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BARTLETT SCHOOL OF ARCHITECTURE UCL EXHIBITION CATALOGUE 2004 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

Welcome to the first appearance of the Catalogue for our annual Summer Show. Inside you will find a tantalising selection of this year’s work from right across the School, particularly the BSc and Diploma in Architecture, and also the MArch, MSc design options and PhD by Architectural Design. Apart from this publication, we very much hope that you enjoy the Summer Show itself, with its huge range of inventive projects, installations and texts – far more than we can possibly show here. Prof. Iain Borden Director of the School Publisher Bartlett School of Architecture, UCL Editorial and Design Laura Allen Iain Borden Rachel Stevenson Printed in England by Dexter Graphics Cover image: Luke Chandresinghe

Copyright 2004 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.

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

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.

Coutts & Co Lee Associates

Supporters of the Summer Show

Other Sponsors

Aedas Architects Ltd

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

Allford Hall Monaghan Morris Dreamtek HOK International HOK sport venue event architecture Ian Ritchie Architects Minerva Pringle Brandon Richard Rogers Partnership Wilkinson Eyre

Altro T. Brewer and Company Ltd Bartlett Architecture Society ConcordMarlin Foster and Partners Gradus Ltd LSA Projects/Gustafs Sheppard Robson UCL Friends

Opener’s Prize White Partners Ltd

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

For details, T. 020 7679 4642 or email

The Bartlett School of Architecture is 500 or more free spirits: talented, ambitious, weird, droll – called 'students', co-erced and cajoled by some 60 or more free spirits: talented, ambitious, weird, droll – called 'teachers'. Mix well and shake (that's my task) and present them in a nicer part of the campus than our horrible building. Stand well clear if you're squeamish. Come closer if you are intrigued. Come and join in if you have the nerve! Enjoy the chemistry. This year, as others – totally unpredictable. Prof. Peter Cook Chairman

Staff Abi Abdolwahabi, Laura Allen, Sonia Arbaci, Sam Archer, Abigail Ashton, Felicity Atekpe, Martin Avery, Philippe Ayres, Graham Bailey, Christiano Bianchi, Iain Borden, Matthew Bowles, Isabel Brebbia, Alexandra Brooks, Bim Burton, Barbara-Ann Campbell-Lange, Ben Campkin, Barry Caplin, Aran Chadwick, Li Lian Chee, Elisabete Cidre, Nic Clear, Marjan Colletti, Thea Constantinides, Peter Cook, Yael Reisner-Cook, Tracey Cresswell, Dennis Crompton, Ben Croxford, Marcos Cruz, Chris Cutbush, Colin Darlington, Claudio de Magalhaes, Eduardo de Oliveria Rosa, Davide Deriu, David Dexter, Stewart Dodd, Elizabeth Dow, Tom Dyckhoff, Michael Edwards, Ava Jasmine Fatah, Peter Fink, Adrian Forty, Colin Fournier, Stephen Gage, Jean Garrett, Lesley Gavin, Christoph Gerard, Peter Gibbs-Kennet, Paul Gilleron, Emer Girling, Ranulph Glanville, Richard Grimes, Christian Groothuizen, Michael Hadi, Julienne Hanson, Usman Haque, Yusah Hamuth, Penelope Haralambidou, Peter Hasdell, Christine Hawley, Simon Herron, Jonathan Hill, Bill Hodgson, Tom Holdom, Lorens Holm, John Hopkins, Dominic Howe, Stuart Hutchinson, Susanne Isa, Sarah Jackson, Ross Jamieson, Kevin Jones, Jan Kattein, Jonathan Kendall, Luidmilla Kirpichev, Vladislav Kirpichev, cj Lim, Tea Lim, Helen Little, Luke Lowings, Henrietta Lynch, Christina Malathouni, Yeoryia Manolopoulou, Joanna Marriott, Monica Martini, Niall Maxwell, Rory McGowan, Niall McLaughlin, Brigid McLeer, Stoll Michael, Malca Mizrahi, Chiron Mottram, Shaun Murray, Donatus Onyido, Alan Penn, Barbara Penner, Andrea Phillips, Jonathan Pile, Frosso Pimenides, Andrew Porter, Matthew Potter, Kim Randall, Robert Randall, Peg Rawes, Jane Rendell, Brian Richards, 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, Graeme Sutherland, Peter Szczepaniak, Philip Tabor, Yen-Yen Teh, Mette Ramsgard Thomsen, Stephen Tierney, Andrew Toohey, Alasdair Turner, Karl Unglaub, Ben Urick, DoJanne Vermeulen, Soo Ware, Phil Watson, Clyde Watson, Patrick Weber, Matthew Wells, Andy Whiting, Marc Williams, Graeme Williamson, Oliver Wilton, Brendan Woods

Contents Exhibition Layout BSc Year 1 Design BSc Units History and Theory Technology Diploma Units Graduate Design Options MPhil/PhD by Design

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.

MPhil /Phd


Exhibition opening night and party in the Main Quadrangle and the Slade Galleries of UCL, Gower St, London WC1 Fri 25 June, 5.00-10.30pm Exhibition opened by Zaha Hadid 5.30pm Prizes presented by Prof Peter Cook 7.30pm Exhibition open to the public Sat 26 June, 10.00am–8.30pm Sun 27 June, 10.00am–5.30pm Mon 28-Tues 29 June, 10.00am–8.30pm Wed 30 June, 10.00am–6.30pm Thurs 1-Fri 2 July, 10.00am–8.30pm Sat 3 July, 10.00am–5.00pm show closes

Unit 17

Unit 15

Unit 11 Unit 20

Unit 16

Unit 24 Unit 18

Unit 14

U14 Unit 23 Unit 19

Year 1

Unit 21

Unit 12

Guided exhibition tour by Prof Peter Cook Sat 26 June, 4pm


Private reception (invitation only) Wed 30 June, 6.30pm

Unit 8 Unit 4

Bernard Tschumi Fri 2 July, 6.30pm Lecture Theatre 1, Cruciform Building, UCL, Gower Street, London W1

Unit 3 Unit 5 Unit 2

Summer Show/Lowe International Lectures Wolf Prix of Coop Himmelblau and Klaus Bollinger of Bollinger und Grohmann Thurs 1 July, 6.30pm

Unit 7 Unit 1

1st Floor

Year 1 Xenia Adjoubei, Tala Akkawi, Jenna Al-Ali, Fran Alexander, Bea Beazley, Charmian Beeide, John Briggs, Pascal Bronner, Rob Brown, Josephine Callaghan, Charles Catto, Jacqueline Chak, Anabela Chan, Lik San Chan, Ronald Cheape, Barry Cho, Tammy Chow, James Church, Louise Coates, Ali Cooke, Grace Cooper, Elspeth Cornish, Phil Cottrell, Isabel Crewe, Rob Croft, Mary Dalton, Chris Day, Colomba De La Panouse, Cai-jia Eng, Olasubomi Fapohunda, Lois Farningham, Andy Friend, Veronique Geiger, Christina Gerada, Mark Goddard , Ed Greenall, Jack Gregory, Damian Groves, James Halsall, Richard Hardy, Geraldine Holland, Tsin Tee Hin, Jonathan Horsfall, Momo Hoshijima, Desmond Hung, Jan Isvarphornchai, Antony Joury, Zak Keene, Tom King, Klementyna Klocek, Elie Lakin, Ilwoo Lee, Ric Lipson, Kei Matsuda, Naomi McIntosh, Azusa Murakami, Tay Nagendran, Geri Ng, Nancy O’Brien, Gen Otsubo, Lucy Paton, Safia Qureshi, Sandesh Raj, Zurine Raper, David Rieser, Rupinder Sharma, Saana Shaikh, Oliver Simpson, Miriam Sleeman, Laura Smith, Kyna So, Alvin Tan, Rebecca Tappin, Aymee Thorne-Clarke, Alicia Tklacz, Will Trossell, Oli Udo-Udoma, Ruth Watkinson, Lukas Westcott, Abi Whitehead, Rae Whittow-Williams, Kyla Williams, Amy Wolfe, Nick Wood, Lucy Wood, Yang Yu, Zhi Zhao.

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; 15 group ‘shelter’ constructions that respond to a particular pocket of space in Borough Market; a critical survey and sectional drawing of a fragment of Rome (field trip); and the building – ‘ante portas’. This key project of the year brings together all the skills developed through the year into a building. It is sited on the fringe of the city in Southwark and explores themes of trading, crafting, healing, feasting, debating and keeping.

Year 1 Design Director: Frosso Pimenides, Coordinator: Patrick Weber, Tutors: Peter Hasdell, Jonathan Pile, Gavin Robotham, Matthew Springett, Graeme Sutherland, Yen-Yen Teh, DoJanne Vermeulen.

Opposite, Group ‘Shelter’ installations. This page, clockwise from top left: Damian Groves, Safia Qureshi, Olasubomi Fapohunda, Veronique Geiger, Yang Yu, Nick Wood, Nick Wood, Jacqueline Chak.

Top: Andy Friend, bottom: Pascal Bronner.

Top: Safia Qureshi, bottom: Ric Lipson.

BSc Unit 1 Yr 2: Ruth Allan, Marcus Brett, Margaret Bursa, Emily Keyte, Imogen Long, Mary Ann Ofunne Oganwu, Itai Palti, Andrew Scrace, Paul Twynam, George Wong. Yr 3: Tom Foulsham, David Gouldstone, Nicole Mokwe, Tim Norman, Lucy Pengilley, Shankari Rajanavanathan, Adeline Wee, Matthew Wilkinson, Lydia Xynogala.

Real Fictions Spaces are determined not only by their physical spatiality, but also by the permanent or ephemeral narrative structures their occupation creates. Historical accounts, personal experiences and everyday rituals merge with fictional representations to build a composite perception of a place. Events that are collectively commemorated or repressed, brilliant memories of past glories, accidents and catastrophes that leave physical and mental scars, or fantasies and aspirations for the future, are influenced by and give birth to legends, myths and stories communicated verbally or represented in literature, cinema and the arts. Unit 1 seeks to define an architecture that detects, reveals and links fragments of spatial narratives and provides a fertile ground for the production of new ones. This year, our studies and interventions take New York and Manhattan as a laboratory.

Penelope Haralambidou and Eduardo Rosa

Opposite, clockwise from top: Matthew Wilkinson, Adeline Wee, David Gouldstone, Tom Foulsham. This page, clockwise from top: Lucy Pengilley, Lydia Xynogala, Tim Norman, Lucy Pengilley, Shankari Rajanavanathan, Nicole Mokwe.

BSc Unit 2 Yr 2: Kraisupa (Ont) Asvinvichit, Yee-Lain Billing, Michiko Sumi, Tsuyoshi To. Yr 3: Irene Astrain, Simone Brewster, Gemma Douglas, Kieran Hawkins, Audrey Lematte, Gemma Noakes, Edwhite Pe, Sara Shafiei.

Icon "It is for architects to move beyond the self-conscious set pieces and to devise, as in the best music scores, gaps of uncertainty in which the individual can participate." Cedric Price, Re:CP Through Cedric Price's sketches, a kind of shorthand writing (probably done with one of his fountain pens and his rubber stamp) and through a series of provocative projects, Cedric Price influenced the work of a wide range of architects like Archigram, Rogers, Fosters and Alsop, as well as Rem Koolhaas and Bernard Tschumi and many others. In the 1960s his aviary became an icon for the London Zoo, while his Fun Palace project was an icon for a new type of open, moveable, adjustable space. In the 1990s the London Eye became an icon for the new millennium and for the redevelopment of the South Bank, which was initiated by the ideas of Price in order to "bring about a major rejuvenation". Within this unit we investigate three iconic themes/gaps of the work of Cedric Price and re-interpret them from a new point of view.

Felicity Atekpe and Karl Unglaub

Top: Audrey Lematte, middle: Gemma Noakes, bottom: Edwhite Pe.

This page, clockwise from top left: Michiko Sumi, Irene Astrain, Kieran Hawkins, Kieran Hawkins.

BSc Unit 3 Yr 2: James Barrington, Carolyn Behar, Jamie Budgen, Francis Gilks, Kate Green, Alexander Kirkwood, Lida Kokorelia, Emily Lewith, Clare Richards, James Stevens. Yr 3: Ross Blake, Charlotte Bocci, Chester Chipperfield, David Hill, Jimmy Kim, Naihan Li, Ellen Page, Filipa Valente, Brian Williams.

Changing States ‘I've always got on well with transitoriness’ Jean Tinguely

Abigail Ashton and Andrew Porter

Clockwise from top: Brian Williams, Jimmy Kim, Charlotte Bocci, James Stevens.

Clockwise from top left: Naihan Li, Chester Chipperfield, Ross Blake, Filipa Valente, David Hill, Ellen Page.

BSc Unit 4 Yr 2: Stuart Cadge, Alice Cartledge, Marivenia Chiotopoulou-Isaia, Anna Deacon, Morten Engel, Tom Finch, Gregory Froggatt, Sara Mohammadi Khabazan, Yoosung Ok, Luke Pearson, Amelia Rule, Joshua Scott, Alia Tohala, Bashrat Verjee. Yr 3: Alexia Anastasopoulou, Polly Clegg, Eve Goldman, Benjamin Masterton-Smith, Jan Krzysztof Wisniowski.

Performa The year started with the building of an artificial city of dynamic architectures. Taking its point of departure in observed transformations, the artificial city exists through its performed interrelationships. The city architectures depend on each other for light, wind, projection surfaces, projections, for movement and change. The city performers become the basis for a first design proposal within the modernist context of Notting Hill Gate. Here, the artificial architectures meet a spatial context informed by scale and inhabitation, by place and programme. In the final project we went to New York to explore the raised territory of the Highline. Focusing on the sectional cut along the block running between West 15th and West 18th Street and from the waterfront to Broadway, our site exists as a nodal point on this section line, defined by the intersection of the High Line and 10th Avenue. We explore the making of an infrastructural programme engaging the interchanges and intersection of the city. The programmes occur across time becoming the basis for a transformative architecture.

Stewart Dodd and Mette Ramsgard Thomsen

Above: Luke Pearson.

Clockwise from top left: Tom Finch, Joshua Scott, Joshua Scott, Polly Clegg, Unit 4 Artificial City.

BSc Unit 5 Yr 2: Sarah Brighton, James Davies, David Di Duca, Joel Geoghegan, Andrew Marshall, Amreen Phul, Benjamin Ridley, Vanessa Salambassi, Soraya Somarathne. Yr 3: Jonathan Cory Wright, Thomas Dunn, Jonathan Hagos, Lisa Iszatt, Nadia Kloster, Iain Smales.

Urban Stress Unit 5 have been investigating ‘urban stress’ and exploring the in between, forgotten and seemingly inconsequential spaces left over by large-scale infrastructure. What is the impact of this type of urban stress on the individual and the community? Studies were undertaken both in London and Wales before moving to Genoa, Italy – this year's City of Culture, a city transformed by the imposition of large scale infrastructure – to discover sites and spaces suitable for new interventions.

Tom Wood passed away in May this year after a long illness. A student with immense talent, potential and charm, he will be greatly missed by his many friends at the Bartlett.

Isabel Brebbia and Niall Maxwell

Clockwise from top: Jonathan Hagos, Jonathan Hagos, Ian Smales, Lisa Iszatt, Tom Wood.

Clockwise from top left: Thomas Dunn, Jonathan Cory Wright, Nadia Kloster, Lisa Iszatt, Nadia Kloster.

BSc Unit 7 Yr 2: William Aitken, Becky Ka Ki Chan, Jason Chan, Samuel Chong, Tom Elliott, Hsiao-Wei Lee, Cheukmay Leung, Tetsuro Nagata, Sara Tobin, Nicholas Williams. Yr 3: Zehra Abidi, Alan Chuang, Andrew Docherty, Hannah Lambert, Alleen Siu, Chi Chum So, Chiharu Tanaka, Bo Min Tang.

Architecture & Urban Agriculture ‘A city is a living thing. It has a complex metabolism, a voracious appetite and very poor eyesight. Improvements in transportation and communication mean that its feeding ground is now global and the consequences of its consumption distant and forgettable. How can we turn cities into self-regulating, sustainable creatures and prevent them from eating themselves out of existence?’ Herbert Girardet The footprint of a city is defined as the amount of land required to sustain its metabolism; that is, to provide the raw materials on which it feeds and process the waste products that it excretes. London is the original megacity: how much land does it really take to keep it going? Britain's productive land adds up to about 21,000,000 ha. Its total surface area is 24,400,000 ha. London's footprint is only marginally less than the size of the whole UK. Project 1 Horticulture and Habitation Brief: Develop a design strategy that employs sustainable design criteria and the emergent technologies of renewable energy generation to design a dwelling for a single person. This dwelling should make as small an impact on the environment as reasonably possible, including the attempt to achieve zero emissions. The dwelling should also provide all the facilities and creature comforts one could reasonably expect in an urban environment. Project 2 Re-marketing Brief: Drawing on the concepts and ideas established in the first project we re-locate Borough Market on to the site of the old London Bridge. The market design makes apparent the connection between the food, the landscapes and people from which it has come.

Chris Groothuizen and Stephen Tierney

Top to bottom: Andrew Docherty, Chi Chum So, Andrew Docherty, Chi Chum So.

Top to bottom: Andrew Docherty, Alan Chuang, Alleen Siu, Hannah Lambert.

BSc Unit 8 Yr 2: John Craske, Oliver Goodhall, Alissa Holmes, Holly Lewis, Emily Mann, Maxwell Mutanda, Liz Sleeman, Gemima Tatel, Charlotte Thomas. Yr 3: Dimitris Argyros, Thomas Carrington, Steve De Micoli, Asif Khan, Poppy Kirkwood, Ben Nicholls, Pernilla Ohrstedt, Jasminder Sohi, Nick Westby, Rion Willard.

Limits & Landscapes Buildings, cities and landscapes result from the same tectonic processes of erosion and accumulation, drift and growth. Seemingly contrasting topographies of London and Oslo are the focus of our investigations. Extreme climates, multicultural populations, geographical inertia and geological transformations encourage us to respond with hybrids of site and programme. Dynamic responses take the form of 1:1 recorded events, 1:100 urban concepts and 1:1000 architectural topographies.

Laura Allen and Mark Smout

Clockwise from top left: Ben Nicholls, Nick Westby, Tom Carrington, Jasmin Sohi, Dimitris Argyros, Asif Khan, Rion Willard, Asif Khan.

Clockwise from top left: Poppy Kirkwood, Pernilla Ohrstedt, John Craske.

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 meanings to textual analysis, from encounters with buildings to the elaboration of critical practices, from public discussions to individually focused research projects. Prof. Iain Borden Director of History and Theory

“Let’s play it by ear……” This series of three audio CDs represents a selection of work by students produced during the History and Theory components in the BSc, Diploma, MSc and PhD programmes. Each CD brings together a series of tracks in an intimate aural trail of architectural images, impressions and reflections, enabling the listener to be situated simultaneously in relation to three contexts of site: 1. the exhibition, 2. the voice of the reader and 3. the images of place, built form or event invoked by the voice. The CDs may be listened to on personal CD-Walkmans that are available from the entrance to the exhibition (£10 deposit). Each CD-Walkman has an accompanying guide for orientation between the exhibition and the Quadrangle of UCL. Peg Rawes Coordinator, Diploma History and Theory

BSc Architecture and BSc Architectural Studies Kelly Chang, Conditions of Writing Holly Lewis, Architectural Manifestoes Benjamin Ridley, Criticism and Architecture Satu Streatfield, The Horse Hospital

Diploma Architecture Joveria Baig, extracts from Fragments of the City Annabel Chapman, extracts ‘Plot 12: MVRDV’ and ‘Clara-Clara: Richard Serra’ from Re-defining the Corridor Ross Duggleby, extract ‘Trans-Siberian Express’ from Mapping from Memory Olivia Gordon, extracts from Word-robes Evelyn Hayes, extracts from Place-Name Nicholas Henderson, extracts ‘Single to Dingle’ and ‘Construction of the Liverpool Overhead Railway’ from The Blackest Day of My Life Nadine Holland, extracts ‘Home: Nina Barberova’ and ‘Refugee TV’ from Safe Place Greg Jones, extracts ‘Act 2: Scene 2’ and ‘Interview with the Writer’ from The Bet Chee Kit Lai, extracts ‘Instructions for Use’ and ‘Top 10 Things People Do Unknowingly’ from UA907 London to New York Christos Lefakis, extracts ‘Of Walls and Flows’ and ‘The Memory of the Wall’ from Berlin James Pike, extracts ‘Interiority’ and ‘Corporeality’ from Stalking the Unconscious

Ruth Silver, extracts ‘Volume 1: Minature’ and ‘Volume 2: Model’ from When I Was Small Michael Tite, extracts ‘Situs’ and ‘Jellyfish’ from Daisy-chaining Exchanges Jennifer de Vere Hopkins, extracts ‘Listening sites’ and ‘One Minute, FiftyTwo Seconds’ from Radio: Revelations of the Unseen David Watson, extract ‘Waiting’ from I Am Wondering ... Should I Go To Nepal?

MSc Architectural History Tilo Amhoff, extracts ‘Dear Jane,’ ‘Karl Marx Monument’ and ‘Trauma and Melancholy’ from Dialogue Jonah Lowenfeld, extracts ‘Description’ and ‘Poesner’s Critique’ from Hallfield Estate, Paddington

PhD Gil M. Doron, extracts from ‘The Dead Zone,’ City, v.4 n.2 (2000) and ‘A Global Derive,’ AD, (2000) Kristen Kreider, extracts from Turning Toward Neil Wenman, extracts from Nothing More, Nothingness

Technology The major technical projects occur in BSc Yr 3 and Diploma Yr 5. In both cases, students are asked to propose a dissertation on a relevant subject in parallel with a design proposal. The dissertation must illustrate how the investigated subject has informed their design proposal. Nick Westby’s prize winning BSc Yr 3 Technical dissertation, titled ‘Form, Cast, Burn,’ explores the idea that concrete formwork could be burned away rather than dismantled. The investigation begins with a scheme that depends on a five-year cycle of the construction and burning of formwork – a smokery and vintage port cellar in Shoreditch. It culminates in a Wedding Registry in the Oslo Fjord where a gift of a concrete hut would be formed, cast and burnt over a 2 day ceremony. The dissertation is demonstrated through an impressive range of 1:1 tests some of which can be seen here. Nicholas Henderson’s prize winning Diploma Yr 5 Technical dissertation is an ambitious proposal for the conversion of the Tobacco Docks in Liverpool. It is investigated and presented in the manner of a DIY manual ‘questioning the fashionable means of urban development; transforming industrial resonance and presence into inaccessible guarded compounds for the wealthy’. Nick inverts this process through his manual, describing in obsessive detail every part of the conversion process from ‘utility routing’ to ‘dismantling procedures with a thermic lance’.

Architecture is made of stuff. Technology at the Bartlett is based on the making of things, how they perform in the environment, the experience of the results, and cognitive interpretation. The scientific knowledge and technical expertise in architecture are extensive and their rate of change substantial. We develop the ability to learn how to learn, a vital necessity for an architectural career. Technology learning is centred on and applied to design output, in-depth research and experiments with real and virtual prototypes, as part of an interactive design process. Prof. Stephen Gage Director of Technology

Top: Nick Westby. All others: Nicholas Henderson.

Dip Unit 11 Yr 4: Nisrine Ahmad, Dana Al Sharif, Moyez Alwani, Charlie Hearn, Peter Moerland, Ka Chun Pun, Stefanie Surjo, Areti Theofanopoulou, Sophia Thomson, Chi Man Charis Tsang, Alison Victor, Stefan Rutzinger. Yr 5: Yvonne Gibbs, Wynford Rhys Gilley, Pablo Gil Martinez, David Head, Ewan Stone.

Brazilian Tropicalia This year’s field trip focused on two amazing cities, Rio de Janeiro and Brasilia. Brazil’s culture and races are mixed, coalescing to form that which is ultimately and authentically Brazilian, as reflected in the music, dance and visual cultures – a rich, exotic and colourful mixture that is infused with optimism – a Brazilian 'tropicalia'. In shedding the twentieth century mythical role of objectivity in architecture, we take interest in the liberation of our profession from years of having a conscience concerning aesthetics. Surely aesthetics can go well with ethics, contrary to modernist propaganda? Unit 11 is interested in a contemporary architecture that is exuberant and intense. We are interested in depicting and arousing emotion, in hyper-visual imagery, in a multi-layered depth of soft edges.

Yael Reisner and Malca Mizrahi

Clockwise from top left: Pablo Gil Martinez, Pablo Gil Martinez, Ewan Stone, Yvonne Gibbs, Wynford Rhys Gilley, David Head.

Dip Unit 12 Yr 4: Anthony Ambrose, Laura Dewe Mathews, Louise Heaps, Candas Jennings, Lina Lahiri, Jessica Lawrence, Tobiah Samuel, Rafaelle Seth, Umut Yamac. Yr 5: Matthew Butcher, Charlie de Bono, Catherine Greig, Evelyn Hayes, Chee Kit Lai, Juliet Quintero, Rupert Scott, Ruth Silver, Max Dewdney, Tim Wray.

The Public Private House A recurring theme in architectural discourse states that the house is the origin and archetype of architecture, the manifestation of its most important attributes. Certain houses are both an official residence and a home, the representation of both a public and a private self. This year our project is to design such a house in London for a person or group with both a public and a private life. In accordance with the Mayor’s demand, outlined in The London Plan, for new housing to accommodate other social programmes, The Public Private House is doubled publicly and privately, coexisting with another function and other occupants. The Public Private House is a prototype for dense, urban living. Exploiting the fluctuations of architecture and nature, it creates a self-sufficient micro-city and hybrid ecology – natural and artificial – conducive to its survival and growth. In seasonal dialogue with its environment, it is a catalyst for change an architectural fertiliser in a specific part of London. Critics: Abi Abdolwahabi, Constance Lau.

Elizabeth Dow and Jonathan Hill

Clockwise from top left: Juliet Quintero, Charlie de Bono, Tim Wray, Matthew Butcher, Evelyn Hayes.

Clockwise from top left: Chee Kit Lai, Ruth Silver, Max Dewdney, Matthew Butcher, Rupert Scott.

Dip Unit 14 Yr 4: Shade Abdul, Nicholas Browne , Dimitrios Kapotas, Ioannis Ktistakis, Ernie Lew, Thomas Lindner, Bilal Mian, Jackson Tan, Ernest Tsui, Olga Wukounig. Yr 5: Dominique Chan, Kaoru Yamazaki, Andrew Kesson, Amalthea Leung, Daniel Maloney, Gabby Shawcross, Guvenc Topcuoglu. MArch Architecture: Richard Pierce.

Shadows of the Past Can Be Cast Into the Future • It is impossible to separate architecture from occupancy. • All forms of occupancy require architecture to exist in time as well as space. • An occupied architecture will always interact with its environment. • Some occupants can be intelligent without being animate. The twentieth century distinction between real and virtual is as antiquated as the nineteenth century distinction between body and mind. Unit 14 is a place where students define their own territory and undertake their own design research. Territories include small and large-scale architectural propositions, interactive installations, choreographed performances and animation.

Phil Ayres, Stephen Gage and Usman Haque

Clockwise from top: Gabby Shawcross, Gabby Shawcross, Dominique Chan.

Clockwise from top: Kaoru Yamazaki, Daniel Maloney. Kaoru Yamazaki, Guvenc Topcuoglu

Dip Unit 15 Yr 4: Anna-Mabella Edgley, Russell Everton, Sophie Luger, Alexander McAslan, David McLellan, Christopher Moore, Adam Prest, Abigail Yeates. Yr 5: Mario Balducci, Annabel Chapman, Bianca Cheung, Robin Gill, Nicholas Henderson, Jonathan Jones, Benjamin Lam, Peter Lui, Daniel Marshall, Stefan Schulz-Rittich. MArch Architecture: Yick Hong Chan, Simon Kennedy.

Concept Process Realisation Unit 15 uses film video, animation and motion graphics to generate, develop, refine and represent spatial interventions. Movement, Image, Sound Term 1 consisted of three projects that look at movement, image/text and sound with respect to the way they create the environment for urban life. A Tomato School For several years the design group Tomato have been conducting design workshops, seminars and lectures all over the world. Recently they have been asked about the possibility of giving these activities a permanent home. For Unit 15's major design project, Tomato acted as clients for a project to design a new Tomato School.

Nic Clear

Top to bottom: Mario Balducci, Robin Gill, Benjamin Lam.

Top to bottom: Abigail Yeates, Simon Kennedy, Nicholas Henderson, Stefan Schulz-Rittich.

Dip Unit 16 Yr 4: Pearl Chawatama, Kyu Ho Choi, Anthi Grapsa, Siobahn Liddle, Eugene Lim, Samuel Price, Michael Reskalla. Yr 5: Luke Chandresinghe, Gregory Jones, Dean Kirkwood, John McLean, Yumi Saito, David Watson.

Weight & Measure The year has one central project – the Institute – sub-divided into a series of episodes – raum 606, the prototype.

Simon Herron and Susanne Isa

Top: David Watson, bottom: Luke Chandresinghe.

Clockwise from top: Yumi Saito, Gregory Jones, John McLean.

Dip Unit 17 Yr 4: Amanda Betz, James Daykin, Sarah Earney, Romanos Gortsios, James Harper, Alexandra Mok, David Ogunmuyiwa, Phillip Obayda. Yr 5: Naomi Abeliovich, Greg Blee, Olivia Gordon, Susie Hyden, Aoife Keigher, Markus Lobmaier, Anna Pamphilon, Anne Schroell, Michael Tite.

Ground-Horizon Ground is suggestive of the origins of things. Its firm presence is the foundation of how we place ourselves in the world. It is the resting place of structures and is strongly connected to our ideas of materials and of things. It suggests protection and touch. To occupy the ground we situate ourselves in a place and our imagination gives the site an identity. We are anchored and we can reflect inwards. The horizon is the end of earth. It is the limit of our visual perception. The relationship between our bodies and the horizon is the basis for our perception of space. When we address the horizon we look out, we project beyond ourselves. If ground is things, horizon is ideas, projections and abstraction. Metaphorically the horizon represents the limit of our knowledge, but a boundary is also that from which something begins. Beyond the horizon there is new ground. Our experience of architecture is deeply rooted in a play between the concepts of ground and horizon. It is what situates us in the world.

Niall McLaughlin and Yeoryia Manolopoulou

Opposite, clockwise from top: Anne Schroell, Michael Tite, Olivia Gordon, Susie Hyden. This page, clockwise from top left: Greg Blee, Naomi Abeliovich, Anna Pamphilon, Olivia Gordon, Markus Lobmaier, Aoife Keigher.

Dip Unit 18 Yr 4: Joshua Lau, Fiona Sheppard, Daniel Welham, Vincent Young. Yr 5: Jamal Badran, Carlo Benigni, Sophie Anna Campbell, Chih-Yu Chang, Marc Hoffensher, Stella Kamba, George Kontaroudis, Yosuke Miura, Pritesh Patel, Lirong Soon, Roderick Tong, Eric Tong, Anna Van den Dool, Ke Wang, Kevin Yiu, Shean Yu.

Vertigo/Verticality This year we initially explored the dimension of verticality in architecture and the field trip was to Manhattan. Could highrise go even further? Could vertical buildings take on more interesting forms than generic extrusions of the ground plane? Need they be as banal as they usually are? Are the economic and technical constraints such that there is little room left for experimental design and fantasy? As we rapidly move towards more compact hyperdense cities, particularly in the Far East, such questions are becoming highly topical. As for the programme, although the city calls mainly for multi-use towers, the students are free to make their own choices and to propose more idiosyncratic interventions. The overall aim is to push the envelope further with respect to the design of verticality, and also to encourage each student to find her or his niche and individual interpretation. Needless to say, most students joining the unit have eventually developed their own briefs for various sites, giving relatively little importance to the underlying theme of verticality, and have even chosen some sites outside of New York, including Tokyo and London’s Canary Wharf. Although we initially encouraged students to pursue the main theme, we were, as usual, even more interested in welcoming diversions from the brief. And it shows in the resulting projects!

Colin Fournier and Peter Szczepaniak

Clockwise from top left: Anna Van den Dool, Fiona Sheppard, George Kontaroudis, Jamal Badran, Joshua Lau, Eric Tong, Dan Welham, Carlo Benigni.

Clockwise from top left: Kevin Yiu, Roderick Tong, Vincent Young, Yosuke Miura, Chih-Yu Chang, Stella Kamba, Pritesh Patel, Marc Hoffensher, Lirong Soon, Shean Yu, Sophie Anna Campbell.

Dip Unit 19 Yr 4: Sam Hobson, Nathanial McMahon, Jessica Moxham, Matteo Sarno, Alexander Schramm, Andrew Smith, Ben Sweeting, Bruce Thompson. Yr 5: Haseb Faqirzada, Pravin Ghosh, Roy Ori Goor, Sebastian Mann, Daniel Marcal, Massimo Minale, Yiu Fai Poon, Sophie Spens.

The Pataphysical Exceptions of Reflexive Architecture Since the mid 1990s the impact of virtual technology has rapidly changed the architectural profession. This change has altered even the most mundane normative practice. Also it has drastically altered the nature of the architectural avantgarde. Its direction has progressed from the affected nihilism of the deconstructive era of the 1980s to paradigms of responsiveness. The basic premise of this work is that objects and events can be made to respond to the specifics of sites, the evolutionary emergent imperative, users and viewers, manufacturing processes and virtual tectonics. It is our contention that the impact of virtuality and advanced remote sensing devices should lead architects to reassess Surrealist and Pataphysical concepts of space. There are many similarities between these modes of creativity and the way an architect might perceive, interact and make connections between their architecture and the myriad of machinic and natural ecologies that constitute the sites of our contemporary architecture.

Neil Spiller and Phil Watson

Opposite, top and bottom: Haseb Faqirzada. This page, top: Daniel Marcal, bottom: Massimo Minale.

Dip Unit 20 Yr 4: Mark Andrews, Misae Furugori Gonzalez, Chikako Kanamoto, Nathanial Keast, Masashi Miyamoto, Rosemary Pattison, James Pike, Shaun Siu Chong, Benjamin Guy Thomas, Paul Thomas, Andrew Teng Ying Yek. Yr 5: Ilana Brilovich, Sirichai Bunchua, Mark Exon, Shiu Lun Lam, Chun Yu Lau, Samuel White.

Homo Sapiens, Robo Sapiens, Home Sapiens Unit 20 is interested in crossing boundaries of the traditional architectural practice, developing innovative conditions in architecture. By looking into advances in a wide range of sciences and art, each student develops an individual field of interest through a one or two year research programme: bio-medics, ‘extropianism’, small-scaled intelligence, light structures, material engineering, and digital aesthetics. Objects in our daily life should be under reconsideration. Architecture is built up by many different strata, scientific knowledge, micro-worlds and objects, which interact within the realm of time, speed, movement, periodical reproduction, and random connectivity. The work of Unit 20 has been published and exhibited widely. Recent exhibitions include ‘Actions re Form’ at CAPC Coimbra and Architekturgalerie Munich, the Valencia University, the Framework Gallery in Berlin, the Cork Gallery in London, the Media Festival in Florence, the Tokyo Institute of Technology, and participation in the Rotterdam Biennale 2003. The Unit 20 book was published by the University of Valencia/Actar in 2002.

The Unit 20 field trip to Tokyo was supported by The Daiwa Anglo-Japanese Foundation. The exhibitions ‘Bartlett Experiments – Marjan Colletti and Marcos Cruz’ at the Tokyo Institute of Technology, and ‘Summer Show 2004 – Unit 20’ were supported by The Great Britain Sasakawa Foundation.

Marjan Colletti and Marcos Cruz

Top to bottom: Sirichai Bunchua.

Above: Samual White.

Dip Unit 21 Yr 4: Jonathan Ashmore, Lucy Evans, Gregoriades Kostas, Tom Holberton, Anthony Lau, John Oliver, Sang–Kil Park, Ursula Thompson, Dennis Tsang, Alex Tucker, Lawrence Wong, Louise Yeung. Yr 5: Grace Craddock, Pedro Alejandro Gil, Doris Lam, Grace Ng, Mark Shaw, Adam Whitlock Wood.

Stay ÷ Time A fascination of cities over time is that they tell stories about people, the way they lived, worked and what they felt was important. Whether it is poetry and myth, technology and finance, the cultural fabric is built into architecture one layer over the next, generation after generation. The project this year is concerned about the reading of context, but perhaps not in the most orthodox sense. Our location is Penang in Malaysia, an erstwhile trading port on the historic spice routes to the east. This small island city reflects its rich cultural past from early Indian civilisation to that of the Portuguese, Dutch, British and later the Japanese military occupation of World War 2. Like many cities of occupation, those that came left their legacies. The colonial imprint announces its origins clearly, but the interwoven material style of the Chinese and indigenous Malay community provides a more subtle backdrop. The multi-cultural histories are like continuously interwoven threads, seen in the buildings and landscape, recorded in literature, and lived out in everyday life. The programme is for a place to stay. It may include some of the traditional components of the hotel, but a wider and more poetic interpretation of ‘stay’ is explored – a place to observe, listen or read; a place that reflects the environment, sensitive to its context but, at the same time, making a sharp, direct and tough statement for the future.

Christine Hawley and cj Lim

Opposite and this page: selected individual and group projects.

Dip Unit 23 Yr 4: Noor Abdul Aziz, Jennifer de Vere Hopkins, Ross Duggleby, Christopher Fay, Ronan Friel, Christos Lefakis, Alistar McDonald, Tom McGlyn, Martin Xavier Perez Jensen Broby, Joachim Reiter, Thomas Stewart, John Stimpson. Yr 5: Ian David, Nadine Holland, Barrie Shaffner.

Transplants/Transactions This year, our first in Diploma, we seek a critical understanding of architectural obsolescence and the city. The year began with 'Transplant', a series of built interventions within the abandoned buildings of the former Queen Elizabeth Children's Hospital in Hackney, East London. The work explores and reveals unique characteristics under the skin of redundant and decaying sites. Later in the year, proposals for the abandoned spaces of Stralau Peninsula East Berlin are investigated as sites of 'Transaction'. Designed in detail, fish auctions, newspaper archives, self storage repositories, and so on, seek to acknowledge the unique character of the city's ad hoc public realm. Each project becomes a means to pursue the unit's underlying agenda; to practice and investigate the hybrid modes of design and making. Thanks to our critics: Abi Abdolwahabi, Phil Ayres, Roz Barr, Paul Bavister, Stephanie Brandt, Peter Culley, Kenny Cupers, Stewart Dodd, Paul Fletcher, Kieran Gaffney, Stephen Gage, Steve Hardy, Jan Kattien, Eoin Keating, Constance Lau, Tom Lomax, Luke Lowings, Yeoryia Manolopoulou, Ed Norman, James O'Leary, Mark Prizeman, Peg Rawes, Will Russell, Neil Spiller, Mark Smout.

Bob Sheil, Zoe Smith and Graeme Williamson

Top to bottom: Alistar McDonald, Christos Lefakis, Tom McGlyn.

Clockwise from top left: Christos Lefakis, Joachim Reiter, Ian David, Christopher Fay, Ian David.

Dip Unit 24 Yr 4: Johan Berglund, Eleanor Brough, Katherine Davies, James Ewen, Kirsten Holland, David Roy, Kristina Schinegger, Jason Spiliotakos, Niek Turner, Emmanuel Vercruysse. Yr 5: Joveria Baig, Sarah Burton, Rhys Cannon, Ka Man Cheung, Dimitris Karampatakis, Jonas Love Norlin, Chryssanthi Perpatidou, Ylva Reddy. MArch Architecture: Timo Haedrich.

[Bosphorus] Drifts [Caspian] Shifts Unit 24 investigated conditions of flux, places of exchange, transformation and information. Focusing our investigations on a part of the Silk Road between Istanbul and Baku, an area defined by flows between the east and west, we consider a range of shifting conditions and continually changing environments. The unit explores an architecture that is part caravan (moving object) and part building or caravanserei (fixed place). We propose architectures of interferences, interruptions and obstacles to the flow of things in motion. Projects are sited in Istanbul or Baku. The year’s programme comprises three interrelated parts. Rift: a project defining two points of reference and the space in between. Drift: an assemblage/construct of moments of drifting, derive, currents, turbulence, vortices and eddies. Shift: proposals developed from individuals concerns ranged from markets of various types, hotels, taxi stations, bird sanctuary, apiary radio stations, weather register, sanatoriums and dog racing tracks.

Peter Hasdell and Patrick Weber

Opposite, top: Dimitris Karampatakis, middle: Emmanuel Vercruysse, lower: Jason Spiliotakos. This page, top: Rhys Cannon. Bottom row: Kirsten Holland, Sarah Burton, Niek Turner, Johan Berglund, Joveria Baig, Chryssanthi Perpatidou, Niek Turner, Rhys Cannon, David Roy, Ylva Reddy.

Graduate Design Options MArch Architectural Design enrolls graduates from countries worldwide. In its 11 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. This year, Peter Cook took advantage of the opening of the Kunsthaus in Graz to take the group there at the start of the session and some students have made their own proposals for this city. Others have taken off from the general year's theme of 'the graduate student' as a field for investigation and design. The group complete their work in September and a dedicated show will take place at Wates House at the start of next term.

MSc Urban Design is a project-based 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. In the last three years, the main theme has been Hyperdensity; students have made field trips to cities including Hong Kong, Shanghai and New York, where they have developed a series of urban design projects. This year, projects are based on the Hudson Yards area of Manhattan.

MSc Virtual Environments programme explores the realm of virtual environments – the creation of the digital desktop and augmented and immersive spaces within an architectural context. Responding to the impact of virtual worlds and computer technology on the design of the built environment, the programme focuses on the development of sophisticated skills and the theoretical basis required by design professionals at the forefront of their fields. For MSc Architectural History and other MSc options, see the Bartlett Graduate Guide. Clockwise from top left: Rashika Botejue (MSc VE), Tom Carden (MSc VE), Julian Krueger (MArch).

MArch Architectural Design Director: Professor Peter Cook, Coordinator: Andrew Porter, Tutors: Barbara-Ann Campbell-Lange, Dr Penelope Haralambidou, Dennis Crompton, Peter Hasdell, Gavin Robotham. Teaching assistants: Tea Lim, Stephanie Brandt.

MSc Urban Design Director: Professor Colin Fournier, Tutors:Dennis Crompton Jonathan Kendall, Niall Maxwell.

MSc Virtual Environments Director: Lesley Gavin, Tutors: Prof. Alan Penn, Alasdair Turner, Cristiano Bianchi, Chiron Mottram, Ava Jasmin Fatah.

Top: Zhenjiang Guo (MArch), bottom: Mabel So (MSc UD).

MPhil/PhD by Architectural Design Graduating Students 2003-4: Dr Penelope Haralambidou, Dr Yeoryia Manolopoulou, Dr Victoria Watson, Current Students: Adam Adamis, Ana Paola Araújo, Stephanie Brandt, Nick Callicott, Chadi Chamoun, Nat Chard, Li Lian Chee, Marjan Colletti, Marcos Cruz, Catja De Haas, Steve Hardy, Teresa Hoskyns, Ersi Ioannidou, Rosalie Kim, Tae Young Kim, Kristen Kreider, Constance Lau, Junghee Lee, Kwang Guan Lee, Tea Lim, Lesley Naa Norle Lokko, Ana Luz, Igor Marjanovic, Bradley Starkey, Mette Ramsgard Thomsen, 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 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 29 students from over 10 countries. Dr 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 November 2004 it will be ‘Critical Architecture’. For the PhD programme in Architectural History and Theory, see the Bartlett Graduate Guide.

Director: Dr Jonathan Hill, Supervisors: Prof Iain Borden, Prof Peter Cook, Prof Stephen Gage, Prof Julienne Hanson, Dr Penelope Haralambidou, Prof Christine Hawley, Dr Jonathan Hill, Dr Yeoryia Manolopoulou, Prof Alan Penn, Dr Barbara Penner, Dr Jane Rendell, Prof Philip Steadman, Prof Philip Tabor.

Victoria Watson (opposite, top) ‘The Atmospheric Signifier: Miesian FormGiving, Lefebvrian Space and Cotton Grid’ This thesis argues that Mies van der Rohe’s architecture is modern, but not abstract. Mies’ architecture seeks to evoke the sense of a point prior to abstraction, as if the architecture is waiting, mute, tranquil but tense, for signification to emerge. The thesis approaches the problem through two modes of inquiry. The first through discursive analysis of texts and of architectural artifacts; in particular the thesis draws upon the thought of Henri Lefebvre and upon the idea of abstraction that is embedded in his thinking about architecture. The second mode of inquiry is through material action, that is through the design, development and manufacture of concrete imaginative works; these works are referred to in the thesis as Cotton Grid.

Penelope Haralambidou (opposite, bottom) ‘The Blossoming of Perspective: an Investigation of Spatial Representation’ Following Jean-François Lyotard’s reading of Marcel Duchamp's final pornographic assemblage, Given: 1° the waterfall, 2° the illuminating gas …, as an incarnation and inversion of the rules of linear perspective, the thesis compares each constituent element of the assemblage with its perspectival equivalent in order to define an expanded spatial schema. It concludes by identifying stereoscopy as its central and intentional theme and stereo-photogrammetry as its manufacturing process and sees Given as a stereoscopic 'blossoming of perspective'.

Yeoryia Manolopoulou (this page) ‘Drawing on Chance: Indeterminacy, Perception, and Design’ This thesis considers architecture as a physical and psychological construction, and discusses the role of indeterminacy in it. It argues that architecture is a product and a producer of both design and chance. It investigates how our perceptual and aesthetic habits are altered by chance events or accidents and asks whether architecture might employ them as creative devices, by the investigation of art projects, in particular Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, and the actual production of design work.

End of term, 9.40pm Friday 11 June 2004

BARTLETT SCHOOL OF ARCHITECTURE UCL EXHIBITION CATALOGUE 2004 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

The Bartlett School of Architecture Exhibition Catalogue 2004  
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