keiichi Matsuda, Geraldine Ng Cheng Hin, Sanaa Shaikh, Laura Smith, Jemima Tatel.

Illuminations Architectural drawings do not merely render spatial concepts communicable, but also shape imagination. They set the necessary vocabulary and syntax for the conception and articulation of ideas and their limitations make some spaces not only difficult to draw but unimaginable. This year Unit 1 sought to capture architecture's hidden dimensions through 'illuminations': animation techniques that range beyond orthographic projection and merge the boundaries between drawing, modelling, film and collage. Such techniques corresponded to, and cultivated three main areas of exploration in the unit: light, duration and narrative as underlying subtexts for design. Unit 1 defined an architecture that detected, revealed and linked fragments of spatial narratives and provided a fertile ground for the production of new ones. Our studies and interventions spanned from everyday London to the extraordinary physical and mythical landscapes of Iceland.

Penelope Haralambidou and Eduardo Rosa

Top and bottom right: Adam Holland. Bottom left: Natalie Tsui.

Top and middle: Christopher Lees. Bottom: Simon Walker.

Top: Victoria Bateman. Middle: Sulawan Isvarphornchai. Bottom: Helen Floate.

Top left and middle: Geraldine Ng. Top right & bottom right: Janice Lee. Middle right: Tia Randall. Bottom left: Sheila Clarkson.

Clockwise from top left: Sanaa Shaikh, Bethany Wells, Chris Thompson.

Top and middle: Keiichi Matsuda. Bottom: Laura Smith.

BSc Unit 2 Yr 2: James Crick, Edward Farndale, Stephanie Gallia, Lucy Paton, Benedetta Rogers, Elizabeth Shaw, Deena Shuhaiber. Yr 3: Pascal Bronner, Jacqueline Chak, Anabela Chan, Tammy Chow, Chris Day, Andrew Friend, Elie Lakin, Safia Qureshi.

Isolated and Insulated Landscapes This year Unit 2 took the concept of 'island' as an extraordinary starting point for our 'passport', 'quarantine' and final building projects. Our journey took us to two physical islands - Eel Pie and Malta. Eel Pie Island has a very colourful history. Originally a stop over point for Henry VIII to eat eel pie on his way to Hampton Court it always attracted a strange crowd. The windup radio was born on Eel Pie, when Trevor Baylis connected an old radio, a mechanical clockwork mechanism and some wires to a bicycles dynamo. The island, immortalized in George Harrison's song 'Cockamamie business', has nowadays a reputation as an enclave of artists and eccentrics. In the middle of a remarkably clear and unpolluted expanse of the blue Mediterranean sea lies the archipelago of Malta, consisting of mainly three islands: Malta, Gozo and Comino - The Greeks called it the island of honey. The islands are inhabited by around 400 000 people, of which 55 000 are ex-pats, and about 150 000 cars. Our projects this year were generated through site exploration, documentation, research and physical testing. Our architectural responses explored different time scales - ranging from the slow drying of the Maltese saltpans to the 30 seconds it takes to light up a firework.

Sabine Storp and Agnieszka Glowacka

Top left: Tammy Chow, Pick-Your-Own Farm and Lodgings, Gozo, exploded axonometric; right:Edward Farndale, Pie and Mash Restaurant, Eel Pie Island, section. Middle: Edward Farndale, Rabbit Club, Malta, model. Bottom: Tammy Chow, Pick-Your-Own Farm and Lodgings, Gozo, model.

Clockwise from top left: Stephanie Gallia, Bath House, Malta, model; James Crick, Spying Device; Deena Shuhaiber, Stone Carver and Stables, Malta, model; Lucy Paton, Photographer's Studio, Malta, model showing light studies; Bendetta Rogers, Silversmith's Workshop, Malta, model; Elizabeth Shaw, Births, Marriages and Deaths Register, Malta, section.

Top: Andrew Friend, Scuba Divers' and Fishermen's Lodge, Gozo, short section.

Clockwise from top: Safia Qureshi, Wash House and Car Wash, Malta, layered plan; Safia Qureshi, Wash House and Car Wash, Malta, model; Anabela Chan, Fishermen's Retreat, Gozo, long section.

Top left: Jacqueline Chak, Sun Therapy Retreat, Gozo, model; right: Pascal Bronner, Portable Archaeology Unit, Eel Pie Island, development sketches. Bottom: Pascal Bronner, Drive-in Opera, Malta, long section.

Top left: Elie Lakin, Fireworks Factory and Celebration Space, Gozo, detail of layered plan; right: Chris Day, Inhabited Community Landscape, Gozo, model. Bottom: Elie Lakin, Fireworks Factory and Celebration Space, Gozo, exploding axonometric of Firework Room.

BSc Unit 3 Yr 2: Zahra Ahmad Akhoundi, Silviya Aytova, Byron Bassington, Beatrice Beazley, Rory Donald, Costa Elia, Antonia Hazlerigg, Thomas Kay, Chole Kletsa, Kara Melchers, Kuljinder Pank, Maxine Pringle. Yr 3: Sarah Brighton, Robert Brown, David Di Duca, Joel Geoghegan, Sandesh Raj.

Hybrid Realities This year Unit 3 investigated multi-layered realities. The information age has afforded us a myriad of new mediated versions of the world. The physical static object no longer has a monopoly of our reading of the city. The unit looked at both hardware and software landscapes to create new collaged experiences of the city. The technology of illusion was given as much credence as the physical object. We split the year into two work phases, in the first we developed a series of installations that manifested these ideas. It was critical that we developed more than one character so that there was a dialogue in place. In the second phase of the year we developed these intentions such that they responded to a different scale and context in the city that tested a programme we defined.

Abigail Ashton and Andrew Porter

Clockwise from top left: Tom Kay, House for JohnHarrison99; Byron Bassington, Shadow Chaser; Maxine Pringle, Wearing an Easel; Rob Brown, Pigeon Framing.

Clockwise from top left: Rory Donald, Shed Obscura; Maxine Pringle, House for a Counter Kinetophobic, plan; Rob Brown, Agoraphobic Fashion Institute, plan.

Top left: Bea Beazley, Reflective Chair; right: Costa Ella, The Aldgate East Ettiquette School. Middle: Costa Ella, The Commodity of Manners. Bottom: Sarah Brighton, Agoraphobic Institute of Cartography.

Clockwise form top left: Kara Melchers, Through the Looking Glass; Sandesh Raj, Intorvert/Extrovert; Joel Geoghegan, Institute for Technophobics; Bea Beazley, House for Bobby; Rory Donald, 12-8 Cafe 8-12 Car Park; Tom Kay, House for JohnHarrison99; Antonia Hazlerigg, Shadow Plan.

Top: Dave Di Duca, Walk, Talk, Draw. Bottom: Sarah Brighton, Geographical and Emotional Map.

Top: Dave Di Duca, Hearing a Drawing. Middle and bottom: Sarah Brighton, Geographical and Emotional Map.

BSc Unit 4 Yr 2: Aditya Aachi, Peter Alexander, Sarah Alfraih, Ioana Barbantan, Natalia Benes, Naomi Bryden, Sarah Custance, Amanda Ho, Ben Kirk, Wise Leung, David Rieser. Yr 3: Barry Cho, Olasubomi Fapohunda, Seng Chun Alvin Tan, Rebecca Tappin.

Connections principle connection How do we read an urban landscape, what connections and networks are revealed when you understand the material histories of the city? Is it possible to make an intervention in the city at a scale of 1:1, which would have an impact on the urban terrain at 1:10,000? What would the physical consequences of these interventions be? What marks would they make, what scars would remain? site connection Our site for the year has been Digbeth in the city of Birmingham; which we have explored through its physical, ephemeral and historical connections. The scars of post-industrial England are highly visible in Digbeth. The area is crisscrossed with redundant infrastructure in the form of railways, canals or roads and all within view of the city centre. Connections were identified from the following categories: Hydrology, Networks, Massing, Population, Conflict, Landform and Industrial Production. material connection We have explored the theme of connections through the medium of light. Light can reveal and conceal, it can distort, erase and accentuate. The perception of light is both tangible and subjective. Light can be spatial and linear. The physical networks of an industrial age are being superseded by virtual networks, enabled by travel at the speed of light. The embodiment of the material connection was an occupied stile, constructed at 1:1, and installed in Digbeth. This piece acted as a prototype for the building.

Stewart Dodd and Kate Darby

This and facing page top to bottom, left to right: Natalie Benes, Rebecca Tappin, Ioana Barbantan, Peter Alexander, Peter Alexander, Barry Cho, David Rieser, Naomi Bryden, Naomi Bryden, Sarah Alfraih, Sarah Custance, Wise Leving, Seng Chun Tan, Amanda Ho, Ben Kirk, Adiya Aachi,Olasubomi Fapohunda.



+0.1m +1.5m




+0.0m -0.4m -0.8m -1.2m -1.6m -2.0m


Top: Aditya Aachi. Middle: Sarah Alfraih, Olasubomi Fapohunda.

Top left: Barry Cho; right: Rebecca Tappin. Bottom: Seng Chun Tan.

This page: Natalie Benes.

This page: Sarah Custance.

BSc Unit 5 Yr 2: Amanda Bate, Philip Cottrell, Brian Hoy, Momo Hoshijima, Lois Farningham, Saman Ziaie, Bridget Johnsonm, Peter Webb, Rosanna Kwok. Yr 3: Damian Groves, Richard Hardy, Desmond Hung, Zac Keene, Nancy O’Brien, Gen Otsubo, William Trossell.

'In-Between' The 'in-between' is an ambiguous but dense zone, folded and tucked away, neither here nor there, more implicit than obvious, residual but multilayered. Through three interlinking projects Unit 5 explored the spatial, temporal and programmatic aspects of this condition. Project 1, Unveiling the 'poche', a training ground: experimental The students' home underwent a detailed investigation into accidental interstices, forgotten cracks and hidden poches. This precise study of detecting, slow seeing and revealing resulted in a full scale device. Project 2, Mind the gap, a test site: room for speculation. Whilst the former investigations were based on the notion of occupation and enclosure in the domestic environment, the second project explored the 'in between' as a threshold, a connective device in an urban context in the form of a small building. Our field trip brought us to Arizona, a state that is itself full of poches and gaps. It is a landscape of hidden drama, its soil is scarred and cracked by merciless desert sun and eroded by the fast flowing Colorado River. We visited Frank Lloyd Wright's Taliesin West, Paolo Soleri's Arco Santi, Arizona's Ghost towns, the cemetery of American War planes and buildings by Rick Joy and Will Bruder. From the Grand Canyon we took route 66 to Las Vegas. Project 3, ' breach'. The major building was sited in the sublime vastness of the desert floor. It explored the flux of boundaries and occupation, time and weather, culture and history. It created an immediate response to the understanding and reading of the site, framing the landscape in an architectural context.

Julia Backhaus and Pedro Font Alba

Clockwise from top: William Trossel, Surveyor’s School; Amand Bate; Rosanna Kwok, Grand Canyon Site Model; William Trossel.

Clockwise from top left: Brian Hoy, Poche; Peter Webb, Geological Survey Station/Grand Canyon; Philp Cotters, Sleeping Centre; Zac Keene, Harvesting Light.

Top: Damian Groves, Paper Architecture. Clockwise from middle left: Damian Groves, Painting The Desert; William Trossel, Roof Studies; Gen Otsobu, Casino.

Clockwise from top left: Desmond Hung, Molding Landscape; Damian Groves, Inflatable Installation; Nancy O’Brien. ?; Damian Groves, Paper Architecture.

This and facing page: Richard Hardy, Desert Community With Whisky Distillery.

BSc Unit 6 Yr 2: Julian Bond, Jonathan Chattaway, Allexis Kalli, Emily Norman, Georgina Robinson, Spencer Tracey, Jessica Walker. Yr 3: Tala Akkawi, Jenna Al-Ali, David Cheape, Grace Cooper, Cai-jia Eng, James Halsall, Naomi McIntosh, Alicia Tkacz, Yang Yu.

Ebb + Flow Northern Europe is undergoing a major physical restructuring operation. Historically we have feared to live in equilibrium with our oceans creating physical barriers solid and reassuring. In the future our approach will differ significantly as recent events have shown we need to equalize the boundary condition between fluid and solid. Where we once kept the water out we must now give water some space. We will learn to live and build with it rather than against it. In Unit 6 we explored how we adapt to living with water.

Wabi Sabi is an intuitive appreciation of a transient beauty in the physical world that reflects the irreversible flow of life in the spiritual world. It is an understated beauty that exists in the modest, rustic, imperfect or even decayed, an aesthetic sensibility that finds a melancholic beauty in the impermanence of all things. Wabi Sabi and art of Zen Unit 6 is an experimental unit where building programmes evolved from testing ideas and interests in Term 1. Architecture is multidisciplinary, we nurtured these skills with a number of seminars outside of the usual tutorials where we explored diverse subjects from photoshop to film and essential CAD skills for Yr 3. We encouraged varied working methods and pushed modeling as part of our major building projects.

Stuart Piercy and Ben Addy

Top:Alicia Tkacz, Artist's Studio, Schiermonnikoog.

Top left: James Halsall, Nodding Fish Device; right: Jenna Al-Ali, Cycle-of-Growth Device. Bottom: Naomi McIntosh, Publishers, Aldeburgh, long section.

Top: Grace Cooper, The solarium auditorium uses daylight at sunrise and sunset to illuminate a performance space. Bottom:Cai-jia Eng, ‘Theatre of the Street’ , Aldeburgh, cross section.

Clockwise from top: David Cheape, Slaughden Wool Works; Tala Akkawi, ASB Rehabilitation Centre, Felixstowe, cross section ; Jenna Al-Ali, Self-sustaining cartographer's home and workplace, for observations of gradual land change; Yang Yu, CT Scan Accumulation.

Top left: Allexis Kalli, Swimming Crochet Animal; right: Emily Norman, final building, plan. Bottom: Spencer Tracey, device.

Clockwise from top left: Georgina Robinson, device; Jonathan Chattaway, final building, model; Georgie, Canvas Stretching and Framing Workshop, Aldeburgh, cross section; Julian Bond, small building, model.

BSc Unit 7 Yr 2: Charmian Beedie, Matt Blaiklock, Alpa Depani, Mark Goddard, Tom Heltzel, Libby Mitchel, Luke Rowett, Tony Staples, Andrew Walker, Liz Watts, Abbie Whitehead. Yr 3: Josephine Callaghan, James Church, Christina Gerada, Jack Gregory, Geraldine Holland, Lucas Westcott, Nicholas Wood.

Welcome to Slowtown Slowtown is currently nothing more than a one-horse-town, somewhere in the urban growth areas between London and the sea. First impressions may lead you to believe this ear-marked piece of land is nothing more than green fields and wasteland. On closer inspection you will see that Slowtown has an immediate history: a tempo; a certain Englishness; weathers that dupe and coerce; a resilience and self sufficiency that begets its territory. There are architectural memories that promote the town's values of craftsmanship and confident form. Some areas are beautiful and some are ugly, some are industrial and some are residential, some are in constant use and in some the use is fluctuant. 1a Slowtown Chronicle As well as drawn, collaged, made or built, architecture can also be written. 1b Slowtown Streetfurniture Taking the Chronicle to the Bartlett workshop we made 1:1 prototypes of a piece of street furniture for Slowtown. 2 Slowtown Councilhouse Apart from housing every day domestic activities, the councilhouse also has a wider public responsibility. The house provides services to its neighbours encouraging local urban growth. It operates as a representative carrying out business in the interest of the neighbourhood. 3 Slowtown Homeoffice Slowtown like any other town requires some major architectural infra structure that directs, limits and encourages its growth. The first major piece of infrastructure for Slowtown is a Homeoffice.

Dan Brady and Jan Kattein

This page: Nicholas Wood.

Top: Tony Staples. Middle: Luke Rowett, Lucas Westcott. Bottom: Matt Blaiklock, Al Padepani.

This page clockwise from top: Cristina Gerada, Tom Heltzel, Charmaine Beedie. Facing page top: Abbie Whitehead; bottom: Jack Gregory.

Above clockwise from top left: Geraldine Holland, Mark Goddard, James Church. Facing page: Josephine Callaghan.

BSc Unit 8 Yr 2: Mayu Akashi, Sarah Bromley, James Hughes, ,Aaron Lim, James Palmer, Oliver Sheppard, Sarah Syed. Yr 3: Lik San Chan, Veronique Geiger, Jonathan Horsfall, Emily Keyte Richard Lipson, Azusa Murakami, Rae Whittow-Williams, Lucy Wood.

Syncopated Territories In Unit 8 we continued to look at the landscape. In recent years we have been preoccupied by the distinctions of rural landscapes as artificially maintained environments and of urban landscapes responding to fluctuating environmental and cultural influences. We have scrutinised the tacit relationship between man, the manmade and nature. Moreover, the unit responds to landscape as dynamic and fluxing, reacting and adapting to numerous natural and artificial stimuli. This year we focused on the rate of change. Stimulated by cataclysmic geographical events or by the gradual emergence of new cultural forces, the rural and urban landscape flexes to respond. Unfamiliar rhythms of the city are exposed, established territories manipulated and fresh topographies evolved.

Laura Allen, Rhys Canon and Mark Smout

Top: Lik San Chan, Housed Appliances for an Architect’s Christmas. Clockwise from bottom left: Lik San Chan, Odourless Fish Market with solar plenum; Azusa Murakami, Handbag Decoy, avoiding unwanted encounters; Azusa Murakami, The Theatre of Embroidery, Funchal.

Clockwise from top: Rae Whittow-Williams, Marine Biology Research Centre, the architecture of splash, spray, upsurge, drip and overflow; Ric Lipson, ‘Theatre na Borde’, a building performance on the Funchal promenade; Veronique Geiger, Cliff-top flight school, ‘seconds of sheer terror punctuated with hours of boredom’; Jonny Horsfall, Spa hotel responding to Madeira’s leaky topography; Veronique Geiger, Knitting map; Lucy Wood, ‘The Thames Collection’, homage to Sir John Soane.

Above: . Aaron Lim, Blubber landscape plan. This page:

Above: This . page: Lucy Wood, Garden of Environmental Diversity. Overleaf, left: , right: .

This and facing page: Emily Keyte, The picturesque concrete garden, a succession of water-soaked scenes in Funchal, Madeira.

BSc Architectural Studies Project X Yr 2: Peter Charalambous, Lynne Holtum, Tsin Yee Hon, Yea Uhn Jin, Danielle Kudmany, Alastair Stokes, Olamide UdoUdoma, Amy Wolfe, Tayvanie Nagendran, Dominic Wilson, Savpreet Seehra. Yr 3: Louise Coates, Alison Cooke, Robert Croft, Mary Dalton, Colomba De La Panouse, Edward Greenhall, Olukemi Sangowawa, Miriam Sleeman, Ruth Watkinson.

Yr 2: Lynne Holtum, Tsin Yee Hon, Danielle Kudmany, Alistair Stokes, Olamide Udo-Udoma, Dominic Wilson, Amy Wolfe, Uhn Jin Yea. Yr 3: Barbara Casini Cortesi, Alison Cooke, Mary Dallon, Colomba de la Panouse, Olukemi Sangowawa, Miriam Sleeman, Ruth Watkinson.

The Bartlett’s BSc in Architectural Studies is a non-professional undergraduate degree in which students pursue a specialism in architecture, while also taking other arts, humanities, social science and science courses. The degree enables students to take 60% of their modules from within the Bartlett and up to 40% of their modules from other UCL departments from the Language Centre, to management, law, art history, archaeology, geography and mathematics.

Project X aims to help students build a creative practice and a critical voice of their own. It enables them to undertake an independent creative project in which they can identify, research, and pursue an architectural subject and a particular way of practice that particularly interests them. Students are asked to think of architecture in interdisciplinary ways, explore alternative approaches to design and situate their work within a broader cultural context. The work is developed in conjunction with a short written piece. A series of key questions confront students at different stages of the year, concerning the nature of their practice, the contribution of their work to architecture, the originality of their project, and the selection of appropriate media for the ideas pursued.

BSc Architectural Studies has proven to be an excellent foundation for students to go on to graduate work in design-related fields such as architectural history, design journalism or arts management. It also provides a platform for students who do not remain in architecture: our graduates have gone on to work in marketing, law, public relations and publishing. There are two specially tailored course modules for Architectural Studies students within the Bartlett. The Dissertation is an independent written project focusing on an architectural subject of a student’s choice. The project’s emphasis is on conducting original research and producing an investigative in-depth written study of 10,000 words. Project X is an independent creative project in which students research an architectural idea or series of ideas through visual and other architectural media – including drawing, photography, model-making, casting, sound, film, new digital media, installation and performance – in conjunction with a short creative written piece. Examples from both Dissertation and Project X are reproduced on the following pages.

BSc Architectural Studies Director: Jan Birksted

Warmest thanks to our critics for their provocative and constructive comments: Johan Berglund, Jan Birksted, Stephen Gage, Olivia Gordon, Jonathan Hill, Krystallia Kamvasinou, Chee-Kit Lai, Brigid McLeer and Peg Rawes.

Coordinator: Yeoryia Manolopoulou. Tutor: Constance Lau

This page: Tsin Yee Hon, A Wrap For All Seasons.

This page: Amy Wolfe, Designed to Deceive.

This page: Miriam Sleeman, The Domestic Grid.

Top: Mary Dalton, Drawing Ideas Across the Landscape. Middle: Barbara Casini Cortesi, Claustrum IV. Bottom: Miriam Sleeman, The Domestic Grid.

BSc Architectural Studies Dissertation Peter Charalambous, Barbara Casini e Cortesi, Louise Coates, Alison Cooke, Robert Croft, Mary Dalton, Colomba De La Panouse, Edward Greenhall, Tayvanie Nagendran, Olukemi Sangowawa, Miriam Sleeman, Ruth Watkinson. The Dissertation in Architectural Studies enables students to undertake an independent research project. The emphasis is on conducting original research and producing investigative indepth written research, supported by appropriate visual and textual documentation. This course is taught through individual or small group tutorials, supplemented by occassional seminars and group meetings. The aims of the Dissertation are to enable students to conduct original research, to think critically about issues with architectural aspects or implicatins, and to develop practical skills in data collection, research, writing and presentation.

Extract from Peter Charalambous, ‘Two-Faced Place’ The battle for meaning occurs by changing the physical aspects and appearance of place, which subsequently affects ifs fragile heart, soul, and character. The nodes of interaction, transubstantiated/venerated, cultural/social and traditional spaces that gain meaning as activity/spiritual spaces are erased as they are non transferable; they have to be replenished by the proverbial tide that is daily life. A place such as Ayios Amvrosios can be frozen in time and in memory, when it no longer communicates and is familiar to the person wanting to receive it. As a consequence of this 'enforced' place making process the topos of 1974 becomes atopos as it is transformed into the settler's topos of 2006. Change cannot be reduced to nostalgia or modernisation; although these elements do exist change can clearly be attributed to the need to belong, identity and become rooted. Modernisation occurs alongside socio-cultural drivers and as such is not separate from internalising the settlers as they suppress the meanings of spaces and place., Nostalgia is the feeling after externalisation relating to what was, rather than what is by recreating a familiar environment by returning to the past. An 'enforced' sense of place blankets over meaning rather than conforming to the imprint of place. Therefore a distinction can be made between the construction of both places; the former a traditional, neutral, natural construct and the later to some extent a political, unnatural sense of place. Nonetheless there is seemingly no difference in the end result; it is still a real sense of place, real in so far as it is a new place unrecognisable to those that left the same locale 33 years ago. Extract from Barbara Casini e Cortesi, ‘Roman Routes’ Rome has moved from being an imperial

Coordinator: Jan Birksted

city, to a forgotten memory during the middle-ages. Then the fight between empire and papacy slowly led its transformation into the city or art and beauty. For centuries Rome used religion as source of maintenance, as a business. To many pilgrims and tourists seduced by it, Rome offered in equal measure faith and corruption; some were able to resist this perverse charm, others gave up. The characters of my micro-stories and micro-archetypes and their reasons, their personal intention are mixed and dispersed in the spiritual and political reality of the macro-history. Each one of them has lived his personal dimension of Rome, walking the same ground and the same bridges, watching a different city, irreversibly changed by time and people. Rome speaks different languages. Matteo now wants to understand the world and the city suggests to him a new way of living with humility. Kasimir recognises his universe in the shapes of the city and finally feels his limitedness. In Veronica, Bruno's death revives the will to change her condition of woman excluded from history. Francois's scepticism dissolves in the beauty of Rome and its dimension of theatrical representation. How can Rome then be sacred and profane? Is its consecration in its laicality? Rome seems to recall ancient paradoxes and dualisms in individuals able to question themselves. Extract from Mary Dalton, ‘Existing Upon the Power of the InBetween’ I have taken it upon myself through this text to introduce you to a unique methodology of artistic thought and spatial creation. Rooted in a desire to create, obsessive knitting is a tool for the creator to nomadically journey through the smooth space of their internal symbols, travelling across time, boundaries and reality, to successfully voyage between and overcome the landmarks of mourning existing upon this plane. The continually growing process of

the knitted fabric and line of yarn reflects this process of thought, a pair of feet to walk with even if the knitter remains motionless. An obsessive knitter may not produce a physical artwork of this journey or this thought space, but the mechanism of knitting allows for the knitter to enter a state of being where the production of symbols and communication devices flows in a free and uninhibited manner. It is a tool working and combining both the methods of artistic and spatial thought; it is an equally, if not more so, valid tool of creation as the pencil, paintbrush, or building. For, if true artistic creativity exists in the internal process, if true spatial awareness comes from journeying across a space without the confines of the built form, then obsessive knitting holds the key to accessing both. For once, the artistic and the spatial can be mentioned in the same sentence. They may be separated by the physical tools of their trade, but the space of thought occupied by obsessive knitters exits as a new tool, one that occupies in the 'in-between', one that has the unique power to influence both, to shape their outcomes, to see the artistic in the spatial, the spatial in the artistic. Extract from Colomba De La Panouse, ‘Building Towards an Autonomous Zoo (Part II)’ I put forth at the outset of this dissertation, that zoos should demonstrate a move away from a homocentric view of the world to one where humans' ecology reaches an equilibrium with that of the other species, and, I envisaged that topography could be used as an architectural tool to achieve this goal. In considering the desirable animal and visitor experience, it was apparent that zoos are faced with a paradox in that animals are happiest when they cannot sense they are being watched, or at least, when the feeling of being watched is not overbearing, whereas the public's amusement stems from enjoying maximum viewing of animals. However, changes in topography

used as a support to designing natural enclosures which offer a wide range of stimuli clearly showed a potential to alleviate boredom in animals associated with the captive environment and the stress which can be generated by human presence. This approach to zoo design was demonstrated as being a crucial factor in ensuring that endangered animals, which are potential candidates for reintroduction, will be capable of surviving once returned to the wild. At the same time, ensuring animals maintain a wide range of natural behaviours is very important from an educational point of view in order that visitors may gain an understanding of the need for the protection of entire ecosystems. Topography was also shown to be a necessary underlying base for the design of immersion exhibits. Immersing visitors into the unfamiliar environment of the animals' habitats and allowing them to experience a complete change of scene, dispersing and diluting them through the landscape and introducing elements of surprise, will appeal to their sense of adventure. However, it became clear that generating memorable experiences and respect towards animals will be greatly enhanced by playing on differences in the relative scale of people versus their natural surroundings and the animals comprised within it. Allowing people to be dominated by animals, rather than the converse, through shifts in topography, can undoubtedly help bring into question our homocentric approach to the world and reinforce the notion that humans are just one of a myriad of species and that continued disregard for other species will further biodiversity loss and eventually threaten human survival. Extract from Miriam Sleeman, ‘The Antonymic Grid’ Repetition is the reality of Mondrian's work; he repeatedly recreated his grids using his limited vocabulary; he repeatedly formed his grids through a

process of distillation and even the very nature and structure of the grid (that which he was creating) is repetitive. Mondrian's precise act of repetition allowed him to gradually refine and develop his work. As has already been stated, Mondrian's works represents an archive of gradated difference through repetition. It is through this repetitious archive that one discovers the evolutionary path that his grids developed along. Through repetition, Mondrian's grids evolved from natural beginnings. Through the distillation of his surroundings into binary information there exists a path back to the grids depiction of the real world. In addition, through the transfer of repeated elements across his works another path back to its origin is formed. Finally, these geometricised pathways back are permeated with Theosophical concepts and meanings. Repetition therefore allows us to perceive his grids as steps in a wider development. It permits us to see the evolution of the grid from its point of origin and discover its roots in the nature and Theosophy. As a result, the grid had a history and story attached to its development. Repetition allows us to experience the grid as having an origin; as containing naturalist virtues and as communicating a narrative and meaning. Like repetition, opposition is also inherent to the structure of the grid; a grid of any function is formed of a network of opposing horizontal and vertical lines. Mondrian's grids are simultaneously antidevelopmental and developmental, unnatural and natural, anti-narrative and narrative. Repetition creates a force within his work that allows us to see these juxtapositions.

Bartlett architecture students undertake their studies in the full range of architectural subject matter and enquiry. Professional Studies, History & Theory and Technology are all explored both implicitly within the design process and explicitly in specialised and comprehensive stand-alone modules. Through this integrated and extensive approach to architectural education, students experience all aspects of architecture, from the abstract and ideational, social and cultural, rational and pragmatic, to the managerial and economic.

Professional Studies From day one, Bartlett architecture students are asked to think about and question the role, status and function of the architect, and to ask what the architectural profession is, should or could be. The range of practices which graduates go on to ultimately pursue is as diverse as the individuals who arrive at the School. In the intervening period, preconceptions are continually challenged through encounters with fellow students, with the School’s teachers – many of whom run their own practices – and with numerous visiting experts who share their professional knowledge and experience. Students’ own ambitions and career aspirations are nurtured within the framework of innovative professional studies courses, as well as through informal advice on practice and employment. BSc Year 1 architecture students work with planning and construction students on the ‘Production of the Built

Environment’ course which introduces the different individuals and organisations involved in the process of producing buildings, as well as the broader political, social and economic forces which shape the built environment. In BSc Year 3, students take the ‘Preparing for Practice’ course which aims to equip them for life in an architectural office during their following Year Out. In the ‘Learning from Practice’ course, Diploma Year 4 students are hosted by architectural practices for in-house seminars on professional matters. The course prepares students for employment and for later RIBA Part 3 studies, as well as strengthening ties between the School, its graduates and the profession. Susan Ware Director of Professional Studies

History and Theory Architectural history and theory is a staging post, a provisional place of reflection, a continual project. And it is omnipresent – every architect, every historian, every theorist, knowingly or not, uses some intersection of history and theory every time they design, document, discuss or speculate. At the Bartlett, architectural history and theory interjects at all levels, from introductions to architectural analysis, from encounters with buildings to the elaboration of critical practices, from public discussions to individually focused research projects. Prof. Iain Borden Director of Architectural History & Theory

Year 3 Dissertation

Year 4 Article

Tala Akkwai ‘An Exploration of Marcel Duchamp’s Etant donne’

Ruth Oldhan ‘An Exploration of a Manmade Mountain in Paris’

Etant donné' transforms the observer's personal and subjective viewing themselves into the world of Marcel Duchamp, which is a powerful form of interaction. Through his presentation and choice of images, he subtly emphasises to the viewer that they are witnessing something foreign and beyond their realm; for example, the hypo-realistic scene, optical perspective and excessive illumination dislocates the traditional structure of spectatorship, as viewers cannot place themselves. Rosalind Krauss writes how these specific manipulations make the observer 'lose their sense of up and down.'

In north-eastern Paris there is a wonderful park - the Parc des Buttes Chaumont. I discovered it, having already lived in Paris for several months. I had seen it on the map, and was curious, but no-one had mentioned what it was really like; no-one had said, “you have to go there, it's amazing.” The centrepiece is a 32 metre high craggy mountain, home to a Roman temple and surrounded by a lake. There are waterfalls, grottos with fake stalactites, and the whole park is unified by paths and low barriers made of concrete to resemble wood. I want to explore the myths and stories that have been layered up around this peculiar element - the 'mountain' and its temple, within the Parisian landscape. Places have the power to evoke imagination, and generate their own myths. I also intend to discuss the 'Paris' within which this park is situated, perhaps a realm just parallel to the Paris we already know about. Below: Ruth Oldham.

Technology Technological production defines a substantial part of contemporary culture – from clothing to music to architecture. The social experience of architecture is predicted by the way we, as architects, construct our environment in both a physical and a conceptual sense. The Bartlett is fortunate. We are able to draw on ‘cutting edge’ experts to help our students explore these issues in design from BSc Year 1 to Diploma Year 5. Students work with drawings, texts, models, physical experiments and 1:1 installations. Prof. Stephen Gage Director of Technology

Above: Lucy Wood.

Lucy Wood ‘Garden of Environmental Diversity’ On a macro-scale, Madeira is heralded as the 'land of eternal spring', however, the island harbors small weather systems on its heterogeneous topography; each one a product of its specific locality. The building functions as a micro-model of Madeira, featuring each of Madeira's microclimates in different areas; each one re-creating the optimal growing conditions of a specific herb, the herbs all being indigenous to Madeira. Initially these micro-climates were designed as sealed environments; each

finely tuned to house a herb. However, more interestingly, the various conditions are linked to create an architecture that provides a series of stimulating settings, sequences or transitions for the occupants. The technical study investigated methods of passively creating, a dry sunny sheltered condition, a cool, windy condition and a cold environment, with a view to creating an environmentally diverse experience for occupants. The configuration of openings,

use of materials and planting determined the thermal transitions between each space In The Eyes of the Skin (1996), Pallasmaa suggests that climate ought to be one of the most poignant and poetic generators of architectural form; passive environmental strategies facilitate this.

‘Architecture gives a material structure to societal institutions and to daily life, reifying the course of the sun and the cycle of the hours of the day.’

Dip Unit 10 Yr 4: Dimitris Argyros, Charlotte Erckrath, Andreas Helgesson, Jimmy Kim, Sheau Shyuan Kuee, Tomasz Marchewka, Chris Phillips, Jun Shibata, Alleen Siu, Jack Young. Yr 5: Jimmy Hung, Ann Leung, Cynthia Leung, Mark Ng, Jun Shibata.

Adapting RED The theme this year focuses on architectural adaptations of the colour RED, together with all its shades and connotations. The cultural readings and architectural explorations can be poetic, political, social or even mythical. Like Berger, the explorations should be read beyond the apparent and suggest subtle notions of its adaptation. Physical adaptations might deal with climatic issues and spatial boundaries. Investigations into the tapestry of cultural complexities question the need for architecture to adapt to conditions of our cosmopolitan cities. Red double-decker buses, red post boxes and red uniforms of the Royal Guardsmen. Red is a colour with the lowest frequency of light discernible by the human eye. Anish Kapoor used red pigments of soft intensity to soak up light, producing complex optical effects. Flamingos and salmons owe their pink to deep red colour to astaxanthin, a red pigment made by algae. Different cultures assume diverse meanings to the colour. Krzyztof Kieslowski's "Trois Couleur"' explored the virtues behind red along with two other colours of the French flag. The colours created moods to the films; in "Red", fraternity is interpreted for love. Sophie Calle's "Chromatic Diet", red meal on Tuesday consists of tomatoes, persimmons and steak tartare; while Dr. Lecter savored fava beans and liver with a glass of red Chianti. We view the Unit as a creative think tank, open to experimentation and will be encouraging students to find their personal ideology and working methods.

cj Lim and Bernd Felsinger

This page: Cynthia Leung, Postcards from Dorothy.

Clockwise from top left: Cynthia Leung, Postcards from Dorothy; Jimmy Kim, Portrait of A Teetotal Family; Sheau Shyuan Kuee, The Kitchen Garden; Chris Phillips, Political Library; Tomasz Marchewka, The Polish Garden Shed; Jack Young, DIY Kit for the English.

Top: Mark Ng, Wedding Terminus. Middle: Mark Ng, The Corpse Bride. Bottom: Dimitris Argyros, Island for Democracy.

Clockwise from top left: Alleen Siu, Mooncake and Lanterns; Andreas Helgesson, The Fortune Cloud; Ann Leung, Verona's Balcony; Charlotte Erckrath, The Red Curtain.

Top: Jun Shibata, The Honey Pudding. Bottom:Jun Shibata, The Sweet Garden.

This page: Jimmy Hung, Made in China.

Dip Unit 12 Yr 4: Beatie Blakemore, Ed Carter, Neil Kahawatte, Gro Sarauw, Peter Watkins. Yr 5: Eva Baranyai, Geraldine Booth, Ben Clement, Sebastian de la Cour, James Hampton, Emma Neville, Pouya Zamanpour.

City within a city, the independent quarter The Trading House This year's project is The Trading House, a home to industry and commerce. On sites in Venice and London, The Trading House is a catalyst for a productive and thriving city independent of tourism. Here trade is also understood as a model for the relations between a building and its immediate and wider environments. Weather Architecture Rather than opposed to architecture, weather can be a positive and initiating architectural force. Contemporary weather is not limited to sun and rain, it also includes the changeable hybrid weathers that society and architecture manufacture, carbon monoxide pollution, flooding, acid rain or the electromagnetic weather of the mobile phone, radio and computer. A weather-responsive and weather-absorbing architecture is indicative of a wider agenda: a changeable architecture for changeable conditions. Making History We are interested in the new. But we are equally interested in the old. As a creative stimulus, narrative resource and gene pool for twentieth-first century architecture, Unit 12 focuses on earlier centuries as well as those more recent. When everybody else is looking in one time and one place, it's always good to look elsewhere as a discovery may be yours alone, and thus more surprising and personal. As well as history, we are interested in personal history. Technical Tutor: Chris Davy Environmental Tutor: Prashant Kapoor

Jonathan Hill and Elizabeth Dow

Top: Emma Neville, Climate Register, Venice, paper reading room. Middle: James Hampton, Accademia della Morte, Venice, the death of the campanile. Bottom left: Emma Neville, Climate Register, Venice, wax balustrade; right: Ben Clement, Spaces For Solitude: Bankrupts' Institute, Venice, misadministration office.

Clockwise from top left: Peter Watkins, The Archive of Oral Histories, Rialto, Venice, glass chair; Pouya Zamanpour, Silent Dialogues, Arsenale, Venice, internal perspective; Ben Clement, Spaces For Solitude: Bankrupts' Institute, Venice, mastering yourself; Eva Baranyai, The City of London Cries, Smithfield, London, ballroom reflected ceiling plan; Peter Watkins, The Archive of Oral Histories, Rialto, Venice, petrified forest; Sebastian de la Cour, The House of Obstacles and Invitations, Venice, a bonsai in bondage.

Left:Sebastian de la Cour, The House of Obstacles and Invitations, Venice, (top) a door to burgle detail, (bottom) a door to burgle . Right: Ben Clement, Spaces For Solitude: Bankrupts' Institute, Venice, the plumber who gives too much.

This page: James Hampton, Accademia della Morte, Venice, the timber yard.

Top: Neil Kahawatte, House of Tides, Venice, section. Middle left to right: Peter Watkins, The Archive of Oral Histories, Rialto, Venice, section; Beatie Blakemore, The Janus House, Venice, water seepage; Eva Baranyai, The City of London Cries, Smithfield, London, acoustic pavement detail. Bottom left: Ed Carter, Consulate of the Peoples' Republic of China, Venice, lacquer wall, detail, right: James Hampton, Accademia della Morte, Venice, the memory palace. Facing page: Geraldine Booth, Nursery-Nursery, Browning's Island, Little Venice, London, section.

Dip Unit 14 Yr 4: Paul Burres, Wei Shan Chia, Ruairi Glynn, Fred Guttfield, Harriet Lee, Joe Moorhouse, Ellen Page, Elliot Payne, Anthony Polydorou. Yr 5: Ian Laurence, Toby Carr, Andreas Dopfer, Toby Neilson, Karl Normanton, Nicholas Rich, Frances Taylor.

Architecture is Magic Unit 14 is the interactive architecture workshop. Many of our critical understandings are derived from second order cybernetics, especially the work of Gordon Pask, Francisco Varela and Heinz von Foerster who was also a magician. Interactive Architecture, like magic, is based in differentiating types of perception - there are three broad types. Natural Magic Architecture can be constructed to reflect our understanding of the way that the physical world works and the beauty and functionality that we find in it. The Magic of Illusion Architecture can be constructed to reflect and exploit our understanding of the way that people perceive objects and spaces. Real Magic Architecture can be constructed to create completely new realities that encompass human and object behaviour, space and place. We work by experiment, in drawings, animations, models and 1:1 installations. Thanks to: Paul Bavister, Jason Bruges, Ranulph Glanville, Usman Haque, Dominic Harris, Kristen Kreider, Stefan Kueppers, Nick Kyriakides, Christian Nold, Luke Olsen, Ron Packman, Peter Strickland, The Bartlett Workshop and The Bartlett CADCAM Workshop.

Stephen Gage, Phil Ayres and James O’Leary

This and facing page: Ian Laurence and Karl Normanton.

Ian Laurence and Karl Normanton, ‘The Graduation’: a complex and subtle series of projects explore the relationship between Architecture and Performance. Drawings, Maquettes and full sized installations including gigantic costumes are used to see how far objects can tell a story and define space. The site is the UCL main quadrangle. In early exercises Ian and Karl created 1:1 objects, which formally “mapped “ the space for them.

7 characters were then created; each character represented aspects of each UCL faculty. All of these objects were described in drawing and maquettes. Four of them were built full size. These were then used by performance artists to describe the most inevitable movements implicit in the objects. Karl then developed a notation system and a review of the performative properties of the objects as a special research subject. Ian examined the issues of lightweight fabrication, body attachment and the psychological and physiological aspects of prosthetics as a parallel research paper. These investigations then led to a final piece involving three characters called “the Graduation of Sylph and the Merchant “.

Toby Carr, ‘The Anxious Lounge’: An investigation into the way that active furniture might share space with people. Each piece of furniture has it's own goal set. Toby's work is an extension of his paper ‘…Emergent Voyeurisms in the Performative space of Architecture and Cinematography’ in which he explores interactive environments by comparing these with typical hyper real structures in Bertold Brecht's plays. Nick Rich, ‘Light Transformations’: An investigation into our everyday experience of natural magic. Light phenomena transform space to create places of intrigue and contemplation. Flat surfaces appear curved, moving grids produce changing moiré patterns and water lenses create warped images. Light is transformed through very carefully designed louver and prism systems to create magical spaces. Toby Neilson, ‘Active space, interactive occupants’: the old pickpocket's trick of creating a diversion in a space can be used to mask spatial transformations so that these can surprise and delight. Pairs of active objects are placed in a space to interact with each other and observers while the space itself transforms in colour and brightness. When the interaction ceases the space is seen to be transformed.

Top: Toby Carr. Bottom left: Nicholas Rich; right: Toby Neilson.

Top left: Toby Carr; right: Frances Taylor. Middle: Andreas Dopfer. Bottom: Nicholas Rich. Frances Taylor, ‘Future proofing’: Frances investigated how a 19th century school could be wrapped to become an appropriate teaching environment when London becomes as hot as Marseilles is today Andreas Dopfer, ‘Music Space’: Almost everyone carries their own acoustic environment with them, and a choice in music is a potent expression of mood. Andreas looks at what might happen if a part of the city could sense this and develops a project around the design and ethical implications of responding to this type of inaudible information.

The Magic Club Harriet Lee and Anthony Polydorou: The existing building is demolished and is replaced by a centre to remember the rapidly declining Greek population in the area. The building consists of meeting space, side chapels and honey processing spaces. Ellen Page, Joe Moorhouse. Wei Shan Chia: The existing building is replaced by a story telling centre. Parents leave their offspring to climb through a set of story telling spaces while they retire to a basement bar. Their children are returned to them via a helter skelter, which winds around the building Fred Guttfield and Elliot Payne: The existing building is demolished piecemeal and a vertical landscape is created devoted to the magic of gardening, home brewing and the garden shed Ruairi Glynn and Paul Burres: The existing building is replaced by a building which encourages the magic of conversation. The building is entirely interactive augmenting conversation through ‘Angels’ (flying robots) that reconfigure spatial conditions including boundaries, lighting, and acoustic conditions.

Top: Harriet Lee and Anthony Polydorou. Bottom: Paul Burres and Ruairi Glynn.

Top left: Harriet Lee and Anthony Polydorou; right: Paul Burres and Ruairi Glynn. Middle left to right: Wei Shan Chia; Ellen Page: Joe Moorhouse. Bottom left: Elliot Payne; right Fred Guttfield.

Dip Unit 15 Yr 4: Shane Burns, Tamsin Landells, Benjamin Olszyna-Marzys, Timothy Ratliff, Anton Risan, Nicholas Tayler, Helena Van Lare. Yr 5: Zoe Fudge, Peter Kidger, Charley Lacey, Claire Lewis-Smith, Sebastian Menudier, Jennifer Moore, David Murphy, Ken Okonkwo. MArch: Ben Lam

The fact is that space 'in itself' is ungraspable, unthinkable, unknowable. Time 'in itself', absolute time is no less unknowable. But that is the whole point: time is known and actualised in space, becoming a social reality by virtue of a spatial practice. Similarly space is known only in and through time. Unity in difference, the same in the other [and vice versa], are thus made concrete. Henry Lefebvre - The Production Of Space Unit 15 uses film, video, animation and motion graphics to generate, develop and represent architectural and spatial propositions and practices. The most important feature of the work of Unit 15 is that the projects are not models for something else, the film is the architecture, it is the proposition, it is the site of the work. In Unit 15 the architecture of the project is constructed, manipulated and realised through the use of the time-line itself. It is in the content and structure of the film that the architecture occurs. Each film is inhabited in a very precise manner, the sites within the films and the way they are explored is meticulously mapped out, each move designed beforehand on its own terms, though in each case the terms are very different.

Strange Space Exhibition Jan 2006

Nic Clear and Simon Kennedy

Above: Three Olympic pavilions on the Victoria Embankment. Top: Tamsin Landells, Benjamin Olszyna-Marzys & Helena Van Lare. Middle: Shane Burns & Timothy Ratliff. Bottom: Anton Risan & Nicholas Tayler.

This page: Ken Okontiwo, Beachcomber, film still.

Clockwise from top: Jennifer Moore, Spatialising the Everyday, Bermondsey archive film still; David Murphy, Digital Cowceri Plate IX; Claire Lewis Smith, film still.

Clockwise from top left: Sebastian Menudier, The Future, film still; Zoe Fudge, Six Rooms, film still, Room 4 The Park, Six Rooms, model.

Top: Charley Lacey. Bottom left-right: Peter Kidgor, The Berlin Infection, film still; Seeing the City, film still.

Dip Unit 16 Yr 4: Charmaine Boh, Joanna Coleman, Benny Lee, Antony McMahon, Laura Stafford, James Stockdale, Duncan Thomas. Yr 5: Melissa Dowler, Joerg Majer, John Norman, John Thompson.

Lost Curiosity ...all the maps you have are of no use, all this work of discovery and surveying: you have to start at random, like the first men on earth: you risk dying of hunger a few miles from the richest stores... Michel Butor, ‘Degrees’

...We live in a world ruled by fictions of every kind - mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the blurring and intermingling of identities with the realm of consumer goods, the pre-empting of any free or original imaginative response to experience by the television screen...The fiction is already there. The [writer's] task is to invent the reality. J.G. Ballard

Simon Herron and Susanne Isa

Top:White Sands, New Mexico, January 2006. Bottom: Yr 4 Building Project.


















3.30pm. Spinning wheel takes advantage of good winds.

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This page: John Thompson, Sheep House.

es to finish

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This page: Melissa Dowler, Metaphysical House of Fairies. Facing page: John Norman, National Park of the Interior.

This and facing page: Joerg Majer, Gulliver.

Dip Unit 17 Yr 4: Candida Correa de Sa, Tim Fieldhouse, Sarah Gray, Matt Hill, Joanna Karatzas, Brett Lambie, Ben Nicholls, Tess Warburton, Steve Westcott. Yr 5: Jessam Al-Jawad, Maria Fulford, Jin Mi Lee, Jack Newton, Dean Pike, Kirstie Smeaton, Andrew Walsh. .

Unreal Constructions imaginary; impossible or difficult to believe Dreams combine real and imaginary characters, actions and places to create 'unreal' worlds. Stories, anecdotes, scripts and poems link diverse factual and fictional elements to distort our common sense of space and time and construct similar semi-real conditions. On the other hand, philosophy and science offer insights about our understanding of the world that are often impossible to grasp and almost dreamlike. Our possession of information, whether it is fiction or truth, whether it comes from literature or science, constructs a complex condition of knowledge. Knowledge furnishes us with confidence and confusion and desire and anxiety about what we can create next. How does our contemporary condition of knowledge influence our spatial imagination and critical thinking? What are the new meanings and forms it suggests? This year we tried to intersect absurd dreams, allegorical programmes and myths, with an awareness of new theories, processes and materials. Placing architecture between desire and knowledge, we tried to explore constructions that are 'unreal' but perfectly meaningful and possible. We visited the Western Cornwall Coast, especially the disused industry of mines around Botallack, and buildings in Prague, Brno, Vienna, Munich and Vals. Students chose diverse sites, from remote Cornish landscapes to busy locations in central London. Many thanks to Bev Dockray for her invaluable teaching. .

Niall McLaughlin and Yeoryia Manolopoulou

This page: Kristie Smeaton, Primary School, Perranporth, North Cornwall.

Top left: Kristie Smeaton, Primary School, Perranporth, North Cornwall; right: Jimmi Lee, RNIB Hostel, Levant Higher Bal, Cornwall. Bottom: Maria Fulford, Radio Station and Public Foot Path, Smugglers Way, Morvah, West Cornwall.

This page: Dean Pike, Camden Town Hall, Camden Market, London.

Top: Andrew Walsh, Pendeen Distillery, Cornwall. Bottom: Dean Pike, Camden Town Hall, Camden Market, London.

This page: Jessam Al-Jawad, Courthouse, Angel, London.

Top: Jack Newton, Patination Workshop, Levant Mine, Cornwall. Bottom left and right: Jessam Al-Jawad, Courthouse, Angel, London.

Dip Unit 18 Yr 4: Andy Hau, Juliet Ho, Richard Sharam, Jay Williams, Hannah Woo, Di Zhang. Yr 5: Stephen Clarke, Miki Hirakata, Hiroki Kakizoe, Jessica Lee, Vay Lon Luc, Charlotte Luther, Borja Marcaida, Elizabeth Nall, Maria Saradinou, Irene Siljama. .

Space, emotion and architecture

The film 'Lost in Translation' catches perfectly the mood of alienation and boredom felt by the two main protagonists. The director achieves that effect not only through the performance of the actors, but also by controlling the physical setting, the desolate atmosphere of the generic hotel bar in which man and girl meet, turning their backs to a city that will forever remain remote and incomprehensible to them. While film directors are expected to use all the means at their disposal to manipulate the emotions of spectators, architects, with a few notable exceptions, are generally more reticent to use explicitly the tools of their trade to provoke passionate feelings and reactions from clients and users. Architectural space can also have strong emotional connotations, be it fear or nostalgia, anxiety or excitement, happiness or revulsion, wellbeing or discomfort, etc. Both media use spatial design as their primary tool and while architecture does not usually make full use of the additional impact of narrative, it has other means at its disposal to achieve dramatic effect. In an academic environment where one is free to explore all of one's desires, why not experiment with feelings and explore the proposition that the search for emotion might be, after all, the underlying aspiration of architecture? Tackling this question is not an easy task. This year, the range of emotions has varied and included the sense of freedom, fear of technology, grief, yearning for the past, nervous expectation, isolation, vulnerability etc. Feelings that have each lead, through the choice of individual briefs and sites within the city of Tokyo, to a wide range of architectural projects.

Colin Fournier and David Ardill

Top: Jay Williams, Costume Play Park and Manga Cafe. Middle: Juliet Ho, ‘Charade’ the Restaurant of Uncertainty. Bottom: Hannah Woo, Underground Capsule Hotel, Shibuya.

Top: Richard Sharam, Shinjuku Acting School. Middle: Andy Hau, Furusato Undertakers. Bottom: Di Zhang, The Corner Place for ‘Hope’ Cigarette Ltd.

Top: Hiroki Kakizoe, Harajuko Match-Making Club, goup dating capsules. Middle: Elizabeth Nall, Diving Academy Omotosando, view through glass lift. Bottom: Jessica Lee, Asakusa Carpentry and Weathering Gallery.

Clockwise from top left: Stephen Clarke, Kendo Do-Jo Match Arena; Maria Saradinou, The Roulette Gardens; Jessica Lee, Mind Chamber of Weathering Gallery.

Clockwise from top left: Miki Hirakata, Elderly Residence and Cultural Centre; Vay Lon Luc, Kin Kasan Buddhist Retreat; Borja Marcaida, Brain Scanner, installation; Miki Hirakata, Matsuri Festival Time.

Clockwise from top left: Irene Siljama, [Tokyo] Inter-Mission; Charlotte Luther, Yakuza Gang Members’ Club and Hostess Bar, Shibuya; Borja Marcaida, Hyperbody Out of Control.

Dip Unit 19 Yr 4: Neil Charlton, Linnea Isen, Pil Joon Jeon, Peter Nilsson, Harriet Roderiques, Richard Vint, Karuga Koinange. Yr 5: Christian Kerrigan, Lenastina Andersson, James Curtis, Melissa Clinch, Ben Sweeting.

Spelling Architecture Over the last fifteen years Unit 19 has been at the forefront of architectural education. Its basic premise is to educate architects that understand fully the implications of advanced technology (such as virtuality, biotechnology and nanotechnology) and its surreal ramifications. This year students and staff went to Rome to investigate Classical Architecture, the sculpture of Bernini, mythology and Popes and the pregnant fecundity of Borromini. The fourth year were inducted into the magic of the great architectural opus, the notions of the choreography of space, the split site and the collage of contemporary technology and how it slides along the virtuality continuum. The fifth year has been exceptionally successful this year. Its members have made the connection between hypertext and anamorphosis, grown a ship inside a willow copse, created a cybernetic memory theatre inside Grandma's derelict house and implanted the Greek myths into a butchers shop. Our MArch student, Ben, (now three years under the unit 19 banner) has bathed old ladies and made a paper knife for Satre. ‘Esoteric?' We hear the least imaginative of you mutter. But no, this is the architecture of the future. An architecture that is personal, mnemonic, philosophically based, cybernetically rigorous and loaded with symbol, which coerces itself from the virtual to the actual. Simultaneously these architectures seek a synthesis between the natural and the machinic that is not Luddite but creates cybrid ecologies of actions and objects that are driven by the vicissitudes of daily life and the movements and perceptions of observers.

Neil Spiller and Phil Watson

Clockwise from top left: Linnea Isen, Peter Nilsson, Richard Vint, Pil Joon Jeon, Neil Charlton.

Christian Kerrigan. Top: Amber clock. As the trees slowly evolve the 'Amber clock' strapped to the tree registers the passing of time with a two hundred year hourglass. Upper Middle: Tree evolution. As the forest matures the 'Amber clock' is consumed with the body of the trees. It acts as an artifact for the artificial system of manipulation. Middle: Lake view. A silhouette of the ships growth over two hundred years within the forest at Kingley Vale. Bottom: Drowning forest. As the system evolves over two hundred years the forest is flooded with rising sea levels and the hidden ship begins it’s second stage as a submerged ruin.

Lenastina Andersson.Top left: The Tea party. Teacups and rusting spoons in the hallway. Right: The Christmas instrument. Candleholder and plough arrangement located in the dining room, interrupting the set dining table. Bottom: Hats. Hat regulating water from the blood transfusion device in one of the chambers.

James Curtis. Top left: Phineus - The Blind Predictor of Ecstasy. Phineus troubles no one, and expects the same back as he nestles among meat that has yet to be placed on the block. Top right: Aello - The Harpie of Beauty's Caress. Aello hangs in the front window of the butchers, gagging for air as the pressure of the pork chop which sits glistening on her chest weighs her down. Bottom right: The Slaughterhouse. The characters weave the myth amongst the dripping history;

Melissa Clinch. Top: Church of Anamorphosis: Station 1 , time 00:00. Middle: The anamorphic workshop operates within the church. Bottom: Church of Anamorphosis: Station 2 , time 02:20.

Top: Ben Sweeting, Bath Tray. The bath tray is one of a series of projects for objects that re-configure their arrangement non-purposively using nearby contingent vectors derived from their use in order to provoke their customisation by the bather; thus the bather becomes both the passive and active agent of particular characteristics of the object. Bottom: Calibration Device for Jean-Paul Sartre's Paper Knife. The problem of the paper knife is derived from Sartre's use of it as a counter example to mankind in Existentialism and Humanism: objects which are at first sight purposive and necessary are revealed to be ultimately superfluous due to the superfluity of their situation; this project seeks to understand this very superfluity as a basis for architectural meaning.

Dip Unit 20 Yr 4: JosĂŠ Chan, Ben Cowd, Gareth Evans, Marc Ishikawa, Ting Jiang, Sara Shafief, Gordon Sung, Johan Voordouw. Yr 5: Jackson Cheng, Masaki Kakizoe, Tobias Klein, Kenny Tsui, Hong Tao Wei.

Mimetic Nuclei Boundaries Fields Territories Mimesis: implies identity and representation Nucleus: implies density and growth Boundary: implies limits and greatest possible degree Field: implies events and rules Territory: implies occupation and interaction Unit 20 features design work that draws on the social, economic and environmental issues of the people of Havana, Cuba. The goal is to further the field of architecture by mobilizing theories of the technological, spiritual and ecological into a vision of syncretic architecture. All the projects bring together disparate entities material and non-material - and their philosophic, religious, and cultural customs and codes of Havana. In Western society, our need to continually change our surroundings reveals the commonness of architecture as a human activity and its embodiment of the human need to address specific situations. Each project provides a clear and rigorous framework for the architect based on multiple levels of communication and reflexiveness with the renegotiation of territories, boundaries and fields in the local socio-political environment and the global contemporary vision of architecture. The fact that when architecture can fully exchange information with natural phenomena, architecture's capabilities for knowledge and communication would be far deeper and more extended than presently understood. It would also blur the boundary lines of our individuality our very sense of separateness with the built environment.

Marjan Colletti and Shaun Murray

Middle: Wei Hongtao. Bottom left: Marc Ishikawa and JosĂŠ Chan. Bottom right: Yu Ting Jang.

Top: Sara Shafiei and Ben Cowd. Middle left to right: Wei Hongtao, Gordon Sung, Ka Hung Chen, Sara Shafiei and Ben Cowd. Bottom left to right: Gareth Evans, Johan Voordouw.

Top left: Masaki Kakizoe, 'Transitional Symbiont' implantation of a hybridised species between 'natural' and 'artificial'. The 'El Caudal' bridge filters the contaminated Almendares river synthesising socio-economic issues with biological and ecological technologies.

Top right: Wei Hongtao, Along the Canal de Entrada, the 'Havana Cruise Terminal' is interfaced between the economic reality of a local street market and global tourism. Bottom right: Ka Hung Cheng, Inside the walls of Havana's Castillo del Morro, the '50s Cadillac Workshop' binds the material with the immaterial, the object with the symbol. Overleaf left: Kenny Tsui, 'Archaeological Fragments' displaces the language of construction and challenges the linearity of a design process. The architecture of the 'Hotel Tropicana' includes a Santeria enclave of fragmented voids and slipping spaces that reconstruct over time and space; right: Tobias Klein, 'Synthetic Syncretism' condensates the ritualistic virtual into the materiality of the actual. Along a processional route (similar to a virtual continuum), the everted 'Chapel of Our Lady of Regla' acts as a hidden place for practising the hybrid religion of Santeria.

Dip Unit 21 Yr 4: Ronan Friel, Doug Hodgson, Emma James, Poppy Kirkwood, Claire Methivier, David Storring, Kai Ming Wong. Yr 5:Salim Amir, Imran Jahn, Arati Khanna, Vimal Mehta, Dora Sweijd.

Hotel Derivation - h么te, French - to host The notion of a 'place to stay' goes back to ancient colonising societies moving through fixed strongholds with 'pit stops' along key routes. Hosting 'travellers' for finanicial return originates from the earliest 'business' travel along trading routes often where harsh climate would require a particular level of protection . Early records show some form of hostelry in major towns .Religious institutions have also traditionally provided 'board and lodging' for those requiring a 'safe house' or simply to top up incomes from land, benefactors etc. Some hotels have had 'residents' who remained by choice or otherwise as semipermanent guests, sometimes for convalescence or escape. Often writers will cite a particular period or piece of work as owing to time spent at someone else's convenience. The hotel has come to define a class and section of society according to its design and styling. Hotel types are often based on pre-selecting the appropriate type of visitor - budget hostels, boutique, motel, no-frillsbusiness, designer, classic opulent, art, airport, love, resort, capsule, conference / casino - and this style is generally represented in external appearance, public spaces and advertising - its image. Once inside the chosen environment, like airline seating, overt class related terminology is emphasised for room types - 'economy', 'standard', 'deluxe', 'super deluxe', 'penthouse', 'king suite' - this adds motivation to 'upgrade' and flout personal betterment. Understood social protocols are often tested and morphed on crossing the hotel boundary .

Christine Hawley and Peter Culley

Top: Ronan Friel. Bottom: Poppy Kirkwood.

Clockwise from top left: Kai Ming Wong, Claire Methivier, Doug Hodgson.

Facing page: Arati Khanna. This page, top: Emma James; bottom: Salim Amir.

Top: Vihmal Mehta. Bottom: Imran Jahn.

This page: Dora Sweijd.

Dip Unit 22 Yr 4: Yeo Jin Choi, Hazel Levene, Jane Middlehurst, Amy Poulsom, Caspar Rodgers, Tristan Wigfall, Irene Yeung. Yr 5: Marcus White, Sue Lyn Ang, Jeanie Chang, Harriet Comben, Serena Croxson, Pereen D’Avoine, Christopher Daniel, Konstantinos Karabatakis, Noor Abdul Aziz.

Tales of the Unexpected This year the unit endeavoured to explore, question and manipulate established conventions in order to reveal the Unexpected. Initially, students were asked to choose a set of distinct and separate conditions, which could relate to a particular site, context, form and/or programme. Following a period of research into each of the conditions, the students investigated the possibilities of cutting, splicing, weaving and/or stitching these together in order to create architectures and scenarios that would deviate from the normal. In pursuing the 'twist in the tale', the strategy adopted by the unit shared many similarities with the Surrealist technique of the 'exquisite corpse' - a method by which a collective collage of images or words would be formed on a sheet of folded paper passed between participants. Just as the resulting designs or writing would adhere to the Surrealist principle of metaphoric displacement, so the assemblage of conditions chosen by students would attempt to partially dissolve the conventions associated with them and reveal the Unexpected. The unit encouraged a plurality of different responses to the programme and the selection of initial conditions. As part of its investigations, the unit travelled to Budapest and Venice with the majority of students choosing sites and programmes in one of the two cities.

Peter Szczepaniak and John Puttick

Top left: Amy Poulsom. Bottom: Harriet Comben.

Clockwise from top: Irene Yeung, Noor Abdul Aziz, Konstantinos Karabatakis, Jane Middlehurst, Yeo jin Choi.

Top: Chris Daniel. Bottom: Pereen D’Avoine .

Clockwise from top: Caspar Rodgers, Tristan Wigfall, Hazel Levene.

Top: Jeanie Chang. Bottom: Marcus White.

Top: Serena Croxon. Bottom: Lyn Ang.

Dip Unit 23 Yr 4: Aaron Brookes, Timothy Barwell, Catriona Forbes, Michael Garnett, Paul Jakulis, Ryan Martin, Ruth Oldham, Cheng-E Tham. Yr 5: Ralf Eikelberg, Thomas Housden, Yiannis Kanakakis, Lucie Reuter, Manuel Shvartzberg.

CODEMAKER Unit 23 invites individuals to establish diverse and critical positions on making architecture. For the unit, questions on how we design are of equal importance to those on what we design. Propositions are established and developed through the production of objects, texts, drawings and interventions that test attitudes towards technology, theory, history, politics, culture, buildings and the city. CODEMAKER refers on one level, to the production and design of information protocols from industrial processes, but it also may refer to the intellectual meaning of that information. For example; modes of conduct, behaviour, identity, and so on. CODEMAKER suggests a method and application, a subject and an object, an idea and its translation. Project 1 : Fixtures and Fittings. Objects usually associated with property inventories, Fixtures and Fittings occupy a liminal place between permanent and temporary, communal and private, universal and personal, utilitarian and decorative. Based on an extract from Perec's Species of Spaces, listing the humdrum actions within an imaginary apartment building, students were invited to invent and make a 1:1 Fixture or Fitting. Project 2: A Private Collection Informed by Project 1 and our field trip to Vienna, Graz, Bratislava and Walter Pichler's farm in Burgenland, the project sought to expand the potential for diverse and implied meanings for a Private Collection, exploring the illicit, the bizarre, the hidden, the repulsive and the eccentric. Our thanks to the following critics and consultants who generously offered their time and insight throughout the year: Abi Abdolwahabi, Matthew Barnett-Howland, Paul Bavister, Kate Davies, Max Dewdney, Matt Driscoll, Tom Emerson, Bernd Felsinger, Christophe Gerard, Brain Greathead, Stephen Greenberg, Richard Grimes, Sean Hanna, Simon Herron, Charles Holland, Jack Hosea, Prashant Kapoor, Eoin Keating, Brigid McLeer, Paul Monaghan, Luke Olsen, Ron Packman, Peg Rawes, Mark Smout, Emmanuel Vercruysse, Oliver Wilton, Umut Yamac.

Bob Sheil, Zoe Smith and Graeme Williamson

This page: Michael Garnett, Prosthetic caviar cooler and mother of pearl tasting spoons for the National Institute of Stem Cell Research, Harley

This page left: Tim Barwell and Ryan Martin, Luthiery for Handel's Water Music & Phenomenological Site Model. Top: Ralf Eikelberg, Chelsea Physic Garden Intensive Farming Facility for Skin Cancer Research and Treatment Clinic. Middle: Michael Garnett and Paul Jakulis, Faรงade Detail for the National Institute of Stem Cell Research, Harley Street. Bottom: Tim Barwell and Ryan Martin, Luthiery for Handel's Water Music & Phenomenological Site Model.

This page: Tom Housden, Homo Faber, investigations into subject object relations.

This page: Yiannis Kanakakis, Surveying Machine for Mt Pentelikon Marble Quarry, Greece / 1000 year scale drawing.

This page: Manuel Shvartzberg, Institute of Public Affair, Mission 1: Survellience Suitcase.

This page: Lucie Reuter, Objects of Transformation, A Double Edged Gift, A Minature Escape, A Transportable Vestiary

Dip Unit 24 Yr 4: Alan Pottinger, Charlie Coates, Dominque Laurence, Gayle Chan, Hannes Mayer, Huali Zhang, Ian Law, Justin Goodyear, Richard Roberts, Kwan Pik (Sonia) Chiu. Yr 5: Chris Jones, Poyuan Huang, Takehiko Iseki, Tuomas Pirinen, ViJay Patel, Wei-Haw Wang. .Phenomenal Noumena:


PHENOuMENA Noumena exist in themselves as independent from experience in contrast to phenomena which exist within the experienced world, as 'objects' perceived by the senses. Many contemporary design techniques continually decontextualise the experience of architecture and replace the experiencing subject with the notation of the statistical, the representational or the programmatic subject. In parallel, the semi-autonomous emergence of architecture from systemic and algorithmic methods places the practice of architecture closer to that of the pseudo-noumenal. The unit aims to reintroduce qualitative experience to the otherwise typically quantitative practice of architecture. Rather than work towards the understanding of a neo-cognitive experience, the charge is to work by interlacing the qualitative with the quantitative. Working within instrumental simulations it is possible to provide qualitative feedback of phenomenal effects for the quantitative manipulation of systemic or material conditions which create the effects. In altering the porosity of a wall through which light passes, for example, one increases the potential sensation of a brightening/darkening space. The design research is situated between the noumenal and the phenomenal, between the systemic algorithm and the sensed, in what we will call the phenoumenal. Focusing on the phenbionics of the sensed, natural and mechanical phenomenon, students avoid complacent effects and instead seek out extremes. The unit continues to design effectual and experiential phenomena within pseudonoumenal structures.

Steve Hardy, Jonas Lundberg with Ken Faulkner

Top to bottom: Tuomas Pirinen, Chainsaw Animation; Huali Zhang, Shark Research Centre, Florida; Vijay Patel, Mangrove Growth Mesh, Cuba; Wei-Haw Wang, Hanging Gardens of Babylon, Greece.

This page: Takehiko Iseki, Salt Farms, Jordan.

This page: Justin Goodyer, Fluid Dynamics, New York. Facing page: Tuomas Pirinenm, Xylitol/Birch Milling, Finland.

This page: Poyuan Huang, Condensation Chambers, Morocco. Facing page: Chris Jones, Sequestration Coal Mining, Pennsylvania.

Diploma Year 5 Thesis

Harriet Comben ‘Lavanderie Manual_Instructions’

The thesis is the place where Year 5 students have the opportunity of developing the theories which underpin their work, whether this is derived from science, cultural theory, technology, architectural history, philosophy or the psychology of perception. As a result, a reflexive relationship is created between the portfolio and thesis, each informing the other. Peg Rawes, Mark Smout T hesis Co-ordinators

My thesis accompanies the design portfolio in the aesthetic search for a relevant architecture for the Lavanderie Venezia, a proposed industrialised laundry in Venice. The study is titled 'Manual_Instructions' as it explores and studies the 'requirements' to design a rationalist architecture. It investigates the Rationalists, in particular, the architecture of Giuseppe Terragni (1904-1943) to indicate whether it is possible to create a rationalist Italian architecture. Definitions of rationalism are explored, investigating the link to Futurism and the continuation of the Italian Classical tradition. A consideration of rationalism as engineering highlights how a functional architecture can be construed on different levels, and that a definition of architecture is dependent upon the reaction of the viewer. Thus, the intellectualised rationalism between form and function in Terragni's buildings is analysed, especially with reference to the spiritual and poetic functionalism which inform the Casa del Fascio, Como.

This page left: Harriet Comben; right: Dean Pike.

Dean Pike ‘Pockets for a Memory Place’ This thesis accompanies my design proposal for Camden Town Hall - a social, political, cultural and religious construction in the heart of Camden Town. It also orginates from my inner experience of the Villa Muller, a work of Adolf Loos. The idea of a building that looks at itself aroused my curiosity about ideas of masks and creating spaces that are highly interior, imaginary or dreamlike. Through assembling and combining the metaphoric and spatial logic of three themes - the Pocket, Mask and Jacket the thesis collages real and imaginary spaces which create 'unreal' conditions of space. These devices link the diverse factual and fictional aspects of the social and political heriarchies for the proposed Camden Town Hall, distorting our common sense of space and time, and enlivening the joyful task of making small intimate spaces, nooks, rooms and pockets that make up the interior architecture.

John Norman ‘Field Guide to Ansel’s House, National Park of the Interior’

Eva Baranyai ‘The City of London Cries, A Sonic Yarn’

This field guide is a reference for interpreting the features, scales, concepts and environments that can be found within the National Park of the Interior, a home for a photographer called Ansel, whose photographic expeditions explore the different scales and material qualities of his environment. The photographer is also the editor of the Park. He has designed the space by adding, removing, re-positionning or rendering objects unfocused in order to shift your attention elsewhere within the image. Thus, his park is a fiction that lives within his home, and his home becomes an enclosure for the author.

This project investigates the possibility of creating public and private environments, interwoven in particular acoustic qualities where the possibility of chance encounters between users and a tactile engagement with the surroundings is encouraged. I examine urban patterns and architectural design from an audio-cultural angle. My interest lies in redefining design parameters around the theme of audio performance, as opposed to concentrating solely on visual appearance (traditionally the realm of the architect) and to extend these perameters to the fabric of the city.

The guide has been designed to enable the easy addition of updates, for example, technological changes in observational techniques, which may lead to new discoveries or shifts in perceptions of the interior. Throughout the Park Guide the reader will move through a changing scale of observation, with optical and scalar thresholds. The guide will help the reader to navigate and explore the physical qualities of the photographic environment which its inhabitant has constructed.

The term London Cries refers to a peculiar conclave of inhabitants, now extant from modern London: street vendors, selling their wares from carts or baskets, and announcing their arrival by repeatedly singing, shouting, crying out a few musical lines so that in the eighteenth century, these London Cries contributed to the loudness of the City.

This page left to right: John Norman, Eva Baranyai, Jessam Al-Jawad

Jessam Al-Jawad ‘Angel Court-house’ This thesis is an investigation into the psychological effects that result from the interpenetrating relationship of body and space. Starting at the level of the body's direct contact with - and influence upon objects of everyday use, I became interested in ideas of the so-called 'uncanny' within the domestic interior. This evolved into a more strictly spatial examination of the 'uncanny,' and the psychological states induced by the intensified relationship between body and space that is found underground.

Developing from analyses on the body as an instrument, subterranean, domestic, metropolis subject, I have brought them to bear upon my design proposal for a courthouse on the site of the disused London Underground station at Angel. Accordingly, the last part of this study concentrates on certain fragments of this building, and discusses the way in which they embody these ideas as a Corporeal Cabinet.

Graduate Options MArch Architectural Design enrolls graduates from countries worldwide. In its 13 years of existence, graduates have won more than 20 architectural prizes and 40% are on the faculties of architecture schools. The programme acts as a combination of master-class and project studio. It deliberately sets out to extract and encourage the individual direction and thrust of the students. MArch Urban Design is a projectbased programme aiming to encourage experimentation on the future of urban form. Urban design can mean the design of the city as a whole or of discrete elements within it. The programme accepts definitions and aims to explore design proposals at both a strategic scale and at detailed design level. The MArch groups complete their work in September and a dedicated show takes place at the Bartlett at this time.

Masters in Architectural History The Master’s in Architectural History is a unique institution in the field of architectural history, theory and criticism. Over the past 25 years it has provided an intensive forum in which students develop and test their own approach to the subject, engaging with established and emerging subjects, theories and methodologies. Work produced is innovative and rigorous, so many graduates now research, teach and publish at universities and other institutions worldwide. Apart from engaging in modules on critical methodologies, research skills, theorised practices, representations of cities, and C19 and C20 architecture, each student produces a final research dissertation on a subject of their own choosing. Dissertation subjects range, for example, from ‘An Experiential History of Vertical Movement’ and ‘War's Greatest Picture: Photography and St Paul's’ to ‘Sculptural Values: Herzog and De Meuron’. For other graduate programmes, see the Bartlett Graduate Guide and the Bartlett website.

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

MSc Urban Design Director: Prof Colin Fournier. Tutors: Robert Dye, Jonathan Kendall, Owen O’Doherty.

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

This page: MArch Architectural Design Exhibition, October 2005.

MPhil/PhD by Architectural Design Current Students: Adam Adamis, Nadia Amoroso, Ana Paola AraĂşjo, Stephanie Brandt, Nick Callicott, Chadi Chamoun, Marjan Colletti, Marcos Cruz, Catja De Haas, Mustafa Ali Faruki. Steve Hardy, Teresa Hoskyns, Popi Iacovou, Ersi Ioannidou, Jan Kattein, Rosalie Kim, Tae Young Kim, Kristin Kreider, Constance Lau, Junghee Lee, Kwang Guan Lee, Tea Lim, Lesley Lokko, Jonas Lundberg, Ana Luz, Igor Marjanovic, Matteo Melioli, Malca Mizrahi, Theo Spyropoulos, Bradley Starkey, Salvador Rivas, Neil Wenman, Stefan White, Ivana Wingham.

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

Edinburgh), Dr Penny Florence (The Slade) and Dr Lorens Holm (University of Dundee). The exhibition was 'New Urbanism' by Jan Kattein.

The programme draws on the strengths of design teaching and doctoral research at the Bartlett, encouraging the development of architectural research through the interaction of designing and writing. A research by architectural design thesis has two inter-related elements of equal importance: a project and a text. The project may be drawn, filmed, modelled, built, or use whatever media is appropriate. UCL's multi-disciplinary environment offers a stimulating and varied research culture that connects research by architectural design to developments in other disciplines, such as medicine, art and digital media. The programme is intended for graduates of architecture and other disciplines, such as art, who wish to pursue research by architectural design. Currently enrolled on the programme are over 30 students from over 15 countries. The PhD programme organizes two annual public events. In Term 1 the Bartlett and the Slade School of Fine Art host 'Research Spaces', a conference and exhibition with speakers from the UK and overseas. This is followed by 'Research Projects' in Term 2, an exhibition and conference with presentations by current PhD students. Invited critics in 2006 were Dr Mark Dorrian (University of

Left: Jan Kattein, Zero Emission Luminaire on site in Blackpool, 2005. Above: Jan Kattein, Ring Award winning stage design for The Marriage of Figaro by W.A. Mozart, 2005.

Director of MPhil/PhD Programmes: Prof Jonathan Hill. Supervisors: Prof Iain Borden, Prof Adrian Forty, Prof Stephen Gage, Dr Ranulph Glanville, Prof Julienne Hanson, Dr Penelope Haralambidou, Prof Christine Hawley,

MPhil/PhD Architectural History & Theory Graduating students 2005-06: Kemas Ridwan Kurniawan, Iradj Moeni, Sant Suwatcharapinun. Current students: Julia Bodenstein, Anne Bordeleau, Li Lian Chee, Gil Doron, Willem de Bruijn, Carola Ebert, Gonçalo Furtado Lopes, Yi-Chih Huang, Josie Kane, Shih-Yao Lai, Yat Ming Loo, Suzanne MacLeod, Christina Malathouni, Miho Nakagawa, Jonathan Noble, Anja Nydal, Victoria Perry, Aslihan Senel, Juliet Sprake, Noriko Tsukui, Sotirios Varsamis, Robin Wilson. .

The MPhil/PhD Architectural History & Theory programme allows candidates to conduct an exhaustive piece of research into an area of their own selection and definition. Great importance is placed on the originality of information uncovered, the creativity of the interpretations made, and the rigour of the methodological procedures adopted. Approximately 25-30 students are enrolled at any one time for MPhil/PhD research study in this field. An intensive programme of research skills and methodologies is provided – this includes the PhD Architecture seminar series, which provides advanced discussions of research methodology, as well as presentations of on-going research by internal and visiting international speakers. The range of research topics undertaken in the programme is broad, but generally look at the history and theory of architecture and cities from c. 1800 to the present day, with an emphasis on the critical reading of these subjects from cultural, political and experiential viewpoints. Recent and current dissertations in the field include: ‘Ethics, architecture and Virtual Technologies’, ‘The Hebrew University in Jerusalem’, ‘Colonial and Postcolonial Histories of the Hong Kong Shanghai Bank’, ‘Critical Public Art and the Urban Site’, ‘Modernity and Brazil’, ‘Landscape and Institutions in South Africa’, ‘Elizabeth Denby, (18941965), Housing Consultant’, ‘Photography and the Representation of the Modern City’, ‘Proportional Geometries in the Design of Architectural Form’.

Kemas Ridwan Kurniawan 'The Architecture and Urbanism of Indonesian Tin Mining: a Colonial and Postcolonial History with Particular Reference to Mentok-Bangka'. Bangka, as one of the greatest tin producing islands in the world, experienced large scale alterations in its socio-cultural and political geography during its colonial and postcolonial periods. By focusing on the ex-colonial town of Mentok, this study explores relationships between the Indonesian tin mining operation and the built environment. A large amount of empirical material is supported by interpretive ideas and strategies which criticize the politics of space and the operation of power in the construction of Bangkanese geographical identity.

Sant Suwatcharapinun 'The Space of Male Prostitution in The City of Bangkok'. The thesis examines the relationship between male prostitutes and male homosexuals, particularly in a triangular relationship between sexual identities, the body and space. The research explores the space of male prostitution as a set of social relations, spatial production and reflection of the legitimising hegemony of hetero-normality. The theoretical framework for the thesis is derived from Henri Lefebvre, Michel de Certeau, Gayle Rubin and Shannon Bell.

Iradj Moeni 'The Ethics of Information-Age Architectural Design'. The values of information-age architecture mark the emergence of information-age value systems which necessitate the rethinking of universalism, place, architects' duty to transform society and fulfil utilitarian needs, authorial creativity, honesty, technology, and simplicity. They also challenge creative autonomy, representation, rationality and its associated pressures on creativity, the unilaterality and linearity of authoraudience and theory-practice relationships in creative processes, typology, top-down social engineering, and, finally, rigidity and determinism in architectural thought, design processes and final outcomes.

Above: Sant Suwatcharapinun, Male space, Bangkok.

Dr Yeoryia Manolopoulou, Prof Alan Penn, Dr Barbara Penner, Dr Peg Rawes, Dr Jane Rendell, Prof Neil Spiller, Prof Philip Steadman, Prof Philip Tabor.

Summer School This year the Bartlett School of Architecture is introducing its first Summer School, to be held annually thereafter. We expect a group of 50 participants ranging in age from 16 - 50 and from differing backgrounds including prospective Bartlett students, international students, secondary school students and those who are simply keen to develop their interest in architecture. In 2006 the Summer Sc hool will be held from Monday 17 July until Friday 28 July and will focus on London. Students will take part in a design-based programme in a studio environment. The two week, full time programme will include a visit to an architectural practice, a site visit to a building, and presentation of a proposal based on the London theme. As part of UCL's Widening Participation Programme we are able to offer 12, paid -for places to secondary school students. For all others, there is a fee for participation and it is advised that an additional amount will be needed for travel and material costs. Students are asked to make their own accommodation arrangements. Entry to the Summer School is on a first come, first served basis.

Staff Abi Abdolwahabi, Ben Addy, Laura Allen, Sonia Arbaci, David Ardill, Abi Ashton, Martin Avery, Philippe Ayres, Julia Backhaus, Matthew BarnettHowland, Nicholas Beech, Jan Birksted, Iain Borden, Matthew Bowles, Dan Brady, Alexandra Brooks, Jason Bruges, Bim Burton, Benjamin Campkin, Rhys Cannon, Aran Chadwick, Luke Chandresinghe, Lilian Chee, Elisabet Cidre, NIC Clear, Marjan Colletti, Wendy Colvin, B en Croxford, Rachel Cruise, Marcos Cruz, Peter Culley, Chris Cutbush, Kate Darby, Colin Darlington, Willem De bruijn, Eduardo De Oliveira Rosa, Stewert Dodd, Elizabeth Dow, Robert Dye, Bernd Felsinger, David Ferguson, Peter Fink, Pedro Font-Alba, Adrian Forty, Colin Fournier, Stephen Gage, Jean Garrett, Christophe Gerard, Emer Girling, Ranulph Glanville, Agnieszka Glowacka, Amanda Greaney, Richard Grime s, Michael Hadi, Jo Haire, Sean Hanna, Yusah Hamuth, Penelope Haralambidou, Steve Hardy, Christine Hawley, Simon Herron, Jonathan Hill, William Hodgson, John Hopkins, Theresa Hoskyns, Susanne Isa, Karin Jaschke, Kevin Jones, Seb Jouan, Prashad Kapoor, Jan Kattein, Jonathan Kendall, Simon Kennedy, Stefan Kueppers, Emma Kirkman, Olaf Kneer, Kristen Kreider, Constance Lau, cj Lim, Graeme Little, Luke Lowing s, Tim Lucas, Jonas Lundberg, Christina Malathouni, Yeoryia Manolopoulou, Niall McLaughlin, Brigid McLeer, Stoll Michael, Stuart Munro, Shaun Murray, Hamish Nevile, Christian Nold, James O'Leary, Donatus Onyido, Brian O'Reilly, Ron Packman, Alan Penn, Barbara Penner, Stuart Piercy, Jonathan Pile, Frosso Pimenides, Charlotte Betteridge, Andrew Porter, John Puttick, Kim Randall, Peg Rawes, Jane Rendell, Gavin Robotham, David Rosenberg, Shibboleth Schechter, Aslihan Senel, Robert Sheil, Nazma Siddique, Jason Slocombe, Zoe Smith, Paul Smoothy, Mark Smout, Neil Spiller, Matthew Springett, Brian Stater, Phil Steadman, Bruce Stewart, Peter Stickland, Sabine Storp, Wycliffe Stutchbury, Graeme Sutherland, Peter Szczepaniak, Phil Tabor, Emanuel Vercruysse, Nina Vollenbroker, Susan Ware, Phil Watson, Clyde Wat son, Patrick Weber, Matthew Wells, Andrew Whiting, Marc Williams, Graeme Williamson, Oliver Wilton, Brendan Woods.

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

Bartlett Architecture Society

Sheppard Robson

UCL Friends

Private Reception

Individual units have also received kind support from numerous other companies and institutions.

Bespoke Careers Lee Associates

Supporters of the Summer Show Aedas Architects Ltd Allford Hall Monaghan Morris EPR Architects Fletcher Priest Foster and Partners Hamilton Associates Pringle Brandon Richard Rogers Partnership Roger Dudley Associates

Opener’s Prize White Partners Ltd

Additional Sponsors The School’s programme of publications and associated events has been generously supported by:

Bartlett Architecture Society Founded in 2000, the Bartlett Architecture Society (BAS) is growing rapidly. Already, the BAS organises a special lecture series (available on the web to members) and other events. It also contributes to the development of the school through sponsoring equipment purchase, events and publications. Membership is given free to all new graduates to the first academic session after graduation. Annual membership is £40. Open to all former students, staff, and supporters of the Bartlett School of Architecture. For details, T. 020 7679 4642 or email

bespoke is a London based agency set up by architects. We recruit architects, technicians, designers, 3d visualisers & admin support for the capital’s leading practices. Bespoke Career Managemnet Ltd Studio 110 24-28A Hatton Wall Clerkenwell London EC1N 8JH t. 0207 24 24 909 f. 0207 24 21 822

Lee Associates would like to invite you for a free consultation to discuss your financial, accounting and business requirements. To make an appointment please contact Robert Husband on Lee Associates Ltd 5 Southampton Place London WC1A 2DA T 020 7025 4600 F 020 7025 4666


Fletcher Priest Architects London + Kรถln

white partners.

Cover 2006







Bartlett School of Architecture, UCL Wates House 22 Gordon Street London WC1H 0QB UK T. +44 (0)20 7679 7504 F. +44 (0)207679 4831



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Bartlett School of Architecture Summer Show Catalogue 2006  
Bartlett School of Architecture Summer Show Catalogue 2006