BARTLETT SCHOOL OF ARCHITECTURE UCL SUMMER SHOW CATALOGUE 2005
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 email@example.com www.bartlett.ucl.ac.uk
BARTLETT SCHOOL OF ARCHITECTURE UCL SUMMER SHOW CATALOGUE 2005
Publisher Bartlett School of Architecture, UCL Editorial and Design Laura Allen Iain Borden Rachel Stevenson Printed in England by Dexter Graphics
Copyright 2005 the Bartlett School of Architecture, UCL. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher. ISBN 9539021-1-0 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 firstname.lastname@example.org www.bartlett.ucl.ac.uk
Welcome to the second edition of the Catalogue for our annual Summer Show. Now doubled in size, inside you will find an even larger selection of tantalising work from right across the School. Unpredictable invention, hard-boiled analysis, technological obsession, thoughtcrafted interpretation, curious and arcane chemistry â€“ all these are available by the bucket-load. As always, apart from this publication, we very much hope that you enjoy the Summer Show itself, with its enormous range of inventive projects, installations and texts â€“ far more than we can possibly show here. Prof Christine Hawley Prof Iain Borden Chair and Director of the School
The Bartlett School of Architecture would like to thank our sponsors for their generous support Private Reception
Lowe International Lecture Series
Bartlett Architecture Society
We would particularly like to thank Frank Lowe and The Lowe Group for their continued support.
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.
Supporters of the Summer Show Adrem Recruitment Aedas Architects Ltd Allford Hall Monaghan Morris Bespoke Career Management Ltd Foster and Partners Hamilton Associates HOK International HOK sport venue event architecture Ian Ritchie Architects Pringle Brandon REID Architecture Richard Rogers Partnership Wilkinson Eyre
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 UCL Friends Individual units have also received kind support from numerous other companies and institutions.
For details, T. 020 7679 4642 or email email@example.com
Prizes BSc Year 1 Herbert Batsford Prize for ‘distinguished work’ Neil Oddie Bartlett Sessional Prize for ‘good Honours standard’ work Bethany Wells
BSc Year 3 Faculty Medal for ‘the most distinguished Year 3 student recommended by the Faculty’ John Craske Donaldson Medal for ‘distinguished work’ and RIBA President’s Bronze Medal nomination John Craske RIBA President’s Bronze Medal nomination Luke Pearson Environmental Design Prize for ‘distinguished undergraduate work in the integration of engineering and architectural principles in Environmental Design’ Luke Pearson History & Theory Prize for ‘distinguished work in History and Theory’ Imogen Long Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Tom Finch
Diploma Year 4 History & Theory Prize for ‘distinguished work in History and Theory’ Ben Clement Sir Andrew Taylor Prize for ‘the best set of drawings combining construction and design’ and RIBA President’s Silver Medal nomination Ian Laurence, Karl Normanton and Frances Taylor
Diploma Year 5 Sir Banister Fletcher Medal for ‘highest marks in Diploma in Architecture final examination’ and RIBA President’s Silver Medal nomination Johan Berglund Ambrose Poynter Prize for ‘distinguished work in the Diploma Thesis’ Fiona Sheppard Fitzroy Robinson Drawing Prize for ‘best drawings in the year’ Anton Ambrose Victor Ka-Shun Chu Prize ‘for excellence in design’ Tom Holberton
Additional Prizes 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 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 24 June, 6.00-10.30pm
Unit 1 Unit 2
Unit 4 Unit 8
Unit 20 Unit 22
Official show opening by Wolf Prix Fri 24 June, 7.30pm Exhibition open to the public Sat 25 June, 10.00am–8.30pm Sun 26 June, 10.00am–5.30pm Mon 27 June, 10.00am–8.30pm Tue 28 June, 10.00am–6.00pm Wed 29 June-Fri 1 July, 10.00am–8.30pm Sat 2 July, 10.00am–5.00pm (closes)
Unit 23 Unit 18
Unit 21 Unit 17
Guided exhibition tour by the Professors of the Bartlett School of Architecture, UCL Mon 27 June, please arrive at 6.30pm for 6.45pm start, tour duration approximately 1 hour
Unit 12 Unit 14
Lowe International Lecture Wolf Prix of Coop Himmelblau Friday 24 June, 5.00pm Cruciform Building, UCL, Lecture Theatre 1, Gower Street, London W1
Unit 15 Unit 16
Unit 11 Unit 24
BSc Year 1 Design Aditya Aachi, Zahra Ahmad Akhoundi, Mayu Akashi, Peter Alexander, Sarah Alfraih, Silvya Aytova, Ioana Barbantan, Byron Bassington, Amanda Bate, Victoria Bateman, Beatrice Beazley, Charmian Beedie, Natalie Benes, Matthew Blaiklock, Julian Bond, Sarah Bromley, Naomi Bryden, Chris Carver, Peter Charalambous, Sheila Clarkson Valdivia, Philip Cottrell, James Crick, Sarah Custance, Alpa Depani, Rory Donald, Canzy El-Gohary, Costa Elia, Ed Farndale, Lois Farningham, Anna Field, Helen Floate, Kim Senwelo Foster, Stephanie Gallia, Thajinder Ghai, Mark Goddard, Antonia Hazlerigg Amanda Ho, Adam Holland, Momo Hoshijima, Brian Hoy, James Hughes, Jade Hutchinson, Yea Jin, Alexander Kalli, Tom Kay, Thomas King, Benjamin Kirk, Chloi Kletsa, Danielle Kudmany, Rosanna Kwok, Janice Lee, Christopher Lees, Wise Leung, Xiaojing Li, Kara Melchers, Elizabeth Mitchell, Negin Moghaddam, Tayvanie Nagendran, Emily Norman, Gordon O’Conner Read, Neil Oddie, James Palmer, Kuljinder Pank, Luzy Paton, Maxine Pringle, Tia Randall, David Rieser, Georgina Robinson, Benedetta Rogers, Luke Rowett, Savpreet Seehra, Elizabeth Shaw, Oliver Sheppard, Deena Shuhaiber, Anthony Staples, Alastair Stokes, Sarah Syed, Christopher Thompson, Spencer Treacy, Natalie Tsui, Andrew Walker, Simon Walker, Elizabeth Watts, Peter Webb, Bethany Wells, Dominic Wilson, Amy Wolfe, Saman Ziaie.
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 personally 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, constructed or represented through models or drawings that tackle a range of scales and experiences. These include the analytical study of an object; the critical mapping of a place; a critical survey and sectional drawing; and 12 installations along Regents Canal that respond to different notions of ‘floating’, ‘sinking’, ‘drifting’ and ‘mooring’. These initial investigations bring together all the skills developed through the year into a building, the ‘annex’. Sited along the Canal between Camden and Kings Cross it responds to an existing condition and explores the mundane character of canals in London versus the exotic character in Venice.
Year 1 Design Director: Frosso Pimenides. Coordinator: Patrick Weber. Tutors: Rhys Cannon, Dean Griffiths, Jonathan Pile, Mette Ramsgard Thompson, Gavin Rowbotham, Matt Springett, Tomas Stokke.
Opposite, clockwise from top: Saman Ziaie, Neil Oddie, Neil Oddie, Natalie Benes. This page, top: Group installations, bottom: Chris Lees.
Clockwise from top: Elizabeth Shaw, David Rieser, Deena Shuhaiber, Ed Farndale.
Clockwise from top: Ed Farndale, Sarah Custance, Deena Shuhaiber.
BSc Unit 1 Yr 2: Jenna Al-Ali, Josephine Callaghan, Veronique Geiger, Cristina Gerada, Damian Groves, Geraldine Holland, Azusa Murakami, William Trossell, Rae WhittowWilliams. Yr 3: Kraisupa Ont Asvinvichit, Samuel Chong, John Craske, Oliver Goodhall, Maxwell Mutanda, Joshua Scott, James Stevens, Gemima Tatel, Alia Tohala.
Equinox – Navigating Time Unit 1 explores dense urban conditions, this year focusing on architecture’s inherent cycles, natural and man-made. We revisited celluloid representations of London by interpreting, re-plotting and projecting them. We looked into cyclical representations of space, exploring cinematic (re)constructions, revealing imperceptible seasonal shifts, identifying periodic revolutions and fostering nostalgia of the unknown. We drew inspiration from personal experiences and everyday rituals, from seasonal events that are collectively commemorated or repressed and from brilliant memories of past glories. Porto – its caves, sober stone architecture and reflection on the still waters of the Douro – was the site for our final interventions.
Penelope Haralambidou, Eduardo Rosa and Sabine Storp
Clockwise from top: Oliver Goodhall, James Stevens, Maxwell Mutanda.
Clockwise from top: John Craske, Samuel Chong, Maxwell Mutanda, Alia Tohala, Oliver Goodhall, Kraisupa Ont Asvinvichit, Joshua Scott. Overleaf: John Craske.
BSc Unit 2 Yr 2: Barry Cho, Grace Cooper, Elspeth Cornish, Yat Hoi Desmond Hung, Zachary Anthony Keene, Ruth Watkinson, Lukas Westcott. Yr 3: Carolyn Behar, Jason Kwok Kwan Chan, Morten Engel, Hsiao-Wei Lee, Sara Mohammadi Khabazan, Amelia Rule, Bashrat Verjee, George Wong.
Tales of Two Moods There is a sense of a heightening of experience when objects and settings are distanced from use as autonomous ‘stories’, and yet at the same time are fully accepted as part of our day-to-day existence. It is this tension, this excitement created by the simultaneous perception of the ordinary and the strange, which we investigate this year in two distinctive ways and stories. 1 Mood Catchers The first story takes place in the area around the Serpentine in Hyde Park, where you can swim, eat, see art, ride horses, sail, listen to music, and here we look at developing a new ‘topography’ for the Serpentine. From this, we attempt to generate a spatial gesture for the building project that is evocative of a particular mood, capturing a fleeting moment, and is a discourse about contemporary leisure and the ephemeral in architecture. 2 Mood Makers In the same way that the introduction of train travel led to a faster and different perception of the landscape, the internet and other digital media have changed our way of communicating and seeing, and offer different, more open-ended and interactive ways of story-telling. We investigate how these new technologies can influence our understanding and movement through space, extending our knowledge of the city as a place of public event. These projects deal with film/video making and screening in a dense urban setting and involve not only the study of film, digital and video as media of performance, but also traditions of theatricality, spectacle and public event.
Felicity Atekpe and Karl Unglaub
Clockwise from top: Bashrat Verjee, Amelia Rule, George Wong, Hsiaio-Wei Lee.
Clockwise from top left: Desmond Hung, George Wong, Morten Engel, Carolyn Behar. Overleaf, left: Sara Mohammadi Khabazan, right, Jason Kwok Kwan Chan.
BSc Unit 3 Yr 2: Tala Akkawi, James Church, Cai-jia Eng, Olasubomi Fapohunda, Jack Gregory, James Halsall, Naomi McIntosh, Alicia Maria Tkacz, Lucy Wood. Yr 3: William Aitken, Stuart Cadge, Marivenia Chiotopoulou-Isaia, Alissa Holmes, Holly Lewis, Yoosung Ok, Elizabeth Sleeman, Charlotte Thomas.
‘Action ... Reaction’
Abigail Ashton and Andrew Porter
Clockwise from top: Charlotte Thomas, Stuart Cadge, Cai-jia Eng, Holly Lewis, Marivenia Chiotopoulou-Isaia, Olasubomi Fapohunda, Lucy Wood, Jack Gregory, Alissa Holmes.
Clockwise from top left: William Aitken, Holly Lewis, Tala Akkawi, Naomi McIntosh, James Church, Yoosung Ok. Overleaf, left: William Aitken, right: Elisabeth Sleeman.
BSc Unit 4 Yr 2: Lik San Chan, Tammy Chow, Isabel Crewe, Richard Hardy, Ric Lipson, Geraldine Ng, Nancy O'Brien, Kyna So. Yr 3: Yee-Lain Billing, James Davies, Lida Kokorelia, Emily Mann, Vanessa Salambassi, Andrew Scrace, Tsuyoshi To.
Dangerous Futures This year we looked at the transforming city; the process of transformation is the key operation in contemporary urban culture and perhaps the only constant. We asked: How does the transformation of cities influence architecture? How do the processes of transformation that shape new urban society inform the new urban matrix? How do they redefine architecture and the notion of public space? Even though Berlin was an isolated city, its recent development has produced a boom in modern urban transformations with architectural, cultural and political shifts. Because of recent history and technological/social development, the city of Berlin seems to have a variety of processes expressing transformations; the integration of Eastern and Western Europe and the evolution of the European megalopolis have begun to create a sense of new national identity in the new German capital. Public spaces (Alexanderplatz, Potsdamer Platz, Checkpoint Charlie etc.) have always been connected to changes in political, cultural and architectural trends in Berlin. The design proposition for the unit was therefore to be sited in the public spaces of Berlin’s ‘dangerous futures’.
Stewart Dodd and Vesna Petresin Robert
Clockwise from top: Yee-Lain Billing, Tammy Chow, Lida Kokorelia, Vanessa Salambassi.
Clockwise from top left: Tsuyoshi To, Ric Lipson, Nancy Oâ€™Brien, James Davies, Geraldine Ng, Richard Hardy, Lik San Chan. Overleaf, left: Andrew Scrace, right: Ric Lipson.
BSc Unit 5 Yr 2: Pascal Bronner, Robert Brown, Charles Catto, Ronald Cheape, Sulawan Isvarphornchai, Klementyna Klocek, Keiichi Matsuda, Rebecca Tappin, Yr 3: Anna Deacon, Gregory Froggatt, Emily Lewith, Tetsuro Nagata, Itai Palti, Clare Richards, Nicholas Williams.
REIs there a future for the ‘icon’ building? With buildings accounting for 40% of the nation’s energy consumption, can we really afford to go on designing one-off buildings? Most façades are designed to last just 15 years, while office interiors are designed for just 5 years. Is icon architecture the ultimate ‘purchase’ in our consumerist age? Is this architectural approach appropriate given our current environmental crisis? Maybe the future of architecture lies in the ingenious development of not just a beautiful object but the design of a flexible, adaptable architecture that allows for re-use, re-design, and re-invention. Unit 5 re-considered the everyday, finding ways to use the seemingly redundant or forgotten. If it’s broken do you fix it, ditch it or make something new from it? Why is the new model better than the old? Newer … better … faster … obsolete. Do we dispose of, or reinvent for? In the pursuit of progress, are we blind to the possibilities of that which surrounds us?
Isabel Brebbia and Niall Maxwell
Top: Tetsuro Nagata, others: Emily Lewith.
Clockwise from top: Anna Deacon, Gregory Froggatt, Tetsuro Nagata, Clare Richards, Nicholas Williams. Overleaf, left: Itai Palti, right: Pascal Bronner.
BSc Unit 6 Yr 2: Joel Geoghegan, Jonathan Horsfall, Gen Otsubo, Safia Qureshi, Sandesh Raj, Laura Smith, Alvin Tan. Yr 3: Paul Twynam, Soraya Somarathne, Andrew Marshall, Michiko Sumi, James Barrington, Alice Cartledge, Tom Elliott, Becky Ka Ki Chan.
Trigger Mechanisms To cope with the demands of an increasing urban population, cities are in constant flux. They grow denser and spread; they require re-structuring and transformation on almost every level. Regardless of the scale and nature of these changes, their impact is unpredictable and their repercussions often remain left to be seen. This climate of uncertainty intrigues us; it offers possibilities for even the smallest tweaks to have a noticeable impact. We focused on the potential of manipulating ‘the way things go’ by inserting structures in the urban fabric that trigger change, provoke and demand response – propositions with an ambition to nurture, to cultivate or to corrupt. Unit 6 started the year by investigating the mechanism of cause and effect, the notion of suspense, anticipation and surprise. From a 1:1 built object we ‘zoomed out’, addressing broader contextual issues towards a resolved proposal entwined in the urban fabric of Manchester. The unit work is process based, passing through a series of stages and incrementally taking on a greater degree of complexity. The testing of ideas remains a central part of our process.
Bernd Felsinger and Stuart Piercy
Clockwise from top: Michiko Sumi, Safia Quireshi, Becky Chan, Tom Elliott, Michiko Sumi, Soraya Somarathne, Joel Geoghegan.
Clockwise from top: Alice Cartledge, James Barrington, Paul Tynam, Andrew Marshall, Alvin Tan. Overleaf, top: Michiko Sumi, bottom: Tom Elliot.
BSc Unit 8 Yr 2: Hai Yee Jacqueline Chak, Anabela Chan, Christopher Day, Andrew Friend, Eleanor Lakin, Nicholas Wood, Yang Yu, Sanaa Shaikh. Yr 3: Marcus Brett, Margaret Bursa, Imogen Long, Benjamin Ridley, Frank Gilks, Alexander Kirkwood, Tom Finch, Luke Pearson, Tumpa Yasmin.
Mutability-Superfluity In recent years we have looked at the fluid and yielding nature of landscape. This year we will concentrate on Cities – urban landscapes, generally deemed immutable, impervious or resistant to rapidly fluctuating environmental conditions. However, cities also exist in a chaotic natural world and accommodate evolving and shifting patterns of behaviour. We are interested in developing mutable architectural landscapes which are responsive to the elemental force of the changing environment and to the dynamic nature of the use of cities. These restless landscapes – with malleable uses, fluctuating functions and transitory inhabitants – are the basis of our architecture. We will look at superfluity as the origin to necessity, as inspiration for bold, abundant and inventive architecture. Projects are based in Helsinki and Newcastle-upon-Tyne.
Laura Allen and Mark Smout
Clockwise from top left: Tom Finch, Mags Bursa, Imogen Long, Frank Gilks.
Clockwise from top left: Ben Ridley, Mags Bursa, Marcus Brett, Tumpa Yasmin, Alex Kirkwood. Overleaf: Luke Pearson.
BSc Architectural Studies Yr 2: Louise Coates, Alison Cooke, Robert Croft, Mary Dalton, Ed Greenall, Colomba de la Panouse, Miriam Sleeman. Yr 3: Ruth Allan, Marilena Astrapellou, Thomas Barnes, Mark Bridge, Sasaya Buranastiporn, Kelly Chang, Annabel Green, Gina Hamilton, Cheuk May Leung, Ellis Meade, Jeong Park, Amreen Phul, Satu Streatfield, Sara Tobin, Alexia Vasilikou, Olivia Wodehouse, Athena Yip. 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 upto 40% of their modules from any other UCL department from the Slade to the Language Centre, from Anthropology to Management. 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 design-related 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. Outstanding examples from both Dissertation and Project X are reproduced on the following pages.
Extract from Sara Tobin, ‘Apartheid Spaces’ The Apartheid regime imposed on South Africa for the majority of the 20th century epitomises a citadel of racism and control. This particular stronghold spans the length and breadth of the country; its form is both material and physiological and its effects, despite the abolition of apartheid in 1994, are still far reaching. The horrors of apartheid cannot be defined by specific acts of brutality; in fact, the practice of segregation, violence and control seeped into every aspect of life on a daily basis in public, private, interior and exterior spaces. These specific spaces take on a number of forms: city, office, factory, shop, street, park, bench, house, township, shack, school and transport, to name a few. It was from these spaces that apartheid spread its seed and it is in these spaces that I intend to focus my dissertation. Lesley Naa Norle Lokko suggests, ‘Architecture is a transparent art, which reveals insincerity and compromise.’ The process of creating buildings and space is influenced by the ethics (or lack thereof) of its designers and makers. Those afforded the opportunity to create such work therefore have the power to influences the lives of the intended user. In the South African architecture of Apartheid where the segregated townships are juxtaposed with the growing urban city, we see the result of the abuse of such power. The purpose of this dissertation is to highlight such incidents through the work of South African photographer David Goldblatt. Extract from Colomba de La Panouse, ‘Building Towards an Autonomous Zoo’ Currently, many zoos across the world are involved in endangered species conservation. However, few have extended their environmental concerns to Nature at large and to the ecological impact of their built environment. In zoos beginning to explore this direction, efforts have been sporadic. The zoo used as a case study is the Zoological Park of Thoiry in France, since it
develops a systematic approach towards the concept of the ‘autonomous zoo’ in which the architectural fabric of the zoo, its functionality, the animal welfare and public education reflect the zoo’s conservation mission. ‘Autonomous zoo’, therefore means one in which buildings, enclosures, and activities are ecologically sustainable. The history of zoos ties through to architecture. As the zoo world’s philosophy evolved towards increased animal welfare and environmental awareness, this was reflected in the changing style and design of the built environment in zoos. The context in which animals were maintained and presented to the public has gradually gone from being purely aimed at amusing visitors to engaging them into conservation action. Even so, most people’s perception of Nature and green architecture, with reference to zoos, still does not reflect the reality of conservation issues. This is partly due to the fact that zoos do not all convey the same image and ideals. Historically, animal and environmental ethics have conflicted with commercial imperatives and this persists worldwide to this present day with far reaching implications for zoo management. Zoos vary tremendously from traditional menageries to Safari parks, from city to country and from private to public, with differing objectives ranging form the purely commercial to the circus type approach, to the environmentally responsible with a scientific, educational and conservation approach. This has led to the very existence of zoos being called into question with regards to the ethics of keeping animals in captivity. Extract from (Annabel) Kate Green, ‘The Toppling of Saddam Hussein’s Monument’ On 8th April 2003, during the second Gulf War, a combination of local Iraqis and U.S. troops toppled the statue of Saddam Hussein that stood in Firdos Square, Baghdad. Immediately the made-forcamera image was seized by the West as a defining moment towards victory. In the media every event needs a symbolic
image which can be shown repetitively around the world to maximum effect; for the second Gulf War it was the toppling of Saddam Hussein’s monument. The media adopts such images to define pivotal points in world history; these images then become emblematic and symbolic in their own right. When the world watched on as the Berlin Wall was pulled down from both sides, the participation of German civilians was poignant. The media will always look for the human story to evoke the strongest reaction – in Iraq the liberation of the people from their dictator was made into a material image through the topping of Saddam Hussein’s monument. However, the monumental nature of these images can become the subject of discontent themselves. They may generate the belief that they are being constructed as a tool for the media and that members of the media no longer act as object spectators, but manipulate and are manipulated. The monument that was toppled, one of many dedicated to Saddam Hussein, was positioned in a square across from the hotel in which the remaining media in Baghdad were housed, raising the suspicion that the moment was primarily constructed for the media rather than the Iraqi people. The allied forces were acutely aware of a growing public unease at home. An image was needed which would help reinstate public faith and convince the public that the war was necessary – what the people of Iraq wanted and needed. Although Saddam Hussein’s monument has been removed from its material space, an intense awareness of its presence has been left behind. It has been consumed into a virtual reality, and it is in this context that we retain it. Extract from Mark Bridge, ‘Continuity through Independence: the Early Emergence of Modern Architecture in India’ The volume of 1930s and 1940s modern architecture extant in India attests to extensive early enthusiasm for the ‘new’ aesthetic and to the convenience of ferroconcrete construction. As early as July 1934 observers noted India’s ascent to the
‘Concrete Age’. By 1939 building methods – with ideas of living – had been ‘revolutionalised’. Popular histories of Indian architecture, though, describe the post-Independence introduction of modernism to India’s architectural repertoire. These histories – by William Curtis, Jon Lang and James Steele among others – treat August 15th 1947 as the death-date of a archaic ‘Raj’ architecture and the occasion for a ‘fresh’ – Modern – ‘start’. The story of the early emergence of modern architecture in India makes for compelling study. Its cast is cosmopolitan, comprising Indians and Englishmen, Europeans and Americans. Patrons number state governments, an expanding urban middle class and the cream of the country’s elite. Commissions range from the sleekest International to the coarsest local response as self-indulgence and socialism meld. And icons of Indian culture – Pandit Jawaharlal Nehru, Mulk Raj Anand and Amrita Sher Gil – cameo. It is impossible to trace a neat ‘evolution’ of modern architecture in India. The gridplans, clean lines, flat roofs and whitewash of the turn-of-the-century cantonment reflect the colonial state’s early interest in utilitarianism. The steelframed palazzi of 1870s Bombay display an earlier commercial interest in the scope of technology. Popular consciousness of modernism – as a movement, a spirit, a philosophy or an impulse – though, came in the 1920s and spread through the 1930s. It arrived with Corbusier’s manifesto, with Hollywood’s depiction of deco and with the import to the princely states of progressive state architects from continental Europe. By 1946 India’s sole architectural journal could report ‘a craze’ for modern architecture. Extract from Satu Streatfield, ‘The Cut-Up and Architectural Perception, Representation and Production’ In his novel, Naked Lunch (1959), William S. Burroughs declared, ‘Destroy all rational thought – that is the conclusion I have come to.’ The order in which the material went to the printer to create Naked Lunch was random. In the same
year as Naked Lunch’s release, Brion Gysin, an English-born painter and writer and one-time member of the Surrealists, cut newspaper articles into sections and rearranged them at random. Burroughs greatly admired and saw exciting potential in Gysin’s experiments in cutting and pasting texts. He worked with Gysin extensively, cutting up and rearranging texts and later sound, and became the major proponent of what came to be called the ‘cut-up’ technique. Burroughs considered Gysin’s cut-up technique as a ‘way out – out of identity habit, perhaps out of the human form itself.’ Gysin and Burroughs saw the cut-up as a way to introduce the ‘accident of spontaneity’ into writing. Could the same be done in architectural representation, thus introducing a method more akin to actual human architectural perception? Of course, it is unlikely that any form of representation, including the cut-up, could accurately simulate the experience of a building, but perhaps a cut-up like approach might offer a more ‘honest’ simulation, in that it would provide a more fragmented and uncontrolled picture of the building, like the experience of it would. One might question why it is desirable to even attempt to mimic the true nature of experience. I would argue that it is desirable, not only to give a less contrived and controlled message to readers and avoid alienating the user of space, but also as an incentive to the architect in the design process. With photographs and drawings being the primary means of presenting or ‘advertising’ architecture in journals etc. it is difficult to imagine how an architect would not feel compelled to make photogenic buildings and beautiful drawings and perhaps place too much emphasis on these, to the detriment of the building itself.
Project X Ruth Allan, Tom Barnes, Sasaya Burqnastidporn, Kelly Chang, Louise Coates, Alison Cooke, Rob Croft, Mary Dalton, Ed Greenall, Amreen Phul, Miriam Sleeman, Satu Streatfield, Sara Tobin, Alexia Vasilikou, Olivia Wodehouse, Athena Yip.
Coordinator: Yeoryia Manolopoulou
Clockwise from top left: Alexia Vasilikou, Tom Barnes, Kelly Chang, Sara Tobin, Sasaya Burqnastidporn, Athena Yip, Olivia Wodehouse, Satu Streatfield, Amreen Phul.
Extract from ‘The Journey of Nancy’s Fading Shadow to Innisfree and Beyond’. And so we begin; The Journey of Nancy’s fading shadow to Innisfree and beyond (and the suggested routes to navigate your way across the moving stage). ACT 1: ‘Of things of which she may doubt’ Scene 1: Today, yesterday and tomorrow Scene 2: Seven months later Scene 3: Seven days later ACT 2: ‘Of the nature of her mind’ Scene 1: Turning bows into knots ACT 3: ‘Of journeys and that they exist’ Scene 1: Today, yesterday and tomorrow Scene 2: To the sea ACT 4: ‘Of truth and error’ Scene 1: cogito ergo sum ACT 5: ‘Of the essence of material things’ Scene 1: Lake Isle of Innisfree Scene 2: Horizon One Scene 3: Horizon Two Scene 4: Horizon Three ACT 6: ‘Of the existence of material things and beyond’ Scene 1: Beyond is what I call imagining Scene 2: The keeper Scene 3: His compass
Top: Ruth Allan, bottom: Miriam Sleeman.
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 – for example, this year, Bartlett graduate Simon Goode of Hopkins Architects teamed up with Diploma Unit 14. 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
Textual Places and Spaces
Year 3 Dissertation
Two pieces of work have been made for this year's show:
Imogen Long ‘Montage in the Metropolis’
Site-specific texts A 30-minute film in which students read extracts from their work produced during the history and theory modules in BSc, Diploma, MSc and PhD programmes in the following site-specific contexts: Venice, the Tate Modern, Brighton Pier, South Africa, Highgate Cemetery, City Road, Beijing, China.
It seemed appropriate to me to study the tourist in the city in relation to montage, focusing on my experience of a trip to New York last year. In its simplest analogy, the tourist gaze creates a montage of the city in perceptual, rather than physical, terms. The wish to see certain fragments of the city and the specific order in which they are arranged – the planned itinerary – is a common way of approaching an unfamiliar city. The past, immediate and future experiences of the city become compressed, the central one, as Michel de Certeau argues, being the hardest to capture. The actual experience of the city is sandwiched between the constructed montage of the guidebook images and of the holiday album.
Co-ordinator: Jan Birksted. Filming: Ellie Lakin. Students: Anna Bount, Stephen Clarke, Kate Davies, Josephine Kane, Jonathan Noble, Rebecca Tappin, Wie Hau Wang, HongTao Wei. Three conversations An audio work of three conversations about architectural words and images, collaboration and materials. Co-ordinators: Peg Rawes and Nick Beech. Staff: Ben Campkin, Students: Ana Araujo, Willem de Bruijn, Josephine Callaghan, Toby Carr, Katerina Charalampopoulou, Ben Clement, Jorg Majer, Ellis Mead, Luke Pearson, Kirstie Smeaton, Tian Sun.
Frozen, miniaturised cities, packaged between the tantalising covers of the travel guides, sit lifeless on shelves. Bought, taken home, opened. The city emerges. Below: Imogen Long.
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 Luke Pearson ‘Collingwood's Vessel: a Retirement Home for Elderly Fisherman, Bigg Market, Newcastle-upon-Tyne’ The proposed scheme is a retirement home for elderly fisherman that also houses a working men's club for members of Newcastle’s fishing community. As a reflection of the separation and torpor of this unique society, the scheme takes the notion of the ship in an architectural context, to create an ersatz environment which interacts with the city around it as if it were a dry docked vessel. The environmental technologies and the ways in which the notional ship has been translated into an architectural system are the focus of this technical dissertation.
Dip Unit 11 Yr 4: Wen Hui Foo, Jin Mi Lee, Cynthia Leung, Thomas Smith, Machiko Wilson. Yr 5: Nisrine Ahmad, Dana Al Sharif, Moyez Alwani, Mala Balani, Candas Jennings, Jessica Lawrence, Areti Theofanopoulou, Sophia Thomson, Alison Victor. MArch (Architecture): Pablo Gil Martinez.
Architecture & Emotional Aspiration In the last few years, the notion of architecture as an emotional environment has become a major track of exploration in Unit 11, concerning the moulding of physical space, whilst at the same time exploring ways to influence its psychological qualities. We see the poetic image as a prelude to architecture. We are occupied with exploring how architectural images and fragments become an architecture that can depict and arouse emotions. Our projects this year took a special interest in connecting a relationship between nature and urban context. The wonder and beauty that we find in nature, the feelings and memories with which it rewards us, are a constant reminder of wonderful possibilities. Harnessing such qualities and bringing an emotional power of nature into architecture can enrich our environment. Our work with the students is focused on the development of their individual authorial voice and a wish to identify personal characteristics. â€˜The poet does not confer the past of his image upon me, and yet his image immediately takes root in meâ€™. Gaston Bachelard, The Poetics of Space.
Yael Reisner and Malca Mizrahi
Clockwise from top left: Pablo Gil Martinez, Nisrine Ahmad, Nisrine Ahmad, Dana Al-Sharfi (left), Sophia Thomson (right), Moyez Alwani, Cynthia Leung, Candas Jennings. Overleaf: Jessica Lawrence.
Dip Unit 12 Yr 4: Eva Baranyai, Geraldine Booth, Ben Clement, Harriet Comben, Sebastian de la Cour, James Hampton, Ann Leung, Emma Neville. Yr 5: Anton Ambrose, Jennifer De Vere-Hopkins, Laura Dewe Mathews, Misa Furigori Gonzalez, Louise Heaps, Lina Lahiri, Bilal Mian, Tobiah Samuel, Paul Thomas, Olga Wukounig.
About Time Our project this year, a Public House, is a Time Machine and a Weather Station. Public House The most private of spaces, a house familiarly houses an individual or a family. But we also speak of the House of Commons, the house of correction, the curry house, the art-house, the hothouse, and many other houses. This year, our project is such a public house. It is a house to house a society. Time Machine References to C20 modernism dominate contemporary architecture and earlier periods are largely ignored. As a creative stimulus, narrative resource and knowledge base for C21 architecture, Unit 12 focuses on earlier centuries as well as those more recent. Seen in this light, architecture, as a discipline and as a building, is never complete; it is a compound of many moments, not one. Weather Station Instead of the familiar opposition of weather and architecture, weather is a principal material and weathering is a principal process of the Public House. Weather can be man-made and electromagnetic as well as natural, while weathering is not simply decay. It can be protective, as in the rust coating on Corten steel, and positive, drawing attention to the wider environment and the possibility and potential of change. For Unit 12, weather is a positive and initiating architectural force. Technical support: Chris Davy. Critics: Abi Abdolwhabi, Constance Lau. Consultants: Prashant Kapoor (Price and Myers), Rutger Snoek (Michael Hadi).
Elizabeth Dow and Jonathan Hill
Clockwise from top left: Tobiah Samuel, Misa Furigori Gonzalez, Louise Heaps, Jennifer De Vere-Hopkins.
Clockwise from top left: Bilal Mian, Lina Lahiri, Olga Wukounig, Paul Thomas. Overleaf, left: Anton Ambrose, right: Laura Dewe Mathews.
Dip Unit 14 Yr 4: Toby Carr, Ian Laurence, Toby Neilson, Karl Normanton, Nicholas Rich, Frances Taylor. Yr 5: Folashade Abdul, Rashika Botejue, Nicholas Browne, Dimitrios Kapotas, Hsian-Ern Ernie Lew, Thomas Lindner, Martin Broby, Peck Leong Jackson Tan, Ernest Tsui, Emmanuel Vercruysse.
The Interactive Architecture Workshop The Bartlett Interactive Architecture Workshop explores time-based architecture, in representation and at 1:1. SLOW:FOOD … FRESH:FOOD … THE PIESHOP Year 4 students started the year by creating a meal and designing a restaurant before entering more speculative territory SKY:CEILINGS … FAN:CONVERSATIONS … HEAT:TRAPPING … STATIC:CULTURES … SHAPES:DANCING … FRAMES:REFORMED … REFLECTIONS:REMEMBERED … DANCING:DATASETS ... Year 5 students developed their personal research interests through speculative drawings, animations and working 1:1 installations.
Phil Ayres, Stephen Gage and Usman Haque
Clockwise from top: Emmanuel Vercruysse, Jackson Tan, Rashika Botejue, Folashade Abdul.
Clockwise from top left: Toby Neilson, Martin Broby, Toby Carr, Francis Taylor, Hsian-Ern Ernie Lew, Ernest Tsui, Ian Laurence, Nicholas Rich. Overleaf, left: (group project) Ian Laurence + Karl Normanton + Francis Taylor, right: Nicholas Browne.
Dip Unit 15 Yr 4: Salim Amir, Zoe Fudge, Imran Jahn, Peter Kidger, Charley Lacey, Sebastian Menudier, Jennifer Moore, David Murphy, Kenechukwo Okonkwo. Yr 5: Ross Duggleby, Bella Edgley, Russell Everton, Alexander McAslan, Christopher Moore, Rosemary Pattison, Adam Prest, Abigail Yeates, Andrew Teng Ying Yek. MArch Architecture: Mario Balducci.
Rhythmanalyses: Movement & the City ‘It is impossible to understand urban rhythms without referring to a general theory, which we will call “Rhythmanalyses” ... This analysis of rhythms, in all their magnitude “from particles to galaxies”, has a transdisciplinary character. Moreover, it gives itself as aim the least possible separation of the scientific from the poetic'. Henry Lefebvre, ‘Rhythmanalyses of Mediterranean Cities’.
Top: Abigail Yeates, bottom: Alexander McAslan.
Clockwise from top left: Russell Everton, Ross Duggleby, Adam Prest, Rosemary Pattison, Andrew Teng Ying Yek. Overleaf, top: Christopher Moore, bottom: Bella Edgley.
Dip Unit 16 Yr 4: Melissa Dowler, Jimmy Hung, Seokwon Kim, Jörg Mayer, John Norman, John Thompson. Yr 5: Pearl Chawatama, Anthi Graspa, Dean Kirkwood, Siobhan Liddle, Eugene Lim, Samuel Price, Alan Thompson. MArch (Architecture): Mark Hatter, Vasillis Zorzos.
The Bureau of Land Management The Department of the Interior ‘The new landscape ... is composed of rushing air, shifting lights, clouds, waves, constantly changing surface between the wheel, the rubber, the wing. The view is no longer static, it is an evolving, uninterrupted panorama of 360 degrees.’ JB Jackson The unit continued it’s work in the Lea Valley exploring current preoccupations with measurement. The unit looked at the underlying mechanisms at work and made counter programmes of the unplanned, the unexpected and the unimagined. Arcadia, a borderland of dreams. 9880 acres of open space, 23 miles long, 0˚, nowhere in the middle of somewhere. The sublime and the ridiculous merge, the need to forget in order to imagine. The Bureau of Land Management is where form follows fiction, plastic is alchemy, diminishing the distinction between artificial and real. Technical support: Allford Hall Monaghan Morris.
Simon Herron and Susanne Isa
Clockwise from top: John Thompson, Melissa Dowler, Jimmy Hung.
Top: Jรถrg Mayer, bottom: John Norman. Overleaf: Vasillis Zorzos.
Dip Unit 17 Yr 4: Jessam Al-Jawad, Samantha Cheong, Maria Fulford, Sarah Izod, Jack Newton, Dean Pike, Kirstie Smeaton, Andrew Walsh. Yr 5: Hans Johan Berglund, James Daykin, Sarah Earney, James Harper, Alex Mok, Phillip Obayda, David Ogunmuyiwa.
Emerging and Dissolving Places Cities, buildings, experiences and ideas emerge while others dissolve. Places are never still. They are dynamic environments that are being constructed again and again throughout history. Formed by continuously changing natural and cultural forces of all kinds, places are partly 'becoming' and partly 'vanishing'. In this respect, the area stretching from Canning Town to the London City Airport along the Thames is particularly interesting. Environmental, economic, social and chance factors have created a heterogeneous collection of fragments, a disorienting territory between land and water, transportation knots and nature reserves, new manufacturing and abandoned industry, conference halls and flats, people, airplanes, trains and cargo ships, strange sounds and smells. Each fragment of this uncanny environment certainly embodies historical and cultural significance, yet the identity of the place as a whole is currently unclear. Unit 17 explores the forces of this site, understand its complex material and conceptual state as an 'emerging and dissolving place', grasp the atmosphere of the 'becoming city', and conceive novel ideas for its roles and edifices.
Niall McLaughlin and Yeoryia Manolopoulou
Opposite, Sarah Earney. This page, clockwise from top left: Alex Mok, Phillip Obayda, David Ogunmuyiwa, James Harper, Alex Mok. Overleaf, left: James Daykin, right: Johan Berglund.
Dip Unit 18 Yr 4: Louise Charlton, Miki Hirakata, Hiroki Kakizoe, Jessica Lee, Claire Lewis-Smith, Vay Lon Luc, Charlotte Luther, Win Man, Borja Marcaida, Elizabeth Nall, Mark Ng, Maria Saradinou, Dora Sweijd. Yr 5: Ivy Chan, Romanos Gortsios, Charlie Hearn, Joshua Lau, Ke Wang.
Obscure Objects of Desire Emotion, seduction and architecture. ‘Theatre and cinema know admirably well how to use all the means at their disposal in order to manipulate our emotions and seduce us. So do the other arts. But architecture, on the whole, is strangely reticent to play openly on emotion. It tends to restrict itself to the language of reason and function, to the world of Production’, as Jean Baudrillard says. Yet the seductive power of the architectural object lies ultimately in the intensity of the emotions it can provoke. The unit brief attempts to explore the feelings that can be perceived through the physicality of the material world, emotions of pleasure, well-being, serenity, surprise, longing, love, exhilaration, erotic excitement, intimacy, but also perhaps anxiety, sadness, solitude, fear, anger, aggression, pain, pride, boredom, alienation, indifference, etc. We explore how these emotions can be expressed and stimulated by using all of the sensorial means at the disposal of architectural design (form, materials, light, colour, movement, acoustics), using different media (physical models, drawing, computer renderings, photography, film) to represent and simulate the emotional effect of these design moves. The brief does not start by defining a specific design programme or by presupposing or prescribing any particular building type as an end product. Instead, it starts with the essence: with feeling and emotion. As the design process unfolds, the specific functional programmes and detailed design briefs take shape – a kind of alchemical transformation from the essence of the emotion to the built form and a highly seductive process of creative discovery.
Colin Fournier and David Ardill
Clockwise from top left: Ivy Chan, Hiroki Kakizoe, Charlie Hearn, Jessica Lee, Joshua Lau.
Clockwise from top left: Claire Lewis-Smith, Miki Hirakata, Dora Sweijd, Borja Marcaida, Louise Charlton, Ke Wang, Maria Saradinou, Win Man, Charlotte Luther, Vay Lon Luc, Elizabeth Nall, Mark Ng. Overleaf: Romanos Gortsios.
Dip Unit 19 Yr 4: Lenastina Andersson, Melissa Clinch, James Curtis, Christian Kerrigan, Su-Yeon Lee. Yr 5: Sam Hobson, Jessica Moxham, Hala Safferini, Thomas Stewart, John Stimpson, Ben Sweeting, Glen Tomlin. MArch (Architecture): Haseb Faqirzada.
Clinimanic Studies 1 In the past, some students were taught to conceive of architectural design as a reductive process utilising Victorian construction techniques, sophist conceptual thoughts and normative formal vocabularies. 2 The first thing for a proper design tutor to do is to inspire the student by opening their eyes to what is currently possible philosophically and technically. This often includes reference to the new virtual and biotechnological materials and a quick course in the forgotten, supposedly arcane thought of others missed or ignored by the mainstream. 3 Students must understand the political, social and pedagogical dogma to which they have been subjected, and rally by positing architectures that question, provoke and make visible the rich world in which we live. They must unchain their brain, and not depend on others for validation. 4 Students are encouraged to ‘site’ their work in spatial tapestries (sites) that they can use, reboot, optimise and protect . These interventions must make attempts to respect all of a site’s inhabitants (human, animal and vegetal at all scales). 5 Students are encouraged to design by tweaking the modalities of chance as a way of escaping their own formal fetishisms and creating open-ended architectural systems. 6 Reading books is vital. Read anything other than architectural monographs. Understand you make your world, where you are the king of infinite space, or the drunken cyborg named ‘clinaman’. They are the same thing really.
Neil Spiller and Phil Watson
Top: Thomas Stewart, bottom: Haseb Faqirzada.
Clockwise from top: Sam Hobson, Hala Safferini, Sam Hobson. Overleaf, left: Ben Sweeting, right: Glen Tomlin.
Dip Unit 20 Yr 4: Hong Tao Wei, Irene Siljama, Jun Shibata, Masaki Kakizoe, Kenny Tsui, Andreas Dopfer, Pouya Zamanpour, Tobias Klein, Ralf Eikelberg, Jackson Ka Hung, Vimal Mehta. Yr 5: James Pike, Nat Keast, Masashi Miyamoto, Stefanie Sujio, Shaun Siu Chong.
SKEENS Hybrids Between Skins and Screens Skins and screens are two of the most challenging, yet commonly used terms in architecture, perhaps because they stand for what is understood as the contemporary and where architecture is undergoing its deepest changes. However, as the result of objectifiable technological phenomena, they are also aesthetic and cultural clichés that risk reducing the architectural practice to an increasingly flat, topological-digital, and humandistant reality. Unit 20 propose SKEENS – a convergent and interactive process between skins and screens. Skins embody a wider understanding of walls and membranes in their quality as primary architectural conditions. Grounded in historical meaning as rigid boundaries, they become soft interfaces for social and physical interaction. These threedimensional skins imply a sense of depth and thickness that is created by a new materiality of inhabitable spaces. Although determined by the flat geometrical nature of digital interfaces, screens convey more intricate spatial attributes than simple line drawings, for they appear spatial in the manifestation of surfaces, volumes and shadows. As sites of convergence of different digital logics and interactions they create two-and-ahalf dimensional spaces – formulated circumstances, which require qualitative rather than quantitative data. The SKEENS were tested and informed by the cultural context of the People’s Republic of China, where the unit travelled between Beijing and Shanghai.
Marjan Colletti and Marcos Cruz
Clockwise from top left: Shaun Siu Chong, Shaun Siu Chong, James Pike, Andreas Dopfer, (group project) Kenny Tsui + Masaki Kakizoe, Stefanie Sujio,
Clockwise from top left: Hong Tao Wei, Jun Shibata, Masashi Miyamoto, Masashi Miyamoto, (group project) Ralf Eikelberg + Jackson Ka Hung, (group project) Pouya Zamanpour + Irene Siljama, (group project) Kenny Tsui + Masaki Kakizoe,Tobias Klein. Overleaf, top: Nat Keast, bottom: James Pike.
Dip Unit 21 Yr 4: Arati Khanna, Stavros Nissiotis. Yr 5: Jonathan Ashmore, Lucy Evans, Kostas Grigoriadis, Tom Holberton, Anthony Lau, John Oliver, Sang-Kil Park, Anthony Smith, Ursula Thompson, Dennis Tsang, Alex Tucker, Lawrence Wong, Louise Yeung.
Liquid Architecture Van Leeuven's 'Springboard in the Pond' explores the human relationship with water from a variety of viewpoints: social, religious, artistic and philosophical. Much has been written and designed that relates form to water, but this unit explores the notion of liquid architecture. Our contemporary relationship to water falls broadly into two categories. The first is functional – its consumption is vital as is its use in irrigation, transportation and cleansing. The second is for leisure and decoration – the pool, the pond, the lake. However, this elementary summary fails to capture the conceptual potential that is both symbolic and functional. Water's iconic status embraces both spiritual and metaphoric supremacy and bourgeois banality. Zumthor's Bath House at Vals is a sepulchral experience of water, light and aroma. Ludwig Leo's Hydraulic Pumping Station in Berlin is a piece of expressionist engineering. Water can more generally be used as a symbol of metamorphosis, water becomes steam, mist, cloud, wave. From Ovid to the present day, water is the element through which change of form is depicted. The design proposals undertaken utilise water in a number of different states (liquid, solid, vapour) and its latent and dynamic energy are exploited. Traditionally, water is contained and allowed to flow for specific functions. These proposals explore a range of utilisation and interpretation – an architecture that is liquid.
Clockwise from top left: Jonathan Ashmore, Lucy Evans, John Oliver, Jonathan Wong, (group project) Anthony Smith + Sang-Kil Park.
Clockwise from top: Alex Tucker, (group project) Anthony Lau + Dennis Tsang + Louise Yeung + Dennis Tsang, Ursula Thompson, Kostas Grigoriadis. Overleaf: Tom Holberton.
Dip Unit 22 Yr 4: Sue Lyn Ang, Jeanie Chang, Serena Croxson, Christopher Daniel, Catherine Fearon, Konstantinos Karabatakis, Sang Hoon Kim, Nicholas Stearns, Marcus White. Yr 5: Eleanor Brough, Ji Hyang Ja Kim, Vanda Oliveira, David Roy, Fiona Sheppard, Jason Spiliotakos, Niek Turner, Thomas Van Hoffelen, Daniel Welham, Karen Wong.
Ordinary/Extraordinary Ordinary 1. According to established order; methodical; settled; regular. 2. Common; customary; usual. 3. Of common rank, quality, or ability; not distinguished by superior excellence or beauty; hence, not distinguished in any way; commonplace; inferior. Extraordinary 1. Beyond or out of the common order or method; not usual, customary, or regular. 2. Exceeding the common degree, measure, or condition; hence, remarkable; uncommon; rare; wonderful. An interrogation of the distinction between ‘ordinary’ and ‘extraordinary’ formed the central theme of the unit’s work this year. Beginning with an exploration of the apparently dualistic nature of these terms in relation to a set of specific conditions, the unit attempted to identify the boundaries that separate and define the ‘ordinary’ and ‘extraordinary’ and to expose the territory which might lie inbetween. Strategies for achieving this included juxtaposition, hybridisation, deformation, exaggeration and subversion. The resulting architecture seeks to locate the extraordinary within the ordinary and the ordinary within the extraordinary. Unit 22 encouraged a plurality of different responses to the programme, both in the selection of initial conditions and the strategies adopted. As part of its investigations, the unit travelled to Finland and Estonia.
John Puttick and Peter Szczepaniak
Top: Karen Wong, bottom: Fiona Sheppard.
Clockwise from top left: Eleanor Brough, Thomas Van Hoffelen, Daniel Welham, Vanda Oliveira, Ji Hyang Ja Kim, Niek Turner. Overleaf, left: David Roy, right: Jason Spiliotakos.
Dip Unit 23 Yr 4: Pereen Dâ€™Avoine, Tom Housden, Manuel Irsara, Yiannis Kanakakis, Lucie Reuter, Manuel Shvartzberg. Yr 5: Kate Davies, Chris Fay, Kirsten Holland, Christos Lefakis, Alastair McDonald, Tom McGlyn, Joachim Reiter, Umut Yamac.
Made In London Formed by enthusiasts for innovative practice and research, this unit is dedicated to generating a critical response on the subject and practice of architectural design. Members are encouraged to establish, argue and develop propositions in diverse territories in order to test their methodology and attitudes towards such matters as technology, theory, history, culture and the city. The year began by examining questions of craft, identity, site and purpose by exploring the 104 existing City of London Guilds, Liveries and Worshipful Companies. Of these, about 50 have premises within the City of London boundary, each taking a given place in the Order of Precedence. Although it is now common practice for a single worker to intersect with a number of occupational groups or to be active in two or more unrelated disciplines, new City of London guilds are still being formed. From this starting point, members of the unit formed and developed a diverse range of individual works such as: The Ministry of Pestilence, The Embassy for Sealand and The Institute of Translators. Many thanks to our critics: Matthew Barnett-Howland, Iain Borden, Paul Bavister, Nic Clear, Bernd Felsinger, Adrian Forty, Stephen Gage, Jonathan Hill, Bill Hodgson, Charles Holland, Eoin Keating, Louise La Fargue, Ed Norman, Matthew Priestman, Peg Rawes, Yen Yen Teh, Tony White, Oliver Wilton. Special thanks to everyone in the workshop: Abi Abdolwahabi, Martin Avery, Bim Burton, Richard Grimes, Robert Randall and Jan Kattein. And finally a big thank you to our specialist consultant Ron Packman.
Bob Sheil, Zoe Smith and Graeme Williamson
Top: Joachim Reiter, bottom: Christos Lefakis.
Clockwise from top: Chris Fay, Alastair McDonald, Tom Housden. Overleaf, left: Umut Yamac, right: Kate Davies.
Dip Unit 24 Yr 4: Julian Busch, Stephen Clarke, Poyuan Huang, Takehiko Iseki, Christopher Jones, Sun Eoi Lee, Vijay Patel, Tuomas Pirinen, Wei-Haw Wang. Yr 5: Mark Andrews, Raymond Chan, James Ewen, Peter Moerland, Ka Chun Pun, Benjamin Guy Thomas, Charis Tsang, Vincent Young.
Effectual Formalisms The unit works within a ‘blind’ formalism; challenging the ocular preference for form with the performative aspects of the form in relation to the other senses. For example, forms that are seen as different will usually ‘sound’ different as well. If sound (or other sensual effects) becomes a determining factor, then designers can work on the form of a project to produce the desired effect. If the effect is carefully constructed, one may even achieve certain emotive qualities. Working with spatial effects has become increasingly possible with our ability to simulate phenomena of space, material, light and sound. A ray-traced image demonstrating the actual radiosity and colour bleed of light in fact becomes more of a simulation than a representation. It is now also possible to ray-trace the actual sound of a space and create an exact, predictive simulation of the effect within the space. The unit works on locating, customising, mastering and creating simulation techniques, and experiments with these simulations to design emotive phenomena within a formal structure. The intention is for the student to unleash the simulation as a powerful design tool for understanding complex relationships.
Steve Hardy and Jonas Lundberg
Top: Benjamin Guy Thomas, middle: Charis Tsang, bottom: Wei-Haw Wang.
Clockwise from top left: Poyuan Huang, Takehiko Iseki, James Ewen, Julian Busch, Ka Chun Pun, Raymond Chan, Vijay Patel, Tuomas Pirinen, Christopher Jones, Mark Andrews. Overleaf, left: Vincent Young, right: Stephen Clarke.
Diploma Year 5 Thesis
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 Thesis Co-ordinators
Fiona Sheppard: ‘The Stolen Kiss’
Tom Holberton: ‘Temple Perfumery’
The three protagonists, Peter the Great, his wife, Catherine, and her lover, Villin Mons, carry and embody the fiction. However, there is another voice which should not be overlooked: my own. I have earlier acknowledged my role as historian to become narrator. As much as I may naively wish the work to be viewed from the subject positions of the three characters, my position as designer, collator and author means that the linking thread between all these disparate illustrations and ideas is my imagination.
This thesis considers the principal technical components for a proposed perfumery at the Temple in Central London. In this building there is the opportunity for a bizarre and unusual combination of rigorous analytical chemistry, high-art ideals with the pure indulgence of perfume. The discussion considers the basic ventilation strategies as a framework for the building’s development and answers the vital question: ‘Why won’t it smell like Selfridges’ Perfume Hall?’ Overall, the thesis looks to both solve the specific technical issues required to advance the design of the project, but also plays with a scientific vocabulary through diagrams. This can create fantastical opportunities out of a logical train of thought. The ‘Charlie and the Chocolate Factory’ spirit of technical industry spilling into surreal indulgence is central to perfume’s charm, and this building looks to exploit this dual identity.
Scene Five, The Trap Door, interprets the results from Experiment Five on the reactions of the skin during a first kiss. This experiment investigates the innervation of a hair – also known as goosebumps – a reaction of the skin to a variety of external stimuli in which bumps of air are trapped within the hair follicles so that the hairs stand up on end. Goosebumps can be caused, not only by the arousal of a first kiss, but also by fear and cold temperature. Thus, the trap door attempts to create the reaction of goosebumps by blowing in cold air and enhancing the sense of fear using dramatic lighting effects.
Kate Davies: ‘A Site for Satire’ What if I chose to literally construct worlds? They might be satirical installations using the collection of key objects and text to ‘build’ a criticism, a commentary of my own. I want to create assemblages which build my world – a satire in space. There is a discussion to be had about representation, about taking ‘positions in the life world’ and about the statement we make, especially as students. I am looking for a more complex message and narrative within an image – an opportunity for embodied meaning and social comment through allegory and satire. I feel very strongly that the conversation has to be held within a project, not just about it.
James Daykin: ‘Desert Alchemy’ A body stands on the edge between a desert and a lake. Its presence produces an altered climate wherein inhabitation is possible: shade and shelter, cool and warmth satisfy basic human needs, and from within it, looking out, two landscapes are made one. This thesis constructs a fragment of that one landscape, through both writing and physical investigation, working between scales. The fragment encloses a space which begins in the ground on the edge, where mud and water meet, and ends at the boundless distance of the horizon.
Charis Chi Man Tsang: ‘Foldable Acoustics: a Prototype for Achieving Variable Acoustic Performance’ Contact with the subject of architectural acoustics first came during the course of my undergraduate degree, when experiments on street noise and an assessment of the acoustic performance of a university lecture hall had to be conducted. It was through these experiments that an interest began to develop with regards to how the architectonics of a space can affect something as ephemeral as sound. Sound in itself is invisible and yet its presence is everywhere. Much of the time, we are oblivious to the sounds around us, but the acoustics of a space can be the factor which makes it so memorable.
Graduate Options MArch Architectural Design enrolls graduates from countries worldwide. In its 12 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 Architectural Design
MSc Urban Design is a project-based
Director: Prof Adrian Forty, Tutors: Prof Iain Borden, Prof Adrian Forty, Dr Barbara Penner, Dr Peg Rawes, Dr Jane Rendell.
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.
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
The MArch and MSc Urban Design 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 24 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 MSc and graduate programmes, see the Bartlett Graduate Guide and the Bartlett website.
Above: Michael Wihart (MArch Architectural Design).
MPhil/PhD by Architectural Design Graduating students 2004-5: Mette Ramsgard Thomsen. Current students: Adam Adamis, Nadia Amoroso, Ana Paola Araújo, Stephanie Brandt, Nick Callicott, Chadi Chamoun, Marjan Colletti, Marcos Cruz, Catja De Haas, Mustafa Ali Faruki. Steve Hardy, Teresa Hoskyns, Ersi Ioannidou, Jan Kattein, Rosalie Kim, Tae Young Kim, Kristin Kreider, Constance Lau, Junghee Lee, Kwang Guan Lee, Tea Lim, Lesley Lokko, 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, it is one of few such doctoral programmes world-wide. The programme draws on the strengths of design teaching and doctoral research at the Bartlett, encouraging the development of architectural research through the interaction of designing and writing. A research by architectural design thesis has two inter-related elements of equal importance: a project and a text. The project may be drawn, filmed, modelled, built, or use whatever media is appropriate. UCL’s multi-disciplinary environment offers a stimulating and varied research culture that connects research by architectural design to developments in other disciplines, such as medicine, art 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 10 countries. As part of the programme, Prof Jonathan Hill and Dr Jane Rendell organise a biannual research conference that includes speakers from the UK and overseas. In 2002 the theme was ‘Opposites Attract: Research by Design’. In 2004 it was ‘Critical Architecture’.
Mette Ramsgard Thomsen ‘Discovering Mixed Realities‘ The thesis presents the thinking of an emergent space of interaction. Conceiving the interface as the site where digital and physical agency merge and combine, the project probes the thinking of space as an enacted topology whose dimensions and modalities are better described through ideas of the durational and the performed rather than through extension and form. Learning from Bergson’s understanding of perception as nascent action, space is suggested as that which is drawn into the thickness of latent actions as cognition events. Here, the digital is cast as a parallel digital dimension affected by the presence and actions of the users. The project explores the curvatures and intensities of this space through a drawn investigation as well as through the making of working probes and final installations. The research led to a set of public exposures in the form of the telerobotic installation Periscope, the CAVE installation ‘I See What You Hear’, the exhibition ‘Embodied Interfaces’ and the research performance of ‘Spawn’. The project culminated with the production of ‘The Changing Room’, an interactive dance-architecture premiered at the Ludvig Forum in Aachen and shown as part of Dance Umbrella in 2004. The project was undertaken as an interdisciplinary PhD between the Bartlett School of Architecture and the Department of Computer Science, UCL. Supervisors: Prof Peter Cook and Prof Mel Slater.
Directors of MPhil/PhD Programmes: Prof Iain Borden, Prof Jonathan Hill. Supervisors: Prof Iain Borden, Prof Adrian Forty, Prof Stephen Gage, Dr Ranulph Glanville, Prof Julienne Hanson, Dr Penelope Haralambidou,
MPhil/PhD Architectural History & Theory Graduating students 2004-05: Nic Coetzer, Marko Jobst, Sandy McCreery, Current students: Julia Bodenstein, Anne Bordeleau, Willem de Bruijn, Lilian Chee, Gonçalo Furtado Lopez, Yi-Chih Huang, Josie Kane, Kemas Ridwan Kurniawan, Shih-Yao Lai, Suzanne MacLeod, Christina Malathouni, Iradj Moeni, Miho Nakagawa, Jonathan Noble, Victoria Perry, Aslihan Senel, Juliet Sprake, Elli Stathaki, Sant Suwatcharapinum, 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’.
Nic Coetzer ‘The Production of the City as a White Space: Representing and Restructuring Identity and Architecture, Cape Town, 1892-1936’. The dissertation explores how English values, architects and architectural ideas played a major role in shaping identities, architecture and power relations in Cape Town between 1892-1936. Driven by an uncompromising belief in the universal desirability of Englishness and Western architecture and culture, this architecture manifested a tension between a romanticised, historical, rural ideal, and an urban dystopia, the compromised resolution of which lay in suburban housing schemes. Ranging across discourse, images, public events, built space and buildings, the dissertation investigates notions of preservation, national identity, land possession, civilisation, the city, socio-cultural conditions, race and colonialism, and architectural materiality and aesthetics.
Vergelegen, Cape Dutch homestead.
to either language or still image, this dissertation also becomes a site of experimentation in the realm of writing and its accompanying representations.
Sandy McCreery ‘Turnpike Roads and the Spatial Culture of London, 1756-1830’. Focusing on the spaces of London’s Marylebone Road and Regent’s Park, this historical study examines the spatial culture of England’s 'turnpike boom' – the first significant speed-up of a modern society. This network constituted a new socio-spatial foundation on which new practices and perceptions became possible, leading to new spatial conceptions and constructions. For example, Regent's Park was fundamentally designed to exploit the economic and experiential potential of speed. As such, the dissertation calls for a reconceptualisation of the Picturesque, previously generally understood as an aesthetic discourse focused on optical points of view.
Marko Jobst ‘The Movement-image of the MovementMachine: Deleuze, Cinema and the London Underground’. This unique dissertation – partly theoretical and partly poetic, partly analytic and partly propositional – stands at a particular intersection of two disciplines: film and architecture, But it also stands very as the site of confrontation between two very particular realms: the Underground, and the philosophy of Gilles Deleuze. In addition, seeing as the arena of this confrontation is the written word, and, in Deleuze's philosophy, cinema is so utterly irreducible
Regent’s Park as a place of speed (1827).
Prof Christine Hawley, Prof Jonathan Hill, Dr Yeoryia Manolopoulou, Prof Alan Penn, Dr Barbara Penner, Dr Peg Rawes, Dr Jane Rendell, Prof Neil Spiller, Prof Philip Steadman, Prof Philip Tabor.
Staff Abi Abdolwahabi, Laura Allen, Sonia Arbaci, Sam Archer, David Ardill, Abigail Ashton, Felicity Atekpe, Martin Avery, Philippe Ayres, Graham Bailey, Matthew Barnett-Howland, Jan Birksted, Iain Borden, Daniel Bosia, Matthew Bowles, Isabel Brebbia, Alexandra Brooks, Jason Bruges, Bim Burton, Ben Campkin, Rhys Cannon, Aran Chadwick, Li Lian Chee, Elisabete Cidre, Nic Clear, Marjan Colletti, Thea Constantinides, Peter Cook, Kate Crawford, Tracey Cresswell, Ben Croxford, Rachel Cruise, Marcos Cruz, Chris Cutbush, Colin Darlington, Eduardo de Oliveria Rosa, Davide Deriu, David Dexter, Stewart Dodd, Elizabeth Dow, Robert Dye, Michael Edwards, Bob Essert, Bernd Felsinger, Peter Fink, Adrian Forty, Colin Fournier, Stephen Gage, Jean Garrett, Christoph Gerard, Peter Gibbs-Kennet, Paul Gilleron, Emer Girling, Ranulph Glanville, Jon Goodbun, Amanda Greaney, Dean Griffiths, Richard Grimes, Michael Hadi, Joanna Haire, Julienne Hanson, Usman Haque, Yusah Hamuth, Penelope Haralambidou, Steve Hardy, Christine Hawley, Simon Herron, Jonathan Hill, Bill Hodgson, Tom Holdom, Stuart Hutchinson, Susanne Isa, Sarah Jackson, Kevin Jones, Seb Jouan, Jan Kattein, Jonathan Kendall, Stefan Keuppers, Chris Leung, cj Lim, Helen Little, Luke Lowings, Ben Luk, Jonas Lundberg, Henrietta Lynch, Christina Malathouni, Yeoryia Manolopoulou, Joanna Marriott, Monica Martini, Niall Maxwell, Niall McLaughlin, Brigid McLeer, Stoll Michael, Malca Mizrahi, Chiron Mottram, Stuart Munro, Shaun Murray, Hamish Nevile, Owen Oâ€™Doherty, Donatus Onyido, Alan Penn, Barbara Penner, Vesna Petresin Robert, Andrea Phillips, Stuart Piercy, Jonathan Pile, Frosso Pimenides, Janean Plumb Wood, Andrew Porter, Douglas Pow, John Puttick, Mette Ramsgard Thomsen, Robert Randall, Peg Rawes, Yael Reisner-Cook, Jane Rendell, Tom Robertshaw, Gavin Robotham, John Sant, Shibboleth Schechter, Bob Sheil, Naz Siddique, Jason Slocombe, Zoe Smith, Paul Smoothy, Mark Smout, Neil Spiller, Matt Springett, Brian Stater, Philip Steadman, Julia Stegemann, Rachel Stevenson, Bruce Stewart, Peter Stickland, Tomas Stokke, Sabine Storp, Graeme Sutherland, Peter Szczepaniak, Philip Tabor, Morag Tait, Andrew Toohey, Karl Unglaub, Soo Ware, Phil Watson, Clyde Watson, Patrick Weber, Matthew Wells, Marc Williams, Oliver Williams, Graeme Williamson, Oliver Wilton, Brendan Woods.
BARTLETT SCHOOL OF ARCHITECTURE UCL SUMMER SHOW CATALOGUE 2005
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 firstname.lastname@example.org www.bartlett.ucl.ac.uk
BARTLETT SCHOOL OF ARCHITECTURE UCL SUMMER SHOW CATALOGUE 2005