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ARCH ITECTU RE ANNU AL 201 5 Department of Architecture and Civil Engineering The University of Bath

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CO NTENTS Acknowledgements

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Introduction

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BSc Architecture First Year

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Second Year

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Third Year

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Fourth Year

Basil Spence

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Year 4 Report

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Primitive Studio 4.9 Studio 4.5 Studio 4.3 Studio 4.1 Studio 4.16 Studio 4.17 Studio 4.18 Studio 4.22 Studio 4.23 Studio 4.25 Studio 4.24

68 76 88 102 110 118 128 140 148 160 172

Master of Architecture Fifth Year Sixth Year

192 Sustainable Cities

Antwerp Belfast Bratislava Glasgow Istanbul Vienna

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198 208 218 228 236 246

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Studio Leaders:

Martin Gledhill Toby Lewis Dominic Taylor Matthew Wickens Daniel Wong Alex Wright

Teaching Fellows:

Jayne Barlow Nigel Bedford Tim Burgess Scott Cahill Anne Claxton Elantha Evans Simon Gould Rob Gregory Dyfed Griffiths Rob Grover Jo Hibbert Julia Kashdan-Brown Frank Lyons Hugo Marrack Rob Mitchell Mike Tonkin Mark Watkins Mark Wray

The Department would like to thank the following practices and organisations for their contribution to Teaching on the BSc Architecture and Master of Architecture programmes in 2014-15: 00:/ 3D Create 3DReid 4orm Architects 5plus Architects AA Associates Active Thinking ADP Architecten Adrian Gale Adrian James Architects AECOM AHMM Architects AHR Alan Gardner Associates Alan Phillips Architects Alec French Partnership Allies and Morrison Andy Matthews Photography Angus Meek Architects Anne Claxton AR Design Studio arch i-Platform For Design Archicentre Architecture Centre Bristol architectureSmith

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Arturus Architects ARUP Arup Associates Ash Sakula Architects Atelier 17 Atkins Austin Smith Lord AVR London Axis Architecture Barefoot Architecture Bath & NE Somerset Council Bath Preservation Trust BDP Bean Buro Benoy London Bernard Stilwell Architects BIG - Bjarke Ingels Group Bill Gething Sustainability Bio Architecture Formosana Biodiversity by Design BLDA Bolans Architects Briffa Phillips Architects Brimelow McSweeney Architects Brisac Gonzalez Architects Bristol Society of Architects Buro Happold CaSA Architects Cayford Architecture Change Advantage Chapman Taylor Chaos Lab Childs and Sulzmann Architects Chris Askew CJ Lim Clear Future: Architecture CMS Architects Colem Group Cove Burgess Architects Craneworks CWCT D’Arcy Race Partnership Darling Associates David Chipperfield Architects de Architekten Cie De Novo Architecture Design Engine Designscape Architects Digital Nodes DKA Doug King Dow Jones Architects DP Architects Drawing at Work e3 Consulting Engineers ehk! Elizabeth Meddings English Heritage Enspace Architects

Erect Architecture Event Communications Falmouth University FAT Farrells Architects Fay Neville Feilden Clegg Bradley Studios Ferguson Mann Architects Fiona Darey Architecture & Interiors Fletcher Priest Architects Forest Architecture Foster & Partners Franklin Studios Architecture Corp FUKSAS Architecture Garnett & Partners Gelards George Lovett Glenn Howells Architects GMA Ryder Goudie Associates Grant Associates Greenaway Architecture Greenhalgh Landscape Architecture Grimshaw Groosman Partners Gustafson Porter Landscape Architects Haines Phillips Architects Hampshire County Council Architects Hawkins Brown Architects Hays Hewitt Studios HLM Architects Hoare Lea Hooke Park Hopewell Construction Hopkins Architects Houchell Studio Humane Architecture Ian Hume Ian McArdle Architects Ian Strickland Ibstock Ingenuities Innes Wilkin Architects Insall Architects Integral Engineering Design Interiors with Art James Grayley Architects James Kruhly Architects Jarvis Jefferies Architects Jayne Barlow Jeff Kahane + Associates Jestico + Whiles JM Architects Jonathan Logsdon Architects Kashdan-Brown Architecture & Urban Design Keep Architecture Kendal King Scott

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AC K NOW LE D GM E NTS Kilburn Nightingale Architects Knowledge Sharing Knox Bhavan Architects KSS Group Kumpulan Senireka Lab[au] Latitude Architects Levitate Lifschutz Davidson Sandilands Llewellyn Harker Architects Llewelyn Davies LOM Architecture LSI Architects LT Studio MACE MACH Acoustics MacGregor Smith Make Malcolm Pawley Architects Malishev Wilson Engineers Manchester School of Art Mann Williams Marek Wojciechowski Architects Mark Reeves Architects Mark Wray Architects Marks Barfield Architects Martin Architects Matthew Clay Architects Matthew Lloyd Architects Max Fordham Meld Architecture Metrostudio Michael Jones Architects Mick Brundle Ministry of Design Mitchell Taylor Workshop MJP Architects Momentum Consulting Engineers Morcom Design Workshop Mossessian Architects Mount Studio Architects Nash Partnership NĂ­all Mclaughlin Architects North Somerset Council NPP Consult Nu Architectuuratelier Oculus Building Consultancy Odgers Conservation Ooma Design Open Water Consulting Ordinary Architecture Orme Architecture Parks Agency Pattern Architects Paul Archer Design Penoyre & Prasad Architects Permasteelisa Peter Taylor Associates PH+ Architects

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Phillip Archer Pierce Architects Pinto Associates Architecture and Design Pitch 26 POD Architects Limited Populous Prewitt Bizley Architects PRP Architects Publica Purcell Ramboll RDJW Architects Regeneration Partnership Responsible Solutions RIBA Wessex Richard Frewer Richard Keep Architects Rick Mather Architects Rivington Street Studio Rob Grover Robert Tavernor Consultancy Techniker Robin Partington & Partners Rodney Melville & Partners Rogers Stirk Harbour and Partners RS Architects RSP Planet Sam Pesterfield Builders Limited Sarah Gibson Sauerbruch Hutton Scott Cahill Serpentine Galleries Serrano Evans Sherlock Boswell Simon Hands and Associates Simon Rayner Simon Timms Sir Peter Hendy Skanska Skelly and Couch Smallwood Architects Smith Maloney Architects Sou Fujimoto Architects South Stoke Structures Spaced Out Architecture Studios SRA Architects Steven Fitzwilliam Stitch Studio Stonewood Design Stride Treglown Studio 8 Architects Studio Henley The National Trust The Urbanists Tim Lynch Associates TM Architects Tom Glendinning Photography Tom Wilkinson Tonkin Liu

Tooley and Foster Partnership To-studio TP Bennett Trevor Lahiff Architects Twitchett Architect University of Cyprus University of Exeter University of Loughborough University of Reading University of Sheffield University of Westminster Vanessa Warnes Vivid Architects vPPR Architects White Design WhiteBOX Architects WHX Architects Wilkinson Eyre Architects Woods Bagot Wotton Donoghue Architects Wright & Wright Architects Wrigley Associates Wyvern Heritage and Landscape Yiangou Architects Zero Carbon Hub

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JOHN PERRY AND BDLA ARCHITECTS ARE VERY PROUD TO SUPPORT THE SCHOOL OF ARCHITECTURE ANNUAL 2015

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INTRO D U C TION

This has been another high octane year and once again the students have come to the projects displayed in this book with a level of evangelical devotion which is as joyous as it is inspiring. The relief on the face of every one of them at the point of submitting their work was palpable and it is true to say everyone has produced a good deal of salt (both sweat and tears) in the process. When a well-known architect was asked what their best building was, the answer was - the next one. In that sense architecture is perhaps always an endless journey that would challenge even Odysseus. For some, this journey was an enchanting meander through the world of ideas; for others, a headlong gallop pursued by the twin, apocalyptic enemies of architectural design – time and the need for sleep. I suppose what binds us all; student, tutor and critic alike is a sense of serenity, purpose and service in our work. Serenity, in that we all seek that beatific elation of a right solution eventually found. Purpose, because architecture at its best, endeavours to make the world a better place. And Service, in that we make buildings as a social art. As you wander or perhaps even gallop through this book, each page represents a very personal testament to hopes and dreams of a generation of students held on behalf of us all.

Martin Gledhill 4th Year Studio Leader, BSc Architecture and Director of Studies, MArch

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F I R ST Y E A R Matthew Wickens Project Two was entitled ‘Chaise Longing’ and the students were asked to design an exhibition stand for a specific chair picked from a canon of fifty 20th Century examples. The exhibition stand was to be built from timber but did not need to withstand the elements as it would be inside a trade hall. Therefore ease and speed of construction and the relationship of the ‘container’ to the object contained were key concerns.

F IRST Y EA R

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In Year One at Bath, students gather a broad range of experience by working in different materials for each project. We have a long tradition of team working with the civil engineering students and this starts on day one. This year, that project took the form of a 6 week project to design AND build at 1:1 a sculpture which depicted the invented notion ‘Kin/Gnosis’ – derived from combining kinship (architects & engineers), kinaesthetic (learning by doing) and gnosis (Greek for knowledge through experience). Actually working with timber, fabric and rope meant the students were able to take this first-hand experience into Project Two.

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From left: Kin-gnosis; group 9. Chaise Longing; Sacha Moreau, Michelle Sin

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The final, and most complex project of the year ‘Camera Laterizia’ - was to design a 3-bed live-work house on a rectangular plot 12m x 18m around a 6m x 6m courtyard. This followed a field trip to the Ibstock brick factory at Cattybrook, near Bristol. The client brief was to be derived from an investigation of photography, and as the project title suggests to think about the relationship between admitting light into a camera obscura – ‘darkened room’ - and the house of a photographer made from brick – laterizia in Italian. Ibstock also kindly sponsored prizes to the value of £600 for this project and awarded 10 students at the final review.

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Semester Two began with Project Three called ‘Open/ Closed’. The brief was to design a small scale kiosk which could sell food but also serve to animate an area of campus. This time the material palette was a steel structure with a lightweight skin. These ‘skins’ were selected at random from corten, stainless steel, copper, zinc, lead, metal mesh, polycarbonate & coated fabric. The opening and closing of the kiosks themselves were intended to signify the status of the kiosk – the whole building could be transformable.

From left: Open/Closed; Adam Price, Leo Leung. Camera Laterizia; Alejandro Fernandez, Diana Smiljkovic

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SECOND YEAR Nigel Bedford + Dominic Taylor Year Two at Bath continues to develop the students’ design methodology by expanding their repertoire of design tools and analytical skills.

also encouraged to start thinking about the building in a conceptual or ideological way as long as it does not compromise function.

The students design more complex buildings and are asked to Analyse and to respond to context. A deterministic design methodology is encouraged with an emphasis on analysis of building type, programme and context and how this can ‘drive ‘the design.

Context

Building typology and ‘Programme’. ‘What does the building want to be?’’.

1 SITE ANALYSIS

Exploration and development of the building design both in its abstract ‘generic’ form as well as how it can be optimised to the given site. While the emphasis is on a ‘rational deterministic approach’, the students are

Located at the heart of a small village, Combe Down, the site is a large expanse of recovered parkland, previously a quarry. The site boundary is set in the southernmost part of the park, surrounded by a small rubble wall. The parkland is bordered on all sides by roads of varying size and traffic flows, and a variety of trees are present on and next to the site. The vernacular architecture is typical Bath Georgian, with the dominant materials being used Bath Stone and Slate. All of the above make the site rather sensitive to work with and any design will have to sit cohesively with its context. 07 RESPONSE TO CONTEXT

Analysis of context with the emphasis on how that analysis ‘generates’ the design solution. Building form, material and detail to be seen as a sensitive and considered response to the existing buildings and landscape of the given site. Considered and appropriate responses to site forces in terms of access, aspect servicing and the like. Site Photos

A p p rare o a c hthe o f s standard cheme Programme or Parti diagrams architectural shorthand for the interrogation of both ideas about context and the design as it develops.

Wa l l s

Site Photos Aligning front facades

Concept and Form

D enearby f e n s i v e p r i v a cy w a l l s R e s p e c t i n g c e n t r a l a 1x The i s flat roof at first floor level above the entrance mirrors that of the

A Privac

student accommodation blocks, also clad in copper standing seam, it also decreases the impact of the form as one approaches to help the building feel grounded. 2 The imposing form and character of the Chancellors building is dealt with by placing the service wing of the building along that axis, also with an increased height to provide more shelter. 3 The overall footprint of the building, in particular the west facade stems from the central focal point of the triangular shape green on which it sits. 4 The front facade of the building is in line with the existing accommodation blocks, the linearity of which is picked up in the horizontal windows. However the vertical nature of the fenestration of the existing blocks is reflected in the window treatment and mullion detailing of these windows 5 Upon approach to the scheme the users are greeted with a small concrete wall emerging from the front of the building, which mirror the existing feature concrete wall that users will have passed when walking down from parade. This use of a concrete wall next to a circulation path helps to tie the scheme in with the context. 6 The primary form of the scheme consists of individual wings splaying out from a focal point, which mirrors the pathway layout in the neighbouring courtyard. 7 The views along the accommodation courtyard pathway are exploited via a large window facing East, which helps to open up the scheme to the existing context.

Materiality •

Site Forces and Axes Ensuring scheme does not encroach

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dings

The visible flat roof and connecting wall are clad in copper standing seam, picking up from the panel of copper standing seam on the adjacent Chancellors building and then wrapping around the roof form.

E xD

A l i g n i n g• f Concrete r o n t is used f a cas athedprimary e s material in the scheme, reflecting the P rcontext o v i d e v iRe ews pt eo c St ionugt hc e n t r a l a x i s of the university campus, which is predominately concrete brutalism.

used selectivity in the scheme, for example on the West facade P u b l i c a n d p r i v a t e z o• n iGlazing nSgi tisemirroring P h the o tuseo ofs the glazingSoni ttheeChancellors P h o tbuilding os staircase, Spi rt oethe A pcladding aA c hn aol fy ssi cs hAae npmdper D • Timber is the main material on the north east side of the scheme, o ae cs ihg no f Ms oc vheesm e

Wa l l s m

clinical spaces. This is to reflect the general idea that the area to the north east of the site is much more natural, green and undevelopment compared to the main parade to the South West.

P Public (yellow) and Private (grey) Buildings

S ECON D Y EA R

A l i g n i n g f r o n t f aA cl iagdnei sn g f r o n t f a c a d e s

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Ensuring scheme does not encroach R e s p e c t i n g c e n tRr ea sl paexci st i n g c e n t r a l a x i s

Public and private zoning D e f e n s i v e p r i v a cDye fwe an lsl isv e p r i v a c y w a l l s

S P r i v a cy

From top: Medical Centre Site analysis; Tom Cunningham. Community Hub site analysis; Tom Cunningham

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P r o v i d e v i e w t o PSr oo uv ti dh e v i e w t o S o u t h E n s u r i n g s c h e m eE ndsouersi nngo ts cehnecmr oe a dc ohe s n o t e n c r oPaucbhl i c a n d p r i v aPt ue b zl iocn ianngd p r i v a t e z o n i n g

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S i t e A n a l y s i s a nSdi tDe e As inganl yMs iosv ea sn d D e s i g n M o v e s

Explo


Presentation

context and catalyst for debate on what constitutes a ‘sympathetic’ contextual response.

In the continued development of presentation skills, second year emphasises computer modelling as opposed to real modelling.

Project Two The design for a Doctors’ Surgery on three different sites on the University of Bath campus.

By the end of second year, students will be familiar with the architectural conventions of presentation and how they apply to a full range of drawing techniques.

A more complex building type with a more challenging set of spatial and planning requirements.

Project One

The modern built context allowed for more scope in ‘style’ and material choices while the more generous sites lent themselves to a wider range of planning strategies.

The design for a Community Hub (Village hall) in the Village of Combe Down. This project was a vehicle for the study of a Georgian EXTERNAL PERSPECTIVE

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PARK PERSPECTIVE

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PARK PERSPECTIVE

BIRD’S EYE PERSPECTIVE

S ECON D Y EA R

BIRD’S EYE PERSPECTIVE

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07 From top: Community Hub; Nina Manchorova, Harouth Mekhjian. Medical Centre; Samuel Kalejaye, Gala Urroz

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TH I R D Y E A R Daniel-Jang Wong

The resulting work was eclectic and imaginative – from performing, debating and exhibition spaces to a food market; from sound/conversation shells to a home for the endangered London House Sparrow; from a cooking ‘black oven’ to a community-built bamboo shelter for children.

The setting for Project 1 was Kensington Gardens in London, between the two Serpentine Galleries. Students worked in groups, in collaboration with Engineering colleagues, to design a series of small temporary structures. Each group had to define and choose an educational programme and pedagogical approach, in keeping with the Serpentine’s current mission of art in the community and outreach.

The open-ended nature of the brief allowed for wideranging cultural and educational endeavours, explored in the context of an existing rich artistic environment. This project also begins to encourage tools and skills involved with the haptic and the visceral – hand sketches, water colours and physical models – to represent and create an architecture that is multisensory, and emotionally engaging.

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This year, the theme for 3rd Year was Architecture: culture, art + narrative. By exploring the two contrasting themes of transience and perpetuity in two projects, at two different scales, we opened up the debate on how an architect might interpret the cultural context of any given project site and brief.

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From left: Classrooms in the park project, Kensington Gardens by Groups 26, 9, 12 and 27.

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Project 2 was set in Porto, the chosen city for our study trip. This project explored the notion of legacy for selected works of the ‘Porto School’ architects: Fernando Távora, Álvaro Siza, and Eduardo Souto de Moura. The task was to design a Casa e Arquivo da Arquitetura Contemporânea (Contemporary Architecture Museum + Archive), a large building of 4,000 sq m.

The resulting designs variously captured the terrain of the city, the urban grain of the precinct, and the truly amazing panorama or vignettes of river and bridges. Roof terraces, complex and delicate façade systems, projecting planes, level changes – were among the common devices used to depict the narrative of the city. Some projects explored the curating of the exhibitions within the museum – either thematically or chronologically – as their point of departure for form making. More importantly, there was a subtle yet tangible appreciation of the divided social condition, the history of the site, and how the meaning of continuing debate in architecture that Siza truly promotes as his legacy to the city, is expressed.

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Students had to choose one of three challenging sites, each with its own physical peculiarities and social character. The year sought to understand the complex internal relationships within the contemporary museum, including strict environmental requirements. Further, there was the intriguing question surrounding the border or liminal condition of each of the sites: when does the city inhabit the museum, and the

museum become the city?

From left: Porto project by Melanie Rich, Rebecca Woolman, Adam Lewis, David Majoe, Megan Cumming.

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The value of a great film is not in the images projected in front of your eyes but in images and feelings that the film entices in our soul. Fritz Lang

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FO U RT H Y E A R - TH E BAS IL S P ENC E P ROJE CT Pictures in the Park

Arguably across the globe, the television, the smartphone and the computer screen have usurped the mantelshelf, hearth and possibly even the shrine, as the focus of our daily devotions. In return for our sullen bond to such technologies, we are offered vicarious adventures, relationships and other mythical experiences. This curious substitution with all its allure is surely worthy of inquiry in regard to the larger counterpart of these devices – the Silver Screen. Furthermore, the spatial and social consequences of this wider context offer many parallels with a preoccupation with surface and narrative in contemporary architecture. The majority of modern cinema spaces could be understood as ‘dumb boxes’, and often lack the splendour or aspiration of the original picture palaces - a lamentable reflection on contemporary culture perhaps? In an exercise entitled – The Basil Spence Project - Pictures in the Park, students were asked to respond to the above phenomenon, by designing an Institute for the Bath Film Festival. The proposals contain not only cinema spaces, but also exhibition spaces and other support facilities as a means to foster a more meaningful engagement with the transformative potential of film. The site chosen was deliberately contentious in that it is both adjacent to the historic Pulteney Bridge and occupied the green heart of the city – Parade Gardens. The project interweaves the disciplines of architecture and engineering and to this end the students work in groups typically comprising of three architects and two engineers – many worlds meet in this project.

Martin Gledhill 4th Year Studio Leader

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G ROUP 1 Frederica Bond, Hannah Richmond, Thomas Roberts + Tom Cherrett, Sarah Howell ‘The world is reflected in the body, and the body is projected onto the world’ As humans, we must somehow find ways to bring our thoughts, feelings, and actions in harmony both with ourselves and with the world in which we live. In encountering and reconnecting with nature we in turn discover how all of its parts, including ourselves, belong.

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The proposed scheme intertwines public space with Bath’s urban fabric in order to create an animated natural heart within the city centre, building on the currently under used and defended Parade Gardens. By evoking a sense of awareness and discovery, the proposal aims to fully immerse and integrate the body into its environment.

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From top: Concept sketch, view of the flooded gardens, view of stepped gardens at night

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GRO U P 2 Luke Gordon, Paul Jordan, Natalie Stas + Ka Yi But, Konstantinos Voulpiotis

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The priority of the scheme focuses on re-generating public space in the heart of Bath, with the Film Institute acting as the facilitator in this cultural regeneration. Cinema experiences were at the forefront of the programme, establishing three varying cinematic venues with a primary intention to create a hub with new platforms for social interaction. The main objective was integrating these spaces into a design response that was appropriate for the context and the future development of the site. Despite having a strong social agenda, it was important that the scheme also provided a new visual landmark in the city, establishing new forms of engagement across and beyond Bath.

From top: View across bridge, overall watercolour, view of outdoor cinema

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G ROUP 3 Barney Curtis, ZoĂŤ Day, Priya Thandi + Ben Sochacki, Stephen Thomson As a group we intended to recreate and celebrate the cinema experience as a whole by considering the events intertwined between reality and fiction by assigning them with an equal importance to the notion of viewing the film itself. The journey of immersing yourself in film is not restricted to solely the room itself, with a grand reveal after, to allow a space to reflect in. Pre, Cinema, Apres - Extending the cinematic experience, pre and apres spaces create a continuous journey through the building whilst allowing users to anticipate and reflect on the film.

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Climax - The building creates its own narrative and climax where learning about the film is the build up towards viewing the final product, with a grand reveal after it finishes.

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From top: Lower floor plan, detailed section, view from riverside, post experience

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GRO U P 4 Lee Hui Khoo, Jason Liu, Damon Zhang + Nickolas Chountas, Tim Essex The Bath Film Institute aims to rekindle the relationship between film, architecture and the city. Just like architecture can exist in film, we want the film to also exist in architecture. We want to put Bath under the camera lens and by experiencing through the building, one creates a motion picture of the framed views of Bath.

B A SI L S PEN CE

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We wanted to preserve Parade Gardens, a precious public space, creating a south garden that can be used as an outdoor cinema and also create stepped gardens where the building footprint lies. The project is concerned with routes and the idea of varying levels of planes resulting in an undulating landscape. We want our whole scheme to become an exhibition about film, so people are encouraged to travel through the tower experiencing the building as well as Bath.

From top: Program sketch, view at night, model photograph, interior view of top floor cinema

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G ROUP 5 Rawan Hussin, Yun Liao, Jakub Ryng + Melanie Davison, Francine Woolley split between a vertical tower element and a more horizontally-articulated stepped plaza, cascading towards the River Avon. The whole combines into a cinematic journey from the very top of the tower, where the visitor’s exhibition starts, down to the water, with various events taking place along the way.

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Amongst the many ambitions of this project was the desire to provide a genuinely flexible public space that would link the built-up pavements of Georgian Bath to the level of the ancient city by the river, to help rediscover the somewhat overlooked area of the Parade Gardens and reengage with the water. In its massing, the scheme takes the form of a giant staircase

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From top: Concept collage, view from across the bridge, aerial view of central steps, perspective section

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GRO U P 6 Dulmi Jayawardene, Yannick Lo, Chen Yong Tan + Eamon Rivers, Rosie Stevenson

B A SI L S PEN CE

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Cinema is a space where belief is stretched, squeezed and thwarted as the director intends. It’s a space where disbelief is suspended for a brief moment. Motion pictures are the directors’ media. The level of suspension of disbelief, therefore the immersion is merely a parameter that the director, the movie and the space control. Hence no two cinematic experiences are the same and each movie falls into their own unique space in the spectrum of disbelief. This realisation nurtured the metaphorical out linings to our project. It is this DATUM OF DISBELIEF in which cinematic spaces exist in their own capacity - that became the poetic drive to our project.

From top: Datum of disbelief concept model, perspective section, cinema 1 section, external view

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G ROUP 7 Deniz Atakan, Georgi Belyanov, Lucinda Anis + Kezia Barclay, Tom Jerry What we created is a static volume that is constantly altered and re-created through a continuous change in perception. This perpetual transformation lies in the nature of its materiality along with its nodal presence on the East Bank. From afar, the building appears as a monolithic mass that has risen from the river to form a Coastal Stack - like volume. It is heavy and present, it exists as a dominant form that sheds light and life on the rest of the city.

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As one slowly approaches the building, its envelope slowly gives way to the flooding of internal light and the welcomes the external realm. The external layer of the building gradually becomes more humane as it adapts to the activities happening beyond it - it engages the public with its functions and becomes a building that is inviting and permeable - it becomes less of a powerful mass that towers over the city and becomes a building that weathers to the touch of the air and the sky revealing its impermanence and ephemerally exists to introduce one to the notion of an institute - allowing one to become more familiar and comfortable with it. The closer one gets to the skin of the building, the more they are clear as to what lives this building holds.

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From top: Envelope detail, view from maze, view from the bridge, surreal concept

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Opposite: Journey Sketches

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G ROUP 8 Marialena Byrou, Laurence Gibbons, Cynthia Leung + Elaine Roberts, Panayiotis Xenophontos

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Our scheme aims to reunite the City of Bath with the currently under-used Parade Gardens by mediating the boundary between the two. Placing the building towards the south-west corner of the gardens, we hope to re-imagine “Bog Island” as a central performance space with a retractable roof to allow for all weather use. The city boundary is pushed slightly into the garden providing more pedestrian space and a new wider route into the gardens. The Gardens are pulled underneath and into the central performance space.

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From top: Elevation view, concept diagram, view of food market, view of the ‘circus’ cinema experience

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GRO U P 9 Han Wang, Yuyu He, Yuzhi Zheng + Levi Kin Chuan Wong, Amalia Villacentino The brief we have been given is to design a Bath Film Institute which will be used all year round but will have a particular focus during the Bath Film Festival. Our approach is to provide a continuous space outside the cinema and create different gathering platforms around the cinema. Also the building will be linking the city and the garden as well as between the two sides of river.

‘Relating a person to the whole world: that is the meaning of cinema.’

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Andrei Tarkovosky

From top: Concept image, view from street, view from bridge

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G ROUP 1 0 Sophie Craven, Heather McNeill, Katie Shaylor + Olivia Ewing, Michael Murch Parade Gardens is an important public space within Bath, but is under-utilised in its current form. We did not want to suppress the character of the park, but add to it.

B A SI L S PEN CE

| BS c Arc hite c t ure

The river is the most disconnected part of the space - we wanted to inhabit the bank, a space which is betwixt and between the river and the park. This will bring it back into the public realm, enhancing a space within Bath which remains as an element of the historic natural level. Through this we created a narrative between the cityscape and nature.

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From top: Sketches of flexible performance space, view from park, interior cinema view, river connection

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GRO U P 1 1 Maddy Mathias, Grace Reid, Jason Tsang + Toby Loxley, Will Saunders The Film Institute involves the major re-planning of the Parade Gardens site. The design weaves two new public realms - the ground level plaza and the activated riverfront. In conjunction with the radical reorientation of the rugby stadium, the scheme seeks to re-establish the relationship between the city and the wider landscape of Bath across the River Avon.

B A SI L S PEN CE

| B S c A rc h ite c t ure

The scheme is primarily massed to create objects that seek to establish their own identity against the historical backdrop of Bath. Vital civic space is created between these strong elements, engaging the public with the building.

From top: Bridge view, model photograph of entrance, street view

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G ROUP 1 2 Hyun Jae Jung, Harjeet Matharu, Shijian Zheng + Kin Choi, Fesnik Fshazi, Xu Wang The injection of culture through the rich medium of film can alter the perception of the spaces that people inhabit, reviving the forgotten spaces whilst facilitating the introduction of those which are forthcoming. The river is the historical witness throughout the evolution of the city, accumulating and archiving the memories of the past.

B A SI L S PEN CE

| BS c Arc hite c t ure

The project proposes a new film institute on a highly contentious site in the centre of historic Bath, thereby allowing the cinemas to operate as distinct ‘villas’ set within an existing landscape and organised along a new two-storey street. Through rediscovering the connection to the riverfront, it will open up the river providing society with a new opportunity of adventure.

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From top: Mediatheque perspective section, elevation perspective, south view from North Parade

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G ROUP 1 3 Lauren Barwise, HonYen Chong, Adam Sparrow + Huseyin Ince, Will Simmons

B A SI L S PEN CE

| BS c Arc hite c t ure

The Film Institute aims to take advantage of one of film’s greatest assets, that of escapism. In the darkened theatre of the cinema, viewers are able to free their mind of the physical world, and are able to instead immerse themselves in the offering of the film. This scheme looks to provide the ideal setting for this to take place, and looks to create a smooth transition between the real and the illusory through a preordained sequence of spaces. It also aims to maximise the emotive impact of the film by accentuating fluid motion through the building; ‘motion through emotion’, or ‘kinema’.

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From top: View from bridge, landscaping plan, exhibition courtyard, amphitheatre landscape section

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GRO U P 14 Lauren Earle, Maha Komber, Wendy Leung + Jinbin Chen, Ali Guran Tahsin This scheme was heavily driven by Bath’s rich heritage; maintaining a dialogue with the historic context whilst creating a modern interpretation of the cinematic experience was vital. For this purpose, the film institute was arranged along an axis created between the Abbey and the Recreation Ground, helping to connect the historic urban centre with the more modern area. A view of the Abbey was maintained throughout the scheme to emphasise its historic context.

B A SI L S PEN CE

| B S c A rc h ite c t ure

The axis defined a central promenade onto which all spaces opened out. This provided an energetic heart for the institute as well as doubling as a flexible cinema space, allowing the building to adapt to increased demand during the Bath Film Festival.

From top: View from North Parade bridge, section, view of central space as cinema, view of central space

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GRO U P 15 Conor Blakeman, Justin Frank, Mark Shtanov + Alice Hewitt, Sorella Smith As a film institute, the brief called for the building to spread awareness of film, not merely be another multiplex. Responding to this we created a building on the river in Bath that would allow floating cinemas to be deployed to the surrounding towns and villages along the rivers and canal network, truly bringing film to the people.

B A SI L S PEN CE

| B S c A rc h ite c t ure

The building consists of a weathered-steel ‘spine’, onto which these timber-clad ‘pods’ dock. By building on the east side of the river, we leave the gardens as they are and regenerate an area into a vibrant celebration of the arts.

From top: Concept sketch, view from North Parade bridge, view of boats

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G ROUP 1 6 Darya Eudakiya, Shawn Zhang, Yushi Zhang + Ben Hellawell, Maurice McLachlan The project consist of 2 cinemas for normal screening and 1 large cinema space for 750 people which is to house cinematic events during the Bath Film Festival. Due to the flexibility of the space, the largest cinema is opened up and acts as a new central gathering space for the younger generation in Bath, a place to host conventions, gigs and exhibitions, a place for fun.

B A SI L S PEN CE

| BS c Arc hite c t ure

Film and cinema are conveyed through a medium of screen. This is possible through the use of a machine that projects a moving image and produces sound. Our scheme provides the city of Bath a new ‘screen’ which is run by the ‘machine’ and movement of its users. The screen and the machine is metaphorically and physically the facade and the building.

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From top: Perspective section, screen concept, machine concept, view from open cinema, exhibition space

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GRO U P 17 Alexandra Goulds, Stanislaw Krzyzewski Liliane Nguyen + Hamish Fletcher, Bella Zhu

B A SI L S PEN CE

| B S c A rc h ite c t ure

We wanted to emulate the idea of proud voyeurism seen throughout the history of Bath and thus adopted the theme of ‘seeing and being seen’. We have decided to celebrate the metaphor of the cinema as a black box and created a bold structural form using these solid objects. These are set into the building, contrasting with the transparency of the majority of the building where the circulation promenade is expressed. This vertical promenade is broken up by unique green spaces that invite people into the building. These include an intensive green roof garden, which becomes an informal outdoor cinema in the evening, an enclosed tropical garden and an open roof terrace overlooking the centre of the city.

From top: Elevation sketch, perspective section, west elevation, aerial perspective

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G ROUP 1 8 Robin Chatwin, Joseph Spencer, Hai Jie Tan + Jenny Doyle, Adam Lowe

B A SI L S PEN CE

| BS c Arc hite c t ure

Drawing from historic and contemporary cinema, The Bath Film Institute aims to draw together the constantly changing medium of film and the moving image. By housing this art form under one roof, the building acts as a much needed social and cultural hub for Bath and opens film up towards multiple other art forms. With a particular focus on the annual Bath Film Festival, the building enables cinema and the wide-ranging products of the institute to be celebrated in the surrounding gardens and throughout the city.

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From top: Concept sketch, section in cinema mode, southern gallery, atrium performance, view of machine, model

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GRO U P 19 William Bryan, Season Tse + Chris Harvey, Alex Webber

B A SI L S PEN CE

| B S c A rc h ite c t ure

The Courtyard Cinema is a celebration of the ‘dumb black boxes’ that commercial cinema architecture has become so intrinsically associated with. Lightweight timber structures house concrete entities; we are exposing the cinema volumes, as opposed to hiding them. It is also an exploration of the courtyard archetype, with a central external space that doubles up as the main cinema - a hub of activity for the proposal. On a local level, the scheme also investigates the notion of the Georgian promenade, looking to reinvigorate the underused area by engaging the street front.

From top: Interior view, courtyard view, sketch, sectional model photograph, model photograph

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GRO U P 20 Freyja Clarke, Megan Rourke, Sam Shortland + Jonathan Austin, Jordan Ogle Using our building as a bridge to reconnect Bath with the river front, the Bath Film Institute allows the visitor to experience cinema both in the water and in a multitude of indoor cinemas. By creating a scheme that flows effortlessly over the river, it is evident to see that water has been our main influence throughout the project.

B A SI L S PEN CE

| B S c A rc h ite c t ure

The building can be accessed by boats, whilst flooding has not only been provided for, but embraced. All buildings can be accessed from floors safe from flooding, ensuring that the visitor has an atmospheric journey that is uninterrupted throughout the seasons.

From top: View of landscape, cinema at night, flooding plan 1 in 20, flooding plan 1 in 100, short section

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G ROUP 2 1 Siqi Chen, Nicky Li, Richard Newcombe + Asitha Nanayakkara, Ludan Tuladhar Parade Gardens provides a soft transition from the urban and human down to the nature of the Avon – our response was to enhance this; to integrate the institute as part of the journey.

B A SI L S PEN CE

| BS c Arc hite c t ure

The four trapezoidal forms composing the scheme are linked together via a skybridge designed to draw people from the North Parade level and take them on an episodic journey of viewpoints down towards the riverfront and formal entrance to the institute. Accessible rooftops provide an amphitheatre and leisure space for outdoor screenings and events, while internally the three cinemas are designed under different themes; the ‘educational’, the ‘arthouse’ and the ‘blockbuster’, each accompanied by associated programme.

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From top: Ground floor plan, short section, view of entrance, view from courtyard, view from river

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GRO U P 22 Stephen Oldham, Adam Park, Hun Pu + Jack Kerr, Simon Welbirg

B A SI L S PEN CE

| B S c A rc h ite c t ure

The modern cinematic experience has become sterile, constraining film to a purely visual art. The aim of the Bath Film Institute is to re-enchant the cinema. By better mediating between reality and fantasy, a tactile and emotive connection between ‘spectator’ and ‘spectacle’, required for complete detachment and suspension of disbelief, is formed. The scheme consists of a controlled, solid inner core, around which a translucent cast glass screen is wrapped. An intermediate public floor separates the immersive institutional level below and the primary performance space above.

From top: Long section, view from riverside, view at night

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G ROUP 2 3 Hannin Alnimri, Chris Hamill, Benjamin Sim + Edward Kell, Gar Wong

B A SI L S PEN CE

| BS c Arc hite c t ure

This project embraces the concept of film as escapism and seeks to embody this idea within the building itself. The institute is accessed through a courtyard carved out of the pedestrian plaza, through which the public descends before entering the enclosed undercroft. Here, all noise and distractions are muted and the cinema-goer is freed to learn about film and prepare for the performance in their own way. The cinema objects are capable of being opened to the outside via large moveable walls, so that when the performance ends, the visitor exits the building through the ‘screen’ and finds themselves in a fantastical parkland beyond the building: soothing their transition back to reality.

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From top: View of market plaza, cinema door detail - closed and open, market detail, section in open configuration

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GRO U P 24 Thomas Corbin, Savini Rajapakse, Christian Leggett, + Christopher Cox, Firas Bardan, Azim Aji of the building presented. The building is about hidden wonders to be discovered, one of them being that the main cinema rotates to separate into two smaller cinemas.

B A SI L S PEN CE

| B S c A rc h ite c t ure

This project aims to be a sensitive response to building in the Parade Gardens. The roof of the building provides an intermediary zone to fix the current divide between the city and the park. People are drawn down into the park before turning to face the dynamic faรงade

From top: Section, elevation, model photograph, exterior park view, cinema configuration diagrams

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GRO U P 25 Fay Comber, Fraser Wallis, Daniel Wilson + Mathilde Khadivi, George Stephenson

B A SI L S PEN CE

| B S c A rc h ite c t ure

Given the unique context of the project, we began with the idea of minimising the footprint of our design and looked to preserve Parade Gardens as much as possible. Our initial response to the brief was to fundamentally challenge the requirement for a 750 capacity cinema, aiming to produce an efficient ‘machine’ which could adapt in order to meet the requirements of its users and re-engage society with the art of film. These concepts manifested themselves in the form of 3 vertically stacked separate cinemas, which could be opened out in order to form one large, combined auditorium.

From top: perspective section - open, perspective section - closed, pictures in the park, view of bridge

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G ROUP 2 6 Martin Jiang, Terence Lim, Venessa Mok + Marinos Karamalis, Harris Karim We have approached this project by viewing the notion of cinema as a spectacle of society (or what it used to be in the 20th century), attempting to use architecture to revitalise this phenomenon, making our building a unique, cultural object.

B A SI L S PEN CE

| BS c Arc hite c t ure

By strongly considering and responding to the historically rich surrounding fabric, we have attempted to stitch the streets by raising them up as pedestrianised walkways across Parade Gardens, The River Avon and The Rec. In turn, these walkways liberate Parade Gardens and inherently frame three different conditions of space, given the conditions of the site. In essence, the architecture seeks to emulate a journey for the users and visitors of the building by using the idea of a bridge, a veil and cinematic vessels.

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From top: View of external gardens, sections, view at night, entrance view

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G ROUP 27 George Oliver, Katie Stringer, Lily Wilkinson + Jonathan Russell, Sergio Valsamis

B A SI L S PEN CE

| BS c Arc hite c t ure

Film revolves around an intimate and individual experience between the mind and screen, between reality and imagination. The cinema space is a non-space where the mind is taken to another realm, and so it should be celebrated as such: nothing but the walls necessary to allow human imagination to embark on an overwhelming journey of the mind. The cinema building becomes an envelope to protect this experience, and is expressed as such: singular objects, clear in intent, and ornamented to attract. The objects are alien in character to the idyllic landscape that they are found in, but nonetheless respond to their context.

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From top: Concept sketch, model photograph, view across river, view at night

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GRO U P 28 Sarah Jones, Arina Khambari, Helen Quinn + Elin Salisbury, Simona Jackulíková We were required to design a Bath Film Institute, aiming to educate and inspire the public regarding the art of cinema.

B A SI L S PEN CE

| B S c A rc h ite c t ure

Located at the heart of central Bath, the Institute will become an important part of the city’s urban fabric. We wanted to create a destination which would not only serve the people as a stand-alone exhibition building, but would form a tangible part of a regeneration of Parade Gardens.

From top: Concept diagram, section, model photograph, view across river

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FO U RTH YE AR REP O RT Throughout the individual project a number of students took part in an experiment collecting data about the design process. Using Google Forms, students filled in a 30 second survey about what they were doing at that point in time, approximately 4 times a day at random times throughout the day. The following is a selection of the results.

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What is the biggest distraction right now?

Describe your crit in as few words as possible:

MA DDY

MI LD AND NON-COMMI TTAL, LI KE A BRI E.

06/02/2015

03/03/2015

What is your favourite Martin quote?

‘W H E N I W A LK IN TO THIS STU DIO I J U ST F E E L I NSTA N TLY DEPRESSED’ 16/04/2015

BOBBY- D A ZZ L E R ! 30/03/2015

I S YO U R B U I L DIN G A N ELEPHA N T O R A MOSQ U ITO? 05/04/2015

If the university of Bath had a new motto, what would it be?

What is the most overly used architectural jargon?

What do you want to be when you grow up?

D ESTR OY E R O F AMB ITIO N ; C R U S HE R O F HO P E

VI SCERAL

SATI SFI ED

05/10/2015

03/06/2015

05/13/2015

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DON’T WORRY ABOUT PINNING UP · I GET 25% OFF GBK WHENEVER I WANT · MY SITE FLOODS · PRECEDENTS ARE GOOD · MY PROJECT IS MORBID · THE LASER CUTTERS DON’T LIKE SPARROW · I AM CURSED BY THE LASER CUTTERS · CHINESE FOOD IS ALWAYS A GOOD IDEA · I CAN’T DRINK ANYMORE · MY MODEL WILL TAKE AGES · I HAVE NO IDEA WHAT I’M DOING. · THE PROCESS OF WASTE · I’M NOT WORKING HARD ENOUGH · BLACK PAINTED WOOD LOOKS SEXY · RASTERS ARE THE DEVIL · THERE’S SOMETHING SUSPICIOUSLY SIMILAR TO A NOOSE HANGING ABOVE MY DESK · HOW TO MAKE PASTA BAKE · PHOTOSHOPPING TAKES FOREVER · FAY DOESN’T BELIEVE IN EVOLUTION · SO MANY SQUARES · I CAN’T DESIGN · HERZOG & DE MEURON’S WEBSITE SUCKS · FRASER DRAWS IN CAD BY EYE · GREG JAMES LOOKS GREAT ON A WRECKING BALL · LIFE SUCKS · WABI-SABI IS COOL · LAUREN WANTS TO FREEZE FROGS · LILIANE STEALS BISCUITS · BREAN DOWN IS AMAZING · I BETTER START · WESTON-SUPER-MARE DOES RECEIVE SUN · DAN’S GOT MAD EAVESDROPPING SKILLS · NIGEL’S TIMEKEEPING IS IMPECCABLE · SPYRIDON IS THE PATRON SAINT OF POTTERS · PHOTOS LOOK BETTER IN BLACK AND WHITE · I STILL DON’T HAVE A BUILDING · A WOOD WORK SHOP NEEDS A LOT OF ACCESS · IT’S ALL ABOUT DAT MASS · MARTIN IS A SUPERIOR BEING · MADDY IS DISTRACTING · IRELAND ARE QUITE GOOD AT RUGBY · RAMEN NOODLES ARE BEING SLEPT ON · LEVEL 1 IS CLOSED ON A SUNDAY · CROSS ROAD IS AN AMAZING GAME · SITE CONCEPT MODELLING · THE WOOD MACHINE IS REALLY FUN · I LIKE CONCRETE · WE DON’T HAVE LIVES · MY BUILDING DOESNT WORK · THERE ARE SO MANY TYPES OF KILN! · MY BUILDING HAS SO MUCH POTENTIAL AS A SECTION, BUT BASICALLY NONE AS A PLAN · ALWAYS HOLD A JACKET POTATO TO THE SIDE · LIFE DRAWING RELAXES ME · WHAT A CONCEPT MODEL IS · MY BUILDING MIGHT ACTUALLY WORK · THERE’S A CASTLE ON CAMPUS · PENGUINS CANT TASTE FISH · DONT USE A SCALPEL WHILST DRUNK · HOW TO CREATE CONCRETE · THE ENTHUSIASM DURING A TUTORIAL DIES OUT WHEN TRYING TO ACTUALLY DESIGN · ONLY LISTEN TO ONE TUTOR · THE WORKSHOP GIVES YOU FREE MATERIALS! · HERMAN HERTZBERGER · I HATE TUTORIALS · PEOPLE STEAL STUFF · BIOCHEMISTRY · THE GLORY OF DOUBLE DECKER CUSTARD CREAMS · DOMINOS DEALS AREN’T AS GOOD AS YOU THINK THEY ARE · MY MOOD IS 100% DEPENDANT ON HOW THE PROJECT IS GOING · TIKI TOASTIES ARE REALLY GOOD · THE RADIATORS IN 6E ARE STILL NOT ON AT WEEKENDS · MY BUILDING DOESN’T HAVE ANY TOILETS · BIG FRESH CLOSES UNECESSARILY EARLY ON A SUNDAY · RAMPS NEVER WORK · SECTIONS ARE REQUIRED · DO WHAT YOU WANT · LONDON HAS NO FUTURE · ARCHIVES NEVER STOP GROWING · ACCORDING TO MY CRIT YESTERDAY, A SNEEZE COULD COME UP WITH A BETTER SCHEME THAN ME · MY LIFE IS A SHAMBLES · I AM NOT GOOD AT ARCHITECTURE · THERE’S A PAIR OF SEAGULLS SOMEWHERE THAT HAVE BEEN TOGETHER A LONG TIME · TO JUST BLOODY WELL GET ON WITH IT · KEEP IT SIMPLE STUPID · MY BUILDING IS NOT BEAUTIFUL · COMMIT TO COMMIT, DECIDE TO DECIDE · I DON’T WANT TO BE AN ARCHITECT ANYMORE · NOT HAVING PLANS AT CRIT IS A BAD PLAN · TESCO EXPRESS OFF WINDSOR BRIDGE ROAD HAS SOME GREAT REDUCED DEALS · HOW TO (FINALLY) WORK THE NEW PLOTTER SYSTEM · THE COLLECTIVE NOUN FOR LADYBIRDS IS A ‘LOVELINESS’ · COLLECTIVE ANIMAL TERMS · BASIL MARKS! · MODEL MAKING IS PRICEY · EVERYONE HAS REALLY NICE PROJECTS · I FEEL BETTER ABOUT MYSELF BECAUSE MY PROJECT IS HARDER THAN I REALISED · MARTIN TUTORIALS MAKE YOU FEEL BETTER · STRUCTURAL GRID SHOULD BE 4.8M · SOMETHING ABOUT THE WAR FROM CHRIS · MY MOOD CAN CHANGE 4 POINTS IN 3 HOURS · EVERYONE HATES THEIR BUILDINGS A LITTLE BIT · MY BUILDING IS FUNDAMENTALLY RIDICULOUS · I HATE HILLS · HUN’S LEGS ARE LESS HAIRY THAN MADDY’S · SO MUCH TO DO, SO LITTLE TIME · LANDSCAPING TIM IS HELPFUL! · IT’S OKAY TO START DRINKING BEFORE LUNCHTIME · MARTIN IS MAGICAL · MY PLANS GIVE ME MOTION SICKNESS · IM SO BORED · THE LASER CUTTERS ARE THE DEVIL’S SPAWN · THAT OUR UNI IS ON A VERY STEEP HILL· WHAT BROGUES ARE · REIGN IT IN · MY PLAN IS A MESS · I HATE ARCHITECTURE · I CAN’T BE BOTHERED · MY BUILDING IS MONSTROUS · MY PLAN IS STILL NOT WORKING · IT’S OK TO EAT VEGETARIANS · IT’S BETTER TO SEE TUTORS AT THE START OF THE DAY · DRUGS ARE LEGAL IN IRELAND FOR TODAY ONLY · MY TIME MANAGEMENT SKILLS ARE VERY POOR · I HATE ARCHITECTURE · LIVE AND EAT PIE · ALL NIGHTERS ARE EASY · I AM NOT GOING TO BUILD A FARM ON MY BUILDING · BEER CAN GO MOULDY · MY SCHEME IS ACTUALLY OK! · LUKE HAS AN EARRING · I DON’T WANT TO DO PART 2 · LIDO IS PRONOUNCED ‘LIE-DOH’, NOT ‘LEE-DOH’ · A DAY OFF AFTER A CRIT IS OK · WORKING FROM HOME IS QUITE NICE · GABION WALLS ARE BREEZY · I CANT DETAIL · DETAILING SUCKS · DETAILING IS SLOW · STRESS CAN CAUSE NOSEBLEEDS · THANK GOD PVA DRIES SEE-THROUGH · THE MORE SLEEP DEPRIVED YOU ARE, THE MORE A PHOTOSHOP ICON TATTOO SOUNDS LIKE A GOOD IDEA · THE COME-DOWN FROM A CARAMEL MACCHIATO IS BRUTAL · GRUNGE MAKES EVERYTHING LOOK BETTER · IS THIS ALL THERE IS? IS THIS IT? JOKES WE’RE NEARLY DONE CYA ARCHITECTURE

W H A T HAVE YO U LEARNT S I NCE YO U R LAST S URVEY?

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H OW D O YO U F E E L A B O UT TH E P ROJ ECT?

Interim Crit 2

Interim Crit 1

10

Brief Confirmation

average happiness out of 10 against time

8

6

4

2

START

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march

april

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Brochure Hand In

Final Crit

Tectonic Crit

may

END

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I am the only child of parents who weighed, measured, and priced everything; for whom what could not be weighed, measured, and priced, had no existence. Charles Dickens, Little Dorrit

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FO U RT H YE AR - IND IVID U AL P ROJE CT Betwixt and Between

The projects that you see in this section represent the final part of the degree programme at Bath, and more especially the particular interests (and passions) of every student as expressed through their own choice of brief. All of the projects were set within the environs of Weston–super-Mare and responded to a wider theme of Betwixt and Between. The schemes shown continue and build upon the demands, skills and themes of the preceding Pictures in the Park project. The project location on the seaside could be read both as a literal manifestation of the idea of Betwixt and Between itself, but also a wider and prevailing cultural condition. This is a condition that increasingly distances us from both one another, in atomised communities, and the very soil upon which we live. Materialism and predatory capitalism rule the roost and the architecture in which we dwell is demoted to a-contextual real estate. In short this is - Individualism and a cult of the individual. But, for all our apparent individuality - to paraphrase Marx - capitalism is the opiate of the masses. Ironically our high streets are homogenised by ‘chains’ and ‘brands’, both words that resonate less with the freedom of the individual than with slavery. No accident then that the logo of a half eaten apple familiar to so many of us as the courier of our communications, is the very emblem of temptation in the Garden of Eden. Beneath it all then, the ecological awareness that has defined the past few decades it could be argued, is less a self-interested preoccupation with energy and resource, but fundamentally an unconscious plea for conscious ‘re-connectedness’. Each project takes a very particular position within this debate and asks, what is of real value?

Martin Gledhill 4th Year Studio Leader

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Marialena Byrou Cynthia Leung Benjamin Sim Han Wang

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ROC K A RT Marialena Byrou

ST U DIO 4 .9

| BS c Arc hite c t ure

Galleries are peculiarly situated on the border between the public and the private; the contemplation of art is supposed to be rather intimate and personal act while galleries as institutions have a public responsibility. From personal experience, a visit to a gallery is a bid for freedom; freedom from being told what to think and what to do. Whenever visiting a gallery, I dearly like to be left there alone. An art gallery is a place for self-identity. The intention of this project is to reveal those personal aspects by designing a place where each visitor can find their ‘true-self’ and deepest desires through the journey along the exhibits that can reveal different feelings yet strong and indisputable to each visitor.

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From top: Concept image: gallery as nature, elevation, interior views of gallery

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L’ABRI Cynthia Leung ‘We live betwixt and between. Between life and death, history and future, the heaven and the earth, the decided and undecided.’ The French word L’Abri means ‘shelter’. Based on a model that began in 1955 in Switzerland, where a Christian couple opened their alpine home in faith for youngsters to find life answers to their questions, the new L’Abri positions in between as an international study centre, a residential community and a retreat for the deep search of blissfulness in everyday survival and communal work. The project explores ruin as an exosmotic vessel of the presence of man which contains morphological and anthropological memories. By unleashing the materialistic presence of the ruined fort at the edge of Brean Down, a new layer of experience is added to the pilgrimatic pursuit of earthly-spirituality. The impartation of modern meaning to the fort’s structure also challenges the modern architectural trend of constantly creating ‘new-new’ in contrast to the revelation of ‘new-old’. ‘The stone the builders rejected has become the cornerstone; the Lord has done this, and it is marvellous in our eyes.’

ST U DIO 4 .9

| B S c A rc h ite c t ure

- Psalms 118:22

From top: Building isometric: new with old, interior view of chapel, view of approach

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Cynthia Leung

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L I D O A N D SP A Benjamin Sim The aim of this project is to design a lido for the locals of Weston-super-Mare, especially after the closure of Tropicana. The building itself makes an appropriate reference to the site. Bringing abstract into reality, the elegant minimalist design reflects the simplicity of the site, a single causeway built to form a lake on the beach. It bridges across the liminal condition of the site, making full use of different advantages offered by both sides.

ST U DIO 4 .9

| BS c Arc hite c t ure

The lido will also be combined with other facilities such as a spa and a restaurant to make it more viable and sustainable throughout the year. Natural daylight is used to create intimate spaces inside the spa. Appropriate strategies that make use of the resources of the site are applied to address the many structural and environmental issues involved in the design of this building.

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From top: Building Parti, exterior view from beach, interior view of hot tubs, model photo

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S C H O O L BY TH E P AR K Han Wang The project is a primary school for approximately 175 children from 4 years old to 11 years old in the town of Weston-superMare. Located in the residential area connected to the town centre and the park, I am trying to design a school which functionally enhances the social infrastructure and brings up the cultural and communal spirit, spatially creating a soft transition from the urban to the green, and symbolically marking the unique loci by place-making. In contrast to the conventional corridor-cell school typology, by setting up the ‘pavilion form’, I am trying to explore the ‘in-between space’ of functionally less-defined area, creating spaces with various characters for pupils with different spatial preferences. The use of timber as the structure and most of the internal and external finishes creates a welcoming and special character for the school in the neighbourhood. The ‘primitiveness’ is explored by exposing the timber frame and building up the layers of façade. The layers of blind further highlight the subtlety and liveliness of the school.

| B S c A rc h ite c t ure ST U DIO 4 .9

From top: View of courtyard, view from park, section 0

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PRODUCED BY AN AUTODESK EDUCATIONAL PRO

ED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT


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Yuyu He Maha Komber Christian Leggett Yun Liao Savini Rajapakse Jakub Ryng Shawn Zhang Yushi Zhang

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WA TE R C R A F T C O M M U NITY Yuyu He Mass production, assembly line the explosion of technology is easily leading to the disconnection between making and thinking. My project is to recall the craftsmanship in our society and provide a place for people who actually want to make something real.

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Based on Weston’s large tidal change. I want to pass on the craftsmanship of flatner boats by setting up a watercraft community on Birnbeck Island, celebrating the nature of Weston and strengthening its contemporary culture. The community will incorporate with City and Guilds and provide a Diploma in Marine Construction at the end of the course.

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From top: Building Parti, perspective section, view from rowing pool, approach to building

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M AD RASA Maha Komber A Madrasa is a college for Islamic education. In the time of the Islamic Golden Age, Madrasas were the places of congregation, discussion and community. The manifestation of Mosques and Madrasas has been one of the few ways British Muslims can define themselves and mark their presence within the UK. Only a minority of mosques are purpose-built, borrowing architectural styles from left behind cultures, despite their lack of liturgical necessity.

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This project is about reviving the rich culture of Islamic architecture by reinventing the Madrasa within the context of 21st century Britain.

From top: Concept sketches, external view, internal view of prayer hall, concept model, perspective section

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WS M SA N C T U A RY Christian Leggett This project is a Catholic Church and Parish Hall which incorporates a homeless shelter. The project attempts to address the relevance of the Church in the context of Weston-super-Mare and today’s society through the rehabilitation of at-risk people.

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The main body of the church building is partially buried in a sloping site which, working with a vernacular materiality helps to integrate the building into the site, and through a series of clerestory windows at ground level create a visual link between the interior worship space and the congregation outside.

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From top: Sketch section, view from street, internal view of nave, long section, lower level plan

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VIP ASS ANA RETRE A T Yun Liao This project of a meditative retreat is inspired by the traditional Vipassana model; the word ‘vipassana’ means to observe things as they really are. It is one of India’s most ancient techniques of meditation. This non-sectarian technique explores the liminal space between the body and the mind, and it seeks the ultimate interconnection of the physical and the psychological.

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By locating the retreat on the abandoned Tropicana site in Weston, the project explores the idea of retrieving a piece of calmness in the midst of the everyday world. This environment implies meditative practice is not self-indulgent, nor socially isolated. Given its unusual location and programmatic intricacy, the retreat will, however need to transcend the traditional monastic typology. The key interest of the scheme is the value and representation of individuality amongst the collective experience, in a sub-urban context.

From top: Section through hydro station, interior view of cell, view up the meditation hall, elevation

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C Y C L I ST ’ S H OST E L Savini Rajapakse

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A cycle centre and hostel with facilities to accommodate visitors and a cycle rental shop and workshop. It is tailored to suit an established cycling community in the UK, as well as serving the local community, encouraging local residents to take up the activity. Situated to the north of Weston-superMare, it is an intermediary between the urban and the rural areas of this region, and it is well located to draw tourists and local visitors out of the city and to explore the surrounding country and coastal regions.

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From top: Building diagram, view from road, model photograph, elevation, site plan

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S U P ER M AR E Jakub Ryng “Man must rise above the Earth—to the top of the atmosphere and beyond—for only thus will he fully understand the world in which he lives.” - Socrates

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‘Super Mare’ is Latin for ‘above the sea’. Building on the precedent of the seaside observation tower, this scheme combines a one-of-a-kind visitor’s experience with a purpose-designed factory for hot air balloons and paragliders located right in the city centre, on the coastline of Weston-super-Mare. In addition to challenging the existing urban model of manufacturing facilities being restricted to the peripheries of towns, the building also explores hitherto undiscovered ways of viewing the city and the surrounding regions. By offering height, the scheme opens up previously unseen aerial visions of the world, much like the early balloons, which first gave humanity the spectacular, but also humbling angel’s eye view of ourselves.

From top: Exploded isometric, perspective section, exterior view of west elevation, exterior view of entrance

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TH E S E A W E E D P IE R Shawn Zhang Seaweed has been gradually considered as a future food; it is sustainable, nutritious and delicious. However, it is only recently that most of us in this country have thought of seaweed as nothing but a nuisance, clinging to our legs as we swim in the ocean and stinking up the beach as they rot in the sun. Compared to East Asia, where most countries have high popularity and long history of eating seaweed, it is still unexploited in Western cuisine.

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The strategy of the project is to create a ‘seaweed experience journey’ in the sea by extending the existing Birnbeck Pier further and connecting the land to the seaweed farm. The pier becomes a production line of edible seaweed where the whole production process is exposed and intertwined with public education and consuming facilities. By inviting people to witness, smell, touch and taste seaweed and seaweed production, the pier is not just a farm for cultivating seaweed, but also for cultivating people’s minds about it.

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From top: Tower section, short section, view from sea, site plan

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TID ES Yushi Zhang Bristol Channel and the Severn Estuary has the second largest tide in the world. Due to the favourable conditions, there have been ideas to turn the Bristol Channel into a ‘Tidal Farm’ Putting the area at the centre of discussion in the UK regarding renewable energy.

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The project is a response to the ‘Tidal Farm’ idea, celebrating the power and nature of tides. The scheme intends to gather information and knowledge which would provide a platform for discussion and research. Encourage the exchange of ideas between the public and professionals, building up an experimental connection between the natural and man-made.

From top: Ocean wave basin, perspective section, view from sea, view of settlement pool

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Siqi Chen Lee Hui Rawan Hussin Dulmi Jayawardene Wendy Leung Nicky Li Darya Pryma Natalie Stas

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MONTE SS O R I K IN D E R G ARTEN Siqi Chen

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According to the North Somerset Council Plan, they encourage primary education towards the City Centre. When I visited Weston-super-Mare, I found there is no nursery that close to nature. I think it is very crucial to bring children into nature and learn from play. Thus, I choose to design a Montessori kindergarten close to Grove Park that will provide Westonsuper-Mare with a playful children’s garden. My project is like a cell, the 5 classroom units anchored to the central hall indicates the nucleus, the courtyard is the cytoplasm and the solid service boundary represents the cell membrane.

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From top: Room sections, view from kindergarten courtyard, view from nursery courtyard

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GARD EN O F GRE ETINGS Lee Hui Located on the periphery of Grove Park and the residential and commercial zones, the project engages with its urban and nature contexts, respecting its ‘between and betwixt’ properties. Through the juxtaposition of urban and nature, the concept is one of garden of greetings. Urban envelopes nature; a strong solid facade to the outside following the characteristics of the surrounding streets, and nature within, almost a mini park for the residents and community.

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In traditional Chinese and Japanese architecture ‘Siheyuan’, a courtyard is a symbol of gathering. The buildings are divided into quarters of differing functions and the courtyard is used as a place to relax, eat and study for the family. The garden of greetings will serve similar purposes for the elderly citizens and community.

From top: Concept sketch, perspective section, main approach

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TH E S E N SO R IU M Rawan Hussin The retreat seeks to provide a place of contemplation removed from the daily realm of city life. Situated on a major walking route in Weston-super-Mare, the building offers a place of gathering and solitude for avid meditators and visitors alike. The design intent is to re-connect people with the idea of place and amplify the senses beyond merely a visual level.

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Program has been laid out to accommodate the routine and procession of the guest as they stay in the retreat. The Sensorium has therefore been composed as a series of ‘found spaces’ along the walking route and is based around temporal sequences experienced by walking along paths, distant views and material affinities.

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From top: Descent, concept sketch, view from uphil, top view

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W ESTO N S O U Q & M AK E RY Dulmi Jayawardene The scheme endeavours to revive both commercial and cultural excitement in Weston-super-Mare through a Souq and a Makery. The inherent issue with artists working today and students out of design schools is for the immediate realisation of that education into enterprise. A great contributing factor for this is the sheer disconnection of artists with the society. In its very inception, art was a reaction to civilisation; to community. However, during the past few decades, arts and crafts has crept into the ‘white-cubed’ gallery, completely isolated from the general public. And art, which is inherently influenced by people and society, so distant from it, that it is on the verge of being irrelevant. Social interactions are therefore at the heart of this scheme. It is to give artists and artisans a platform to share, to sell, and to create things that are relatable to the society, this scheme proposes a Souq. From the initial stages it was evident that Westonsuper-Mare is holding on to the naive optimism of the flourishing of Weston College to singlehandedly alleviate the city from its current state of apathy. The proposed makery of arts, will hence work in affiliation with Weston College. As well as a workshop of production, it will also function as a specialist school that is run by industry professionals, where students from the college will study, work and produce vocationally. The intention is to encourage not just design and creation but also production and selling.

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The scheme seeks to achieve the above mentioned commercial and cultural excitement in Weston by inaugurating a body of teaching, an opportunity to produce it and a platform to share it.

From top: Sketch of Souq, sketch section, view from lawns, the Souq

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WE STO N S A IL IN G C E NTRE Wendy Leung

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A sailing centre for ages 14-70s, encouraging integration between young and elderly in Weston through the practice of sailing. The centre will re-establish the connection between Cardiff and Weston through sailing. It contains exhibition space, classrooms, clubhouse and accommodation, to be used during summer sailing school programme and camping season. The building will integrate with an extended lake, providing a collective teaching programme and stimulating interest in seaside activity and exploration.

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From top: External view, short section, boat yard

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W ESTO N S CU LP TU RE P ARK Nicky Li

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This project is a sculpture museum which promotes a deep understanding of contemporary art by providing spaces for seeing, making and theorising, together with a sculpture park, as part of the existing seafront promenade, leading to Birnbeck Island. Instead of following the contemporary ‘White Cube Gallery’ design theme, I am more interested in investigating the idea of traditional ‘Cabinet of Curiosities’, which focuses more on stimulating the visitors individuality and self understanding of the art works. Additionally, I was also attempting to create a “Resonance body of aesthetic experience” rather than just a “Circulation system of pictorial curiosity”, in order to provide the visitors a unique experience with the consideration of the relationship between art, architecture and the viewers.

From top: Axonometric, aerial view, view from ponds, section cut

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Wendy Leung

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FO OD U R B IS Darya Pryma We live nowadays at the time of massive consumerism and supermarketisation. Many people have lost connection with food and they think that the products come in a plastic package originally. Weston-super-Mare is a seaside town which lives mainly during the warm season. The main concentration of life at the moment happens around the big Tesco store . The idea was to introduce an additional food spot in town which would concentrate on the provision of sustainable and freshest food produced locally. The complex includes a permanent market, a pop-up stalls market and a wholesale market. There is a culinary school which provides classes as well as hosts masterclasses by locals/celebrity chefs and its premises can be rented out by the Master Chef show for shooting.

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The courtyard building in the middle is a flexible space that reacts to the festivals in the city. In the summer, it will accommodate the Cider Festival and will also function as the performance area for local bands.

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From top: Exploded isometric of scheme, external view of building, internal view of market, view from sea

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TH E H ALE Natalie Stas The project represents a new healthcare typology addressing the liminal space between the hospital and the home, exploring a breed of new conditions for the future of public healthcare. These conditions signify a shift towards architecture which prioritises preventative measures, celebrates the spiritual connection in wellness, and dissolves urban distinctions between the hospital and the community which it serves. The idea is about creating a new format which acknowledges the autonomy of individuals in healthcare and creation of space which enables individuals and communities to choose wellness. The building is a refuge for patients who have been newly diagnosed with a chronic condition which will dramatically change their lives, and deals with the transitional phase of a diagnosis. Holistic in its nature, it comprises of clinical, natural and psychological health facilities and is designed to maximise the therepeutic values of authentic connections with nature. Born from research into health in the area, there is a strong focus on education and community involvement to allow the building to feel part of its village, and part of the hospital which it serves - as much a place for patients as a place for its community.

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Liminal in it’s nature, what has been explored is essentially a ‘non-type’ where the primary focus is that of informal continuity - a hospital which is not an institution, domesticity without being a home, spirituality without being religious.

From top: External views, internal view of auditorium, view of bridge, internal views of chapel and bedroom

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Natalie Stas

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Fay Comber Zoë Day Lauren Earle Fraser Wallis Daniel Wilson

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MA RE N OST R U M Fay Comber This project explores the pairing of a Marine Energy Research Institute and an Oyster Nursery; a building which by its very existence gives back to the environment and ecology within which it sits and from which it inherently takes - a building with a conscience.

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My response to the brief aims to re-enchant Weston-super-Mare’s inhabitants with their sea and to re-establish this now neglected natural force for use in generating clean energy. The proposal showcases both the research into and the generation of this energy, educating people about the effect our lifestyles have had upon our environment. The exhibitive nature of the centre engages public interest, and the community and visitors are encouraged to become involved with the oyster restoration programme, helping by hanging out empty oyster shells upon which the spat can settle and grow.

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From top: Building parti, long perspective section, view from the rocks, section through archive

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D E RM IS Zoë Day The skin confines what is exterior and interior; it is the boundary and transition between states. The skin itself, however, is a subject that is held in tension between being a practicality or something inherently more personal to us. The liminality of skin is often disregarded when it is treated, being reduced to just a clinical barrier to be “repaired.”

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My project aims to not only address the physical and clinical needs of the skin but also the psychological and spiritual. Incorporating salt bath treatment draws upon Weston-super-Mare’s history of being a place of healing, bathing to soothe the body and mind.

From top: Section through salt baths, concept collage: connecting the patient with nature, approaching the building, view of entrance, view of consulting room corridor

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L A PI DU S Lauren Earle Lapidus: Derived from the Latin word lapideus meaning ‘made of stone’ and also lepidus meaning pleasant or charming.

The unusually fractal form of the building mirrors the town’s social fragmentation and the dramatic geology of its context.

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It frequently appears that our modern climate is dominated by a condition of conflict. Although not immediately apparent, oppositions can be observed within Weston-super-Mare with tension between the traditionally Christian populace and newly introduced religious groups.

The conception of an Institute for Comparative Religion arose from a need to address the town’s social fragmentation. The aim of this institute was to promote greater cohesion between differing religious groups through education, faith and the provision of community spaces.

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From top: View of exposed courtyard, perspective section, view from sea level

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P RIM ARII LAP ID IS Fraser Wallis

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The design of a ‘potters’ cooperative’ on the site of the former ‘Royal Potteries of Weston-super-Mare’. It is proposed that this building would act as a catalyst for the redevelopment of the area, including the former workers’ cottages and remaining pottery buildings. The building is at the heart of this community, including studio spaces for potters and workspaces and facilities which would be otherwise infeasible for a lone studio potter. The development integrates a public interface which seeks to promote the art of ceramics, and it is hoped that this would encourage arts and crafts to Weston-super-Mare and give the town a ‘Higher design status’.

From top: Exhibition tower section, building parti, preambulation concept montage, process section

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E A RTH C O LO U R S Daniel Wilson

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This proposal is for the design of a colour works with associated artist studios for Banwell Woods, the site of the most extensive yellow ochre workings in the Mendip Hills. This will be used to encourage an understanding of where colour comes from and will also serve to awaken a lost industry of Somerset, while opening up the historical sites of Banwell to the general public. Its main functions will relate to the processing of ochre and plant matter into pigments, reconnecting the industry and the people of Weston-super-Mare with their natural surroundings, both above and below the ground.

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From top: Building parti, summer view, interior view of cave, view from the bottom of the hill

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Conor Blakeman Justin Frank Paul Jordan Mark Shtanov Megan Rourke

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KNI G H TSTO N E B A T H S Conor Blakeman Weston-super-Mare is currently disconnected from the sea with development being focused inland. My project seeks to repair this, repopulating the seafront and reconnecting it with the town. To do this, I have created a community facility on the seafront, in the form of public baths and spa, which will draw people to the seafront and populate it all year round.

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The form of the building is based on timber blocks raised above the beach by a concrete skeleton. This allows the landscape to extend under the masses and flow into the building, creating routes down to the beach and a strong connection between my building and its surroundings.

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From top: Concept model, tectonic model detail, interior view of pool, exterior view from boardwalk

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VIA S AC R A Justin Frank rituals that accompany it. My building aims to create an open and honest dealing with death and provide these rituals. Jutting into the sea, it provides a space for friends and family to return to remember their loved ones.

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| B S c A rc h ite c t ure

My project is based on the belief that through a closer engagement with death will make the citizens of Weston-super-Mare have a more profound outlook on life, aiding the regeneration of a dead town. Although cremation has become the predominant method of funeral in the UK, there are still very few cultural

From top: Site plan, exterior view of garden, interior view of chapel, view from sea at night

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FO OTP R IN TS IN T H E LANDS C AP E Paul Jordan

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The priority of this scheme focuses upon the reconnection of modern society with the natural realm, providing a platform for 10 resident artists to engage with the landscape whilst they prepare for upcoming exhibitions. A key aspect is the dichotomy of introversion and extroversion; although as an artist’s retreat, the scheme will offer a sense of isolation and disengagement with human activity, it also provides a platform for the arts within the community. Importantly acting as a catalyst for the cultural regeneration of Weston super Mare, with each resident leaving a footprint within the landscape, defining routes into the landscape and establishing a legacy.

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From top: 1:50 Model, view of external exhibition, watercolour elevation, view from waterfront

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W ASTE .WSM Mark Shtanov This project attempts to address the issues of throwaway culture, consumerism, social inequality and cultural ignorance, by bringing the question of waste to the centre of people’s consciousness. It was driven by the poor state of wastes industry and the thrown-away condition of Weston-super-Mare, both socially and culturally.

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The building accommodates various processes of waste treatment, remaking and recycling, as well as the upcycling of people through employment. The main process in the building is the refining of general waste, which happens within the building façade in order to expose the industry’s challenges and to stimulate the residents to change their attitudes towards waste.

From top: Sketch, building isometric, perspective section, approach to building

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RO CK , P AP E R, S C ISS O R S Megan Rourke Rock, Paper, Scissors is an Arts and Crafts Institute for stonework, metalwork, and woodwork, situated between Old Town Quarry and Weston Woods. The project aims to reconnect the most vital parts of Weston, by ensuring that every workshop engages with a different atmosphere and experience. In terms of the journey, the visitor walks from the quarry, passing the educational and social hub and stone workshop, up towards the cafe and metal workshop with perfect sea views, and finally passes through the wood workshop into the place of release; the woods.

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Through allowing the different workers to be connected to their different places of interest, the perfect working and visiting experience can be created.

From top: Aerial view, longitudinal section, view into quarry, view of workers’ yard

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Frederica Bond Freyja Clarke Barney Curtis Hannah Richmond Thomas Roberts Sam Shortland

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HE A LTH Y L IV IN G C E N T RE Frederica Bond

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The Healthy Living centre is designed to address Weston-super-Mare’s current lack of leisure facilities and the concerning decrease in mobility, especially within the older population. The centre aims to encourage activity and socialisation in order to spread the benefits of physical health and to reconnect the town with its seafront and image as a leisure destination. The scheme blurs the boundaries between physical fitness and mental well-being, between inside and outside, and between man and nature.

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From top: Building parti, outdoor bathing area, coastal path approach, indoor swimming pool

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TH E S A LU S C E N T R E Freyja Clarke Weston-super-Mare has a struggling population that has lost touch with it’s mental health services. The Salus Centre is a centre focused on early intervention and prevention of serious mental health issues in an attempt to alleviate the strain on towns’ well-being. This is achieved by educating the community, families and individuals on how to look after their and each others’ mental well-being as well as guiding individuals through their issues.

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At the Salus Centre, counselling and various forms of talking and creative therapy are the encouraged forms of help. Located in Uphill, the building challenges the relationship between urban and rural, social and private, providing an experience of both worlds and a spiritual journey between them.

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From top: Core exploded isometric, building parti, section: layering rooms and gardens, external view from church

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CU LTIVAS BATH H O U SE Hannah Richmond ‘People have got dirty through too much civilisation. Whenever we touch nature, we get clean. Walking in the woods, lying on the grass, taking a bath in the sea, are from the outside; entering the unconscious, entering yourself through dreams, is touching nature from the inside and this is the same thing, things are put right again’. The culture of open-air swimming in Weston-superMare has mainly been abandoned due to the poor perception of water quality in recent years. Once the pinnacle of this social phenomenon, the Marine Lake stands devoid of the life it once enjoyed.

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Utilising seaweed for its cleansing powers in the form of a large-scale farm, a public bath house with lido facilities can be feasibly proposed. The cleansing of man, seaweed and water - an intertwining and at times symbiotic process, is at the very essence of the proposal.

From top: Conceptual image, sections through: drying tower and sauna, pool hall, bath house, exterior view from lido

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BE YON D T H E R O C K Barney Curtis The aim of this project is exploring a place where people can re-engage with nature and the wilderness on a more primal and visceral level through the outdoor pursuits. The concept is to bring in a raw interaction to Sand Point, creating a primitive relationship with nature and an exaggerated sense of immersion. There is a host of stunning landscapes on Weston-super-Mare’s doorstep that are currently being underappreciated and undervalued and so the outdoor pursuits from this settlement provide a method to immerse oneself in nature, creating a richer and fuller experience.

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The scheme is a hostel coupled with a specialist climbing area that utilises the existing limestone rock-faces of Sand Point. The idea is to discourage the viewing of nature from a distance and in a negative manner, and instead to actively encourage an immersive and hands on approach in the nature.

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From top: External view, long section, view of climbing wall, view of cabin Opposite: Climbing wall model

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A STAG E FO R M U SIC Thomas Roberts

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The project aims to provide a stage for music for Weston super - Mare, a town that is lacking in contemporary culture causing the local youth to feel disenchanted. By appropriating a ruinous space that represents the fleeting history of the town, a place is created to be reclaimed by the local population. The programme supports the creation and performance of music at all stages (experimenting, writing, rehearsal, recording, and performing). The project allows for different scales of performance, from local bands all the way to world famous artists. In the summer, the project becomes the centre for a music festival, creating an attraction that gives back to the town, and pulls people to the area.

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From top: Building parti, view of plaza, exterior view of event area, interior view of soundcheck area

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D IGITAL NATU R E Sam Shortland Digital nature is a digital retreat where recent graduates can found their own web or software based companies. The scheme forms an incubator allowing these start-up businesses to be nurtured and grown by providing mentoring, space and resources in a campus style environment.

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The scheme strives to create a canvas to allow for collaborative social interactions, the sharing of ideas being key to the success of the scheme. A series of social spaces of ranging qualities creates many different opportunities for social engagement. The scheme also seeks to explore the inspirational quality of nature and the juxtaposition between permanence and transience .

From top: Material elevations, section, view of walkways, view of approach, view of bedrooms, lecture tectonic

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William Bryan Robin Chatwin Terence Lim George Oliver Joseph Spencer Hai Jie Tan Season Tse Lily Wilkinson

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TH E A RTS W A R E H O U S E William Bryan The Arts are intrinsically valuable, necessary for a successful economy, national prestige, mental health and social cohesion. They give us a sense of identity, happiness and well-being. The Arts Warehouse looks to extoll the best of these principles.

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My project is a haven for creative thought, nurturing students, professionals and teachers through the toils of the creative process. The Warehouse spans across the Quarry, anchoring to the rock escarpment through concrete grounded elements housing a library and performance space, between which spans a steel matrix in which prefabricated timber units are suspended. These are served by intermediate concrete cores. The units can be appropriated by artists, local school, or teachers, and used as studios, offices or classrooms. The Warehouse becomes a creative hub for the town and region, adding a cultural legacy to the Quarry’s haptic imprint.

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From top: Building parti, internal view, external view of timber units, external view of building and gardens

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W ESTO N- S U P ER- M ARE EX C H ANGE Robin Chatwin

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With its foundations fully rooted in the mundane, the Weston-super-Mare Exchange is a hybrid piece of infrastructure and urban engagement formed into a civic building. Growing from the proposed tram line, the station and market hall provide an everyday place to buy and sell, to live and work. Clear emphasis on creating activity in public urban space and references to the fantastical world from which the town grew, allow the Exchange to suit the needs of both tourists and residents, as well as those of the rapidly expanding town.

From top: Building parti, view from square, shop front detail, interior view of market hall

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A UG M E N T E D A Q U E O U S E CO LO GIE S Terence Lim This project seeks to address and resolve the impending marine dead zone in Weston-super-Mare, with the wider vision of equipping the Bristol Channel with raceway prototypes in an attempt to purify the sea waters and regenerate the marine fish stock.

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By locating the ‘exhibited’ prototype on Birnbeck Island (the scar of Weston-super-Mare), the fundamental purpose for the building is to promote public awareness, provide education and instigate marine

life research. By strongly considering and responding to the unique ‘found’ characteristics of Birnbeck, the architecture closely references the datum lines, geometry and geology of the island. It attempts to pertain towards the linear and sculptural archetype of raceways - generating a concrete landscape. The raceway walls create inhabitable space for users as well as fish, and forms several nodes of importance; a series of light pavilions amongst a landscape.

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From top: Model elevation, exterior views, external view of accommodation Opposite: Scheme axonometric

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TH E WA L L , T H E G U L L AND TH E H O LE IN TH E GRO U ND George Oliver ‘No other building types compares, in the purity of its mathematics and the modesty of its phenomenal appearance, to this unpretentious hole in the ground.’ Thomas A.P. van Leeuwan, The Springboard in the Pond Although Leeuwan’s simple ideal of a pool alludes to a more formal and precise form, this quote does provide the ethos to drive this project. It is fundamentally for the benefit of the local community. Each area of the programme (the Lidos, the Spa and the Restaurant) is intended to give users a visceral connection to the benefits their coastal location offers.

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These elements are intended to bind together and provide a scheme which ignites the love for the sea Weston once had, whilst promoting the health and cultural benefits of swimming, bathing and eating provided by the Bristol Channel.

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From top: Concept models: the rockpool and the tide, internal view of spa, external view, section

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A Q U IET REVO LU TION Joseph Spencer Ambiversion - A state intermediate between extroversion and introversion

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This building is a gathering place, a primal point of convergence at a micro and macro scale, in which the individual has voice, whatever their disposition. Both extroversion and introversion should be accommodated in mainstream architectural form as a true reflection of the human condition. There is a propensity towards extrovert space in civic buildings. A hybrid of different typologies, this building sees a marriage of spaces of differing stimulus levels that results in a holistic and sensitive civic container, providing removal from the noise and over stimulus of Weston-super-Mare.

From top: Sketch, entry sequence, interior view of the great hall, view of the oratory, view of private spaces

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TH E M EM O RY ARC H IVE Hai Jie Tan The Memory Archive is a storage facility for memories designated for the people of the South West Region. It consists of a formal archive which collects exteriorised memories in the form of film, photographs, audio tapes and documents. It also stores cherished objects in the form of time capsules. The concentration of these fragmented memories form a framework in which new memories are created and shared collectively.

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The dereliction of Birnbeck Island has since petrified a sense of nostalgia, haunted by past existence. The Memory Archive draws upon these memories thereby preserving artefact 001. The diurnal tides reflective of cosmological forces provide a syncopated relationship with time, further enhancing the act of memory building rooted in genius loci of the island.

From top: Sketch, view of archive, view of pier approach, view of gallery, view of forecourt Opposite: Concept

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C I D E RL A N D Season Tse

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Cider is a long-established traditional summer drink, especially in the West Country, which is well-known for its wide variety of delicious ciders. However, there has been a dramatic decrease in the number of apple orchards in the UK. We are in danger of losing, not simply in cider and apples, but in the diversity of landscape, ecology and culture. The aim of the project is to celebrate this historical tradition and raise awareness of the importance of orchards to our landscape and culture. Also, it is to introduce this rural base production into the city centre, fusing the making of this traditional craft into people’s daily life. The cidery will become the new, central venue for celebrating real cider production and hosting festivals to gather many cider makers and lovers.

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From top: Conceptual site section, fermentation hall, cellar, section through process, model front elevation

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TH E W ALK ING CU RE Lily Wilkinson My project is a Dementia Centre, focusing on the freedom and dignity of the patient. Set in Weston-super-Mare, it combines a memory clinic, accommodation and facilities for both the residents and the wider community to approach dementia care from a new, more need-driven angle. Dementia affects so many people, and with an ageing population it is a significantly growing problem. Having personally been affected, I understand the devastating affect that diagnosis has on both the patient and the family, and as such want to explore how this could be more sensitively managed to bring light to a daunting experience and make it as comfortable a journey as possible.

From top: Building parti, section, view from sea, view from rocks

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Sophie Craven Heather McNeill Katie Shaylor Helen Quinn Shijian Zheng

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TH E L I FE H O U SE Sophie Craven In the 19th century, Dr Edward Long Fox, a psychiatrist from Bristol, came to Weston-super-Mare to open a bath house on Knightstone Island. He was a pioneer in the humane treatment of the mentally ill, as he believed that mental health was linked to physical health.

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I would like to recreate this concept of mental / physical connection in the project - as a rehabilitation centre for the mentally ill. The building will act as a residential halfway house between hospitalisation and everyday life through different levels of treatment - individual therapy and psychiatric assessment; physical treatment; group workshops and peer support; personal reflection and spirituality; healing landscape and connection to nature; and an element of giving back to the local community.

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From top: Parti diagram, timeline collage, entrance section, exterior view, model photograph

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SYM BIOS IS : TH E P ATCH WO R K Heather McNeill A community consolidation in the form of a near zero-carbon development showcasing energy saving measures and alternate technology, which seeks to bring community back to Weston-super-Mare and restore nature to the site. The development has been formed around the person and as such everything has been designed to be human scale with an emphasis on private, public and semi-public green spaces.

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118 dwellings have been provided for all ages and backgrounds as well as a collection of community buildings; a community hall, education centre, retrofit house, workshops, restaurant/cafÊ and crèche, which are laid out around a community square.

From top: Hierarchy diagram, house section, site plan, aerial view of site, site section

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LIBE RATIO M EM O RI A Katie Shaylor The Lifeboat Station forms an important part of the community within Weston-super-Mare. Situated where land and sea meet, the scheme addresses this threshold both pragmatically and poetically; through a functional need to reach the depths of the sea by the RNLI and a place to recreate memory.

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Inspired by Joseph Campbell’s Monomyth, the journey undertaken by a lifeboat volunteer can be linked to the cyclical journey of the Hero. From their call to adventure, crossing into the unknown, facing trials and an ultimate realisation before returning to the land. This narrative forms the sequential journey of the memorial, evoking a personal experience in order to remember those lives lost at sea.

From top: Concept images, view from sea, view of boathouse, view within piermaster’s house, memorial interior view

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V I TA L I T Y Helen Quinn Considered a benchmark of perfection, the human form is studied in almost every area of Art. Yet as our work ethic increases, we fail to nurture the bodies bestowed upon us, fuelling ourselves with convenience foods and neglecting the importance of physical activity.

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Through my final year project, I aim to create an environment in which an individual may go back to the very basics of self-care, and re-educate themselves in what it is to be truly healthy. It is this education which is the key to reestablishing healthfulness, creating wholesome individuals and communities, and reigniting our former respect and appreciation of the human body.

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From top: View of vegetable garden, development model, view from street, short section

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H ELI- P O RT Shijian Zheng The project proposes a heliport to replace the existing Weston airport as the new aviation hub in Weston-super-Mare. The new heliport is chosen to be built in the Village of Brean, a location with vast flat landscape and great aerospace clearance. The heliport consists of an Air Search and Rescue centre, improving the safety and security along the South-West coastline; a museum, reviving Weston’s declining tourism industry, promoting its cultural heritage; a pilot school, re-establishing Weston’s speciality in aviation; and a business meeting centre, boosting Weston’s economic growth.

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The design of the scheme seeks to replicate the architectural language of its surrounding agricultural buildings, and interact with Brean Down forming the backdrop to building’s North.

From top: Exploded isometric of hangar, perspective section, view of exhibition hall, approach to building

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Hannin Alnimri Deniz Atakan Hon Yen Chong Chris Hamill Venessa Mok Adam Sparrow Chen-Yong Tan Priya Thandi

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TO PO G R A P H Y O F T H E P SYCH E Hannin Alnimri This project explores the idea of bodily and sensory awareness and how it aids towards a different perception of one’s interior and exterior worlds. There is a sense of dualism between oneself and nature. The immaterial and the material; the psyche and the outer world. We have become more and more removed from nature in the modern day, reducing opportunities in which we can engage in tactile stimulus. The project responds to this paradigm by offering a meditative retreat that seeks to enhance one’s awareness of their mind and body and therefore lead to a strengthened sense of reality.

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The building responds very specifically to the site and its topography; on one level it connects to the existing ruins. At a lower, more secluded level, a series of pavilions rely on nature for meditation.

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From top: Concept image: mind/body/world, section, meditation section, view from sea, approach

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CH O RO M OTUS Deniz Atakan

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Movement is an essential part of human existence. However, in modern societies, human body and its natural responses to rhythms and emotions are supressed and the effect of bodily motion and coordination on mental health is often undermined. A dance school in Weston will be a venue for local people to learn about dance and to understand that dance is for everyone. As well as responding to the demands of the town for higher education institutes, it will contribute to the cultural revival of the city centre and the regeneration of the town as a tourist destination, bringing together local communities of Weston and tourists whether they are interested in dance or not.

From top: Concept sketch, exploded isometric, view of dance studio, view of courtyard, perspective section

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TH E ST. NIC H O LAS D ISTILLERY Chris Hamill

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The distilling of whisky has been common in the UK for generations, and this project seeks to give Weston an industry around which it can orient itself in the new century. The building itself looks towards the future, and by stacking each process step sequentially in a tower, the power of gravity is harnessed to massively reduce energy consumption. The cooperage and barrel store intersect the process tower at its base, forming a horizontal counterpoint to the axis-mundi of the tower. The gas flare at its apex also embodies the hope that this building will become a new icon for the people of Weston.

From top: Section through process tower, diagram: stacking of process, approach through trench, view of still house

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WE STO N - SU P E R - M A R E STE INER ACAD EM Y Hon-Yen Chong The Steiner Academy aims to provide a rich learning environment which encourages the development of individuality by bringing nature closer to the learning process. Placing the school between urban and natural, the children of Weston-super-Mare are able to correlate and connect to both aspects of the locale as they progress through their education.

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Education can be seen as the rite of passage from childhood to the full inclusion into the world. The school as the setting of this liminal phase, therefore, plays a crucial role in the development of children. All too often, surveillance and discipline define the architecture of modern schools where children are mostly devoid of freedom to explore different interests and develop their personalities.

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From top: Model photos, external view of kindergarten courtyard, external view. Opposite: Building parti

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A TE ST B E D Venessa Mok

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This project is to design a place for study of international affairs for oversea volunteers. The SOAS will offer short courses on issues in global development and seminars on academic research by the university in London. The VSO volunteers who are going on overseas service will study and live in the institution for one month before their trip; they will take part in research courses and workshops tailored to the specific project that they are working on, in order to gain the insight and skills required to make a lasting contribution to the communities that they will be serving.

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From top: Development sketches, section, view of the front, view of the rear

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M NEM O LIT H Adam Sparrow

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This project aims to marry the typologies of archive and museum in forming a protective receptacle for the memory of Weston-super-Mare. These memories are represented through the eccentricities of the townspeople, in the form of their possessions and historical artefacts. The physical presence of these objects affords the memory a degree of protection and preservation, so the objects are archived in the tower; they are then moved from the tower to the galleries at the whim of a curator, forming exhibitions meditating on the ‘special’ and the ‘mundane’. The scheme is situated on Brean Down, and hopes to utilise a rich, 4000-year history of human habitation in emphasising the potential of these memories.

From top: Tower tectonic: regular and reading, external view, tower section, view from sea

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TH E PE R C H O N T H E E DGE Chen-Yong Tan

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Being a seaside town naturally allows the people of Weston-super-Mare to enjoy the wonders of nature on a day-to-day basis. However, with the empowering drive for commercialism and the development of the town’s urban fabric, the focus to enhance its preexisting natural beauty has been diminished, as such, this project aims to rediscover the genius loci of a seaside settlement, in particular, the wonders of birds and the spectacle of their annual migratory passage over land and sea, by creating a birding hub in the promontory of Brean Down, thus encouraging a return to nature and the appreciation for the flora and fauna that can be found all around us.

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From top: Observation tower, section through research wing, view from north-west

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W ARP AND W E FT Priya Thandi Fashion retailers exist throughout many of Westonsuper-Mare’s neighbouring towns and cities. However the town is in need of a regenerative idea, which differs itself away from the common High Street bargain stores and restores the central core.

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Clothing, once a basic necessity of life and now part of a fast and disposable industry encapsulates the notion of wasteful consumption. In an attempt to address the current issues that are facing the fashion industry, the introduction of a Fashion School to Weston-superMare will house a new kind of education. The ways in which we produce, sell and buy goods are altered. In addition to the makery of garments, a selling aspect will be included to evoke a sense of practicality to the learning process.

From top: View of stairs, elevation, external view

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Lauren Barwise Georgi Belyanov Alexandra Goulds Yizhiu Jiang Sarah Jones Hyun Jae Jung Stanislaw Krzyzewski Harjeet Matharu Liliane Nguyen Katie Stringer

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E A RTH A N D SO U L Lauren Barwise The proposal seeks to cater to a community of parts, together functioning as an experimental ecosystem, within the context of the land. The scheme is comprised of two parts; a series of landscaped concrete corridors and a central barn. The corridors act as part of the land and embrace the community within a series of courtyards. The barn acts as the only element to break the boundary and reaches across the hill to gather animals, community members and the public.

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The proposal is a carefarm community which is run by two families of farmers. The project is located on the outskirts of Uphill Village, within historic farming land, seeking to provide a therapeutic safe haven within proximity to the city. The community focuses on the therapeutic benefits of both farming and art, aiming to offer residents of Weston-superMare holistic care and bring awareness to our current relationship with the land. The centre houses an arts therapy centre, an accommodation for retreaters and permanent farmers as well as spaces which seek to be interactive and informative to the public. Parts of the programme can also be rented out by the public.

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From top: View of art court, view of public market hall, view of cultivated court, view of entrance from path

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TH E P H ILOS O P H E RS ’ GARD EN Georgi Belyanov

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Taking inspiration from the classical schools of philosophy, Plato’s Academy and the Garden of Epicurus in particular, this project seeks to reinterpret the ancient and largely extinct concept of the devoted philosophical communion, delivering an attempt at recreating the prototype of an independent learned community. Hovering above the eastern tip of the rawly beautiful promontory of Brean Down, the building creates a tense duality of connection and isolation from the world, alluding back to both the ancient schools’ precarious form of existence, and more generally speaking to philosophy’s simultaneous detachment and entanglement with the immediate matters of society and the ‘here and now’. The brief elaborates on the juxtaposition of the two driving processes of philosophy — introspective thought and open discourse — and through the provision of spaces conductive to both, lays the foundations for an institution aspiring to become a place of learning and questioning; an architecturally conceived platform for thought, knowledge and discussion.

From top: Axonometric of scheme, plan, view from sea

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TH E BA C K B O N E O F T HE NIGH T Alexandra Goulds

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An observatory and astronomy centre on the edge of Weston-super-Mare. The centre will be affiliated with the University of Bath Astrophysics department and Swindon Astronomy group. The project maintains the existing Palmerston Fort as a basis for the design, using the existing trench to enhance the vertical of an exhibition space. The two observatories sit along this trench with one on an existing observation deck and the other extended out via a pier into the sea. The remaining existing buildings have been retained with a cor-ten extension above.

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From top: Accommodation exploded isometric, Perspective section, view from sea, approach at night

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IDYLLS Yizhou Jiang

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The school on Weston-super-Mare has been designed to activate the surrounding area and bring up a new tourist attraction on Brean Down. The building should provide accommodation for both chefs and guests, and could be used as a rest point for Brean Down visitors. The main concept behind this is to encourage people to experience the fun of planting, harvest and eat seasonal food. Reflecting its rural setting, the school can be conceptually described as a camp base on top of the Brean hill, the curing Tower acting as a camp fire on the center of the massing due to its functionality and height. The rest of the accommodation embraces the tower on the landscape as an image of camp base.

From top: Sketch view, model photographs, view of approach, section through tower, view from courtyard

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A C ONT E M P O R A RY T ENT Sarah Jones The proposal is for a new Girlguiding Residential Centre in Weston Woods. The Centre offers a broad range of accommodation for Girlguiding UK, and is designed to actively promote inclusion of disability - a factor which is often overlooked in existing traditional Girlguiding buildings. The building also aims to express both the traditional and modern Girlguiding principles through its materiality and overall design.

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The location of the Centre encourages interaction with the town and also provides the necessary seclusion of a camp.

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From top: Model photos, campsite view, first and second floor plans

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S AL- FISH Hyun Jae Jung

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Museum of Salt and Fish Market explores a theoretical and architectural response to regenerate the town of Weston-super-Mare and society surrounds through a medium of Salt, Fish and People. The project aims to showcase a relationship in an isolated environment of island of Birnbeck, north of Weston-super-Mare, through highlighting and balancing multiple compelling functions of process of making salt, commercial aspect of fish in the form of a market space and a sequence of exhibition and gallery spaces.

From top: Concept image for tower, approach from Birnbeck Pier, perspective section, approach from causeway, fish drying area

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TH E TR O P IC A N A W E IGH TLIFTING CENTRE Stanislaw Krzyzewski

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A multi-functional sports facility designed first and foremost for Olympic weightlifting. Occupying the full extent of the derelict Tropicana plot on the seafront, it aims to reinvigorate the lost leisure site, with a landmark sports/events venue that will attract tourists and local residents alike. On a broader scale, the proposal aims to raise the profile of the sport, through education by participation; by enticing as wide a spectrum of budding athletes as possible, in the most aesthetically pleasing and technologically advanced setting possible.

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From top: Structural sketch, first floor 3D cutaway, competition hall, view from beach

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TH E AM BU LATO RY Harjeet Singh Matharu In the highly pressurised environment of the hospital, patients in Weston are currently expected to learn and emotionally overcome the effects of suffering physical traumatic injuries, often at a pace unsuited to them. The Ambulatory aims to relieve the pressures on the current overstretched medical facilities, creating a rehabilitation centre in which a clinical medical environment for minor surgeries is amalgamated with the more traditional physiotherapy programs associated with rehabilitation.

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The building revolves around the motion of walking; being used to inform the massing of the scheme, through the creation of a central axis around which the programme is arranged. Through understanding the constraints and complexities involved in creating a sterile environment and marrying this with theoretical and philosophical ideas about the process of healing, the project aims to produce architecture that sensually interacts positively with the patients and dissolves the physical barriers between building and landscape.

From top: Ground floor plan, walkway isometric, external approach, perspective section

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BI RN BEC K C U L IN A RY IS LAND Liliane Nguyen

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Food is a theme that transcends all cultures and generations, which is why for my final project, I am proposing to build a culinary destination on Birnbeck Island in Weston-super-Mare. The site would contain a culinary school, a greenhouse, a marketplace and destination dining. In designing this building I’ve drawn upon existing cultural and historical references in order to develop my design. The building form is a derivative of the fishing nets that have been planted on the island for hundreds of years and continues to be used there to this day.

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From top: Concept sketch, exterior view, long section, view of entrance

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TH E STO RYLINES CENTRE Katie Stringer

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A childrens’ centre for ages 0-14, encouraging creative writing, reading and storytelling. The centre contains a library, small performance theatre and residential centre, to be used by local nurseries, primary and secondary schools, drama and literary groups. The courtyard design creates a secure, inward looking environment, yet provides stimulation for the imagination to operate without bounds.

From top: Concept sketch of Matilda, view of library, view of reading courtyard, model photograph

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Lucinda Anis Yannick Lo Jason Lui Maddy Mathias Stephen Oldham Adam Park Hun Pu Grace Reid Jason Tsang Shihao Zhang

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A VILLAGE AT S EA Lucinda Anis My Thesis Project focuses on what is deemed as ‘The Outsider’ into a society that is uncomfortable with one that is led astray from the conventions of what is deemed as ‘acceptable’. The concept of Restorative Justice focuses on the cycle of crime and redemption - it is a system that does not punish the offender but instead provides him with responsibilities that leads to an apology to the community instead. In the process of working towards bettering the community, the offenders better themselves as their punishment is the loss of freedom.

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Restorative Justice is, therefore, majorly rehabilitative with a small degree of incarceration - meaning that they are provided freedom within a boundary. It is a system designed to promote repair, reconciliation and the re-building of trust in relationships. Although freedom is removed, the offenders are rewarded (in the long run) with an establishment of commitment, fairness, responsibility and the ability to trust one another in a common community. It is a balance between the therapeutic and retributive aspect of justice as well as the balance between the need/duty to rehabilitate offenders as well as protect the public. Input from both the victim and the offender is essential for Restorative Justice wholly fulfil its purpose.

From top: Perspective plan, view of entrance, perspective section Opposite: Concept diagrams

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G RA F F IT I FO R U M Yannick Lo

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My proposal is a Graffiti Forum that provides free expressing and debating space which lets urban artists and people from different walks of life express their emotion, meanwhile seek for their own individuality and identity in Weston-super-Mare. It aims to let people re-identitify Weston-super-Mare as a town, which is now in a state of anonynimity. Also, it intends to re-establish the significance of human voice and identity in the modern society through graffiti. The new destination reflects and highlights the social aspect of Weston-super-Mare, whilst also creating a sense of discovery through the city.

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From top: Concept diagrams, perspective section, external view

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NAVI- GATE Jason Lui

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Lack of public engagement at the seafront, which is also at the town centre, has created a slump in both the living and the working atmosphere in Weston-superMare. The town of Weston today is facing the challenge of reactivating society and economy, as well as relocating people back to the centre. There needs to be a carrier throughout the action. Therefore, it is a great opportunity to use the sea as a medium, linking Weston to the world of infinity and beyond. My architectural intention is to set up an educational hub for Weston on this highly related subject - maritime studies, in order to reemphasise the character of the town, as it has a lack of activeness within its society today and lost in finding the way towards further development.

From top: Wall detail, external view of entrance, external view of building

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C OM MU N IT Y F A C TO RY Maddy Mathias

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Weston-super-Mare suffers the same problems as many other British seaside towns. ‘Community Factory’ is a community centre in the town centre of Westonsuper-Mare which is a series of flexible indoor and outdoor public spaces away from the seafront which will help regenerate the town centre and help the town move away from its identity of a British seaside resort. It en­courages transient visitors to engage with the place rather than just the tourist attractions. It is an opportunity for visitors to become part of a place and want to stay. It is a way to help integrate visitors and temporary residents and seasonal workers into Weston-super-Mare and it encourages perma­nent residents, particularly young people, to stay.

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From top: Elevation study, perspective section, internal view, street view

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C ENTRE FO R M EM O RIES Stephen Oldham

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The ultimate aim of the Centre for Memories is to improve the quality of life for those affected by dementia. The centre provides respite care for dementia patients in addition to offering support to carers. Research into the condition directly informed the design of the centre. The scheme is organised around a central cloister onto which virtual houses are connected. The resulting layout facilitates the autonomous movement of users and instils a sense of time and place. A tactile environment is created both internally and externally in order to generate sensory stimulation.

From top: Building parti, view from street, view of cloister, perspective section

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TE R RA T H E R M A E , M U D S P A Adam Park Weston-super-Mare emerged as a town of significance in the 18th and 19th century, following the ‘Sea Cure’ trend whereby doctors extolled the virtues of sea bathing. Today, the town is stigmatised and suffers a lack of identity, instigated by the disappearance of bathing from the town’s culture. The conception of the project aims to revive this lost tradition whilst also redefining it with the use of mud. Known colloquially as ‘Weston-super-Mud,’ the tidal range of the Bristol Channel, which is the second highest in the world, exposes vast mudflats at low tide. The use of mud within the spa aims to celebrate this unique landscape so important to the town’s character.

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Due to pollution in the Severn Estuary, there is a need for the mud to be decontaminated before it can be used. As such reeds are planted to remove metal toxins by the process of phytoextraction. In this way the mud is purified and is then used to purify, establishing a strong dialogue of symbiosis throughout the scheme.

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From top: Concept sketches, perspective section, hot plunge pool, view from the sea

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TH E JO I N Hun Pu

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‘The Join’ is essentially a community centre; a place where both the individual and the collective can gather, where relationships can begin, and critically, a place where generations are connected and joined together. A sense of community between both the young and elderly is encouraged and celebrated. To achieve this, the scheme explores realities of both transparency and solidity, of openness and enclosure. Fundamentally, the scheme is chiefly concerned with what occurs at/in/ on the threshold and in-between spaces; the ‘betwixt & between’.

From top: Concept diagram, south elevation, relationship with Grove Park

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TH E TEL LU R IA N Grace Reid The Tellurian examines our collective need for ritual through a secular rather than a religious belief system. It uses the three Humanist ceremonies - naming, wedding and funeral - to organise a non-religious set of spaces in which to celebrate.

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The site is located near the tip of Brean Down, in Weston-super-Mare, incorporating part of the WWII fort. The site’s striking geology and ancient history generated a primal architectural response. Three paths were choreographed through the landscape to coordinate the three rites of passage - birth, marriage and death - within a compositional array of towers and plinths on a rocky outcrop next to the sea.

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From top: Corten walkway, view from above chapel, view from sea, view from below. Opposite: Tectonic model detail

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TH E F U R N IT U R E H U B Jason Tsang The project seeks to engage the public with the lost art of making. Valuable workshop space places furniture making back into the heart of Weston-super-Mare. Flexible exhibition spaces permeate the scheme where both the craftsman and the buyer are able to meet around the collective interest of furniture. The building skin is to display the craftsmanship and resourcefulness involved in the making of furniture.

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In addition, the project seeks to enhance the existing wildlife sanctuary of Old Town Quarry to create a functioning, usable landscape. The message of a continuous, sustainable approach to making is at the forefront of the project.

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From top: Strategic diagram, perspective section, model photograph, interior view of exhibition

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NATU RE CU RE Shihao Zhang Previously, the health fashion trend changed from bathing in spring water in Bath, shifted to bathing in seawater with sun, breathing in fresh sea air, or even drinking seawater.

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It is a pity that the town is no longer a healthy resort destination; thus, my idea is to reclaim what had been lost to this town in a different way. The proposal is to create a new breed of health centre that provides holistic herbal treatments and health knowledge to locals and visitors.

From top: Building parti, East elevation, Perspective section, view from Sand Bay, view from dojo

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WHA T M AK E S THE P E R F E C T PR OJ E C T ? YEAR BOOK .indb 186

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Is your project a spa or retreat?

ST A RT

Yes

No No

Yes

Is it a farm or industrial project?

Maybe a bit longer...

Better make it long and thin.

No

Choose a rural, hillside location.

Does it have a tower?

Yes

Perfect!

...and throw on some timber louvres.

Don’t forget to add a cafe and exhibition!

Make that a tapered tower...

Lastly give it a fancy name...

...preferably in French or Latin.

Final Check List:

C O N G R A TS! You have completed the classic Bath project.

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-Had a terrible crit. -Done an all nighter. - Had a printing disaster.

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HOW D O I M A K E M Y R E N D E R LO OK G O O D? YEAR BOOK .indb 188

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ST A RT

Wait 8 hours for image to render and count it as working.

Add all of the Skalgubbar people.

Spend longer fixing render in Photoshop than it took to do in the first place.

Give said people gentle motion blur.

Overlay Grunge

More Grunge!

Add Luminous God Rays.

Apply Sepia Filter

Add Water Colour Effect.

CO NGRATS ! You have a beautiful render!

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Master of Architecture YEAR BOOK .indb 191

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F I F TH Y E A R Toby Lewis The aims of the studio have been:

1. To develop designs that address wider issues of urban design and landscape, as well as detail considerations of material and technique as part of an integrated architectural approach.

For this the students have undertaken several one week exercises during the earlier part of the semester, the first based on campus and the rest on the project by the river, south of the train station, in Bath: a ‘live’ threshold installation a manifesto on ‘beauty’ in image and text an observation exercise

• • • •

F IF T H Y EA R

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• • •

a place-making exercise mapping the city from skyline to skyline a concept development exercise for a School of Constructive Arts a series of precedent studies of landscape, building, concrete and timber a concrete detail with a fabric formed concrete workshop or a timber detail with a visit to Hooke Park a landscape design exercise for the project site a week in Manchester working at Manchester School of Art on an urban design for the Irk valley, in the city an environment workshop.

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From top: Kintsugi process, Elvis Lagaj; Handrail model studies, Dennis Nguyen; Whisper gallery diagrammatic section, Sean Riddington

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2. To encourage each student to explore and develop their own design processes through a series of structured exercises, run in parallel with the studio design projects, including: • • • •

workshop an encouragement to be confident presenting sketches or unfinished work.

These combined have required the students to work very quickly and productively, to change gear from what some of them have been used to, to ‘jump in and splash around’ as Dennis Lasdun put it. “Seeing comes before words… [but] the way we see things is affected by what we know or what we believe. Yet this seeing which comes before words, and can never be quite covered by them, is not a question of mechanically reacting to stimuli. We only see what we look at. To look is a matter of choice.” - John Berger, Ways of Seeing

F IF T H Y EA R

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• • •

a group collaboration; designing and building a series of book reports on current approaches to architecture a workshop on ‘asking, looking, playing and making’ a ‘muff on a huff puff’ game of architectural picture consequences a group project of urban design an encouragement to design with models a Rhino and Grasshopper CAD modelling

From top: Observation collage, Catrin Spinner; Concrete spaceframe model, Akshara Pulpa; Structural model, Matt Kennedy; Concrete studies, Tom Lewis

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| MA rc h A rc h ite c t ure F IF T H Y EA R 194

From top: Site section, Michael Lewis; View of scheme from top of stairs, Alex Peacock; Roof study model, Annie Kwan; Manchester urban design, Dennis Nguyen, Edward Robertson, Elvis Lagaj, Georgija Slavova

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T

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From top: Antwerp, Belfast, Bratislava, Glasgow, Istanbul, Vienna

“Nothing in the world is more simple and more cheap than making cities that provide better for people.� Jan Gehl

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SIX TH YEAR - S U STAINABLE C ITIES During the first part of the final year of the Master of Architecture programme students carry out urban design projects in groups, in a European city of their choice. In 2014-15 the cities studied were: Antwerp, Belfast, Bratislava, Glasgow, Istanbul and Vienna. Each team carries out desk-top studies before undertaking their site visit, during which they carry out further research and analysis of their chosen locale within the city. The students then return to Bath where they explore transformative urban design proposals for their locale, based on the principles of low carbon urbanism. The final part of the first semester is dedicated to individual work during which students prepare a design brief for a building within their locale. The second half of the year is spent entirely on the students’ individual design projects. Studio work is supported by architectural tutors and specialist consultants whose aim is to help students develop and resolve the final academic project of their architectural education. The project provides the opportunity for every student to employ the full range of knowledge and expertise they have gained in the course of their architectural education. Each student is encourage to pursue their own agenda for the project and to use the opportunity it provides as a spring board into their professional careers.

Alexander Wright 6th Year Studio Leader

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A N TW E R P Soo-Jin Hwang Pruek Lertsrimongkol Mike May Caroline Rushton Peter Wildor

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ANTW ERP : S H IFTING TH E ED GE Soo-Jin Hwang, Pruek Lertsrimongkol, Mike May, Caroline Rushton, Peter Wildor The city’s vacant quays and historic docks represent a massive lost opportunity for the modern city of Antwerp, both spatially and financially. Our scheme populates these spaces with a large, mixed use development that corresponds with the fabric of the existing city. The detail of our masterplan has been designed to: Solve the issue of flood risk for the next generation

Remove the clutter of cars

Introduce much needed green space into the heart of the city

Repair a sense of disconnection between the city centre and Left Bank

Address the critical shortage of housing

Remedy the poor relationship with the River Scheldt

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From top: Model showing city and flood defence/boardwalk; View of historic centre from proposed bridge; View of boardwalk; Section through Sint Andries

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A N TWE R P F IL M IN ST ITU TE Soo-Jin Hwang Institute for Education, Production & Promotion of Flemish Cinema Antwerp as a city has a strong cultural background, especially in art, however the art of cinema is poorly represented. At the same time, over the past few years, Flemish films have begun to gain recognition and wider audiences. The intent behind the Antwerp Film Institute is to provide a building that promotes and gives a prominent manifestation in the city to the rising status of film, as well as a base where emerging filmmakers, productions and students can use the facilities to make films that is unique to Flanders. The project brief is divided into two main parts: a Film School that supports the physical process of filmmaking in the Flemish region, which encompasses education and production facilities; and a Film Institute which seeks to promote and improve the prominence of film and cinema in the city.

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The scheme’s proximity to the city centre, and its key position in the masterplan, gives a prominent status and identity to the art of cinema in the city of Antwerp as a whole.

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From top: First floor plan, Waterfront elevation diagram, Cathedral approach view

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ANTW ERP FAS H IO N CENTRE Pruek Lertsrimongkol Set in the heart of the city’s fashion district on the riverfront area, the building is designed to be a new landmark for the city to house all of the fashion activities in the city, e.g. fashion events, working studios, exhibition spaces, and conferences. It is a place for young creative designers in Antwerp to publicise their works. It is a building to represent Antwerp’s fashion industry.

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The building also offers a new public realm – a gathering place for the city. This will help reactivate the area along the quayside, as well as re-establish the relationship between the City and River Scheldt.

From top: Exploded plans, Interior view of showroom space, Exterior view, Long section

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S E C O N D A RY S C H O O L Mike May An inclusive and international academy, this large secondary school accommodates 1100 pupils aged between 12 and 18. The primary design objective was to produce an efficient, well-lit and well-ventilated building within an imposed framework of realistic financial constraints. In plan the building is a U-shape that creates an enclosed and secure courtyard with a south aspect. This U-shape is comprised of two linear classroom wings that define the streets of Vlaamsekaai and Waalsekaai, and a central golden hub that sits at the northern end, adjacent to the main entrance. Generous ‘learning streets’ within the wings bind together an efficient unit system that has been developed to simultaneously manage lighting, ventilation, circulation and programmatic requirements.

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A restrained materials palette of brick, timber and metal, coupled with simple and robust detailing, provides the building with a distinctive skin that helps to encourage a clear identity.

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From top: Key diagram, Model of scheme in context, Mathematics classroom, Entrance foyer, External view from north-east

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C HOC O L A T E F A C TO RY Caroline Rushton Belgium is famous for its quality chocolate and Antwerp is no exception. Goossens is one of the oldest chocolatiers in Antwerp, originating in 1955 as a family run business. It is well known in the chocolate industry for its handmade high quality chocolate using 100% cocoa butter.

The building is located in a prominent position in the centre of the city, which forms part of the Antwerp Quayside master plan. The site is situated near other popular art museums to encourage tourists to visit. The Chocolate Factory is divided in layers, with the factory on the ground and top floor, and the public museum on the two middle floors.

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The Chocolate Factory provides larger facilities for the chocolatier, which is capable of producing 80 tonnes of chocolate each year. The building also contains a museum for the public where Goossens can showcase

their creations, as well as celebrate the Belgian culture of chocolate.

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From top: South-east elevation, View of factory roof garden, Model study of bronze perforated solar shading, Perspective section through factory and museum

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T H E C RINGLE CRANGLE CO LLE CTIVE + ZU ID BIBLIOTH EEK Peter Wildor The city of Antwerp continues to thrive both as an international port, but also more recently as a centre for the creative industries. By 2030 it is predicted that the city will require an additional 40,000 new homes.

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Since the Second World War the city has suffered from uncontrolled suburban sprawl. There tends to be an ingrained mind-set especially for families with children to move to the suburbs. This can be summed up in the common Flanders saying, ‘Every Belgian is born with a brick in their stomach’.

This project aims to reintroduce affordable and practical family housing back to a city centre edge location in a high-density mixed-use development, providing both private and communal green space as well as a range of communal facilities. It is hoped that this project could act as a flagship for the quayside master plan and instigate a move back to more sustainable, collective city centre living.

From top: View of inset terraces and winter gardens, Exploded isometric view of the accommodation arrangement, Series of model views of scheme, View of external access decks

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B E LF A ST Christodoulos Christodoulou Ben Munro Craig Smith Jack Stephenson

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BE LFAST: CO M M O N GRO U ND Christodoulos Christodoulou, Ben Munro, Craig Smith, Jack Stephenson A formerly thriving city, forged from pioneering industry, Belfast has since become divided and defensive. Years of conflict, industrial decline and poorly planned infrastructure have shaped the city we see today. Belfast has evolved an inward facing attitude, scarred by planning blight, surface parking and lowdensity cul-de-sac housing. Consequently, there has been a decline in population, particularly in the city centre where only 3,000 people now live. There is no incentive to live in Belfast; commuters are serviced by a surplus of surface car parking, creating a city dominated by tarmac and a lack of green space. Belfast is currently ‘nobody’s project’ without a coherent vision. Small pockets of the city are thriving and the imminent arrival of the University of Ulster campus to the city core will provide an opportunity to re-integrate Belfast with its surrounding communities.

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This will be achieved through Belfast’s Common Ground, the shared space in-between closed communities and the healthy parts of the city core. The proposed design will re-establish eroded links and deliver essential public realm in order to repopulate the city.

From top: Belfast: a mechanical heart, Market created in space sterilised by road infrastructure, The Westlink linear park, New transport interchange, Pedestrian and cyclist friendly arterial routes

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A C HI LD ’ S SC H O O L Christodoulos Christodoulou Set within the urban environment of Belfast, the new child’s school sets the framework for a new common ground where the relationship between child, nature and play is explored. It responds to Ireland’s lack of non-denominational learning environments, and places the child at the foreground for a new contemporary city. With a flexible and porous envelope, it uses the two place-making typologies of street and courtyard, to bridge the physical gap between the introverted cul-de-sac communities of the North with the city core.

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Through the child , it aspires to ‘heal’ the current social gap, and bring vitality and life to the streets of Belfast. A symbiosis of green infrastructure, children and public attempts to act as a ‘catalyst’ to an industrial context that has yet to reach its turning point. In doing so, it addresses the city’s lack of greenery and public spaces, as well as the problem of flooding and rainwater runoff. In conclusion, it creates a biodiverse environment, both for the city and for the children within it.

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From top: Exploded axonometric of school, Children street - south entrance, School entrance, Playhouse, Internal resource street

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T H E B E L F A ST C ENTRE FO R O U TD O O R P U RS U ITS Ben Munro Outdoor pursuits are popular in Northern Ireland and this project offers Belfast’s residents, many of whom live in shattered communities scarred with a turbulent past, an opportunity to be involved in a variety of stimulating and exciting activities which nurture social cohesion and a positive mindset.

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The centre provides a number of facilities to encourage the engagement and participation in outdoor sporting activity in Belfast and the surrounding countryside. These include: training, boathouse and workshop facilities for Belfast’s rowing, kayak and canoe clubs, cycle workshops, public fitness suite, cafe, clubhouse, staff facilities and an indoor/outdoor climbing tower.

From top: View of the boathouse, Approach crossing the Lagan Weir, Perspective section east-west, Cycle hall interior view, Boathouse model

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C E A RD L A N N / WO R KS H O P Craig Smith Ceardlann/Workshop is a visual arts centre that will facilitate the acquisition of arts based skills for the citizens of Belfast. It will become a beacon for artistic development in the city as well as supporting local artists and galleries with workshops and studio space, complimented by public exhibition space.

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The scheme is inspired by Belfast’s proud historical status as an industrial giant. In more recent years, this proud identity has been overshadowed by conflict and violence. The facilities provided by Ceardlann/ Workshop will allow people to create and share ideas, addressing the need to develop and promote a new identity and thriving arts culture - this is the vision of a post-conflict Belfast.

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From top: Corner view from Green Loop, Detail through workshop and artists studio, Assembly yard, Perspective section

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Jack Stephenson The Federation is a factory for creativity; a robust canvas with the inherent flexibility to satisfy its dynamic occupation, the Creative Industries. It aims to bridge the gap between public, academic and professional, connecting creative minds and offering a unique ecosystem of resources and inspiration. The family of ‘buildings’ plugs sensitively into the historic context with a ‘charged void’ occupying the in-between spaces. The central atrium is characterised by top-light and the internal elevations of brick and concrete. A stepped landscape of breakout spaces creates visual connections between levels, promoting three dimensional interaction and fostering creative collaboration between disciplines. The continuum of both constructional language and material evoke the relationship between The Federation and the city’s historic landscape. The internal street is an extension of Cathedral Quarter, allowing visitors to move freely from the surrounding streets and square into the creative world within.

[Academic use only]

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North Street NorthNorth StreetStreet

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StreetStreet Church Church StreetChurch

WilliamWilliam Street William StreetStreet

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F E D E R A T IO N FO R TH E CRE ATIVE IND U STRIES

From top: Model axonometric, Streetscape views, Model aerial view, Charged void

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B R A TISLA VA Alvin Cheng Emaad Damda Nadia Grudinina Sioned Holland Emily Jones

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B R A T IS L A V A : Z ELE NÁ LINK A - TH E GRE EN LINE Alvin Cheng, Emaad Damda, Nadia Grudinina, Sioned Holland, Emily Jones Bratislava is a city of two halves. The historic charm of its Old Town acts in stark contrast to the socialist tower blocks of Petržalka. The Danube and major highways together with an incoherent transport network exacerbate the north-south divide. Bratislava’s unstable history and its perceived inferiority to its neighbours means a lack of civic pride in a city lost in transition. However, with a highly skilled population, an emerging economy and a valuable location within Europe, it is a city on the brink of change.The Zelená Linka master plan acts as a catalyst for this change. A continuous green ribbon forms the key gesture, stitching the north and south banks with a new tram link, overcoming the major physical barriers.

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Along this Green Line are five distinct areas that revitalise the locale.A civic square on the north bank rekindles the public realm, looking onto a new living bridge that gives Bratislava a new human-scale landmark for the future. The south bank is activated by riverfront recreation and life injected through a new mixed-use neighbourhood and shopping street. A new centre is created in Petržalka, with a sports village that celebrates its canal.This intervention into the urban fabric seeks to add value for future development and instil a sense of pride for the people of Bratislava.

From top: Civic square, Living bridge, South bank riverside recreation, Green Line shopping street, Sports village, The North-South stitch

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A QUA T IC C E N T R U M Alvin Cheng Discontinuity in pretty much every aspect of life troubles modern day Bratislava. The socialist regime reinvented PetrĹžalka out of context, disregarding the preservation of cultural heritage. An unstable political environment and drastic democratic movement all add to this story of disjointedness.

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Even the physicality of the city could not escape this fate of disparity. The Old Town is a classical European town showcasing its prosperity among concrete monolithic monstrosities that are perhaps a more honest representation of the city.

The Aquatic Centrum set out to piece the city back together, first by bringing back the once favourite activity of Bratislavans, swimming, to its former popularity. This then becomes a vehicle and driving force that reconnects the North and South. The building sits on a landscape that is reconfigured to let urban activities sprawl into a natural park through a reed bed water cleaning system, reconnecting the Croatian Arm Canal to the wider city context. Within the building, water flows down terraces in a natural filtered system closely linked to each other in a loop, embodying the social water that connects people to people.

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From top: Long section, Aerial view of scheme, Diving pool, Core circulation diagram, View of south front

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P U B L IC LIBRARY: A P LACE FO R P E O P LE Emaad Damda The proposed library forms the head of the Green Line and fronts the new civic square. It lies on the threshold between north and south, old and new, living and working. It seeks to bring people together to create a centre for democratic exchange - a place for learning, discussion and innovation. It builds on the collective memory of the city, trying to rekindle the public realm and aims to engender a sense of civic pride. It is about preserving cultural heritage, whilst also acting as a marker for Bratislava’s new identity.

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The square flows into the building, with a dynamic, flexible marketplace inviting people in and dissolving the threshold between building and landscape. The elevated library itself is based on the idea of a human-scale ‘living room in the city’, supplemented by the ‘BookBot’ - a book tower holding a collection of the city’s history. The building provides a range of free services, accessible to all - a piece of public infrastructure that the people of Bratislava can call their own.

From top: Approach from civic square, Marketplace detail, Perspective section across tower, void and Green Line, The living room, Perspective section across square, marketplace and library

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TAN E Č N É KO N Z E RV A TÓ RIU M LABANA Nadia Grudinina The once lively Aréna Theatre, found on the site, has fallen from grace with the growing popularity and esteem of the Old Town theatres on the north bank. By taking over the Aréna and creating a new dance theatre, school, bar, restaurant and public realm, the conservatoire brings prominence back to Slovak dancers and the lost theatre of the south bank. It once again gives people a reason to be proud of their history and provides a place of rendez-vous, looking onto a beautiful panorama across the Danube.

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The site of the project, the south bank of the Danube, was historically filled with entertainment: lidos, cafés and summer theatre. However, as the village of Petržalka, located to the south, was demolished to make way for communist panelák blocks and a motorway was run through, the riverside became disconnected from the main residential zone. The project forms part of the regeneration of the south bank and the reconnection of the north and south banks.

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From top: Short section through studio, bar, entrance courtyard and restaurant, Entrance courtyard, View from river side park, On stage, Long section through auditorium

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D ANU BE D IS COVERY CENTRE Sioned Holland The Danube Discovery Centre (DDC) aims to raise awareness of the valuable natural environment which the River Danube encompasses, whilst providing a permanent base for conservation institute, BROZ, to continue their work in protecting this under-valued yet precious environment.

The journey of discovery continues through the building along an elevated walkway that touches the ground lightly, as it winds its way through the trees to an observation tower at the eastern tip of the island.

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The DDC is positioned on a floodplain island, which provides the ideal opportunity for engaging the public with the natural environment and its seasonal fluctuations. The journey of discovery takes visitors

along the western wing of the centre through a series of exhibition spaces that are elevated over the river’s edge. The established BROZ community occupy the eastern wing, where meeting spaces, offices and a laboratory sit nestled between the trees.

From top: Northern elevation of NovĂ˝ Ostrov, View of the DDC from the River Danube, Model section, Continued journey along treetop walkway, Fluctuating nature gallery, Soft edge condition along south bank

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BR A TI S L A V A U R B A N WINE RY Emily Jones Viticulture and oenology in Bratislava dates back to the 6th century. Due to many regime changes, the wine industry experienced fluctuation. The Urban Winery aims to re-engage locals and consumers with the rich wine culture, providing an innovative cooperative and research facility for local vineyards in order to rekindle traditions.

The sensitive and unique use of timber, concrete and glass have been used to respond to the desired atmosphere of spaces in the winery. I sought precedent ideas from materials used in the wine making process such as barrels and traditional cave-like cellars. Above all, I enjoy the shafts and refraction of light which is influenced by the type and density of material.

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The urban winery is a recent building type whereby a wine producer chooses to locate the wine making facility in an urban setting within a city rather than in the traditional rural setting. Connecting the Urban

Winery to the rural wine regions around Bratislava helps the lagging rural economy and overcomes the dichotomy between city and countryside.

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From top: West elevation, Perspective section, Roof/site plan, Elevation detail, View from fermentation room

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GLA SGOW Simon Murgatroyd Anna Praulitis Qian Qian Peter Spall

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Tradeston: Before / After

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M A ST E R P L A N FO R TRAD ESTO N, GLAS GOW Simon Murgatroyd, Anna Praulitis, Qian Qian, Peter Spall Our vision for Tradeston is as a prototype sustainable community. The wider aspiration is that this masterplan could be adapted and used to regenerate other areas of Glasgow. The approach is based on localism principles to minimise impact on natural resources, encourage local businesses and keep money in the local economy.

• • • • • •

Creating a quality neighbourhood Ensuring adaptability and sustainability Improving connections to the wider context and reconnecting fragmented communities Giving priority to pedestrians and sustainable transport Encouraging physical and social activities to improve general health and social cohesion Involving communities in the phased development

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The masterplan begins with strategic infrastructure changes and key community buildings, such as the central covered market which acts both as a community space and attracts people to the area. New buildings develop around these key moves and the existing built context to reform the historical

city grid layout. Development follows a pattern book of typologies, materials and dimensions to ensure a vibrant and engaging pedestrian experience. Key masterplan aims include:

From top: Market square, Model detail of new market and square, Market interior view

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MUS I C & M E M O RY: M US IC TH E RAPY CENTRE, C A RE H O M E A N D M U SIC H ALL Simon Murgatroyd Glasgow is renowned for its musical scene. It is also a city of inequality and home to many vulnerable people. The project aims to redirect Glasgow’s musical talent towards its vulnerable population, and at the same time, rekindle a sense of community. The brief brings together a music therapy centre, a care home for the elderly (for whom music therapy is particularly beneficial) and a music hall in a single urban block. Together, they form a social hub where people of different ages and backgrounds can mix, through the medium of music.

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The site for this complex sits at the heart of the Tradeston master plan, looking onto the new market square; the location chosen because it offers a strong public interface with the wider community.

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From top: Site plan, Music hall perspective section, Music hall at evening, Music hall foyer

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G LAS GOW D RU GS CRIS IS C ENTRE Anna Praulitis This project proposes the extension and renovation of the Glasgow Drugs Crisis Centre (GDCC) in Tradeston, Glasgow. GDCC provides support to some of the most vulnerable people in Glasgow, both on a drop-in and residential basis. Glasgow has some of the highest rates of substance abuse in Scotland. While the situation is improving, this project is required because the existing building does not meet the current demand for the centre’s services or the current care commission standards.

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The rationale for the design leads on from our master plan for Tradeston; both in terms of the pattern book produced and the position taken on the key challenges facing Tradeston. In particular, we were interested in creating a sense of empowerment in the residents - a crucial aim in the context of a rehabilitation centre. The response was also influenced by a number of academic theories, including open building theory and biophilic design.

From top: Exploded façade construction, Ground floor plan, Roof garden, Courtyard section looking west

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TR A DE STO N C R OSS : C ENTRE FO R PE R FO R M IN G A RTS A ND FILM P RO D U CTIO N Qian Qian MAIN AVENUE 10 The

proposal for a national centre for performing arts and film production aims to reconnect the fragmented communities, in a location close to Glasgow city centre. The core of the building programme is a tertiary 7 A mixture of performing, school for 200 students. 6 film producing and teaching spaces will be created to 8 11 12 encourage collaboration among professionals, students and general public.

GREEN ROUTE

The key strategy aims9 to create a continuous landscape 8 from the external green infrastructure into the building block, extending cultural activities to the outside. It also aims to maximise the adaptability to 13 2 and different the weather conditions events through the design of covers and flexible openings. The overall 1 design takes considerations of the local characters and 3 aims to enhance the identity of Tradeston. 8

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scene dock

foyer

film studio

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shared teaching semi-outside semi-inside

inside

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1. Entrance foyer 2. Reception 3. Cloakroom 4. Bar 5. Bar kitchen 6. Auditorium 7. Costume store 8. Dressing room 9. WCs 10. Delivery lift 11. Film studio 12. Prop store 13. Scene dock 14. Stage workshop and wet workshop 15. Preview cinema / blackbox theatre 16. Cafe / Gathering area 17. Office 18. Kitchen 19. Classroom 20. Computer lab

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film studio

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performing arts

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From top: Building programme, North elevation, View from first floor of existing building, Main entrance at night

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GLAS GOW CO NTEM P O RARY Peter Spall With four Turner Prize winners in the last decade coming from Glasgow, the city is renowned for producing internationally acclaimed artists working over a diverse range of mediums. Glasgow Contemporary is a contemporary art gallery designed to exhibit this diversity, providing numerous and varying environments for exhibition, both internal and external. Exhibiting works on the Clyde and master plan deck extends the presence of the gallery into the public realm. Gallery One is a series of flexible units designed to provide a curatorial freedom: the smallest gallery unit allows for an intimate curation; the largest configuration can accommodate larger installations. It can be adapted to accommodate art that was not specifically designed for the space or configured to create parameters an artist requires for a specific piece.

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Gallery Two is a large standalone gallery and certain mediums may also be exhibited in the cafĂŠ, entrance and shop. The site has a long-standing historic connection to the shed typology, and until the mid1990s low lying goods sheds occupied the site. The proposal re-instates this typology, simultaneously maximising north light to create a series of naturally lit galleries.

From top: Gallery One with and without temporary walls, View of north elevation, Entrance, Ground floor plan

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ISTA N B UL Charlotte Balmer Claire Beard Lucas Facer Aman Kantaria Seb Walker

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R E C LAIM TH E CITY: IS LAH ISTANBUL Charlotte Balmer, Claire Beard, Lucas Facer, Aman Kantaria, Seb Walker In Istanbul, residents live in a permanent state of change, growth and rapid urbanisation.

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The approach to construction and non-integrated development is socially damaging; producing a generic urban realm, void of any character or identity. Istanbul is suffocating under a blanket of shopping malls, casinos and hotels. The environmental impact of this increasing population is disastrous. The master plan address a balance between the need for a city to grow, while maintaining quality of place and preservation of local heritage. Responding to recent protests, the public realm is re-established as a place for the people, celebrating culture and identity through materiality, pattern and texture. Neglected neighbourhoods have been re-connected and vibrant public spaces created to encourage sustainable development of the city.

From top: Central marketplace, Taksim diagram, Gezi Park axonometric view, Courtyard, Fountain detail

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Ş E H I R M Ü Z E S I: T H E M US EU M O F TH E CITY Charlotte Balmer Istanbul is looking to become a major centre of global culture. Today it is more important than ever to value and secure the rich heritage of the city, considering cultural, social and economic factors.

Extending and opening out to the Cihangir neighbourhood, citizens are able to reconnect to the past and participate in the future of Istanbul.

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There is no existing city museum, so this proposal offers a space to learn about the 2,000 years of religious, political and artistic history in Istanbul. It also provides a public face for institutions researching the city, and spaces to educate, inform and encourage dialogue about its future.

The built form offers clarity to the fabric of the city by improving and integrating the public realm. A central staircase addresses two main façades and slices through the building as a key circulation route. Introverted exhibition spaces weave between a series of light-wells, which offer structural support, natural light and open courtyard gardens. 

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From top: Plan showing permanent exhibition space, Structural diagram - light wells slot into structure, Looking down the main staircase, South elevation, Light well opening onto exterior courtyard

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TIYATRO GÖSTER I Claire Beard Tiyatro Gösteri is a courtyard theatre located in Taksim Square: an area of significant social value and the site of the 2013 protests. The building forms part of a wider proposal to re-use a redundant building and brownfield land to re-establish Istanbul’s lost Theatre Quarter and to revive a historic forest that once grew on the site. Inspired by the protests, the building is a vessel for democratic expression; celebrating present thought and opinion through exhibitions, lectures and workshops; and enlivening traditional Turkish spoken word within the courtyard theatre.

WEST ELEVATION

From top: View within courtyard theatre, Ground floor plan, Environmental section, West elevation, Entrance at night

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The building also offers a home to the Performing Arts and Literary Department of the Turkish Cultural Foundation who aim to promote and preserve Turkish culture and heritage through research and education programmes.

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THE PATTERN ON THE WEST ELEVATION IS INSPIRED BY THE SHADOWS CAST BY THE PROTESTORS ON TAKSIM SQUARE.

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TH E S A N A T K A R L A R WO RKS H O P S Lucas Facer The Sanatkarlar Workshops are a multi-disciplinary research, historic intervention and design school situated on a site of great archaeological significance in the heart of Istanbul. The Project has addressed four key issues: Redefined Street Front Integration of Historic Ruins Restoration Workshops Student Accommodation

The blocks and courtyards are all conditioned with passive ventilation techniques, largely developed from a study of old Arabic courtyards, using the pressure difference between hot and cool areas to generate air movement.

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• • • •

The workshops infill a gap in the street front created by the demolition of a 19th century military school in the 1950s. The fractured street is redefined by a series of monolithic blocks and a permeable colonnade that encloses a series of public and private courtyards.

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From top: Axonometric exploring spatial arrangements following research into the old Istanbul house, Entrance into Canteen, In-On-Over the Ruin - Exploded Block Axonometric, View into Workshop Courtyard, Student Study Space

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H Y DRO LO GY RES EARCH INSTITU TE Aman Kantaria Istanbul has many water related problems. 97% of the drinking water of the city comes from reservoirs on the periphery of the city, but due to the rapid urban expansion, these reservoirs are being contaminated. In 2006, as part of the effort to join the EU, Istanbul held its first water forum and set up SUEN. This building will combine SUEN with the Istanbul Technical University hydrology experts.

The site is located next to Taksim Square and Gezi Park, adjacent to ITU at the heart of the city, where raising public awareness of the problems of hydrology can be the most effective.

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The key aims of the client are twofold: Involve the public in the research and help the public learn about

why the water problems that are being tackled are so important, and to provide a facility to surpass any other in the Mediterranean and thus attract the best researchers in hydrology.

From top: Ground floor plan, Timber building - large laboratory, Timber building bay model - exploded isometric, Concrete building - large laboratory, Timber building - Chemistry (Microbiology) laboratory

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A C E N T R E FO R H U M A N RIGH TS , TAKS IM S Q U ARE Seb Walker Turkey’s 28 year application process to enter the European Union has highlighted extensive human rights issues in the country. Straddling Europe and Asia Minor, Istanbul is a key battle ground to champion change in the country with a new Centre for Human Rights at Taksim Square.

• • •

A memorial wall reconciles the city with past events. A community centre with citizens advice sustains the present. A debating chamber seeks to change the future through open debate and consultation of human rights violations in the country.

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Taksim Square is politically charged due to its symbolism with secular Turkey and the area is commonly used for public demonstrations for human rights violations and annual commemorations to the Armenian Genocide.

The proposed Centre for Human Rights addresses Turkey’s issues of human rights with three elements; ‘past’, ‘present’ and ‘future’:

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From top: Living memorial wall, Key diagram - people above and below / vertical connections, Public platform view, Approach from Istiklal Street, Debating chamber section, Short perspective section

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VIE N N A Lauren Carpenter Holly Gare Sophie Griffiths Sophie Yoell

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P RATE RSTRASS E, VIE NNA : T H E R E - A N I M ATIO N O F TH E H ISTO RIC AX I S Lauren Carpenter, Holly Gare, Sophie Griffiths, Sophie Yoell Vienna has a rich history which has defined the city since the 19th century, when the Austrian Empire was at the pinnacle of its influence and status in Europe. The legacy of this Empire defines the historic centre of the city, but there exists a disconnection between this ‘heart’ and the new, commercial ‘head’ of the city which lies across the Danube. The ‘Praterstrasse’ Masterplan connects the two sides of the city by reanimating the historic axis of Praterstrasse, which was once a prominent parade extending across the city. Through the pedestrianisation of Praterstrasse and the creation of new public realm we aimed to achieve the following ambitions: •

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• • •

To improve the quality of life for those residing and working in the area by improving public realm and encouraging future development. To connect the city to its many, defining waterways To provide high quality green spaces across the city To encourage a more sustainable lifestyle through the adoption of modes of transport other than the car

From top: Praterstrasse master plan, Praterstrasse sketch aerial view, Market street, Mexikoplatz aerial view

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HE A LTH Y L IV IN G C E N T RE Lauren Carpenter Building upon the social foundations laid by Red Vienna, the demise of the municipal pools of Vienna, and the decline of public health in recent years, the building aims to create an environment in which people would infect each other with wellbeing and good health. This focuses around three key areas: prevention, treatment and education. In order to tie the building together and attract the community, a fourth element of water was added, drawing upon the Viennese passion for outdoor swimming. Plan layout and materiality were designed with the aim of increasing the visual connections between activities, enticing the local community into a healthy lifestyle.

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The building manifests itself as a manipulated ‘Viennese Block’, with a lido courtyard to the rear park, and a sports hall and climbing wall to the main Praterstrasse axis.

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From top: Exploded axonometric, Circulation void, Rooftop swimming pool, Perspective section, Lido wall detail

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TH E VIE NNA GATE W A Y Sophie Griffiths The Vienna Gateway provides the city with a new ‘gateway’, both from the river to the city and from the new city to the old city. The Gateway is located at the heart of the ‘Praterstrasse’ Masterplan, orientating visitors to the city by offering a new transport interchange connecting both new and existing transport networks. The project aims to offer a self-sufficient interchange, which strives towards innovations in sustainability and material construction. The proposal works with the existing fabric of Mexikoplatz to enhance the historic identity of the square, whilst creating new public spaces to connect the historic ‘heart’ of Vienna to the commercial ‘head’ of the city.

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The Gateway will significantly improve the ‘imageability’ of Mexikoplatz, the quality that makes it distinct and memorable. As a city ‘landmark’, the four elements of the Gateway (the main canopy, the Underground Station, the Ferry Terminal and the Overground Station) will possess a characteristic visual theme which will contribute to a cohesive sense of place, inspiring people to spend time in the regenerated Mexikoplatz.

From top: Market square elevation detail, Gateway aerial sketch, Canopy, Gateway aerial view, Ferry arrival sketch

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TH E L I P IZZ A N G A T E H OU S E Holly Gare The programme accommodates a new local ‘summer’ school for the Lipizzan horses of Vienna whilst providing educational facilities, which collaborate with the local Veterinary University. The Gatehouse connects the city with its historic past and re-animates the former hunting ground on which it is located and Hauptallee, a tree lined hunting gallop. The scheme aims to engage into the full environmental and social potential of the context by creating an attractive ‘place’ to encourage people to live, work and visit ensuring a sustainable proposal within the city.

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The Lipizzan Gatehouse is situated on the Praterstern node located between the historic city centre and the new commercial centre of Donau. The new equestrian stables and Veterinary College will become a key cultural and educational landmark, forming a landscape threshold between the urban city and rural landscape of Prater. The Lipizzan Gatehouse provides a scheme, which both engages with the existing masterplan, draws in the public and connects them with nature.

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From top: Performance section, View towards stables, Horse spine, Performance detail, Performance arena, Stable section

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LIKĂ– R : A S C H N A P P S D ISTILLE RY AND C ANNE RY Sophie Yoell By sitting lower than the surrounding buildings, the scheme provides a rare opportunity for a feeling of space and wide horizons in Vienna, a highly dense city. Sat amongst its orchards the scheme provides an oasis in the urban area it is knitted into.

The site for the project lies to the North of the masterplan axis, above Praterstern, a key transport interchange. To the West, lie five-storey shops and apartments built in the early 20th century. To the East, sits a new mixed use development.

The scheme provides space not only for the production of spirits and food, but also a place for the community to gather, for commuters to meander and the residents of Vienna to remember how close their city is to the beautiful Austrian countryside.

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The scheme is for a distillery and cannery (jam factory) for the Austrian company ZeroWaste, who use surplus fruit from supermarket depots through to gluts of community grown garden fruit to make jam and schnapps, a fruit based likĂśr.

From top: Concept, Site plan, Perspective section, Model detail, Shop interior view

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Bath Architecture Annual Team Freyja Clarke Emaad Damda Katie Shaylor

Publisher University of Bath Printed in England by:

4th Year Report and Flow Charts

Manor Printing Services

Justin Frank Hannah Richmond Sam Shortland

Copyright 2015 University of Bath, Department of Architecture and Civil Engineering. All rights reserved

Front Cover Will Bryan Photographs Tom Glendinning Ferla Paulo Photography Additional photographs from students

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 further information and a full range of programmes please see University of Bath Undergraduate and Graduate Prospectus.

Department of Architecture and Civil Engineering University of Bath, Bath BA2 7AY, UK tel +44 (0) 1225 385394 fax +44 (0) 1225 386691 ace@bath.ac.uk www.bath.ac.uk/ace

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University of Bath Architecture Annual 2015  

Showcasing student work from our BSc and MArch architecture courses. This annual is produced by students in the Department of Architecture &...

University of Bath Architecture Annual 2015  

Showcasing student work from our BSc and MArch architecture courses. This annual is produced by students in the Department of Architecture &...

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