University of Bath Architecture Annual 2025 - BSc Architecture (RIBA Pt.1)
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Acknowledgements
Bath Annual 2025 team:
Alexander Whitwell
Karoline Woggon
Emma Pincha
Charles Ko
Sara Biscaya — Director of Studies, BSc Architecture
BSc & MArch students, for producing beautiful work
Typeset in Nimbus Sans and Nimbus Roman
4 East South, hosting first, third, and fourth year studios
Axonometric of 6 East, by Alison and Peter Smithson, home to second, fifth, and sixth year
Smithson, A. and Smithson, P., 2001. The charged void: architecture. New York ; Monacelli Press.
First, Second & Third Year BSc ARCHITECTURE
Interdisciplinary teams built a life-size response to the theme ‘crossing’
First year
SEMESTER ONE: Crossing, Witness & Theatron
For their first project first-year students were invited to reflect on the theme of ‘Crossing’ and to express this through the design and full-size construction using a humble palette of everyday materials – OSB board, wood, canvas and rope. Working in small groups of architects and engineers the students were encouraged to both test the inherent qualities and limits of the materials provided, whilst exploring the theme of ‘Crossing’ in a poetic or metaphorical manner.
For their first individual design projects students were invited to celebrate the work of the
twentieth century’s great photojournalists through the design of a small exhibition space to display one of their most memorable and iconic images.
With the ancient Greek origins of theatre in mind students were invited to design an open-air ‘pavilionstage’ in celebration of the theatrical arts for the Bath’s Garden Theatre Festival, using ‘frame and cladding’ as the form of construction, and in doing so to create a space for the simple joy of gathering, performing, and participating in the wonderful and magical experience of open-air theatre.
Ezra Goff
Tim Rolt, First Year Studio Leader
TOP: Liliya Ostovari BOTTOM: Liv Holdaway
Nia Rushton
Tommy Whitaker
First year SEMESTER TWO : Artisan
The project explored how architecture has the potential to create environments that can facilitate more sustainable patterns of living and working through the design of a livework house, using load-bearing masonry construction, for a couple engaged in artisan craft work. Whether trapped in poverty, suppressed by inequality, or simply caught on the treadmill of high-pressured or insecure working environments, we appear to be witnessing ever higher levels of stress, anxiety, life-trauma, and other negative impacts to physical and mental health. The
root causes of these maladies lay in part with the western world’s socio-economic patterns of living and working, consuming, and travelling, which leave a disconnect between our actions and the impacts they have on our environment and the natural world. The project implicitly suggests a re-alignment of live-work balance, a reconnection with nature and a step away from the often-frenetic pace of modern life through the creation of a ‘home’, or a place to ‘dwell and to be’ within the context of a walled enclosure that forms part of a small island-based community.
Tommy Whitaker
Stanley Miller
Tim Rolt, First Year Studio Leader
Hanah Kan
Stanley Miller
Harriet Foskett
Tommy Whitaker
Second Year
FIRS FIELD SCHOOL: An Infant School for an underserved suburb of Bath
In Second Year, the design problems step up a little in complexity.
The buildings the students are asked to design are now nondomestic in scale and complexity.
Understanding ‘Context’ is now one of the most important Intended Learning Outcomes.
Analysis of context and understanding how that analysis can not only inform the design but create architecture that is much richer and more complex.
Similarly, the students are learning to analyse and understand architecture in terms of architectural ‘program’: order, form, structure, aspect, concept, circulation, functional disposition, spatial hierarchy, etc. This also equips them to analyse their
own designs and their design process. This year, Second Year was made up of five main exercises:
Exercise 1 – Analysis
The students analysed the context: diagrams, drawings, and models.
Exercise 2 – Key space design
The students designed a classroom.
Exercise 3 – The students designed an infant school in a suburb of Bath.
Exercise 4 – Construction and detail
The students drew large-scale detail drawings and made large-scale detail models.
Exercise 5 – Environmental design
The students explored various aspects of environmental design as applied to their school designs.
Camille Phipp
Dominic Taylor, Second Year Studio Leader
Konrad Grezicki
TOP: Boris Clemente BOTTOM: Badrinarayanan Gopalakrishnan
Faheem Kathawala
Sebastian Ward
Third Year
ART HOUSE: A New Art Gallery & Artist Residence
Third year is characterised by experimentalism and personal development. The projects provided a freedom that allowed students to develop their own personal architectural agendas and ways of working. Culture, regenerative design and process were the themes of the year and these were examined through two design projects. The first project in 3rd year is a collaborative undertaking between architecture and civil engineering students. In multi-disciplinary groups, students had to design a pedestrian bridge and public realm to span the floating harbour in Bristol adjacent to the Temple Quarter development. Linked to the Happold Foundation project, students created a new
civic space that addressed proposals for a temporary parliament building. Regenerative design and inclusive public space were central themes to the project, asking how a new bridge can provide connective for the human and the more than human worlds. The second project in third year was set on Spike Island, Bristol. Students were able to choose their own site for a new art gallery and space for artist in residence. There was an emphasis on the intersection between sustainability and the visual arts asking what role art has in informing new sustainable futures. Projects acted as social and environmental catalysts for regeneration, as well as linking with, and enhancing, the existing creative industries in the area.
Meha Patel
William Turner
Rob Grover, Third Year Studio Leader
TOP: Kevin Poisot BOTTOM: Yukta Chegu
Meha Patel
Jason Hui
Happold Foundation Project
BSc ARCHITECTURE
ANOTHER PLACE: A Temporary House of Commons in Bristol
Happold Foundation Project (Fourth Year) about inclusivity, accessibility, and how architecture can support meaningful civic interaction.
This project explores the design of a temporary House of Commons to be located in Bristol during the Restoration and Renewal of the Palace of Westminster. Intended to operate until 2050, the proposal must accommodate Members of Parliament, their staff, a debating chamber, public galleries, and engagement spaces — forming a new parliamentary campus in the heart of the city. Set within the Bristol Temple Quarter, a major regeneration zone adjacent to the Grade I listed Temple Meads Station, the project presents an opportunity to reimagine the physical and symbolic form of UK democracy. It raises questions
The brief invites speculation on parliamentary rituals — from the layout of the chamber to circulation routes and methods of voting — while responding to wider environmental and social priorities, including the UK’s net-zero goals and Bristol’s One City Plan. Though temporary in use, the building’s identity, presence, and potential legacy are central themes, encouraging a dialogue between permanence and adaptability, tradition and reform.
Group 01
INVITATION: Another Place
What if invitations to civic life were creative and caring? Too often, they lack playfulness, creativity, and a sense of welcome. Inspired by the site’s history as a cattle market—a symbol of connection and movement— we aimed to create a structure that honours this legacy while reimagining civic participation. Our design takes its cues from the land, forming a low-profile structure that seamlessly integrates with its surroundings. The walkable roof extends the landscape, inviting people to physically rise above the building and reclaim the space as their own. This roof becomes a vibrant public hub,
fostering activity, conversation, and connection as a natural extension of the land. The chamber, elevated yet transparent, is designed with fritted glass to bring in natural light and allow visibility, encouraging openness and curiosity. Its materiality signals accessibility, inviting people to engage on their own terms. Inside, organic spaces flow naturally from the roof, shaped to feel like extensions of the site itself. This fluidity transforms civic life into an experience of discovery, belonging, and participation—an invitation to connect with governance, the land, and each other in meaningful ways.
Cameron Harris, Hans Yu, Matt Watts, Rosie Green, Tina Xinhai Cai, Tsz Yau Wong, Yuan Tong Neo
Chamber in axonometric projection
Exploded model showing layered spaces and programmes
TOP: Chamber glows as a civic beacon BOTTOM: Chamber in session
Group 02
ALTRUIA: A Parliamentary Building for Everyone
Set in Bristol, the new campus for the House of Commons marks a departure from the traditional political centre in London, embracing the opportunity to shape a new identity. This parliament building represents that transformation— designed not only as a seat of government but as a place of shared experience between the public and its representatives. The scheme places public interaction at its core. The central lobby is positioned as the heart of the building, fostering encounters and engagement between MPs and the public. Meanwhile, the debate
chamber—symbolising authority and focus—is positioned at the tip of the structure, signifying its importance. Clear circulation strategies, a variety of spatial experiences, and thoughtful zoning are key elements of the design. A careful balance between openness and privacy has been achieved to cater to the needs of all users.
Ultimately, we envision this building as a place for voices, ideas, and collective growth—a civic landmark that not only enhances governmental function but also inspires a more connected and hopeful future.
TOP RIGHT: Render - MP tearoom
TOP LEFT: Render - MP Studio
BOTTOM RIGHT: Render - Canteen
BOTTOM LEFT: Render - General Committee Room
TOP: The outdoor stage - night time view BOTTOM: External river view
Edward Bourn, Fritzie Anne De Gala, Jane Zheng, Katrina Deandra, Whitney Yiu, Alexander Engh, Joshua Saunders
Group 03
THE GALLERIES: Artful dialogue
Our scheme reimagines Parliament as a catalyst for transformation in Bristol across its 25-year tenure, promoting inclusivity and change before evolving into a community art college. By embracing temporality as a central design principle, the project responds to the brief in an operational, visual, and functional way, embedding adaptability into every stage of the design process. The temporary structure is inherently flexible, employing modular and deconstructable components that respond to shifting societal needs. Drawing from Bristol’s vibrant art culture, the scheme places artistic expression at its core, using
art as a tool for communication and engagement. Spaces have been intentionally designed to dissolve the traditional boundaries between Parliament and the public, encouraging open dialogue, debate, and creative exchange. These inclusive, accessible public areas promote collaboration and provide a platform for shared ideas, bridging the divide between governance and community. Transparent and inviting, the building not only reflects its purpose but also demonstrates how openness and communication can contribute to more effective governance.
A perspective of the bridges running across the public atrium
TOP: The chamber
BOTTOM: A section through the private block and the chamber
The public entrance to The Galleries
The masterplan
Emily Ackland, Tenuka Allesgunaseelan, Thomas Lightowler, Henry Moss, Marissa Ng, Riya Shah, Emily Voang
Group 04
PLATFORM: A reimagined parliament
Envisioned as a catalyst for change, this temporary parliament is a physical embodiment of the key challenges of the next 25 yearschiefly, the pursuit of net-zero and reconnection between the public and politics. The architecture encourages meaningful interaction between MPs, experts, and the public, with committee rooms designed as collaborative arenas. A reimagined chamber rejects adversarial traditions in favour of unity and deliberation, hosting citizens’ assemblies alongside normal parliamentary sessions. Public access is treated not as a
privilege, but as a core principle. The design removes barriers to foster open, active engagement between people and politicians. Flexible workspaces support a range of uses, ensuring adaptability across the building’s lifespan.
Rooted in service to the people and ecology, the building and landscape are regenerative. Environmental strategies are guided by on-site labs which place cutting-edge research at the forefront of legislation and make parliament an active agent for ecological restoration.
Chelsea Baladad, Alana Bland, Jaden Bowdler, James Dadd, Daniel Grace, Owen Hill, Harrison Jenkins
The chamber in session
Isometric view of the parliament and landscape
TOP: The chamber and press rooms BOTTOM:The east wing and committee rooms
of the ‘polyvalent space’
Group 05
NON FINITO : Experimental Politics for a Low-tech Future
British democracy exists as a process of continual change and revision. The nation’s uncodified constitution can, by definition, never be finished. Inspired by the concept of non finito—a sculptural technique that embraces incompleteness—our design challenges the rigidity of traditional parliamentary architecture, offering an adaptable and experimental alternative. Our project proposes a 25-year programme of spatial experiments in parliamentary configuration, utilising a demountable seating system within the chamber. With re-use in mind, we rejected a single monumental mass in favour of
four human-scale buildings. These stereotomic volumes are formed of deep Porotherm clay blocks, reflecting our guiding principle of low-tech, low-carbon construction. Surrounding these permanent buildings is the ‘polyvalent space’ a lightweight, re-arrangeable steel pavilion. It is a space of transition and interaction, enabling functions unique to parliament. After 25 years, management of the scheme will transition to the University of Bristol’s Centre for Urban and Public Policy Research to act as a large-scale testing facility for urban policy in a future of climate uncertainty.
TOP: View of the ceremonial approach, shown during a protest BOTTOM: Axonometric showing the scheme in varying stages of completion
Overlayed plans of the different experimental chamber layouts
View of the chamber in a horseshoe configuration
Model
which surrounds the permanent buildings
Jacob Robinson, Karoline Woggon, Ceren Oguz, Alexander Whitwell, Jesper-Jay Harrington, Tomas Rafferty, Michael Elsom
TOP: Aerial View of Scheme BOTTOM: 1:100 Handcarved Model
Group 06
APERTURA: A Future ParliamentAdaptive, Open, and Unified
The proposal stems from a vision of what parliament and civil service could be: an open and inclusive ecosystem that operates collectively for the betterment of the country’s people. These qualities contrast to the evocations of the current. Houses of Parliament’s closedoff, fortress-like exterior facade. The proposal features two elliptical arc-shaped buildings that curve around to encase an inviting urban courtyard. The buildings are then unified through a subterranean basement that structurally utilises the existing basement on-site. The designs radial structural grid creates a
column-free, open floor plan that is capable of adapting to changing demands without requiring structural alterations, preserving its utility for generations to come. The innovative facade uses bespoke shading fins with concealed openings that connect to a smart system which self-regulate each floor’s C02 levels and ventilation. The roof is the crown jewel of our design. A bespoke LVL truss clad in recycled zinc, its bold, sculptural form embodies our aspirational vision of what parliament should be - one of strong, synergistic governance that is open, transparent and inclusive of its people.
Debating Chamber
Masterplan
Sebastian Khan, Isaac Ma, Rianne Tse, Ekaterina Levinzon, Bozhu Xu, Max Crust, Anna Wade
Group 07
PLATEA: Connecting People and Politics
This proposal aims to create a gateway to democratic engagement whilst addressing the need for a temporary parliament hub. In doing so, the scheme aims to enhance political access and urban connectivity in Bristol. Strategically located between a new station entrance and a proposed harbour bridge, its main façade aligns with a key pedestrian axis, weaving civic advocacy into the daily commutes of Bristol’s citizens.
The design is organised into three zones: the Members of Parliament block, the Visitor & Press block, and the Central Chamber. These
are linked by an elevated public walkway, or “platea,” encouraging social exchange while maintaining a secure, private route below for MPs. At the scheme’s heart, an octagonal chamber promotes collaboration over confrontation with an unconventional horseshoe layout . This format is framed by bespoke glulam flanges, which converge at a central ring beam, highlighting a sense of unity. The scheme’s timber construction aligns with the project’s sustainability goals, minimising embodied carbon whilst celebrating the elegance of exposed structure.
Macie-Ann Jackson, Belle Sprake, Bianca Zerbini, Polly Butler, Tayo Bero, Josh Byford, David Coyne
Section Through MP building and Central Chamber
Atrium Visual
TOP: 1 : 200 sectional model of central chamber BOTTOM: Central chamber visual
Starting from the graffitied underpass to the colourful Totterdown in the distance on the hill, one can see the vibrant history of Bristol all around our site. In reference to Le Corbusier’s Architectural Polychromy, our scheme has followed a standardised palette of colours and materials. The colours are categorised into three groups: Constructive, Dynamic, and Transitional which has informed our choices of timber, concrete, and channel glass. The concrete is made dynamic and creates a visual impact through a colourful explosion of art across the spine. A blank concrete stair becomes a canvas which is drawn on and graffitied by the public, students, and even Members of Parliament if they wish to. People are provided with colourful acrylic markers as a simple art medium accessible to all. However, occasionally, local artists would be commissioned to decorate and enhance the space as well as hold workshops in studio spaces creating a sense of community and friendlier attitude towards politics. The oil paintings below illustrate a time-lapse of how the stair becomes populated over time. In the future, the stairs will periodically be power-washed and brought back to a blank canvas for a fresh start.
TOP RIGHT: The Art Spine
TOP LEFT: Landscaped entrance sequence
BOTTOM RIGHT: The Art Spine Day 365
BOTTOM LEFT: The Art Spine Day 0
TOP: The ‘Art Spine’ in Bristol’s Context BOTTOM: Modular Facade Panel System
Group 08 CANVAS: Peaceful Protest
A new temporary House of Commons in Bristol, designed for inclusivity and public engagement. Its key element, the ‘Art Spine,’ is a 6m-wide staircase that provides circulation and a space for peaceful selfexpression. The concrete staircase within the spine acts as a public canvas - inviting visitors, students, and even Members of Parliament to draw on or graffiti. This aims to break the tension between government and the public, while reflecting Bristol’s vibrant art and political heritage. Taking inspiration from Bristol Temple Meads Station, the facade features a unique pattern which puts
a modern twist on shapes found in the city’s historical architecture. The channel glass of the Chamber and Spine provides a glowing contrast to the facade panels, emphasising the significance of the events happening inside. The perforated facade bridges the gap between the solid and the transparent – similarly, CANVAS bridges the gap between people and elitist parliamentary traditions. Designing for two functions in tandem, CANVAS evolves into Tate Gallery by 2050 - preserving the Art Spine as the central heart of a new landmark.
Tara Kai, Ella Kane, Amy Franks, Sonia Cheban, Afroditi Ioannidou, Jasmine Neal-Long, Molly Van Poortvliet
The design fosters an approachable and engaging parliamentary experience by physically and visually connecting Parliament and public. The ground floor extends the public realm into the building, while upper levels alternate access between MPs and the public. At the heart of the scheme, a central atrium weaves programs vertically. Interlacing staircases offer glimpses between levels, allowing MPs and the public to cross and experience the inner workings of Parliament - supporting transparency, engagement, and making the government feel more personal and approachable.
Guided by circular principles, the structure uses a minimal palette of raw, natural materials that can be disassembled and reused. Sourced from across the UK, they reduce carbon impact and symbolise unity - embedding the identity of a shared nation into the fabric of the building.
Woven House is a democratic symbol in action; embodying civic purpose, public engagement and environmental stewardship.
Amanda Chang, Elodie Jacqmin, Stephen Kerbyson, Edward Law, Sabrina Pires Vieira, Samrat Koirala, Finnley Newcombe-Rout
stitched into form
TOP: Atrium with interlacing staircases BOTTOM: Section through the atrium and chamber
TOP: 2025 - 2050 Parliament long section
BOTTOM RIGHT: 2025 - 2050 Parliament Chamber
BOTTOM LEFT: 2050 - 2125 School Sports Hall
Group 10 BRYCGSTOW: Politics for the People
This scheme will serve Parliament for 25 years - a quarter of the building’s potential lifespan. Therefore, a rigid solution for Parliament would be unsustainable. Our main design driver became the freedom of reuse – a building guaranteed to change requires flexibility of form. The proposal is designed to facilitate a second, third or fourth life without altering the carbon-intense structure and external fabric. The central void enables internal configurations to adapt to the building’s use, with partitions, floors and rooms acting as ‘large-scale furniture.’ New school facilities will be required
in central Bristol in 25 years’ time. The design has the capacity to be re-purposed as a secondary school to nine hundred 11-18 year olds, with high-quality external space, sports facilities, and more. As Parliament, the low-profile form and public-facing spaces convey a tone of approachable and personal politics that serves the people, rather than idolising the system above the public domain. Entirely accessible throughout, the building ensures inclusion for the public and MPs without disruption of rich parliamentary traditions.
TOP: Whole building isometric BOTTOM: Approach to the entrance
Joshua Burton, Matthew Elliott Leer, Melis Ada Ozer, Reuben Strickett, Florence Williams-Rowe, Ana Monteiro, Jack Moore
Group 11
THE DIALOGUE: Designed to Adapt and Relate
We didn’t want to just design another temporary parliament building but we wanted to leave Bristol with a heritage. We designed a building that could easily adapt to a music teaching school and performance venue. We decided to clad our building in brick and glass, featuring arched windows paying homage to Bristol’s very own Bristol Byzantine Architecture as well as modern Architecture.
The building itself can be divided into three halves, The Public Building: where all public-related activities take place including but not limited to the educational space and cafe; the
Private Building: where the Debating Chamber resides alongside all the different offices and functional spaces required by the Parliament; and finally the Transitional Building: the central building connecting the Public and the Private whilst providing an access route from the landing of the bridge to the entrance of Bristol Temple Meads Station. The Transitional zone(home to a gift shop, exhibition spaces and general seating areas) is designed to be an experience to walk through whilst encouraging interaction between Members of Parliament and the Public, making the People feel more a part of their Parliament.
Raveena Appadoo, Chris Chui, Mia Fan, Hiya Gupta, Aleeya Sibbons, Luke Dourado, Yusuf Bello
Group 12
C.O.R.E.: Centre for Opportunity, Representation and Expression
With climate change becoming an evermore looming issue, the development of a temporary House of Commons at the Heart of Bristol, Europe’s first green capital, presents an opportunity to unite people and politicians from all backgrounds under common goals. The purpose of the scheme is to promote discussion, debate and congregation over key issues faced by our society.
C.O.R.E. strives to act as an example of our collective push towards a net zero future. Symbolised by its cowl, we have designed an innovative wind-driven system that enables our
chamber to be passively ventilated now and later on in the future with the changing climate. As with all temporary programmes, it was vital we consider its future just as much as its present. Our building is designed to be re-purposed as a culture and performing arts hub in affiliation with the University of Bristol, providing a venue that celebrates the city’s rich and diverse culture through the media of art, music and dance. As such, This empowers the structure to continue being a beacon of education, expression and sustainability or years to come.
TOP: Chamber Visual BOTTOM: Atrium Visual
Approach Visual
North Elevation
Abbie Latham, Alice Barriball, Daniel Dehdashti-Gonzalez, Rashin Shahriman, Sarah-Jane Dawson, Isaac Andal, Lamme Leung
Landscape axonometric with activated musical zones.
Group 13
HARMONY: A vision to redefine politics through expression and culture
Harmony has dual functionality at its core. Starting as a parliamentary building, it transitions into a midsized music venue after 25 years, addressing Bristol’s need for accessible cultural spaces, while ensuring long-term relevance. Through reverse engineering purpose, spaces were optimised for future use as performance stages, recording studios, and rehearsal rooms, respectively. The retractable seating and acoustically sound layout of the Commons Chamber ensure its transformation into a high-performance concert hall. Constructed with modular timber components in a 6x6m grid, the
design minimises embodied carbon and ensures adaptability. Features like green roofs, bioswales, and solar panels underline its commitment to sustainability, while reversible construction methods ensure materials can be reused post-2050. Rising above its industrial surroundings, the building’s chimneys and tiered roofing create a monumental identity, while the music-themed landscaped zones serve as a vibrant extension of the building. Harmony weaves the city’s musical heritage into the fabric of the site, using the landscape as a canvas to echo the musical themes throughout our building.
Parti diagrams: Engage, Modular, Perform.
Perspective arrival beyond the river.
TOP RIGHT: Conference Room
TOP LEFT: Interactive Cafe
BOTTOM RIGHT: Chamber in theatrical use.
BOTTOM LEFT: Chamber in commons use.
Arran Messenger, Nasser Chakkiwala, Shazreh Abdullah, Amaan Mulji, Zara Hooley, Louise Parker, Evan Smith
South approach perspective at night
Perspective long section through Chamber in different states
Group 14
PLAY-SHED: to perform / to take action
Embracing the dual meaning of the verb to act - to perform and to take action - our proposal creates a political space that can be produced and reproduced indefinitely like the set of a theatre. The Chamber surrenders its formerly fixed arrangement to its inhabitants, with moveability facilitated by a gantry crane and modular seating. Façades are lined with celebrated horizontal and vertical circulation, with the activities and movement of inhabitants legible to the adjacent public realm, establishing a dynamic public interaction to create a legible politics.
Inner functions are vertically stacked by privacy and security, with the public taking possession of a large amount of the ground floor, of which the intra-chamber mezzanines are an extension, overlooking the parliamentary process.
The ‘tabula rasa’ within the chamber extends beyond the structure itself, as displaced rubble of the preexisting Postal Office - reclaimed from the basement now inhabited by the sunken chamber - forms mounds within the landscape; the public realm as a tabula rasa, where desire paths are formed by motion, establishes a democratic landscape.
Elena Gageanu, James Lansbury, Erin Lynas, Anushka Gupta, Elliott Bryant-Brown, Joshua Hollis, Yasamin Nezhad Qanbar
Isometric short section through Chamber
Isometric view of landscape masterplan
TOP:
BOTTOM:
Group 15
COALESCE : A Study of the Lobby
Our project investigates how users interact with Parliament as both a physical building and a democratic institution. This duality is embodied in spaces like the Central Lobby, which serves as both the architectural threshold and a symbolic meeting point between MPs and the public. The design reinterprets this relationship through interconnected lobbies surrounding the chamber. These transitional spaces vary in scale from grand atria to intimate corridors, deliberately blurring distinctions between circulation and gathering spaces to encourage political engagement. Responding to Bristol’s
environmental leadership - home to the BBC Natural History Unit - we’re designing for biodiversity NGOs. After Parliament returns to London, the building will be re purposed as the Bristol Centre for Nature, combining public exhibitions and lectures with research into ecological challenges. Environmental responsibility informs every design decision, from the exposed mass timber structure to the hybrid ventilation system that combines mechanical ventilation with passive strategies. These features ensure immediate sustainability and long-term adaptability for the building’s future uses.
Model Site Plan
Visualisation of the Chamber
TOP: Visualisation from Urban Realm BOTTOM: Sectional Render of the Building
Parti Diagram of Lobby Concept
Kurun Dhaliwal, Aaron Jones, Cindy Wang, Hong Yui Wong, Kap Yan “Andy” Wong, Dan Martin, Georgina Tranter-Edwards
Connecting the parliament to the floating harbour
Light streaming into the debate chamber
Group 16
STRATA: Connection | Environment | Learning
Strata is a parliamentary building and education centre. Created through site lines and a layered history of parliament, a connection is formed between people, place and politics.
There is a growing feeling of disconnect between MPs, the general population, and the policies enacted by parliament. A symptom of these concerns is a steady reduction in political engagement, with the worst voter turnout being 18-24 year olds. Our response has been to create an education centre, dedicated to fostering an interest in politics within
young people. Visitors are given clear routes, further emphasised by building cuts, through the landscape towards both the parliament and education centre. These routes provide visitors a look into the debate chamber, allowing an interaction between the public and politics.
From this, Strata was developed. Born of the ground, our form becomes layered and a part of the site. The slate facade is a reflection of these layers of time and history, depicting progression and stability in our parliament.
Strata diagram elevation
TOP: Entrance sketch under stone-clad cantilever BOTTOM: Education centre for young people
Cora Browne-Clayton, Chloe Higgins, Esther Moore, Abbie Summerscales, Rhian Thomas, Alex Mcjannet, Tom Shinebourne
Group 17
ARBORIUM:
A lens to our future
Bristol, renowned for its activism and innovation, is uniquely positioned to lead in addressing climate change. Our vision re-imagines governance and sustainability. The greenhouse creates a micro-climate replicating the cities projected future weather, immersing visitors and policymakers in the tangible impacts of climate change.
A PV roof generates energy while providing shade, complemented by water features, operable glazed façades, and strategic planting. The space, with interactive pathways, vertical gardens, and experimental
planting, serves as a living laboratory for biodiversity resilience and climate research. The design integrates the House of Commons within three blocks, with bridges linking the buildings at high level.
As temperatures rise, the design evolves: glazing can be removed and reused, allowing planting to expand outward, overtaking the structure and reinforcing its ecological message. This multifunctional landmark not only educates but inspires action, embedding sustainability into the heart of governance and civic life.
TOP RIGHT: From station to bridge
TOP LEFT: MPs entering the chamber
BOTTOM RIGHT: The public realm
BOTTOM LEFT: The chamber
TOP: Chamber sectional model BOTTOM: Whole building section
Charles Ko, Chie Fujihari, Ela Owen, Hanna Ramanava, Jess Saint, Lucy Alexander, Thomas Keevil
Group 18 — Ted Happold Award Winner [RE]ASSEMBLY: A Permanent Seat and a Travelling Voice
Beyond the functional necessities of becoming a temporary home for the House of Commons, [Re] Assembly envisions two buildings that not only serve the needs of our democracy but respect the sanctity of its most important space, leaving a legacy on it. The first, an orthogonal outer structure crafted from concrete and stone symbolising permanence and resilience. Within this, a circular chamber, the symbolic heart of debate and decision-making, designed to be impermanent. After hosting Parliament for a quarter-century, this chamber will be disassembled and given back to the public, embarking
on a journey across the UK as a community debating space. By doing so, it embodies the principle that democracy should not be static or confined to a single locale, but dynamic, evolving, and accessible to all. The mobile chamber will provide a platform for communities, particularly those misrepresented by Westminster, to engage in meaningful discussions about the nation’s future. This pair of buildings will honour the immediate needs of Parliament, the future needs of the University that will occupy the building left behind and the broader democratic ideals that should guide our nation’s governance.
View from across the floating harbour
TOP LEFT: Aerial view
TOP RIGHT: View from Bristol Temple Meads train station
BOTTOM LEFT: Inside the Chamber
BOTTOM RIGHT: Chamber moved to Bristo Square, Edinburgh
Open House reimagines parliamentary space, inspired by Bristol’s industrial heritage and urban context. Transforming Westminster’s ceremonial axis into a functional transport axis, the design links the new Bristol Temple Meads entrance with the Floating Harbour Bridge and future developments. The elevated timber-louvred chamber, referencing historic gas holders, sits above a vibrant ground floor where the southern landscape flows into a boundary-free atrium, fostering collaboration and creativity.
Activated by Rising Arts Agency, the ground floor becomes a hub
for public engagement and artistic expression. The semi-outdoor Central Lobby, accessible 24/7, amplifies this connection, providing a space for spontaneous interaction with Parliament, as well as a social gathering point for the wider community.
Built for a 120-year lifespan, the steel-frame structure supports flexibility, deconstruction, and reduced embodied carbon. Through its integration of art, sustainability, and thoughtful design, Open House becomes a modern, inclusive civic landmark that bridges people and Parliament.
Axial relationships: from ceremonial alignment to functional transport links
The Commons Chamber: Redefining parliamentary debate
Open House: A view from the riverside
Bristol Temple Meads: Framing the view from the platform
Nicole Lowson, Giacomo Oldfield, Emma Saavedra, Habina Seo, Michael Wong, Macey-Jo Rajkovic, John Taylor
Group 20
PARLIAMENT PARK: A Temporary Parliament, A Permanent Public Space
The House of Commons at Westminster is largely inaccessible to the public due to architectural and logistical barriers. Relocating Parliament to Bristol Temple Meads could benefit both the government and the developing area of the city.
Situated next to the station in an area lacking in green space, our proposal aims to improve public access to both Parliament and nature. We envision a temporary Parliament housed within a permanent structure, designed to serve the community and encourage lasting public engagement with the
space and its green surroundings long after Parliament’s departure.
The building is enveloped by a walkable public green roof, emphasing the people’s power over the institution. The ascent up the landscape features a diverse range of terrain typologies culminating in a pavilion at the summit for observation and interaction with the chamber, whilst also offering panoramic views of the surrounding area.
Polina Krasitckaia, Cole Matthews, Charlotte Kirkup, Ben Kirkwood, Tom Ball, Ben Millet, Milly Jones
Chamber axonometric
TOP RIGHT: Lobby
TOP LEFT: Education Space
BOTTOM RIGHT: Chamber
BOTTOM LEFT: Roof terraces
TOP: Scheme Isonometric BOTTOM: Approaching View
Group 21 — Ted Happold Award Third Place
URBAN TIES: The Path &
The Destination
Urban Ties celebrates the interconnected nature of society and aims to create a space where people from all walks of life come together. The main approach to designing a temporary House of Commons was inviting more public observation and participation to reinforce the importance of Parliament’s accountability to the electorate, making politics more accessible and engaging, and fostering a sense of inclusion and shared governance. Designing with neurodiversity in mind has shaped the integration of the public realm design in the Street with the atrium central lobby. The Gridshell acts as a welcoming
canopy, offering shelter, while the atrium clearly marks the entrance. At the centre, the water feature becomes a visual and auditory focal point where people pause, gather, and reflect, allowing the space to breathe and flow around them. Its presence subtly weaves together the environment, grounding the movement of those within it. A muted colour palette defines the Street, ensuring a lively environment that invites connection without overstimulation. Designing with future use in mind has informed the structural strategies and flexibility of the layout. Spaces can be easily reconfigured to suit a variety of future uses, including a cultural centre.
TOP: External view from the canal BOTTOM: The street
The chamber
Chamber future use
Abida Alom, Kiki Jirapojahorn, Alisha Khan, Annette Lui, Chiu Ue Pun, Jacob Youles, Dylan Steenkamp
Group 22 — Ted Happold Award Second Place FORUM: Enhancing dialogue between people and Parliament
Westminster Palace is a paradox: beneath its democratic facade, it reinforces a culture of confrontation and conflict. Within the patchwork city of Bristol, a new House of Commons looks to bring together people, to enhance relationships across ideological divides. Our proposal champions dialogue. Through increased informal interactions, it will work to cultivate a cohesive and empathetic society, and a government that reflects this. Rising from the 98% reused piles of the former sorting office, the Forum is an extension of the public realm, creating a new heart of Bristol. Interwoven circulation
creates opportunity for informal interactions between the public and MPs. Polycarbonate pods float above the open Forum; they speak to the space below through the suggestion of shadow and movement, connecting formal dialogue with the informal. Whist the Forum is for Bristol, the Chamber is for the nation. Our vision provides a seat for all: public alongside MPs. It is an inclusive parliament where every voice is heard. Structural consistency allows spaces to be loose fit, long life and this, paired with its low embodied carbon, sets a statement for the future of the nation.
Aerial skeleton sketch overview showing the intersection of the Forum and Chamber
TOP: View from inside the Forum looking towards the atrium BOTTOM: Approach view of the Forum
View inside the Chamber
View across the roof garden
Luke Cunningham, Emma Hutton, Toby Ritson, Oliver Rose, Lucy Walmsley, Honor Ash-Dixon, Annie Hayton, Renna Vogelzang.
Group 23
MECHANISMS OF CHANGE: A temporary parliament proposal for Bristol Temple Meads
Our project aspires to create a space that embodies the transformative power of politics and justice, harnessing their potential to drive systemic change toward climate action. We envision a proposal that not only serves its immediate purpose as a temporary House of Commons but evolves into a lasting symbol of accountability and progress—a place where debates shape the future, and justice addresses the urgent need to protect our planet. Imagining a future where offences against the earth are treated with the seriousness they demand. It aims to establish a
forum where climate offences such as inaction on climate pledges are heard, and meaningful solutions are forged. This project seeks to bridge governance, justice, and community action, serving as a tool for systemic change and a catalyst for a more sustainable future.
Centered around harnessing the forces within politics to mechanise change. Encouraging free debate and facilitating collaboration, creating a place where ideas sharpened transformed and realised.
TOP: Short section through River building BOTTOM: Perspective section through Chamber
Perspective of internal plaza Site
Aoife Carey, Emma Pincha, Girithvhina Ganesh, Hanane Boudali, Jacob Brotherton, Olivia Robertson, Sami Mustafa
Young people are increasingly disconnected from politics; Coalesce aims to bridge this divide by fostering a culture of political understanding, accessibility, and engagement for all. This building re-imagines parliament as a space of education and transparency, where MPs, schoolchildren, and the public come together to learn, debate, and shape the future of governance. At its core, Coalesce seeks to demystify politics and make it relevant to everyone. By creating an environment that encourages communication, it empowers all visitors to engage with the
democratic process and understand their role within it. The building itself is a symbol of collaboration: distinct elements merge to form a unified whole, reflecting the collective effort required for democracy to thrive. With its legacy secured through adaptive reuse, Coalesce will continue to inspire long after its parliamentary role ends. By 2050, the building will transition into a world-class higher education facility, with its copper cladding developing with its identity. It will remain a beacon of education and engagement, redefining how politics can connect with and empower future generations.
TOP RIGHT: Inside The Chamber
TOP LEFT: Atrium Internal View
BOTTOM RIGHT: The Educational Zone
BOTTOM LEFT: Public Library
Charlotte Martin, Coco Swarzenski, Jennifer Nice, Lucy Speed, Kara WestonArnold, Bahat Bagli, Vladislav Brago
Group 25
VERIDRA: Reimagining Democracy in Bristol
Veridra reimagines the spatial identity of the Parliament, replacing formality and exclusion with openness, adaptability and civic engagement. The design proposes a new architectural language; one where governance is transparent, accessible and meaningfully connected to public life. At the heart of the scheme is a carefully layered progression from public to private space, creating opportunities for interaction, observation and learning. NGOs, education hubs and galleries are embedded within the parliamentary programme, dissolving boundaries between the institution
and its citizens. Material and environmental strategies reflect this ethos — a modular steel and timber structure, breathable hempcrete walls and a fully demountable system support both low-carbon performance and long-term flexibility.
Veridra is not just a proposal for a building, but for a more inclusive and responsive model of democracy — one shaped through architecture.
TOP: House of Commons
BOTTOM: View from Bristol Temple Meads
Parth Chowdhary, Dhanesh Jegatheesan, Joshua Culshaw, Juliette Briery, Defne Ocak
Group 26
BRIDGE TO THE STAGE: Glazed walkways expose MPs’ movement and political dramas to public eye
Accommodating MPs and support staff, the structure stands and thrives independently from the governing chamber, giving a modern public domain for learning, gathering and interaction amongst locals and visitors. We have challenged the current systems in place in favour of reminding politicians who they serve and reside with. Aiming to encourage an increase in participation within the government, the members choices and decisions will be made transparent to public and press, bridging a direct link between voting and public scrutiny. With adaptability being an essential requirement of
the political proposal, the hexagonal Chamber is designed to be highly versatile, ensuring it can occupy a wide range of events beyond its primary purpose. Following principles of circular economy, the chamber is made to last 100 years, changing its functionality over time. All attention is drawn to the floating Chamber at arrival, with a central courtyard as a buffer between the ceremonial procedures and public visitation and social sector. All internal and external circulation is glazed, putting parliamentary procedures on the stage.
Concept sketch of masterplanning and landscape strategy.
TOP: Proposed Chamber of Commons internal perspective. BOTTOM: Main entrance to the building via escalators in the courtyard.
Perspective view from connecting offices, walkways on display to the public realm.
The Ribbon is the temporary House of Commons during the Restoration and Renewal of the Palace of Westminster. We took advantage of the briefs transient nature by addressing issues raised by MPs and members of the public. Ribbon disrupts existing traditions and layouts meaning government processes and political challenges are addressed more efficiently with more correspondence with the people. Unity is introduced via the active frontage and transparent, approachable atmosphere felt at ground floor where a public lobby sits directly below chamber seating.
Inspired by Bristol’s vast arts scene, the future use of the Ribbon after 2050 is a multi-disciplinary arts and culture centre. The NGO spaces will remain bridging the gap between politics and creative expression. However, the chamber becomes a theatre, the tearoom; a dance studio and the canteen; a gallery. Our intention of The Ribbon for 2050 is to show that if we listen to the sometimes wise and often silly mantra of artists such as Robin Banks and Ai Wei Wei hopefully... ‘art can be politics but eventually politics might be art too...’
Alexis Sintanari, Boris Song, Isaac Burchill , Jack Mewett, Shreya Shivaramakrishnan, Sophia Macklin, Woody Law
Perspective Section Through Chamber
TOP: Internal view of Debate Chamber BOTTOM: Looking across the bridge
Structural Isometrics
Fourth Year Individual Projects
BSc ARCHITECTURE
Alexander Whitwell — WIND FUTURES INSTITUTE
LIGHTBOX page 047
Ella Kane — THE THICKET
[RE]WORK page 049 Jesper-Jay Harrington —
Jacob Robinson — BEFORE I FORGET page 051 BOX page 052
ANNE CLAXTON
Creative, hardworking, engaged and engaging - my fourth year group has been a pleasure to teach. You are also incredibly supportive of each other and keep the studio spirit alive and kicking. Thank you all, we have learnt much together over these last few months!
Tutor
INSTITUTE page 046 Amy Franks — THE THICKET page 048 Haydon Carr — — THE BRISTOL MASTER BUILDER page 050
Karoline Woggon — BRISTOL PUPPET
Alexander Whitwell
WIND FUTURES INSTITUTE: A Regenerative Landscape for the Green Industrial Transition
Situated at the edge of Bristol, Avonmouth is defined by three interacting ecologies: industry, community, and nature. For 150 years, industry has reshaped the landscape in its image: the mouth of the Avon reformed and the skyline dominated by reinforced concrete behemoths. Today the port is changing again. The green industrial transition brings new opportunities, and raises new questions. What does a green industrial landscape look like? How can communities and nature be a part of the transition? In this context, the Wind Futures Institute is a radical new institution dedicated to the research and
development of wind energy in synergy with nature and local people. The key space is the fabrication hall, a vast climatically controlled zone for the experimental construction of turbine blades. My project challenges the separation between the three ecologies. A public route through the scheme combines exhibitions with the unique port landscape. The experimental landscape is an integral part of the scheme, and offers a model for regeneration alongside working industry. My proposal asks if industry, nature, and community can coexist, and offers a future where these three ecologies uplift each other.
Sketch illustrating how the exhibition route interacts with the massing
The fabrication hall, a space for the experimental prototyping of wind turbine blades, reinterprets the industrial vernacular in regenerative, bio-based materials.
TOP RIGHT: View of the scheme from across Avonmouth Dock TOP LEFT: The south western façade is defined by diaphanous ‘wind scoops’ BOTTOM RIGHT: View of the main staircase, using the port’s iconic RAL3020 BOTTOM LEFT: A rhyne formed by the excavation of an existing drain on site
Hand-carved timber model, showing the scheme as stereotomic volumes
Amy Franks
THE LIGHTBOX: A Set Design Centre for Bristol
The Lightbox reimagines the traditional black box theatre as an open, light-filled space that invites visibility, participation, and connection. Located in central Bristol and developed in partnerhip with the Bristol Old Vic, the project transforms a harbourside car park into a vibrant centre for set design, performance and creative rehabilitation. Designed to support ex-offenders and disadvantaged young people, it features professional workshops, counselling spaces and a flexible theatre that opens onto a shared working courtyard for both indoor
email: amyrfranks@gmail.com and outdoor use. The core ambition is to integrate the arts with the criminal justice system, raising awareness around incarceration, rehabilitation, and creative access. The scheme embraces permeability, craft, and immersive spatial experiences that reflect Bristol’s identity as a city of theatre and film. The Lightbox becomes a platform for personal transformation - where individuals can rebuild identity, develop creative skills, and envision new futures through the acts of making and storytelling.
The Lighbox Entrance and Performance Hall
TOP RIGHT: Performance Hall + Tech Gallery
TOP LEFT: Evening Arrival
BOTTOM RIGHT: View from the Working Courtyard
BOTTOM LEFT: The Set Design Workshop
TOP: The Lightbox spatial relationship to Bristol Old Vic BOTTOM: External Arrival
THE THICKET: Adapting the Maggie’s Centre for NHS Integrated Cancer Wellness Care
The Thicket is a cancer wellness centre designed as a new Maggie’s for Bristol, integrating mental health support into NHS cancer treatment. Situated near the Bristol Royal Infirmary, the scheme addresses a critical gap in local cancer care provision by offering accessible, non-clinical spaces for therapy, reflection, and community. The architectural concept draws from the site’s dense greenery, with three space typologies – the Canopies, Boughs, and the Glade – creating a built ‘forest’ that supports users through various emotional stages of cancer diagnosis.
The spatial journey is carefully choreographed by the stages of experiencing a cancer diagnosis. With hidden gardens and rooms for people in shock or denial, and open, communal spaces for those reaching acceptance. A central staircase metaphorically represents this progression, ascending from secluded rooms to communal spaces.
The Thicket champions architecture as emotional medicine, helping to turn a difficult diagnosis into a supported, community based journey.
THE CANOPIES
Ella Kane
Ground floor plan
TOP RIGHT: The Glade, TOP LEFT: The public entrance route BOTTOM RIGHT: A hidden garden BOTTOM LEFT: The library
Long section, left to right: Canopy, Bough, Glade, Bough, Canopy, Bough, Canopy
TOP RIGHT: Second Floor lorry tarpulin drying space
TOP LEFT: First Floor viewing balcony
BOTTOM RIGHT: Ground Floor assembly workshop
BOTTOM LEFT: Basement washing space
Haydon Carr RE[WORK]: From freight to fashion.
Re[work] addresses the environmental toll of transportation waste and linear textile models by proposing a sustainable upcycling factory in Bristol - widely regarded as the UK’s leading recycling city. In partnership with Freitag, the project targets the 50 million m² - equivalent to 7,000 football pitches - of PVC lorry tarpaulins landfilled annually across Europe, transforming them into durable bags and other products through a nine-step recycling process. Located in the historic Canons Marsh Gasworks, the design integrates with the existing Gasometer and Engine House foundations,
creating two distinct forms that respect the site’s constraints and limit disruption to its polluted landscape. This intervention reflects a symbolic shift from Bristol’s industrial past, reclaiming the site for biodiversity and sustainability.
While the material palette draws from the site’s layered history, while promoting sustainability through using reclaimed materials. Through circular design, material reuse, and community focus, Re[work] offers an innovative, regenerative architectural vision to industry.
TOP: Aerial perspective towards proposal, from South BOTTOM: Image of physical 1:250 proposal model, from East
Exploded Axonometric: the existing foundations and proposed intervention are highlighted graphically.
THE BRISTOL MASTER BUILDER: “By These Stones Shall We Be Judged”
In response to Bristol City Council’s Net Zero goal for 2030, this project proposes a new headquarters for the Bristol Master Builder — a contemporary reinterpretation of the historic master builder role as a civic team tasked with leading the decarbonisation of Bristol’s construction economy. Through a uniquely interdisciplinary process, the Master Builder team will lead the production of new public architecture in Bristol, in addition to developing new construction techniques using reclaimed and bio-based materials. The scheme merges development, design and
display in a new typology, providing spaces for workshops, design studios, a materials lab, exhibition spaces and an apprentice training facility for future Master Builders. Through a hybrid structural system of locally quarried, posttensioned limestone and mass timber, the design aims to both reflect and facilitate this new mode of architectural production. The Bristol Master Builder project sets out a bold vision for socially and environmentally regenerative urban renewal as the city transitions towards a postcarbon construction economy.
The Master Builder Headquarters and Visitor Pavilion The Master Builder Process | Design knowledge flows
TOP: The Master Builder Courtyard BOTTOM: The Material Library
Isometric in context
Post-tensioned stone beam assembly
Jesper-Jay Harrington
Jacob Robinson BEFORE I FORGET: A Centre For Endangered Craft
There are currently over 150 crafts which are considered endangered, critically endangered, or extinct within the United Kingdom. This project aims to create a space from which endangered crafts people are able to practice, teach, and sell their work, in the effort to safeguard their skills, and pass them on to the next generation. Beyond this, the project seeks to act as a physical manifestation of our intangible craft heritage. A monument to craft. Highly contextual in form, the building abstracts the surrounding urban fabric. The towers and terraces which populate Whiteladies Road have been re framed in the creation
email: jacobwilliamrobinson02@gmail.com
of exhibition and workshop spaces. A tower serves as a landmark building in the surrounding townscape, a community focused space which embodies the qualities of the crafts it seeks to protect in both its design and fabric. On the other hand, the repeating units of workshop space reference the terrace, a utilitarian, highly adaptable provision of space, which provides flexibility for the highly varying requirement of crafts people.
Scheme Axonometric
The Tower - The Centre for Endangered Crafts from Whiteladies Road
TOP: Workshop Exploded Axonometric - Greater Than The Sum of its Parts BOTTOM: Lime Plastering - A Crafted Building
External view along the A38 main road.
BRISTOL PUPPET BOX: A centre for costuming and puppetry
The Bristol Puppet Box is a space in which the crafts of costuming and puppetry are displayed and taught to the next generation. Situated in the heart of Bristol, this proposal draws on the city’s rich historical connection to the Performing Arts and designation as a UNESCO Creative City. The proposal has been designed to offer a multifaceted experience of engagement with these crafts. The museum offers interactive and educational experiences, whilst performances can be enjoyed in the theatre and the craftsmanship of puppetry and costume-making is taught to students in the workshop.
The central focal point of ‘Bristol Puppet Box’ is a triple-height theatre. Each floor engages differently with this space — on the ground floor it is experienced as a traditional closedoff space, whereas the visitors in the museum on the first floor and the students in the second can enjoy views into the theatre from above. Working in tandem, the tiled facade and internally exposed glulam structure reference elements of the rich textural qualities of both costumes and puppets. As such, the building becomes a local landmark and point of connection for the community.
Timber puppet joinery which served as inspiration for the exposed internal timber joinery
Facade close-up showing museum exhibit which relates internal visitors to external passersby
TOP RIGHT: First floor view down into theatre space
TOP LEFT: Museum display case and seating adjacent to theatre
BOTTOM RIGHT: Student workshop on second floor
BOTTOM LEFT: Museum view into conservation room
Karoline Woggon
Photos by Rashin Shahmiran
Erin Lynas — SALVAGE page 056
Yao Wong — ALLIANCE page 058 Tina Xinhai
page 059 Zara Hooley — RIVER RECONNECT
DANIEL WONG
Tutor
To Coco, Ed, Elliot, Elodie, Erin, James, Tina, TY + Zara
I’ve said so many things to you since we first met. You may remember the “quick + dirty” drawings and models I banged on about from the oft. Perhaps you’ll remember me constantly asking “what does a section through here look like?”, and insisting you to use more diagrams to explain your scheme. Or perhaps you’ll recall my rambling email ruminating on the quintessence of inhabitation. More likely, you’ll be so pleased that the weekly scrutiny is now over. Being a tutor has so many rewards. One of these is learning from you, your work and research. This year I’ve learnt about single glazed recycled moss ceramics, and 3D printed algae bioplastic tiles; the
complex needs of the modern-day footballer; the culture of zines; spatial hierarchies in ASD education; integrated environmentalism; the work of AUU ANASTAS and the C17-18 French engineer Joseph Abeille; fermentation as a life force; a new model for healthcare environments in the UK; and the versatility of off-cut cork granules.
From the fine-grain to the global, thank you for this new knowledge. As you move forwards, be brave, be creative, be authentic, be reflective, and be humble.
page 060
Erin Lynas SALVAGE: Reframing Community Mental Health
Bristol has a problem with mental health. It has the third highest suicide rate of all cities in England. This only gets worse when you look at the disparity in health and economic deprivation within the wards of Bristol. Salvage aims to restore a deprived community and provide them with the facilities to improve their mental wellbeing through salvaging an existing building that has been left unoccupied for too long. It restores its original purpose of being a community centre whilst providing even more to the local community; creating a public ground floor for
increased social spaces, with an upper floor dedicated to learning and preventing mental health problems. It restores access to the green space that has been left derelict, providing it with new life. Repurposing the demolished brick buildings to encase the new frame ensures an enhanced Bristol fabric. The design keeps embodied and operational carbon low and highlights the importance of healthy buildings creating healthy inhabitants.
A building built from the community for the community.
TOP: Partial front elevation BOTTOM: Perspective collage of social spaces
section through building
Bryant-Brown EX LIBRIS: Reclaiming tactile experiences between people and print
In order to create change, we must seek to de-naturalise the norms of dominant culture: in other words, create autonomous and distinct spaces, communities, and modes of production. Throughout history, selfpublished or DIY zines have served as a resistant and distinct mode of production in the UK, amplifying the voices of marginalised communities beyond commercial or institutional control. With a focus on offering creative practitioners a shared working environment of empowering production and peer-to-peer learning, the proposal also enables the wider community to engage
with learning and making through tactile experiences with print.
The proposal serves as an ecoregional demonstrator within the city’s heart, connecting visitors to the land, water, and history. Old and new interact playfully with carved openings and contrapuntal texture, the building engulfed by a raised walkway which publicises the waterfront for all.
The Refectory in use as a vending space for self-published work
TOP LEFT: The Scriptoria (artists’ studios)
BOTTOM LEFT: The printing workshop
RIGHT: Primary public entrance detail
Short
Tsz Yau Wong ALLIANCE
Rethinking Hospitals: A Future Medical School
This proposal reimagines healthcare infrastructure by merging a medical school and hospital into a single vertical building in central Bristol. Organised into three layers: Community, Education and Clinical. It encourages daily interaction between students, staff and patients.
Breaking away from traditional hospital models, the design prioritises natural light, biophilic elements and open shared spaces to create a more humancentred, uplifting environment. With sustainable systems and adaptable layouts, the building
email: tszyau2909@gmail.com
linkedin: linkedin.com/in/tszyau also supports NHS net zero goals and the long term future of healthcare delivery and education.
Central Atrium
TOP RIGHT: Cafe
TOP LEFT: Research Laboratory
BOTTOM RIGHT: Patient Room
BOTTOM LEFT: Ward
Axonometric
labs and fermentation chamber
Tina Xinhai Cai
This project sets out to create a space that feels open, joyful, and full of life — a place where people come together to share food, stories, skills, and time. Inspired by the process of fermentation, the building embraces slowness, care, and change. It’s not just about food, but about time, transformation, and togetherness. At the heart of the building is the activity bubble, the timber framed oculus is a place for community classes, smells, sounds, and laughter. Below it, the dining space sits close to the ground, where rising water marks the walls and shifts the mood over time.
The fermentation labs open to the community, inviting curiosity from passersby. The building is wrapped in a tiered garden, rising from the wild bioswale to a structured herb garden and a greenhouse above. This offers a sensory journey of growth, harvest, and taste.
Through food, ecology, and shared rituals, this project hopes to offer something gentle but lasting: a place that feels good to be in, again and again.
Micro to macro processes of fermentation
Central bubble - the community workshop
TOP RIGHT: Central courtyard
TOP LEFT: Rooftop sensory garden
BOTTOM RIGHT: 4D immersive dining
BOTTOM LEFT: Restaurant and tectonic bar
Open
Since 1970, Avon has seen a devastating decline in biodiversity - losing 69% of its wild animals and 83% of its freshwater wildlife. These figures highlight the urgent need to address the ecological harm driven by human activity. Meaningful change is required at every level to restore nature’s abundance and rebuild the relationship between urban populations and the ecosystems they depend on. This proposal embraces the deep interconnectedness of natural systems and adopts a mindset of reciprocity - giving back as much as we take.
email: zara8ch@gmail.com
linkedin: www.linkedin.com/in/zarahooley
The design envisions a hybrid space where infrastructure and ecosystems coexist. A place that invites visitors on a journey, encouraging them to slow down, engage their senses, and experience the thrill of unexpected encounters. Through discovery and exploration, it seeks to reconnect people with the natural world and inspire more sustainable ways of living.
Zara Hooley
Illustration of the walkway and artifical habitat tower
Visual of entrance from the riverside path, transitioning into the marshland
TOP RIGHT: Visual of the cafe
TOP LEFT: Visual of the educational exhibitions
BOTTOM RIGHT: Visual of the office space
BOTTOM LEFT: Visual of the external walkway
Visual of main entrance from Albert Road
Photos by Rashin Shahmiran
Charlotte Martin — FLORE RENASCENTIA page
page 065
Girithvhina Ganesh — THE BRISTOL
— FLOURISH page 067 Rianne
Tse
— SANCTUM CYCLE CITY page 069
EMMA JARVIS
064
PANTRY page 066 Kara
SANCTUM page 068 Kiki
Weston-Arnold
Jirapojaphorn —
Charlotte Martin
FLORA RENASCENTIA: Organic Museum and Research Centre
The project objective was to create an organic museum and research centre dedicated to the regeneration of Temperate Rainforests, through education, awareness, research and an appreciation for nature. It also aimed to address the decline of biodiversity in urban areas, and enhance the site on which the museum will take shape, ecologically and socially. Any design decisions were undertaken with consideration for the local community, and aim to have a positive influence on their well-being. The structure is primarily concrete, comprised of fabric formwork columns and
double-barrelled vaults. This design optimizes material by effectively utilising their properties, to both reduce embodied carbon and provide longevity. The biome, which holds a small Rainforest exhibit, is an unenclosed space sheltered by two-ply ETFE panels in a steel frame. This is fully accessible via a series of ramps that encircle the building, guiding the museum visitor through a path of evolution as they ascend. The journey through the history of plant life in Britain leads the visitor to the future of Temperate Rainforests - a narrative of restoration and regeneration.
Located in Barton Hill - Bristol’s most ethnically diverse areamy proposal responds to the urgent need for spaces that unite individuals rather than divide. Set against the backdrop of rising antiimmigration sentiment, this centre offers a welcoming environment where language and culture are celebrated. Designed with the principle of universal accessibility at its core, the proposal features wide corridors, abundant natural light, and a central atrium encouraging a vertical visual interaction. Ramps and level changes negotiate with the sloping site, ensuring equitable
access for those with mobility needs.
Reimagining the site, which is currently a car dealership, my proposal offers vibrant biodiversity within the city. Facilities include a library, classrooms, a multipurpose hall, and a community centre. These spaces are tailored for practicing languages, reconnecting with heritage, or learning British Sign Language. The centre’s multi-purpose hall hosts celebrations from Diwali to Lunar New Year, embodying the motto: Learn, Communicate, Celebrate!
Exploded isometric depicting the primary structure
TOP: Detailed Section BOTTOM: Context plan
THE BRISTOL PANTRY: Where Food Meets Future
In the centre of Bristol, The Bristol Pantry is a thriving culinary school and community centre that uses the universal language of food to celebrate the city’s rich cultural diversity. This innovative program prepares students for a variety of careers in the food industry by fusing academic study with practical culinary training.
Fundamentally, The Bristol Pantry strikes a balance between innovation and tradition by imparting both traditional and contemporary cooking methods that encourage originality and flexibility. A small
email: girithvhinaganesh@gmail.com
linkedin: www.linkedin.com/in/girithvhinag
greenhouse and areas for preparing ingredients allow students to grow fresh vegetables and herbs on-site, promoting a close relationship with ethical food production. Sustainability is at the heart of the project.
Bristol’s food economy is boosted by The Pantry, which supports small food businesses with communal kitchens and a bustling market hall where locals and students can gain experience. It establishes the city as a pioneer in forward-thinking culinary culture by serving as a hub for sustainable culinary innovation.
Girithvhina Ganesh
Arrival view approaching the market hall
View of The Bristol Pantry from the bridge
TOP RIGHT: View from café into the market hall
TOP LEFT: Typical kitchen layout
BOTTOM RIGHT: Shared library study area
BOTTOM LEFT: View of market hall from mezzanine
Kara Weston-Arnold
FLOURISH: Bristol’s Wellness Centre Based On Positive Psychological Principles
Human flourishing is the perhaps the most ambitious interpretation of wellbeing. The new wave of influence of positive psychology has been manifested into a wellbeing centre that creates opportunities for ‘flow’ through social, physiological and psychological experiences. This transformational centre aims to combat the problems of increasing mental illness since the COVID-19 pandemic. The Flourish Centre creates spaces that encourage, stimulate and challenge the Bristol community to find their strengths and empower themselves through the activities
the building offers. For example, teaching resilience skills, funbased therapies and providing multisensorial spaces to promote community happiness. The charitable sanctuary is open in the evenings to encourage social interaction, exercise and self- improvement via interrelated zones with biophilic connections. The flowing gridshell roofline is also the embodiment of the concept of ‘flow’. The Flourish Centre is a safe, comforting and welcoming place and will help the Bristol community to become happier, healthier and more productive.
email: karawestonarnold@gmail.com
instagram: @karas.creations_
Aerial Sketch
TOP RIGHT: Rooftop Garden TOP LEFT: Active Frontage
BOTTOM RIGHT: View From Across The River BOTTOM LEFT: Internal Second Floor ‘Street’
SANCTUM: Where the built environment becomes a vessel for healing, care, and collective hope
Sanctum is not just a building—it is a quiet framework for reconnection and recovery. Rooted in the gentle rhythms of daily life, it offers a sanctuary for individuals emerging from cycles of homelessness and addiction, reintroducing dignity, structure, and autonomy without replicating the harshness of institutional care. Designed around a step-down model of rehabilitation, Sanctum reflects the slow, human pace of healing—supporting the rebuilding of lives through spatial clarity, sensory richness, and communal connection.
Architecture here acts not as backdrop but as guide: shared lounges, rooftop gardens, and therapy spaces foster belonging and trust, while architectural decisions— like tapping into the NHS’ local district heating network—reflect a deeper commitment to social and environmental responsibility. At its core, Sanctum is a place of quiet strength, where recovery is not only supported, but spatialised- a place of healing made visible, where architecture quietly supports the human need to feel held, seen, and part of something again.
email: riannetsee@gmail.com
linkedin: https://www.linkedin.com/in/riannetse/
Rianne Tse
Parti Diagrams showing Key Design Drivers of the project
Photograph of 1:200 Site Model showing the tiered public and private rooftops featured in the design
TOP RIGHT: Internal Perspective of the Cafe by the entrance
TOP LEFT: Internal Perspective showing the Mezzanine
BOTTOM RIGHT: Internal Perspective of the Therapy Room
BOTTOM LEFT: Interal Perspective showing the Patient’s Lounge
Ground Floor (Entrance Level) Plan
perspective
Kiki Jirapojaphorn
CYCLE CITY: Expression of bicycle tectonics
The proposed project in Castle Park, Bristol, reinforces the city’s “Cycle City” identity by creating a cycling-focused transit hub that promotes green mobility and sustainable transport. Strategically located near major transport hubs, the building integrates a BMX park and cycling school track to enhance safety perceptions and encourage active transport. Architecturally, the design draws from bicycle tectonics, using triangular geometries, circular profiles, and exposed mechanical connections inspired by bike frames. The roof structure echoes bicycle construction,
with diagonally arranged glulam rafters, circular-section struts, and a star node junction. Structural and environmental efficiency is prioritized through cellular steel beams for long spans, with glulam used in compression zones for sustainability benefits.
Section slice of the structure, highlighting bicycle-inspired tectonics
The bicycle frame
Anushka Gupta — WHITEBEAM PRIMARY SCHOOL
Bianca Zerbini — BODIES Ko
FRASER WALLIS
Tutor
What a great year it’s been - I have been really blown away by the dedication and commitment that everyone has given to their projects and it has been an absolute pleasure to tutor such an interesting range of schemes. I have been particularly struck by the very real issues that have been addressed in my group’s projects - be that improving and challenging preconceptions about school buildings and other places of learning, providing integrated and creative solutions to the provision of healthcare within a community, addressing issues of connectivity both physically and socially
or facilitating the availability of affordable food to everyone. Every one of these projects is a creative and innovative response to genuine societal issues and the unwavering commitment to tackling these issues which underlies each of the schemes has been truly impressive.
These are all projects to be proud of and I wish everyone the absolute best of luck with their next endeavours!
SCHOOL page 072
BODIES OF WATER page 074 Cheuk Yin Charles
Aoife Carey — HILLFIELDS ACADEMY
077 Owen Hill — VILLAGE HALL page 078
Sarah-Jane Dawson — EYES OF THE SKIN page 080
Anushka Gupta
WHITEBEAM PRIMARY SCHOOL: How can design facilitate a sense of belonging?
A special school for 5-11 year olds with Speech, Learning Communication needs, Social, Emotional, Mental Health needs and Autism Spectrum Disorder in Shirehampton, Bristol. The whitebeam tree is endemic to the Avon Gorge, which has a strong relationship to the site. A cluster of three classrooms on each floor surround it, celebrating uniqueness, fostering belonging to place and regulating senses through the connection with nature.
The tree is reflected in the biogenic, engineered timber load-bearing structure. Situated on an old clay pit, the building seeks to have a light touch by sitting in the dip created by the topography, and stepping up with the slope.
Partii diagram showing the cluster of classrooms surrounding the whitebeam tree, next to the walkway.
Short Section
TOP: Top classroom perspective BOTTOM: Axonometric showing the whole scheme.
Amanda Chang ART UNBOUND: Cabot SEND School and Visual Arts College
Located in the heart of Bristol, the school serves 72 students aged 11 to 18, of which 70% of students are non-ambulant. The school caters to a diverse range of needs while providing high-quality art facilities. After school hours, the building functions as a community hub for art programmes, where non-profit organisations have local chapters that offer art education programs for SEND members of the community.
Accessibility is a core tenet of the building’s design, reflected in its inclusive spaces, varied seating options, and generous circulation
routes that support all users equally. With a grounded brick base and vaulting concrete roof, the design balances solidity and openness. Along the external brick facade, variations in the depth of the brick facade introduces texture and relief, disrupting the horizontality of the facade and creating a dynamic and continuous architectural rhythm. The vaulted roof defines key learning spaces and art studios, filtering light to create conducive and inspiring environments. This rhythmic curved form continues on a smaller scale through the central event hall and library, unifying the building.
The scheme proposes a hydrotherapy and leisure centre that reinterprets Bristol’s rich spa heritage through a contemporary lens. Drawing inspiration from the cultural rituals surrounding water across the globe, the building is designed as a sequence of zones: a health zone, a leisure zone, and a transitional zone, each nurturing a different aspect of bodily wellbeing and reconnection with water. These spaces are warm, tactile, and immersive, encouraging introspection, healing, and play.
Architecturally, the building celebrates the duality of water through the interplay of robust concrete at the base and a lighter timber structure above; heavy yet fluid, grounding yet freeing. Natural materials, flowing forms, and undulating finishes evoke the movement of water in plan and section. Located along Bristol’s vibrant waterfront, the project also proposes a public lido, extending its therapeutic ethos to the wider community and celebrating water as a shared cultural and sensory experience.
This project proposes Phoenix Wharf Library, a library and community hubto support Bristol’s urban revitalisation and enhance the Floating Harbour. Facilities include co-working spaces, workshops, a library, study areas, a lecture theatre, and a café with a viewing deck for leisure and community use. The design embraces the site’s maritime and industrial heritage, with facades facing the Floating Harbour and Redcliffe Caves. A pavilion enriches the historical experience, connecting users with the area’s past. A radial structural grid maximises space on the constrained site, while
fanned exposed timber beams add character. The ground floor uses bio-receptive concrete to mitigate flood risks and promote vegetation, encouraging biodiversity. At end-of-life, recyclable CLT frames can be removed, leaving concrete that supports algae growth.
Phoenix Wharf Library will become a vibrant anchor for community well-being, delivering lasting environmental, cultural, and heritage value.
External Perspective of the Redcliffe Caves Pavillion
Interior Perspective of Library Space
Cheuk Yin Charles Ko REDCLIFFE WHARF LIBRARY: A
Radial Structural Grid of the Building
TOP: Perspective Section BOTTOM: Isonometric View of Site
Studies indicate that young people today are less prepared for adulthood than those in the 1970s. While the world has transformed rapidly in the past century, the education system remains unchanged. Advancing pedagogy must also account for the buildings in which we educate. This proposal is a secondary school designed to accommodate 250 students, based on Price’s 2-Hour Learning model. In this approach, students engage in two hours of academics with 1-1 AI-based software. The remainder of the day is dedicated to physical activities and workshops to develop essential life skills, such as public speaking, debate, and financial
email: eacarey05@gmail.com instagram: @aoife.ec
literacy. To support this learning model, the traditional classroom is replaced with a large, flexible, open space that caters to diverse learning styles and preferences.
The architectural form and materiality of the school have been developed in response to the local residential and industrial context. The design prioritises effective learning environments, sustainable practice and student well-being. A central open learning space serves as the heart of the building, from which all other functional spaces extend.
Aoife Carey HILLFIELDS ACADEMY: A school for the future
TOP RIGHT: Main Courtyard TOP LEFT: Science Workshop
BOTTOM RIGHT: Sports Hall
BOTTOM LEFT: Central Learning Space
TOP: Central Learning Space and Sports Elevation BOTTOM: Cloister
Luke Cunningham NEXUS:
A Specialist Care and Research Centre for Pompe Disase
NEXUS responds to the challenges faced by Pompe and rare disease patients, who are often misdiagnosed and under served. NEXUS aims to change this: combining pioneering gene therapy research, early support and compassionate clinical care in a dedicated centre. By uniting science, medicine and community, it becomes a place of innovation, trust, and hope for a more responsive future in rare disease care. A continuous pitch unifies three distinct yet interconnected clusters, progressing from a communal hub to increasingly clinical spaces, all underpinned by a grounded research plinth
below. Between these clusters, elevated terraces introduce access to nature, creating spaces of outlook, intimacy and connection. A protective brick exterior shelters the building’s occupants, whilst inside, a lightweight, exposed timber frame brings warmth, material legibility and tectonic clarity. The rhythmic repetition of structural beams fosters a sense of calm, allowing shards of light to animate the space and uplift spirits. Together, this cultivates an environment of protection, clarity and understated optimism – a spatial reflection of the care and discovery taking place within.
TOP LEFT: Approach with View into Laboratory BOTTOM RIGHT: Genomics Laboratory BOTTOM LEFT: Entrance
East Elevation
Clifton Village is a popular destination within Bristol, known for its heritage landmarks, awardwinning restaurants, and artisan cafés. However, it also has some of the lowest levels of social cohesion in the city, highlighting a need for inclusive, community-oriented infrastructure. Repurposing a brownfield site in the heart of the village, this project addresses local social disconnection and broader food issues across the city. Drawing on six interlinked themes of the Bristol Food Network’s 2030 Good Food Action Framework - including better eating, local food economy,
and urban growing - the project derives a programme of community kitchens, urban growing spaces, and an open market square. Each is designed to bring people together, with regular events from communal dinners to local producers’ markets. The centre also serves as a logistical hub operated by the Food Network, collecting, storing, and redistributing surplus food across the city as affordable meals. Designed with an adaptable, modular structure and a comprehensive set of environmental strategies, the project will serve the local community and wider city for many years to come.
Owen Hill
TOP RIGHT: The Market Square TOP LEFT: Approaching from Clifton Down BOTTOM RIGHT: Planting on King’s Road BOTTOM LEFT: The community kitchen and hall
TOP: Approaching from Clifton Down Road BOTTOM: In dialogue with Clifton Arcade
Butler
INTRALINK: An Integrated Bus Station & Youth Hub Providing Lateral Links Across Bristol
The scheme is located in Eastville, Bristol, an area that lacks connectivity and therefore access to the more advanced facilities the city offers. The site has a rich and relevant history, having previously served as a tramways depot and later an omnibus depot. The existing curved wall, which has been retained, aligns perfectly with a bus turning circle. The building sits snugly among existing vernacular Bristol walls, which have also been preserved. There are moments where the scheme opens up to interact with these walls. In some areas, walls were disassembled to create
entrances, these stones were crushed and reused as aggregates in the terrazzo floor that runs through ‘The Spine’, the main circulation route connecting all entrances, with key spaces branching off it. Certain sections of terrazzo have been designed to wear away faster, gradually revealing more of the aggregate beneath and fostering a comforting sense of connection with those who’ve walked the same path before. ‘The Spine’ also houses ‘The Booths’, refined waiting areas that give purpose to the act of waiting and offer space for moments of humanity, such as contemplation and conversation.
Polly
Movement Diagram
TOP RIGHT: Recreational Hall
TOP LEFT: Cafe
BOTTOM RIGHT: The Spine
BOTTOM LEFT: Bus Bays
TOP: From the M32 BOTTOM: Side Entrance
Sarah-Jane Dawson
EYES
OF THE SKIN: Bristol Sonolux Academy
The Bristol Sonolux Academy is a pioneering educational space designed specifically for students with visual impairments. Rooted in inclusivity and creative exploration, the school delivers a full core curriculum with a distinctive emphasis on music as a means of expression, communication, and learning. Purpose-built sensory rooms provide multisensory experiences through touch, sound, movement, and scent, fostering emotional well-being and cognitive development. Every aspect of the school—from tactile navigation and curved walls to a music
email: sarah.janedawson16@gmail.com
recording studio and specially designed music classrooms—has been carefully curated to support independence, confidence, and creativity. Blending modern design with a deep understanding of sensory needs, the Bristol Sonolux Academy is a bold step forward in accessible, art-infused education for the visually impaired.
Support &
parti diagram — curved walls
Landscape render
TOP: Exhibition Space render BOTTOM: Corridor render
Photos by Rashin Shahmiran
Tutor
I was so impressed with the thoughtfulness and dedication of my group this year. It is so inspiring to see your ideas develop and to get to know how you think about your environment - I learn as much from you as you do.from.me. An architecture degree gives you an excellent grounding for many careers. I hope you all find your direction and fulfillment in your careers. GRAHAM BIZLEY
Melis Ada Ozer — EMPATHY — GARDEN OF KNOWLEDGE page
Polina Krasitckaia — NUCLEUS page 090
Annette Lui — WOVENSCAPE page 092
Chie Fujihari
PALETTE: A Materials Centre of Samples, Stories, and Solutions
As global consumption of raw materials continues to rise at an alarming rate, there is an urgent need to rethink how we source, use, and apply materials, presenting a growing opportunity in the global market to address this challenge. A material centre located in the heart of Bristol, dedicated to the research, innovation, education, and promotion of sustainable, low-embodied carbon materials, responds to this through a Material Library and Lab facility. Each material library is designed to celebrate the materials it showcases, creating a dynamic and immersive journey through a series of rooms
email: c52fujihari@gmail.com
linkedin: www.linkedin.com/in/chie-fujihari/
that highlight different material qualities and properties. The central courtyard acts as an outdoor extension of the library, showcasing how materials weather over time and for hosting live workshops and demonstrations. The material library connects to the hub, which hovers lightly over the ground of the St Mary Le Port church ruin. Inside, expressive trusses reinterpret the historical structure in a modern, abstract way. The hub serves as an exhibition space, presenting the material discoveries and innovations developed in the research lab to locals, students, and professionals.
Hub Structural Bay Diagram
TOP RIGHT: Stone Library
TOP LEFT: Fabric Library
BOTTOM RIGHT: Timber Library
BOTTOM LEFT: Concrete Library
TOP: Church Ruin View
BOTTOM: Courtyard View
THROUGH THE LOOKING GLASS: A Learning Centre for Autistic Young Adults
Autism is often viewed through a medical lens beyond the school setting, where support is primarily therapy-based. However, a gap exists in services for individuals with ASD as they transition from the structured school system into adulthood. ‘Through the Looking Glass’ draws inspiration from Michel Foucault’s idea of a Heterotopia — spaces where norms are challenged and reimagined, inviting us to rethink the ideal environment for autistic individuals. This project envisions a learning centre that serves as both a place for skill development and a retreat where users can feel valued
and connected, fostering social engagement and personal growth.
Designed with inclusivity and autonomy at its core, it reinterprets typical architectural elements to create a space tailored to the needs of its users, ensuring it is not just functional but also intuitive, comfortable and supportive.
TATE BRISTOL: A Pioneering Public Space, Landmark & Art Gallery
Bristol is known for three things: the maritime and engineering legcy, its forward-looking development, and the ‘Street Arts Culture’. These aespects played an important role in shaping the city’s social identity and heritage. Street Arts, in particular, which is a medium to express and raise public awareness on social events, continues to expand within the community. A multicultural hub is needed to celebrate and interconnect the past and present exuberances of Bristol. Tate Bristol is the fifth Tate gallery in the UK. It aims to become a new landmark and attraction in
the country. The building provides galleries to promote Bristol’s Street arts, and learning opportunities to empower local connectivity and to stimulate the artistic passion of younger generations. The 12-metretall ground floor entrance hall is a cohesion to the surrounding context and the Floating Harbour, provides an open space to facilitate various social activities. The most interesting thing about Tate Bristol is its resolute ‘Boldness’. From being the most grandiose building within the cityscape, to reusing and repurposing the Dockside Cranes in Bristol to lift the artefacts between spaces.
Hong Yui Wong
An Illustration Depicting the Circulation through the Building
South Elevation with a Kinetic Facade System
TOP RIGHT: Studio Workshop TOP LEFT: Gallery Space
BOTTOM RIGHT: Lifting of Artefacts through Void
BOTTOM LEFT: Ground Floor Indoor Public Realm
A View of the Building from Distance
Melis Ada Ozer
EMPATHY COMMUNITY CENTRE: a space for building compassion
The Empathy Community Centre is designed to foster understanding and connection among people from diverse backgrounds through interactive exhibitions and immersive storytelling. It will serve as a space for building compassion, enhancing communication, and promoting social harmony in an increasingly connected yet disconnected world. This project aims to cultivate empathy by offering engaging learning experiences that help individuals explore various perspectives such as living with disabilities, being a parent, experiencing war or immigrating.
The community centre aims to:
• Establish a permanent Empathy Museum venue for year-round exhibitions and global programs.
• Offer office rentals for NGOs and charities with access to shared facilities.
• Provide group therapy space for those affected by crises or trauma.
• Create a hub for aid collection and distribution during emergencies.
• Host international food days to celebrate different cultures and share recipes.
email: melisadaozer@gmail.com
linkedin: linkedin.com/in/ada-ozer/
Multi Purpose Hall events can spill out to the courtyard, connecting the event with the rest of the building while accomodating a larger audience.
Courtyard
TOP: Cafe and riverside walkway BOTTOM: Library
Ng GARDEN OF KNOWLEDGE: A 21st Century Library for Bristol
This project reimagines the library as a dynamic hub for learning, community, and wellbeing; responding to educational inequality and the decline of public libraries in Bristol. It challenges traditional models to explore what a 21stcentury library can be: a space that connects people not just through books or devices, but with each other. Technology supports rather than dominates, encouraging collaboration and critical thinking. Sustainability is integral, with passive design, a circular rainwater system, PV-glazed sawtooth roofs, and a heat pump drawing from the Floating
Harbour; all tailored to the riverside site. The sculpted brick form centers on two atriums: one for reflection, the other for focused reading, bringing nature indoors. A prefabricated CLT and glulam structure creates spatial rhythm, clarity, and warmth.
Rooted in Bristol’s values, the design offers a forward-thinking model for civic archiecture, prioritizing education, sustainability, and community.
email: marissansy3@gmail.com
instagram: @mzriissa
Marissa
Accessible Education and Learning across the city of Bristol
Central Garden Atrium
TOP RIGHT: Welsh Back Entrance
TOP LEFT: Main Entrance via Redcliffe Way
BOTTOM RIGHT: Library Block Atrium
BOTTOM LEFT: First Floor Library
Library Facade via Redcliffe Bascule Bridge
Oliver Rose
GAS
A research and exhibition hub for alternative proteins
Food production amounts to 26% of global GHG emissions with animal agriculture being the biggest contributor. In the midst of a climate crisis, it is imperative that an alternative method to provide increased, food without detrimental environmental impact is employed. The proposal revives a former gasworks site, as an exhibition centre for industry, innovation and energy generation. Facilitating food production and culinary research, the scheme will foster collaboration between researchers and consumers to help the development of affordable, accessible and accepted
sustainable protein sources. The listed Engine House and existing gasometer foundations are reinstated, housing anaerobic digestors and energy production facilities to convert onsite organic waste into biogas. A series of voids, that punctuate a contextual triple pitch, frame the production process while separating public exhibition. This places movement and journey at the heart of the experience, uniting the building through a visual connection. A sequential layout allows a progressive production process to circulate vertically, culminating in a unified top floor where people and process converge.
Section showing production and research surrounding central exhibition
View of scheme from Brunel Square
TOP: Second floor view across void BOTTOM: Ground floor visitor entrance
TRONOMY:
plan
NUCLEUS: Where Innovation Meets Opportunity
This project is about creating a building that not only supports innovation but embodies it. The Silverthorne Lane Innovation Centre brings together students, startups, and researchers under one roof, focusing on collaboration, experimentation, and prototyping. It’s designed as a spatial framework where learning and production can happen. The architecture reflects this duality: heavy and light, robust and open. The recycled steel structure forms the bones of the building, while the facade plays with layers of transparency and depth, echoing the complexity of the work happening
email: pk704@bath.ac.uk
linkedin: linkedin.com/in/polinakrasitckaia
inside. At the heart of the scheme is the idea of connection, visual, social, and material. Circulation becomes the architecture, people move through shared corridors, encounter moments of openness, and pass by labs and workspaces that are intentionally exposed. The form responds to its context, referencing Bristol’s industrial past while pushing a new architectural language forward. It’s a project grounded in making, from the heavy fabrication labs to the suspended mezzanine library, designed to feel generous, legible, and alive with potential.
Polina Krasitckaia
View of the gathering space
TOP RIGHT: Prototyping studio
TOP LEFT: North side entrance
BOTTOM RIGHT: Atrium view
BOTTOM LEFT: Short section
Landscape
Toby Ritson RENOVATION WHARF: A Retrofit Hub for community education, innovation and trade skills
Bringing industry back to Bristol’s Floating Harbour through a Retrofit Hub, which breaks the existing negative cycle which retrofit finds itself in. The centre looks to connect and teach local builders, industry leaders and homeowners through a series of education, exhibition, and breakout spaces. This interwoven space encourages formal and informal communication connecting all stakeholders. A Bristol retrofit programme will increase health and wellbeing of all, reduce the strain on the NHS, and help Bristol achieve net-zero carbon. A nationwide retrofit scheme can
increase the UK economy by £309 billion. The building is defined by 3 large chimneys key to the project visually, structurally and environmentally. Large glulam ridge beams crucial to the exposed glulam superstructure are held whilst also naturally ventilating and defining key spaces in the project through a cross stack effect.
The hub is centred around an enclosed working yard and courtyard which focuses on material movement through the site. The centre highlights the existing historic wharf buildings and 9m wall.
Axonometric sketch showing the route and movement of a natural material through the site
Aerial view of the scheme and its relationship to the Floating Harbour
TOP: View into the working yard from the 18th Century ruins BOTTOM: Detailed section showing flexible working spaces and material storage
WOVENSCAPE:
weaving communities through craft
Wovenscape celebrates the interwoven nature of the social fabric, creating an inclusive environment where people from all backgrounds come together through shared interests in weaving and knitting. As a textile community quarter, it fosters diversity, equality, and a strong sense of belonging. Its loom-like structure highlights craftsmanship, with users moving through the space like threads across a warp—bringing the building to life through interaction. This dynamic interplay of warp and weft forms a living social fabric, promoting well-being through the meditative
email: annetteluiwy@gmail.com
linkedin: www.linkedin.com/in/annettelui
repetition of textile practices. A layered composition gives Wovenscape its architectural richness, integrating structure, service, and surface into a cohesive whole. This not only supports longterm adaptability but reinforces the project’s core metaphor of weaving. Colonnades mark the east entrance, offering shelter and guiding visitors into a flexible atrium defined by acoustic curtains. A vibrant colour palette, inspired by Cliftonwood terraces, grounds the project in place, while its adaptable structure supports evolving community needs.
Annette Lui
TOP RIGHT: kitchenette & break out space TOP LEFT: permeable public atrium
BOTTOM RIGHT: loom-like artisan roof structure
BOTTOM LEFT: north facing weaving studio
TOP: west entrance with ceramic tiles cladding BOTTOM: wovenscape axonometric
Photos by Rashin Shahmiran
STONEMASONS’ WORKSHOP page 097 Alexis
Isaac Burchill — HUB page 099 Sonia Cheban
Kerbyson — NEW BREAD STREET page 101
JAYNE BARLOW
Tutor
“Be yourself and make a difference”
PROJECT page 096
Alice Barribal — THE
Alexis Sitanari — MEMORIAL STADIUM page 098
Cheban — CONTINUUM page 100 Stephen
Tara Kai — BAYT AL HADARA page 102
The UK’s rivers are in crisis. Pollution contaminates our waterways with toxic agricultural runoff, industrial waste and frequent sewage spills. Exacerbated by urban expansion, the landscape’s ability to retain and filter water diminishes. This results in increased surface runoff and overwhelms ageing combined sewer infrastructure, resulting in more overflow events which then degrades wetland habitats further. Perched delicately on steel remnants within the intertidal zone, the Hotwells Dock building responds to this crisis whilst embodying a striking contrast between vulnerability and resilience.
Below, its submerged levels engage directly with tidal flows, pollution, and ecological decay - rejuvenating a decaying dock into a living filtration system of molluscs, seaweed and engineered wetlands. Above, the structure rises into the supralittoral zone, a controlled and conditioned realm for human activity: a place of research, restoration, and public engagement. This juxtaposition mirrors the wider dichotomy between built environments and natural systems, while offering a vision of coexistence where architecture becomes both refuge and remedy.
TOP RIGHT: Drawbridge facade connecting to street TOP LEFT: Hotwells Dock from the banks of the Avon BOTTOM RIGHT: Floating boat dock connecting river with research BOTTOM LEFT: Mussel growth on intertidal platforms
Long & Short Section Hotwells Dock
Alice Barriball
Stonemasonry is a traditional craft at risk of being lost; this proposal creates a space for active preservation, teaching, and continued practice. Located on Bristol’s historic harbourside, the project transforms a site containing two Grade II listed structures: the former engine house and a boundary wall, into a new stonemasonry workshop and an education centre for the community.
The building is organised around the process of stonemasonry, from raw material handling to refined carving and public exhibition. At the heart
of the scheme, the retrofitted engine house becomes a space for display and engagement, bridging traditional craft and contemporary education.
A defining feature of the proposal is the origami-inspired warped pitched roof, which responds directly to the site context. Its geometry is derived from the angle of the former engine house and the perpendicular line of the historic boundary wall, creating a dynamic form that reconciles new with old. The roof introduces natural light into the building whilst expressing structural clarity and the spirit of craftsmanship.
TOP: View from Floating Harbourside Walk BOTTOM: View of Stonemasonry Workshop
Aerial View of Proposal in Context
Roof Plan
The Memorial Stadium is the complete redesign, redevelopment, and expansion of Bristol Rovers’ existing home ground, the Memorial Ground, into a fully unified and comprehensive stadium. The proposal enhances match day experience through improved seating, safety, and accessibility, while increasing capacity, while creating inclusive environments that support and raise awareness of mental health - an issue in sport not talked about enough. After years of setbacks - neither expanding the current ground nor relocating - the Club and fans crave a solution to fix issues with their Ground: a current lack of seating and safe,
email: alexis729.as@gmail.com
accessible viewing positions; few facilities around the site; and overall disjointed stands and spaces with no relationship - almost symbolic of unrest within the fan-base. The Memorial Stadium is the all-seater, 15,000 capacity new home of Bristol Rovers, increasing the 12,500 mostly standing capacity. It introduces new facilities and opportunities for club, players, fans, local businesses and community, while settling into low-lying, residential surroundings, reflecting brick materiality present around the stadium. Sporting a unique look, this stadium aims to assist the players, club and fans to future success.
Alexis Sitanari THE MEMORIAL STADIUM: The Home of Bristol Rovers
TOP RIGHT: Contextual View of the Stadium
TOP LEFT: Players Tunnel
BOTTOM RIGHT: Mental Health Zone
BOTTOM LEFT: Match Experience from the Stands
TOP: Ground Floor Plan
BOTTOM: Short Section
49% of all Bristol residents cycle. 68% of Bristol residents support more cycle routes and 61% believe more should be spent on supporting cycling in the city. Bristol is a city that has a strong desire for better cycling facilities and it would be welcomed by all residents. These were contributing factors towards my decision of designing a building geared towards cycling however the driving force was out of a personal appreciation for one remarkable cyclist in this charming city. On the 4th of October I suffered a Cardiac Arrest in the city centre of Bristol. My life was saved by a passing
cyclist who carried out CPR within sufficient time. This is to show my appreciation to him and others who cherish this form of transport that gets you anywhere, for anyone, at any time they need you most.
Overall I am very pleased with the outcome. The care behind the process was influenced by my time at Foster + Partners. Peace!
CONTINUUM: Emergency Shelter Building Centre and War Memorial
Continuum is a hands-on learning and exhibition centre that turns Castle Park’s war-scarred past into a lesson for the future. Built on an 8-metre steel-and-CLT grid, the building works like a kit of parts: every column, floor cassette and wall panel can be unbolted, moved or reused. Rubble and construction waste materials are lifted from a drive-in basement to workshop floors above, where participants test, cut and rebuild it into shelter prototypes for zones affected by wars and natural disasters. Balconies behind a red-steel mesh hold bricks, timbers and metal, letting visitors
watch materials weather and age. A concealed service spine keeps pipes and cables tidy while symbolising hidden ties between past and present. Warm OSB walls and a daylight-filled atrium make the place feel open, inclusive and practical rather than precious. By treating debris as treasure, Continuum shows how cities can remember loss, reduce waste and craft hopeful architecture from what was once broken. Its message: memory fuels innovation, not nostalgia and despair.
TOP: New Castle Park view from the River Avon BOTTOM: Section drawing through key spaces
Axonometric view
Reverse storage on balconies
Stephen
NEW BREAD STREET: A new approach to rehabilitation
Artisan bread-making is a major component of Bristol heritage and identity, and so a bakeryfurther to providing training and drive - interweaves boarders and workers into the city’s sociohistoric fabric. The bakery and the hostel (raised above a counselling centre) introspectively wrap about a monastic courtyard. The two blocks, each displaying separate reverent language, are connected by a glazed winter garden to form one symbiotic whole.
The timber construction, together with passive environmental principles, delivers a low-carbon solution - disproving the perceived necessity of compromise between environment and effectiveness. With monastic insight and modern ideals, New Bread Street provides a feasible solution to the prison crisis, with compassionate reform over passionate retribution.
TOP RIGHT: Bakery TOP LEFT: Cloister BOTTOM RIGHT: Approach BOTTOM LEFT: Hostel
1:50 Bakery sectional model
Tara Kai
Set at the heart of Bristol’s harbourside, Bayt Al Hadara is an Arab Cultural and Heritage Centre designed as a living expression of Arab identity. Through a rich program of sacred, educational, and social spaces — from calligraphy studios and communal kitchens to a marketplace-style “Living Room” — the building becomes a vibrant meeting point for Arabs and all members of Bristol’s community.
Rooted in the geometry of the eight-pointed star, the architecture symbolises harmony and continuity while embracing contemporary
tectonics. A layered structural language emerges through the interplay of two grids — one rotated, one orthogonal — expressed in the exposed waffle slab, which becomes both a functional and symbolic ceiling plane. This is more than a building — it’s a civic landmark that dismantles stereotypes, fosters cultural exchange, and celebrates heritage in motion. It redefines identity through architecture, offering Bristol a new, inclusive narrative rooted in pride, education, and connection.
BAYT AL HADARA: House of Civilisation
Octagram as a Microcosm and Macrocosm
TOP RIGHT: A Space for Everyone
TOP LEFT: The Mosque
BOTTOM RIGHT: The Synagogue
BOTTOM LEFT: The Church
Weaving Arab tradition into Bristol’s urban fabric
Photos by Rashin Shahmiran
Abbie Latham — BRISLINGTON
page 107
FUTURES SCHOOL
Dhanesh Jegatheesan — ST MARY LE
Ramanava — STRATA page 109
Yan Wong — NEXUS page 111
page 112
JONATHAN LOGSDON
Joshua Burton
Matthew Elliott
Chris Chui — THE CONSERVATORIUM
SCHOOL page 106
Aaron Jones — NUTRIFY
LE PORT MARKET page 108 Hanna
Burton — ELEVATE BRISTOL page 110 Kap
Elliott
Leer
— CAMBRIAN RETROFIT HUB
CONSERVATORIUM page 113
Abbie Latham
BRISLINGTON FUTURES SCHOOL: A Special-Education Primary School with Learning Beyond the Classroom
Bristol is facing increasing challenges to meet the ever growing school demand for people with special educational needs (SEN). Many mainstream schools lack the flexible environments, tailored support and inclusive curriculum required to help these students thrive. As a result, children with SEN are often excluded from their communities, both educationally and socially. This project responds directly to these challenges and aims to provide specialist education, promote personal development, offer tailored support and create inclusive spaces to celebrate the diversity
email: 4abbiel@gmail.com
linkedin: www.linkedin.com/in/alatham1
of all students. Brislington Futures School, located adjacent to Brislington Meadows and Broomhill Junior School, is designed as an outdoor education community hub. It blends indoor and outdoor learning to create calming, sensory-rich spaces that support emotional regulation and handson learning. The school includes a versatile hall and community cafe to encourage local engagement and collaboration. With nature as its focus, the school promotes a connection to the environment, and offers a flexible and inclusive setting where all students can feel supported, empowered and nurtured.
Ground Floor & Landscape Plan
South Elevation
Axonometric Massing & External Frame
TOP: Render of Outdoor Learning Terrace BOTTOM: Long Section Through Key Spaces
Aaron Jones
NUTRIFY: Health | Nourish | Educate
We are experiencing a nationwide food crisis. Many households are unable to access healthy and nutritious food and this is having a detrimental effect on the younger generation’s health.
NUTRIFY’s Cookery School and Community Kitchen Gardens provides the community of Redcliffe with a range of growing spaces, education facilities and places for the community to build stronger relationships with health and food.
The focal point of the scheme is the multi-terraced garden and growing spaces, partially enclosed
by a large timber Glasshouse. The Glasshouse extends the seasons of the building and allows a wider range of plants to be grown within. Each of the three training kitchens has a relationship to a growing space within this Glasshouse. Across the building the spatial relationship to and from the garden has been carefully considered.
Long Section Kitchen Relationship
Exploded Glasshouse Isometric
Short Building Section through terraced garden
TOP RIGHT: Glasshouse Herb Garden
TOP LEFT: Community Activity Space
BOTTOM RIGHT: Hanging Garden
BOTTOM LEFT: Glasshouse Isometric
Dhanesh Jegatheesan
SAINT MARY LE PORT MARKET: An Open Market for Independent Flavour
St Mary le Port Market reimagines a key site in Castle Park, Bristol, as a vibrant and inclusive food hall that celebrates cultural diversity and community. The proposal prioritises permeability and openness, creating strong pedestrian connections between city, park, and waterfront. Designed as a welcoming and flexible public space, the market fosters everyday activity and social exchange while supporting independent food vendors and preserving multicultural culinary traditions. Inspired by global food halls, it offers a lively civic setting that adapts throughout the day and
email: dhaneshlian@gmail.com instagram: @_dhaneshj year. Sustainability, accessibility, and cultural expression are embedded throughout, transforming the site into a dynamic urban hub where architecture becomes a vessel for identity, interaction, and belonging.
Connecting St Nich’s to Castle Park
TOP RIGHT: Wine Street View TOP LEFT: St Nicholas View
BOTTOM RIGHT: Sunday Outdoor Market
BOTTOM LEFT: Foodstall
TOP: Short Sectional Perspective BOTTOM: New Church Passageway
Revealing the Past, Shaping the Future
This project reimagines the archive as a dynamic civic institution, not a passive container, but a living framework where the past informs the present and helps shape the future. Located on the historically layered site of Redcliffe Wharf, the building orchestrates a spatial timeline: artefacts are excavated and conserved in specialist labs, stored in a climate-controlled archive, and publicly displayed in a semi-open exhibition space that blends built form with archaeological landscape. At its peak, a discussion forum brings archaeologists and planners together, turning heritage into a
platform for civic dialogue. Materially expressive, environmentally responsive, and structurally inventive, the project positions itself as both guardian of memory and a driver of Bristol’s evolving urban identity.
TOP: Display archive render BOTTOM: Ground floor plan
ELEVATE BRISTOL: Driving Community Unification
Elevate Bristol reimagines the role of high-performance athletic infrastructure within the urban fabric of Bristol. Responding to the current climate urgency and increasing demand for community wellness, the project positions sport not as a spectacle, but as a shared civic endeavour. Rooted in the city’s layered history of industry, health, and public space, the proposal integrates elite training with open-access facilities—blurring the boundary between performance and participation. The scheme draws from the monumental presence of the Bond warehouses while
responding to the site’s flood-prone condition through a raised structure and regenerative wetland strategy.
By embedding classrooms, recovery spaces, and a publicly accessible landscape into its programme, Elevate Bristol becomes a place not only to train, but to learn, gather, and grow. Its architecture champions adaptability, lightness, and clarity—creating a civic landmark that is at once grounded in its context and open to future change.
The disadvantage gap in education has widened since the pandemic, disproportionately affecting poorer children. In Redcliffe—where over 50% face extreme deprivation and GCSE scores lag nationally— Nexus proposes a youth centre to inspire learning, bridging teacher-student collaboration while revitalizing a derelict site. Set within a sloped site, the pavilionlike structure embraces the terrain through multiple access points, creating a welcoming and integrated environment. Circulation drives the design, encouraging interaction and informal separation of spaces
while supporting collaboration between trainee teachers and local students. The layout serves ages five to eighteen through zoned levels, with shared ground-floor and outdoor areas promoting inclusivity. Blurring the boundaries between learning and play, the design offers flexible, exploratory spaces within a clear architectural framework. Loosely patterned façades and open, adaptable interiors contribute to a sense of informality and possibility, transforming a derelict site into a vibrant, communitydriven place of learning.
NEXUS Design Approach - A Stair wrapping around resources, welcoming all from community.
TOP: Ground Floor Layout Plan
BOTTOM: Visualisation of Nexus and the Regenerated Park
TOP RIGHT: The Entrance Atrium
TOP LEFT: Ground Floor Reading Play Zone
BOTTOM RIGHT: Ground Floor Landscape Play Area
BOTTOM LEFT: Ground Floor Toddler Play Area
Matthew Elliott Leer
CAMBRIAN RETROFIT HUB: Fuelling the future of the built environment
27 million homes must be retrofitted by 2050 in the UK. The current rate of national retrofit is currently nowhere near the extent needed to meet these aims. The Cambrian Retrofit Hub aims to provide a rounded solution. In facilitating research into low-carbon materials, material/whole building performance testing, certification, and training, the Hub acts as a complete system to enable the implementation of sustainable retrofit. A central environmental testing chamber houses replica building typologies to analyse their performance. Meanwhile, a system of cranes
around the perimeter of the building enables the changing of rainscreen panels and insulation build-ups of aspects of the building. The entire scheme becomes a system to test materials and principles - a message conveyed through the dynamic face of the building.
The Conservation Institute is located in the heart of Bristol, designed to revive and safeguard endangered heritage crafts through handson learning, public engagement, and professional collaboration. Responding to the critical decline in traditional building skills, the institute provides specialist workshops, studios, and exhibition spaces where students, craftsmen, and the public intersect. The building is a living classroom where restoration techniques, material reuse, and craft traditions are not only taught, but practiced in real-time. The central glazed workshop
connects the public and education wings, symbolically and physically uniting making, learning, and engagement. Timber decking along the limestone colonnade introduces a new public walkway beside the Floating Harbour, enhancing the waterfront and encouraging interaction with The Institute. Carved limestone columns, inspired by classical architecture and reinterpreted in a contemporary form with artisan-crafted fluting, reflect the scheme’s focus on conservation and craftsmanship, celebrating traditional techniques through a modern architectural language.
email: chuisiucheung0414@gmail.com
linkedin: www.linkedin.com/in/chris-chui/
TOP RIGHT: Rooftop Garden
TOP LEFT: Ariel View of The Conservation Institute
BOTTOM RIGHT: Public Foyer and Exhibition Space
BOTTOM LEFT: Atrium of the Education Wing
TOP: Stone Workshop BOTTOM: View of The Conservation Institute from Redcliffe Bascule Bridge
Cora
Browne-Clayton — THE BELL page 118
page 119 Ela Owen — RE-ENGAGE ST PAULS
MEETING OF THE WATERS page 121 Rhian Thomas — THE GEAR LOOP page 123 Shuxin Wang
JONATHAN MARRION
Tutor
I had the honour of working with a lovely, eclectic set of students this year who all pushed themselves beyond what they thought was imaginable; it was a privilege to see them develop as designers and thinkers throughout our short time together. I hope they are very proud of what they have achieved and I wish them the best on their professional journeys. Remember, be less tail, more dawg.
Chloe Higgins — FLORAISON page 117
Emma Hutton — BRISTOL BUILD CENTRE
PAULS page 120
Lucy Walmsley — THE
Thomas — AXIA page 122
Reuben Strickett
— AT THE TURN OF THE TIDE page 124
SANCTUARY: A domestic abuse survivors’ recovery and therapy centre
1 in 4 women in England and Wales will experience domestic abuse in her lifetime taking, on average, 7 attempts before she is able to leave her abuser for good. I chose to create a domestic abuse survivors’ centre to help survivors all over Bristol. The centre has three main focuses: security, user agency and connection. Security considerations have been paramount throughout the development of the design as a safe environment will help calm the survivors, thus facilitating their recovery process. Stepping back the rooms enables passive supervision and there are clear lines of sight in the ground floor atrium.
The building has been designed to be adaptable to the survivors needs enabling them to regain the independence taken from them by their abusers - privacy nooks provide the survivors with open or private spaces and the built environment can be adapted to meet their comfort needs. Finally, social connections are naturally formed at the centre, with the group activities and the café, the survivors can build support networks which reduces the risk of them returning to their abusers. The wildflower garden emphasises the connection to nature, helping the survivors to feel grounded and focused on the here and now.
Abbie Summerscales
TOP RIGHT: Art studio with private window seats
TOP LEFT: Privacy nook, found throughout the building
BOTTOM RIGHT: One of the therapy rooms
BOTTOM LEFT: Crèche with a reading nook for the children and windows into the main hall
TOP: Ground floor plan of the centre BOTTOM: Long section through the centre
Chloe Higgins
FLORAISON: An out-patient stroke rehabilitation centre, helping survivors blossom back to health.
A stroke survivor’s transition between hospital and home life is an important step in their recovery journey, but one that many survivors feel they needed more of. Floraison therefore addresses this short fall in services, creating a stroke centre for physical, cognitive and emotional support. A strong connection to nature is something that can help with a survivor’s healing journey. There is therefore a strong emphasis on greenery throughout, with a raingarden and adjacent understorey planting; green roof vegetation; and vertical honeysuckle and jasmine plants directly visible from therapy rooms. The centre also sits adjacent
to a woodland walk, providing space for full immersion into nature. This emphasis on nature follows through to the centre’s warm and natural material palette. A timber structure and larch cladding ensures for a warm and inviting exterior, while internal woodwool panels ensure for an acoustically sensitive interior.
A choir hall makes space for aphasia choirs to perform, helping re-build confidence for patients with speech difficulties, but also creating a community for all stroke survivors to flourish.
TOP: External arrival perspective BOTTOM: Internal perspective of therapy rooms
THE BELL: Connecting the community through art
The Bell is a community arts centre for Redcliffe and Bristol. The first aim is to create a space for the local community to meet, work and learn. Secondly, to create studio space & ceramic facilities for Bristolian artists. The centre’s form has been influenced strongly by the rich industrial history of Redcliffe. The base of the last remaining ‘glass cone’ is situated opposite the site. The Bell’s angular chimney form and circular external space are both derived from this historic building. The currently derelict Bell Inn pub is retained as part of the project, reinvented
into an exhibition space for local artists - the new cornerstone of the community. Each individual ‘block’ has been derived from its use & environmental requirements, all joined together by a timber diagrid spanning between. This foyer space is open, allowing the community of Redcliffe to define the space.
The Bell community arts centre connects to the existing sports facilities, playground and green space to the south of the site; connected via informal footpaths across the open landscape. The Bell connects artists, community & place.
email: corabc@hotmail.co.uk
instagram: @mossandbrick_
Cora Browne-Clayton
External courtyard formed by the curved foyer
Connecting existing community facilities to The Bell
TOP: Building and landscape isometric BOTTOM: Brick barrel vaulted gallery
BOTTOM: Section showing relationship between
Emma Hutton
THE BRISTOL BUILD CENTRE: A centre for community-led design and urban planning
The Bristol Build Centre looks to address issues within planning: fostering positive collaboration between the community, architects and local authority to reduce barriers to development, and empowering local people to have agency over their city. The proposal revives the Listed George and Railway public house as a community hub, restoring the historic site footprint and re-establishing a thoroughfare through the scheme as a central atrium and extension of the public realm. A solar pyramid canopy marks this thoroughfare, rising above the scheme to encompass all buildings
under one roof and juxtaposing the restored heritage fabric of the pub. A responsive yet distinctive integration of old and new gives the scheme a unique identity within the wider streetscape — a celebration of the built environment. A striking mirrored box is the centrepiece of the development, floating above the atrium. This is an inspiring, inclusive reimagination of the planning committee room, bridging across the scheme and reflecting the scale model of Bristol City Centre below, symbolic of the dynamic relationship between planning, the city it serves, and the communities that shape it.
Restoration of historic site footprint and central thoroughfare
Approach view from Temple Meads
TOP: Aerial schematic overview
committee room and city model
RE-ENGAGE ST PAULS: Seven Saints
Alternative Learning Centre
School should offer every pupil a place of belonging, learning and community. Yet for those who struggle in mainstream education due to behavioural challenges, this is often not the case. In areas like St Pauls, access to alternative learning provision is limited to remote facilities in industrial estates across Bristol. The proposal introduces a purpose-built alternative education centre, aiming to re-engage KS3/4 pupils with education, learning and training. Understanding the challenges behind behavioural issues, the centre priorities a secure, but warm and welcoming
email: elaowen21@gmail.com
linkedin: www.linkedin.com/in/elaowen
environment. A green courtyard sits at the heart of the design, which alongside external circulation helps re-connect pupils with nature and support their well-being.
Learning spaces focus on creativity and practical skills alongside traditional learning. Opportunities for pupils to self-regulate are prioritised, with classrooms designed to avoid an institutional feel. Social spaces are carefully planned to encourage positive interactions, while dedicated well-being facilities are located on the quiet side of the site to provide a calm, supportive environment.
Ela Owen
TOP RIGHT: External circulation
TOP LEFT: The Hall - A place to gather
BOTTOM RIGHT: Rooftop MUGA, maximising outdoor space
BOTTOM LEFT: Smaller class sizes
TOP: Focal Tree - A place to meet BOTTOM: Into the landscape
Lucy Walmsley
THE MEETING OF THE WATERS: The Brooks Centre for Endometriosis
The Brooks Centre is a welcoming drop-in facility for individuals with suspected symptoms or a diagnosis of endometriosis, acting as a hub of support, information, and community. The proposal reawakens the site’s culverted brook. By opening the watercourse to form a vibrant wetland landscape of swales and native planting, the proposal establishes a setting of both ecological and therapeutic value. The collection of buildings is designed as a “home away from home,” with warm, humancentred details, offering a place of refuge to help individuals cope with the challenges of living with
endometriosis. Solid brick enclosures hold spaces of calm retreat, while glazed openings frame moments of connection to the landscape beyond.
The building treads carefully among the swales of the restored wetland, allowing it to move and grow beneath its brick arches. Chimneys puncture the key locations of gathering: warmth radiates from the stoves in their circular hearths, embracing the domestic and the familiar. Within this space of comfort, people can share their experiences, feel heard, and understood.
A sketch plan of the dining room, with it’s chimney and adjacent brick enclosures
Axonometric of the Brooks Centre with Mina Road Park beyond
TOP RIGHT: A board walk connects the three buildings
TOP LEFT: Glazed intervals allow for moments of outward connection to the landscape
BOTTOM RIGHT: The exposed truss and roof light of the first floor
BOTTOM LEFT: The scheme’s in composition with the existing factory chimney
Section through two of the buildings and a chimney
Exercise can drastically improve physical and mental health, and team sports brings an additional dimension; also promoting socialisation, relationship building, teamwork, resilience, confidence and analysis.
The aim of this scheme is to facilitate the participation of girls aged 12 - 16 in team sport, whilst uplifting the local community. Driven by the sloped sight, the structure is split over a retaining wall creating a stepped form with varying storeys. Perpendicular to this, a central walkway drives through the middle of the building,
email: rhian.thomas010@gmail.com
instagram: @rhian.thomas1
encouraging passive supervision, easily accessible facilities and effective day lighting and ventilation. The lower level masonry cladding reflects the materiality of the retaining wall, and the act of cutting away the site. This strong shell encases a warm timber structure reflected by the light weight timber boxes emerging from the top of the building. The warmth and tactility of the timber eases feelings of discomfort surrounding playing sport; the glulam structure becomes more exposed in the intimate and sports focused spaces, to also give a sense of authenticity and honesty to the occupants.
Rhian Thomas AXIA: Knowle Community Sports Centre
Primary sports hall space
TOP: The Approach
BOTTOM: Long and short sections
BOTTOM RIGHT: Exterior after three years
BOTTOM LEFT: The repair shop
Processing and Recycling in the Materials Workshop
Reuben Strickett
THE GEAR LOOP: A Research Centre for the Circularisation of the Outdoor Industry
The very clothing and equipment we use to explore and appreciate nature are tearing it apart. The industry must move towards circularity, replacing take-makewaste linearity with respect for our planet’s limited resources and capacity. The Gear Loop houses research spaces dedicated to all aspcets of the industry within its high performance fabric, along with a ground floor public education and repair shop that interface with the newly revitalised site. With a programme wholly focused on sustainability, circularity and materiality, the built form mirrors this.
The glulam frame minimses carbon and maximises re-use with metal-free junctions, and works in tandem with a proprietary waste-based concrete to form the primary structure. The building is clad in a plastic tile made from material waste, fixed below the BMS-operated recycled polycarbonate second skin. Wood fibre insulation sits between this and an internal finish of waste corn boards, bringing the building to Passivhaus insulation standards, and a blue roof attenuates water, generates electricity and increases biodiversity within the building’s impermeable and industrial urban context.
The public realm and testing tower enlivended during the Bristol Outdoor Festival.
TOP RIGHT: Exterior at construction
TOP LEFT: The primary approach
This proposed art therapy centre for neurodivergent young people, designed in collaboration with 1625 Independent People, offers a safe and inspiring space where creativity becomes a tool for healing, self-expression, and empowerment. Art is used as a medium to express the soul and celebrate difference, recognising the unique perspectives of each individual. Located beside Bristol’s Floating Harbour and adjacent to the Arnolfini, the centre adopts an industrial wharfside aesthetic in response to the site’s heritage and context. The building is divided into three
interconnected blocks—Therapy, Education, and Exhibition— supporting emotional wellbeing, skill-building, and community engagement. Public exhibitions not only celebrate young people’s work but also create career opportunities, aiding their integration into society. The project reflects a belief in the transformative power of art and architecture to support social inclusion and belonging.
TOP: 1625 Art Therapy Centre Main Entrance BOTTOM: Gallery Café Entrance and Floating Deck
Photos by Rashin Shahmiran
Amaan Mulji — HARBOURSIDE SPORTS CLUB
JULIA KASHDAN-BROWN
Tutor
It has been a pleasure getting to know you all and to see you flourish. This year has seen the development of personal projects that you have been passionate about on some challenging and complex sites. I feel that you are understanding the power that can reside in architectural ideas... We’ve had some inspiring conversations about evolving an architectural approach - refining and distilling and pushing boundaries - Keep it going! Congratulations to you all.
Sport centres play a crucial role in supporting both physical and mental health. The three core initiativesInspire, Access, and Engage-drive public participation in physical activity and community sport, bringing wide-reaching benefits to the people and economy of Bristol. Harbourside Sports Hub embodies these principles through its layout and programme. The design promotes permeability between internal and external spaces, offering views into active zones to encourage participation. With a diverse programme- swimming, multi-sports, and climbing, the centre encourages
accessibility and exploration. The building pushes architectural and structural boundaries, with a rotated sports hall above a swimming pool and climbable walls that double as vertical circulation. A 7-metre cantilever acts as a visual focal point, while strong vertical and horizontal connections offer clear views into active spaces, making movement through the building engaging and inspiring.
As a result, Bristol’s community is brought together through the shared celebration of sport.
Key Parti diagram showing the connection between spaces and context
TOP RIGHT: Swimming pool hall perspective
TOP LEFT: External perspective from Redcliffe Bascule Bridge
BOTTOM RIGHT: Multi-purpose Sports Hall perspective
BOTTOM LEFT: Climbing gym perspective
TOP: Isometric view of the scheme BOTTOM: Long section through scheme
A journey to define a spiritual connection between the Abrahamic faiths, connected through the pain of the past and possibility of the predestined. My scheme relates to an emerging typology. A religious site that weaves together the Abrahamic faiths through a shared space. Therefore, my project incorporates a mosque, synagogue and church within the same site, along with a joint prayer hall. The religions exist in a manner that deserves to be celebrated for their distinct practices, so expressing the necessity for a unified but not uniform space is expressed through the three towers that
Main hall and ruins exhibition short section.
support one another. However, due to their similarities it is pertinent to produce a space that exists as an experiment into how a shared space may perform. This is enacted through a communal prayer hall utilising modular adaptability methods.
Adjacent to this, the previous temple church ruins lie. An exhibition space to highlight religious history alongside the cultures intrinsically tied to them. Through restoration and revealing ruins, the journey through the exhibition space connects visitors with the earth, exposing them to the cruel and violent past through art, and concludes with their ultimate arrival into the ‘Garden of Paradise’…
TOP RIGHT: Synagogue Tower Section. TOP LEFT: Mosque Tower Section.
BOTTOM RIGHT: Main Hall Perspective. BOTTOM LEFT: Chapel Tower Section.
The city of Bristol is rich in culture but opportunities to engage with the future of sustainability remain limited and inaccessible to the public. This project responds by transforming perceptions of technology through the research and use biomaterials. At its core is a mycelium-focused research and education centre, acting as both a production hub and a learning space—cross-pollinating ideas between scientists, students, and local tradespeople. It fosters research into mycelium as a highperformance, low-carbon material, particularly for insulation and façade panels in building retrofit and new
construction. A public-facing material library showcases evolving research and applications, engaging the community with tactile, sustainable alternatives to conventional construction. Adjacent to the research centre is a community hub, where workshops, talks, and handson activities open up the processes of material innovation to the wider public. Organic waste from the hub contributes to the cultivation of mycelium, reinforcing a local, closedloop system.
BRISTOL BIO HUB: A Circular Hub for Everything Mycelium.
Project Logo
Process Flow Through Exploded Floorplans
TOP RIGHT: Walkway Through the Site
TOP LEFT: View of the Community Tower
BOTTOM RIGHT: Education Gallery From Above
BOTTOM LEFT: Professional Workshop During Mycelium Creation
Collage Perspective of the Project
External Perspective of Harbourside Corner
Emily Voang
HEALING ROOTS: A Multi-cultural Mental Health Care Centre
This project is driven by the ambition to create a culturally rooted, community-led space that celebrates belonging and healing. Central to the project is the commitment to traditional, nonwestern healing practices such as herbal medicine, mindful activities, and intergenerational knowledge where these practices can build personal resilience and calmness to prioritise mental health. Rather than imposing a clinical atmosphere to support mental care, the architecture is shaped around spaces of rest and care where cultural values are embedded in both design and
process. They are supported by a strong emphasis on the connection to nature where spill-out green spaces are woven into the daily experiences of the building for reflection, gathering, and therapeutic engagement. Beyond its sustainable materials, featuring a reclaimed concrete frame, salvaged brick infill, and aggregate concrete panels, the scheme reflects the values of the communities it serves. The use of reclaimed materials celebrates heritage and supports the project’s vision. Flexible, multi-use spaces further enhance adaptability and community engagement.
email: voangemily@gmail.com
linkedin: https://www.linkedin.com/in/emilyvoang/
Sectional Perspective showing a central stacked ventilation system
Zen Park perspective from Prince Street
TOP RIGHT: Meditation Room
TOP LEFT: Counselling waiting area overlooking Sensory Garden
BOTTOM RIGHT: Multi-purpose Hall
BOTTOM LEFT: Sensory Garden with views to Harbourside
LONGITUDINAL: Bristol Story Archive
This project proposes a storytelling hub and archive that preserves endangered film footage from around the world while creating space for Bristolians to share their own stories. The story archive extends into the Arnolfini, and introduces public, creative and archival spaces across five levels, all organised around a central atrium that opens up views, light and encounters.
Through screenings, exhibitions and workshops, the building becomes a place where stories are shared, kept safe, and continued.
Hanane Boudali
Section Revealing Connections into the Arnolfini
Atrium, Looking up from Ground
TOP RIGHT: Walking towards Atrium
TOP LEFT: Physical Archive, Observed from Exhibition
BOTTOM RIGHT: Projections on Arnolfini Wall, Atrium
BOTTOM LEFT: Exhibition, Interactive Archive
Exterior Perspective of the waterfront
BOTTOM RIGHT: workshop colonnade
BOTTOM LEFT: cafe
Jennifer Nice
QUEST: an urban equestrian centre for Bristol
Using the urban equestrian centre typology, QUEST seeks to reintegrate horses into modern Bristol, bringing the benefits of a rural escape and equine exposure into the city. Two axis are prioritised: a new east-west bridleway connecting urban & rural Bristol, and a northsouth axis from the Clifton Bridge vista to a southern events park. Three separate ‘barns’ emerge, encouraging external circulation and a connection with the landscape. Each barn’s massing is broken up, creating spill-out working courtyards, or a feature, pitched sawtooth roof that brings northern
light into the indoor riding ‘barn’. Tectonics are inspired by Somerset’s rural agricultural buildings: a robust concrete base, and a light, overhanging timber upper level. Treated ash cladding respects the surrounding ash woodlands; boardformed concrete carries expressive timber textures down to ground.
The scheme’s geometry ‘opens up’ towards a disused southern park, which becomes a flexible space for horse shows/markets. This integrates the centre into its landscape, fostering a new equestrian community.
TIME TOGETHER BRISTOL: A third place to empower individuals
Time Together Bristol is a seven storey time bank hub designed to transform an underused site into a vibrant community anchor. Addressing systemic challenges such as time poverty, unpaid labour, and parental isolation, the project offers an inclusive, welcoming environment where individuals exchange time and skills as a form of currency, rather than relying on traditional monetary systems. Organised around a central atrium, the building layers diverse community functions across its floors, including a crèche, library, wellness studio, craft and repair studios, a teaching kitchen, and
email: riyashah2003@gmail.com
linkedin: linkedin.com/in/riyashah03
a rooftop cultivation garden. Its open, layered design carefully blurs the boundaries between indoor and outdoor spaces, encouraging accessibility, social connection, learning, and personal development. Circular design principles underpin both the environmental and structural strategies, promoting long-term resilience and reduced environmental impact. Time Together Bristol envisions a future where every contribution is equally valued, strengthening community relationships and establishing a civic ‘third place’ grounded in empowerment, inclusivity, and sustainability.
Structural axonometric diagram
A detailed section through the central atrium
TOP RIGHT: The entrance to Time Together Bristol
TOP LEFT: The ground floor cafe
BOTTOM RIGHT: Level 05 DIY repair hub
BOTTOM LEFT: A view from the street behind
Upward view from the building approach
COMMON GROUND: Rooted in place. Grounded in humanity.
Common Ground offers a traumainformed hub where recovery from homelessness can begin with dignity and care, recognising people first and foremost for their humanity. In Bristol, where rough sleeping is among the highest in England, the need for integrated, compassionate responses is critical. Rooted in place, the building anchors individuals physically and emotionally. Spaces are tactile, calm, and immersed in nature - with natural sounds, smells and plants that ease stress and foster biodiversity. Traces of time are retained in the fabric, offering continuity and local
identity. Material reuse becomes an act of dignity; just as lives are renewed, so too are the materials that once shaped the site.
At its heart. Common Ground is about recognising people as people, and giving them the space and strength to begin again.
Sabrina Pires Vieira
TOP RIGHT: Calm Space
TOP LEFT: Laundry and Social Space
BOTTOM RIGHT: Opening to Zen Garden
BOTTOM LEFT: Counselling Room
TOP: Section Through the Courtyard BOTTOM: Botanical Layers Against Existing Fabric
Tenuka Allesgunaseelan THE GENERATIONS WORKSHOP
Across the UK, generational divides are contributing to rising social isolation and declining mental wellbeing. Opportunities for meaningful intergenerational interaction have become increasingly rare, with ageism and misunderstanding growing in the absence of shared spaces and experiences. The Generations Workshop offers a community-led response to this crisis, an inclusive making and learning hub. Designed to foster intergenerational collaboration, the building provides accessible workshops for wood, metal, textiles, and digital crafts alongside classrooms, meeting spaces,
email: atenuka@gmail.com
instagram: @a.tenuka
and public areas that encourage interaction. Through volunteering, teaching, or learning, people of all ages can engage in hands-on creativity, exchange knowledge, and widen their social strata. This scheme is more than a workshop; it is a sustainable community model. Built with low-carbon materials and designed for adaptability and reuse, the project embodies circular thinking in both construction and culture. By nurturing shared purpose and mutual respect, the Generations Workshop becomes a prototype for a more inclusive, connected, and resilient urban future.
Ground floor sketch elevation
Internet Café
TOP RIGHT: Circular Shop
TOP LEFT: Community Classroom
BOTTOM RIGHT: View from Redcliffe Bascule Bridge
BOTTOM LEFT: Wood Workshop
Site Plan
Photos by Rashin Shahmiran
Belle Sprake — SOLACE
Emily Ackland
Jackson
COLLECTIVE
page 145
MARK WATKINS
Tutor
This year has seen a great collective work ethic with everyone thoroughly engaged on their individual projects. This has paid off with a collection of inspiring and convincing buildings that address the pertinent concerns of architecture generally but also the personal concerns, thoughts and aspirations of the students themselves. I have really enjoyed working with you all and I hope you are all as proud as I am of your achievements. Being alongside you during the whole process continually reminds me why I went into this profession in the first place!
Rashin Shahriman — THE MAKER’S
SOLACE: Rebuilding lives beyond imprisonment
Solace House is a rehabilitation centre for male ex-offenders, designed to break the cycle of re-offending through structured reintegration, support and opportunities. The programme includes a day centre, emergency accommodation and a visitor hub featuring a café which offers ex-offenders work experience and community engagement. Counselling, education, sports and recreational facilities are complemented by a community garden that forms a shared threshold between public life and rehabilitation, encouraging informal
email: bellesprake5@gmail.com
linkedin: www.linkedin.com/in/bellesprakebath
social interaction. Transparency throughout the site cultivates an atmosphere of openness and trust, dissolving social stigma. The project navigates a historically sensitive context and delicately integrates contemporary interventions with existing Grade II listed structures, resulting in a respectful dialogue between heritage and modernity.
Solace House stands as a beacon of social reintegration: challenging stigma, promoting inclusion and offering a framework for reimagining rehabilitation in the modern world.
Belle Sprake
The Harbour Walkway
The Approach from Gasworks Lane
TOP RIGHT: The Visitor’s Centre
TOP LEFT: The Community Garden
BOTTOM RIGHT: The Resident’s Garden
BOTTOM LEFT: Counselling Waiting Area
View from the Floating Harbour
BOTTOM
Workshop Event
Daniel Dehdashti-Gonzalez
AEQUITAS — THE JUNCTION: Youth and Community Centre
In the heart of Lawrence Hill — one of Bristol’s most diverse yet disadvantaged neighbourhoods — there is a desperate need to resolve spatial and social disconnection. The area faces high levels of deprivation, limited access to youth-focused amenities, and a lack of inclusive public space. The Junction addresses this by offering a welcoming centre for learning, creativity, recreation, and community support — a place designed to uplift, empower, and bring people together. Rooted in the principles of growth, equal opportunity and congregation, the scheme not only provides a safe environment for
young people but also revitalises the surrounding landscape. By bridging fragmented urban interfaces through a series of public plazas, green spaces, and a central foyer that anchors the building, it stitches the community back together — physically and socially.
With adaptability and longevity at its core, The Junction is more than a building: it is a civic landmark for Lawrence Hill, designed to evolve with its community and stand as a catalyst for connection, opportunity and local pride.
TOP RIGHT: Section Perspective - Mass 1 and Central Atrium
TOP LEFT: Site Plan
BOTTOM RIGHT: Library
LEFT:
TOP: West Elevation BOTTOM: Approach from Church Road
CIDERWORKS: A community cider centre at the core of Bristol.
Ciderworks is a centre dedicated to the revival and survival of the UK cider industry, situated in the heart of the South West. Designed as both a functional production facility and a community hub, the scheme offers aspiring cider makers the opportunity to learn traditional and modern techniques, equipping them with the skills to launch their own ventures. Through a rich programme of tours, tastings, traditional events, and the cultivation of community orchards via the Orchard Initiative, Ciderworks creates a deep sense of connection to the region’s cultural heritage and encourages the exchange of
email: emilyackland@hotmail.co.uk
knowledge across generations. The project in underpinned by a strong commitment to holistic sustainability and research-led innovation.
Ciderworks provides a platform for advancing sustainable practices in cider production, promoting biodiversity, and preserving endangered cider apple varieties.
At its core, Ciderworks is a vibrant convergence of community, environ ment and production. It embodies a forward-thinking approach to rural enterprise, ensuring that the legacy of cider-making remains accessible, resilient and relevant.
Tectonic model of the production area and basement
TOP LEFT: External visualisation
TOP RIGHT: Visualisation of the Core Blimey! stage
BOTTOM LEFT: Visualisation of the tap room
BOTTOM RIGHT: Visualisation of the production area
Ground floor plan
Once a site of industry, Albion Dry Dock becomes a centre for sustainable craft, education and community exchange. In response to the decline of timber boatbuilding, Makers’ Dock supports hands-on learning and intergenerational knowledge-sharing, using the act of making as a tool for public engagement. Two interlocking volumes, inspired by maritime forms, define the architecture. The larch-clad workshop opens onto the historic dry dock, with specialist bays and a mezzanine classroom for demonstrations and training. Above, the corten-clad education block
contains flexible teaching spaces, offices and a cantilevered exhibition hall over the harbour. Student-built boats hang from exposed trusses, visible from a mezzanine café. Generous glazing reveals the making process, reinforcing transparency and connection between craft and community.
A concrete plinth grounds the structure, while the lighter volumes above suggest a vessel afloat. Vertical solar chimneys punctuate the low-lying form, evoking ship masts and industrial heritage.
Jessica Saint MAKER’S DOCK: Reviving Albion Dockyard
The view from the bridge, looking into the workshop and across the dry dock.
Ground Floor Plan
TOP RIGHT: View inside the heart of the workshop
TOP LEFT: Workshop opening onto the Albion Dock
BOTTOM RIGHT: Looking into the exhibition hall below
BOTTOM LEFT: The exhibition hall
East Elevation
LEARNSCAPE: A Landscape for All Learners
Located on the prominent flat iron corner of Victoria Street in Bristol, this project addresses the city’s educational crisis by re-imagining how learning spaces can enrich urban life. The scheme is shaped around two core user groups: a Special Educational Needs (SEN) primary school and a public learning hub. Linking the spaces, a shared multimedia library promotes collaboration and exchange.
The proposal includes the pedestrianisation of the surrounding secondary roads, joining the site with adjacent pedestrian zones and
alleviating vehicular congestion. This move hopes to shed light on the historical patchwork of the area, aiming to brighten the daily commutes of Bristol’s citizens. A dynamic roofscape ties together the scheme’s varied volumes, acting as a unifying canopy that embraces the solids and voids below. More than a building, this project is a connective instrument - bridging communities, fostering inclusivity, and championing equal opportunity in education.
TOP: Perspective Detail Section BOTTOM: Public Realm Integration
Rashin Shahriman THE MAKERS’ COLLECTIVE: A collaborative workshop for the traditional craftspeople of Bristol
Driven by the nation’s identity of making and history in the traditional crafts, the Makers’ Collective is a regenerative scheme attempting to reimagine the workshop and a maker’s workflow. Factors such as globalisation, digitalisation, and increasing rent, have pushed makers out of the city - consequently causing many to opt for garagebased work-from-home solutions instead.
Inspired by the success of a studio in Copenhagen, this project aims to facilitate and catalyse a crosscontamination of creative energies
from a variety of craftspeople and subsequently rebuild a bridge between them and their end-users.
It combines retail, making and office spaces and adorns them with a dynamic public realm that links existing city cycle paths and revitalises lower Welsh Back. An educational wing and adaptive gallery hall complement this to further promote alternative learning in the arts as well as provide additional sources of income to fund the building’s day-to-day operations and management.
URBAN SPLASH: Aquatics Centre on Bristol’s Floating Harbour
Driven by the lack of swimming provision in the city centre and recent trials of safe swimming in the floating harbour, this project revitalises Bristol’s harbourfront into an iconic civic space for waterbased recreation and wellbeing. The monumental building draws on the anatomy of a fish, the glulam frame forms ribs, zinc panelled façades the scales, rooftop vents the fins, and a colonnade opens like a fish’s mouth - welcoming users in. This architectural language narrates a leap from river to harbour, bridging natural and industrial waters, in a movement shaped by a sunshade acting as an architectural device for
This currently underused Baltic Wharf site, with views across the cityscape, has been transformed into a vibrant civic destination. Transparent architecture, an open bunded landscape around a natural swimming pond, and and enticing access to the open water via pontoons effortlessly integrate the site into the public realm. This project began with the sense that something was missing at the water’s edge - a dormant potential. It is now realised in a building that offers architectural clarity and form: something “fishshaped and Bristol fashion.”
Ben Kirkwood
Design Philosophy Parti Diagram
TOP RIGHT: Natural swimming pond
TOP LEFT: Harbour swimming facilities on pontoons
BOTTOM RIGHT: Indoor swimming pool
TOP: Arrival to Aquatics Centre from harbour path BOTTOM: View of sunshade leading toward Clifton
BOTTOM RIGHT: 1to50 ETFE Detail Model
BOTTOM LEFT: 1to150 Project Model
Bozhu (Barry) Xu
INOVATION PAVILION: A hub for creativity in digital media and performance arts
Situated on Bristol’s harbourside, the Innovation Pavilion explores the evolving relationship between media, performance, and public space. Its wave-form façade responds to tidal frequency data from the River Avon, embedding time and movement into the building’s identity. A dual-skin system of perforated metal and ETFE cushions modulates light and sound, casting dynamic shadows and enhancing acoustic comfort.
Internally, the building unfolds as a layered sequence of performance halls, immersive galleries, and digital media labs. Spaces are designed to support collaboration, experimentation, and reflection, with circulation and light carefully choreographed throughout. The pavilion becomes more than a venue—it is an adaptable architectural framework that connects people, technology, and place through performative spatial experience.
TOP: Civic Streetfront Perspective BOTTOM: Projection Show
This project reimagines an existing building on site as a public ‘jewel’ exhibition space and introduces two new adjacent buildings for a sustainable fashion school. The new build features a recycled steel reflective facade, sourced from Bristol’s scrap material, mirroring the surrounding context and reinforcing the theme of reuse. Lightweight interventions within the existing tread lightly, respecting its historic fabric using materials such as timber and metal sheets. A fully glazed central reception connects all elements; existing and new. This creates a seamless, transparent transition that
touches the old structure softly and promotes openness, light, and flow.
The overall design reflects the school’s ethos of material responsibility and slow, sustainable fashion.
TOP: Design studio view BOTTOM: Main entrance view
TOP: Night visual showing building glowing in cityscape BOTTOM: Perspective section showing materiality
Jessica Ridley BIOTA : where discovery blooms into understanding
This project weaves together science, education, and ecology into a living narrative - one that celebreates the richness of Bristol’s native wildlife while advancing the urgent global health ambitions of the 2050 Sustainable Development Goals. At its heart, the architecture becomes a vessel for discovery: housing laboratories where research unfolds, and offering a space for young minds to engage in handson scientific learning that might otherwise remain out of reach. More than a place of knowledge, the building is one of inspiration - where light, form, and function converge in
service of both people and planet. Guided by the South West Life Sciences organisation, and with a portion of entry proceeds supporting the Bristol Zoo Project, this proposal invites the public to experience and protect the natural world through immersive, interactive exhibition.
Sketch showing approach through biodiversity garden
Visual showing entrance to building
EPHERMERIS: Bristol’s lens to the stars
Ephemeris reimagines our connection to the cosmos through a dynamic, inclusive space where experts, amateurs, and newcomers share knowledge. The architecture itself becomes a tool of discovery, using light, form, and movement to turn cosmic principles into immersive experiences. Visitors follow orbital pathways to a state-of-the-art planetarium, where wonder meets education and Earth stewardship aligns with space exploration. Removing physical, social, and economic barriers, the project ensures universal access to astronomical knowledge. As both
email: jade@zimmerli.co.uk
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a landmark and a community hub, Ephemeris empowers Bristol’s scientific identity, offering shared space for researchers, the Bristol Astronomical Society, and the public. This is not just a building; it’s a new model for engaging with science, one that opens the universe to all and invites collective curiosity.
Jade Zimmerli
TOP LEFT: Building sunk into the landscape
TOP RIGHT: Entrance to exhibition
BOTTOM LEFT: Skybridge into planetarium
BOTTOM RIGHT: Rooftop observation deck
TOP: Interior perspective of the planetarium BOTTOM: Section showing research quarter and planetarium connection
Dhaliwal
YOUTH CENTRE: An essay in brickwork
In the South-West of Bristol lies Filwood, and area of extreme socio-economic deprivation. It is an area in which the youth face difficult challenges such as poor education, social welfare issues and high child poverty rates. This design attempts to address this inequality. Combing multiple community typologies such as libraries and leisure centres, Filwood Youth Hub will provide facilities such as study spaces, dance studios, and multi-functional spaces for local groups.The scheme is conceived of as two masses, connected by a corten link, which create a public
and private courtyard for the users, a key feature of community buildings. The programme is separated between the two main masses, with the corten link housing the café. As a community building, the architecture directly draws from the local context; unapologetically humble and simple. The building celebrates and explores the local vernacular, with a strong duo-pitched roof and bold gable-end parapet walls. It explores the red brick material which is so common in the local area, varying pointing finishes and recessing headers to create shadow and texture in the facades.
TOP: External perspective from across the street BOTTOM: Cafe perspective, located in corten mass.
Ground floor plan
Brick detail - recessed headers
FAITH FORUM: Centre for Religious Learning
Faith Forum is a civic building located on Bristol’s Mud Dock, beside the Arnolfini and overlooking the harbour. It offers a space for interfaith learning, reflection, and open conversation—welcoming people of all beliefs to explore religion in an inclusive and thoughtful setting. The idea of “standing on knowledge” guides the spatial experience. Visitors enter above a subterranean museum of ancient artefacts, symbolising how the present is built upon the past. The museum is a dark labyrinthine, encouraging quiet discovery. In contrast, the upper levels are filled
email: omotayobero@hotmail.co.uk
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with light and activity, housing a library, classrooms, and café. A tapering atrium draws light deep into the building, echoing spiritual ascent. Constructed from locally sourced Pennant stone, the building references the neighbouring Arnolfini through materiality and proportion, while developing its own identity. Its façade, composed of smaller parts, reflects unity through diversity.
Whether atheist or religious, the building invites all to reflect, learn, and connect.
Omotayo Bero
Sketch of Approach
Library of Religious Texts
TOP RIGHT: Museum of Religious Artefacts
TOP LEFT: Axonometric section
BOTTOM RIGHT: Momoent of Contemplation and reflection
BOTTOM LEFT: Atrium Forum
View Across Harbour Side
MAKERS MEWS: Creation Through Community
This project reimagines a neglected site as a vibrant mews-style development rooted in community, craft, and resilience. It addresses economic decline, social marginalisation, and the erosion of local skills by creating spaces for enterprise, making, and intergenerational learning. Centred around a lively market courtyard, the scheme brings people together through shared purpose and creative exchange. Inspired by Portland Square’s industrial past, the design reinterprets the area’s foundries, sawmills, and printers through a contemporary lens. Historic rhythms and materials
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inform the architecture, which integrates low-carbon technologies and circular design principles. The development is organised into four distinct but interconnected quarters; Civic, Cultural, Creative, and Coworking, arranged around a central hub that enables fluid circulation and collaboration. At its core is a cycle of craft and care: individuals engage with the site, learn new skills, and pass them on. This process fosters personal growth, collective resilience, and a strong sense of shared ownership, transforming the space into a catalyst for long-term social and economic renewal.
TOP: AXO of Makers Mews’ Four Distinctive Quarters
BOTTOM: West Internal Elevation and Section - Creative and Civic Quarter - Workshops and Library Space
TOP RIGHT: Courtyard Market & Exhibition Space
TOP LEFT: Workshop Space - Pottery
BOTTOM RIGHT: Upstair Library Mezzanine
BOTTOM LEFT: Workshop Space - Carpentry
Tom Ball
Isaac Ma
COLLECTIVE: A Centre of Movement, Culture, Community
The design of Collective reimagines a civic centre that celebrates cultural diversity and promotes holistic wellbeing through movement, connection, and restoration.
Conceived as a vertical campus of activity, the building consolidates multiple programmes—ranging from sports and wellbeing facilities to cultural and digital engagement spaces—into a compact urban form. This stacking of functions challenges conventional horizontal layouts, encouraging spatial overlaps and visual connections that creates a sense of community. Public realm integration, permeability, and
email: ma.zichen14@gmail.com
linkedin: www.linkedin.com/in/isaac-ma-bath
curated moments of pause create an architecture that is both active and reflective, blurring the lines between public life and personal experience. At its heart, Collective extends the public realm vertically, creating terraces, outdoor pockets, and permeable spaces that blur the boundary between city and building. This civic generosity is enabled by a steel frame, allowing large, open spans for adaptable use. Passive design strategies and efficient environmental systems ensure long-term sustainability, aligning the building’s performance with its social ambition.
Model in Context
TOP RIGHT: Multi-activities facility
TOP LEFT: Conversation Quarter
BOTTOM RIGHT: Climbing Zone
BOTTOM LEFT: Foyer & Atrium
Riverside View
Photos by Rashin Shahmiran
Alisha Khan — IMPERMANENCE
page
Giacomo Oldfield — THE ANCHOR
EPINEION page 163
Nicole
Amara Lowson — Chowdhary — AAROGYA SENSORY HEALING CENTRE
ROB GREGORY
Tutor
It’s always encouraging, or rather – it’s mostly encouraging when projects are set in my home city of Bristol. Considering countless new proposals at the same time gives me the opportunity to reflect on the assets of the city, and where improvement can be made. This year, I was particularly impressed by those projects that demonstrated an authentic and accurate response to place. Not only does this reflect well on those students’ powers of observation, and their responses, but much more significantly it demonstrates an understanding that, in fact, despite the theory, a
piece of architecture is always a one off. An original. An outcome of a certain alchemy between materials, form, people and place.
So, no matter how sophisticated our students become, with new capabilities augmented by digital tools and Ai – our future generation of architects will always need to engage with highly specific contexts and be able to help set the scene and choreograph highly specific outcomes. Good luck to you all, and to our cities…
Emma Saavedra Sarget — THE PRINTWORKS
CENTRE page 162
Michael Wong — — BREAD & BARREL page 164 Parth
CENTRE page 165
Analysis
IMPERMANENCE: A ‘high art’ performance hall and dance studios
This project proposes a new cultural venue for Bristol, a permanent home for Impermanence Dance, a contemporary company known for experimental, multidisciplinary work. Situated on the edge of the historic harbourside, the design responds to a context rich in performance, market culture, and maritime history. At the centre is a timber-clad performance hall, a sculptural “floating box” suspended within a concrete frame, designed for spatial fluidity and acoustic performance. It is joined by three double-height concrete dance studios that offer flexible space for rehearsal, classes,
and workshops. Below, a public undercroft acts as a civic foyer and extension of the harbourside realm, providing space for cafés, seasonal installations, and the annual return of the Spiegeltent. The entire building is wrapped in a scalloped metal façade that plays with rhythm, transparency, and shadow.
Concrete grounds the scheme, while lighter elements respond to movement and change. The result is a layered, flexible venue that supports dance, public life, and evolving cultural expression on Bristol’s harbourside.
Emma Saavedra Sarget THE PRINTHOUSE: History, Detail & Craft
The Printhouse is a new home for the Letterpress Collective, a Bristol-based studio devoted to preserving and teaching the art of printing. Combining the client’s two passions, printing and cycling. This new hub brings together tradition, movement, and community under one roof. Designed as a civic space for Bristol’s creative community, the project celebrates the value of slow, analogue making in a world increasingly shaped by digital tools and artificial intelligence. It seeks to honour and elevate traditional processes, allowing print to exist not only as heritage but as a living,
evolving craft. The Printhouse offers more than a workshop. It invites a wide range of users to engage with the space; whether through the resident studios, a quiet moment in the library, a bike repair stop, or a conversation over coffee in the café. Located on the historic site of Shed O and M along Welsh Back -Bristol’s last remaining undeveloped Harbourside sheds - the project transforms a mid-20th-century maritime warehouse into a vibrant, community-focused centre for making, learning, and connection.
TOP RIGHT: The Corridor TOP LEFT: The Bike Shed BOTTOM RIGHT: The Printhouse BOTTOM LEFT: The Gallery
At its heart lies a tranquil courtyard - a meditative retreat with dappled light filtering through birch trees onto lime plastered walls
Long Section - where recovery and community overlap
THE ANCHOR CENTRE: A Place of Dignity and Safety for the Systemically Marginalised
The Anchor Centre rethinks addiction treatment by creating a space that balances introspection and community engagement. Located in St. Paul’s, Bristol—a vibrant yet struggling area—the project aims to reintegrate those battling addiction into society while providing a warm, safe environment. Programmatically, the centre transitions from private to public. Confidential consultation rooms lead to vibrant communal spaces, including a double-height performance hall and a café bridging both worlds. Material choices reflect the project’s ethos—compressed
earth blocks, made from excavated site waste, ground the building in its context, while prefabricated hempcrete cassettes allow the structure to evolve alongside recovery and societal needs.
More than a treatment facility, The Anchor Centre acts as social infrastructure, healing individuals while restoring community bonds. By balancing seclusion and openness, it demonstrates how architecture can foster personal recovery and collective wellbeing, offering a new model for addiction care in Bristol.
TOP RIGHT: Perspective of the Exhibition circulation
TOP LEFT: Schematic models at 1:200 scale
BOTTOM RIGHT: Perspective of the Exhibition circulation
BOTTOM LEFT: Tectonic Model at 1:100 scale
External perspective at Lloyd’s Amphitheatre
Michael Wong
EPINEION: Championing Industry, The Renewables Exhibit
Epineion is a cultural and educational facility responding to The Crown Estate’s 2021 initiative to develop the UK’s first commercialscale floating wind farm in the Celtic Sea, with Bristol Port designated for infrastructure delivery. Situated along the historical Floating Harbour, this project proposes a new cultural and educational hub that engages the public with Britain’s largest sustainable energy projects, introducing a civic front to an otherwise industrial domain. In addition to its exhibition space, the building houses an annex for the Bristol Port Company, supporting
the operational growth of the port. Conceptually, the proposal challenges the relationship between the contained and the container, through a dynamic circulation system that traverses between the two. The primary structure features a triangular monopitched, doublelayered space frame using a ball-joint system. It is wrapped in a lightweight ETFE skin, presenting itself as a glowing beacon along the Bristol harbourfront. Its semi-exposed, non-insulated interior reflects the transient and ever-evolving nature of the renewable sector.
Series of Parti Diagrams showing the schematic fruition
Night-time render of the building along Wapping Road
Nicole Amara Lowson
BREAD & BARREL: A modern gravity brew tower that embraces circular principles.
At its core, this proposal is about industry, drawing from the past to create a renewed appreciation for making, reinstating the brewery as a civic landmark within the townscape. It envisions a new working-museum for Bristol Beer Factory at Redcliffe Wharf, transforming the neglected waterfront into a vibrant community hub. Drawing inspiration from Bristol’s industrial heritage, the design introduces a vertical gravity tower brewery, a bold architectural statement that reshapes the skyline while reconnecting the city to its making traditions. The brewery becomes a platform for innovation, embracing sustainability, and circular
practices to tackle food waste and insecurity. With nearly 400,000 tonnes of bread wasted annually in the UK and local artisan bakeries around every corner in Bristol, the proposal introduces a bread to beer to bread cycle. Surplus bread is collected and re-purposed to replace 20% of the brewing malt. Meanwhile, brewers spent grain is dried, milled and packaged back into bread flour, ready to be distributed to local food charities. This closed-loop system offers not only environmental benefits but also educational value, raising awareness to the local food network.
The Bristol Bread & Barrel - External Render
TOP RIGHT: The Sky Bridge
TOP LEFT: Boiling Coppers
BOTTOM RIGHT: The Malt House
BOTTOM LEFT: The Craft Corridor
East to West Perspective Section
Parth Chowdhary
AAROGYA SENSORY HEALING CENTRE: Healing of the Mind, Body & Spirit
Aarogya is a journey, a carefully choreographed sequence of spaces designed to guide users from external noise to internal stillness. It is an exploration of how material, light and form can evoke emotional response, using architecture as a medium for healing. At its core, the building is structured around a series of thresholds; spatial pauses that mark moments of transition, each designed to realign the soul. The journey moves through contrasting environments from warm timber-lined volumes to stark raw concrete courtyards, reflecting the emotional shifts of the process.
The design draws on the principles of phenomenology, neuroarchitecture and Japanese spatial logic. It blends tactile materials, framed views and structured landscapes to create deeply immersive environments. The building is organised around two key axes - public for communal rejuvenation and private for individual healing. This separation allows the architecture to cater to both collective and personal experiences, creating a layered, sensory-rich environment where the mind can settle, the body can ground, and the senses can fully awaken – a journey through the thresholds of self.
GA Floorplan
TOP RIGHT: Koi Pond
TOP LEFT: Sensory Threshold
BOTTOM RIGHT: Hydrotherapy Room
BOTTOM LEFT: Communal Hub
Rock Garden Transitional Corridor
Mia Fan — THE ALCHEMY page 170
Neo — A LINE MADE BY page 172 Jane Zheng
Lateefat Sanni — RECUPERATE page 174
TIM ROLT (WITH MARTIN GLEDHILL)
Tutors
To my group of 4th Year students - it has been a pleasure and delight to tutor you through your final design projects, and I am very sorry I could not see your projects through to the end. I was delighted that Martin was able to step in for me, and together we have been deeply impressed by your attitude, work ethic, and professional approach in what is a very demanding and hi-tempo project – you have risen to the occasion and produced projects that exhibit an extraordinary range of creativity alongside great breadth and depth of technical understanding – well done and I hope you enjoyed it much as we did. The wannabe animators and foodies, the lovers of memorable dockside walks, the elderly and frail, or those requiring care, rehabilitation and a
place to feel reassured, welcomed, and loved in the wonderful City of Bristol have been well served by you! We now need to raise millions upon millions of pounds to get all those wonderful projects built….
You have all come on a long, and hopefully rewarding, journey since you first stepped, brighteyed and bushy-tailed, into first year studio (and yes, I remember you back then!) and you should all be extremely proud of what you have achieved this year and throughout your degree.
We wish you all the very best for the future. Also, a big thank you to Mathew Wickens for organising the year – it would be chaos without you!
Aleeya Sibbons
The healthcare centre is about representing all aspects of health; mind, body and the environment in which we surround ourselves. The passivhaus building incorporates sustainability throughout, through materiality, technologies, biodiversity and renewables. The activities that take place within the healthcare centre, work hard to involve the public in positivity, encouraging gardening, hosting lectures around health, and holding a mental health clinic.
Located in Lawrence hill, one of the more deprived areas of Bristol, the
email: aleeyasibbons@icloud.com
healthcare centre is about providing the basic needs that some are without. Not to mention, exemplify what simple changes in lifestyle can do to improve ourselves and the world we live. The architecture here is about designing spaces that reflect people’s values, supports their daily lives, and nurtures their sense of identity and belonging. The net positive building, actively contributes to the environment and community rather than just minimising harm.
The term dementia comes from the Latin de (out of) and mens (mind), reflecting the disconnection individuals may feel from memory, environment, and self. Today, people living with dementia are often marginalised, hidden from public life. Meaningful care, however, involves reintegration, reconnecting individuals with their communities, identities and daily life. This proposal envisions a dementia day centre combined with an afterschool hub for children. It is a walled garden, encouraging joy, connection, and intergenerational exchange. Instead of an institutional model,
the project is conceived as a smallscale, rehabilitative neighbourhood. It emphasises human-centred, familiar environments through a series of distinct courtyards and gardens. These spaces break down the building’s massing, encourage nature-based engagement, support intuitive navigation and looped circulation. The centre provides integrated, therapeutic activities and tailored therapies, offering opportunities for purposeful participation. Rooted in the site’s memory and context, the design aims to challenge stigma and foster awareness.
Overall Axonometric View
Façade Detail
TOP: Allotment Garden BOTTOM: Entrance
THE
ALCHEMY: A Modern Culinary School In The Heart Of Bristol
The experience of consuming food is much more than just a mere necessity. Since Brexit, there has been a shortage in culinary talent in the UK. The Alchemy aims to produce a new generation of chefs in a scheme which focuses on social interaction, sustainability, and of course, world-class culinary education.
The form of the main building honours the curve of the existing Grade II listed wall. It is split into 3 wings according to the different functional requirements: Academic, Lobby, and Practise, with the heart being the staircase in the central lobby. Whilst the entire building
email: mia.lj.fan@gmail.com
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is cladded in timber, tongue and groove panels are present on the street-facing façades whilst more elaborate vertical slats are used when facing the public realm, echoing the internal focus of the building, where the public-facing cafe, restaurant and Tea House spill out into the landscape, interacting with pedestrians walking by the harbourside. The scheme forms a self-sustaining system where students improve through hands-on experience whilst serving the public expertly crafted dishes at affordable prices, bringing together people of all ages and backgrounds to enjoy the magic of culinary creations.
3D Detailed Section
1:500 Model
Mia Fan
Axo Plan
TOP: West Elevation BOTTOM: Birds Eye Axo View
Entering Through a Courtyard
TOP LEFT: Corridor Perspective
BOTTOM RIGHT: Screening Theater Perspective
BOTTOM LEF Ramp Passage Perspective
Harbourside Perspective
Hans Yu
KOMOREBI: Slow Frame Haven
In this era, there is no shortage of speed; there is a shortage of pauses. This building is a Stopmotion Art Center designed to support the autism community in Bristol. Through the traditional and captivating art form of stop-motion animation, it empowers individuals with autism who have an interest in it, helping them realize their personal value. Inspired by stop-motion animation, the architectural design embraces the idea of “slow” as its core concept, also offering a space of retreat for the public in response to this rapidly accelerating era.
Komorebi is the Japanese word for the shimmering of light and shadows that is created by leaves swaying in the wind. It only exists once, at that moment. To me, this quiet, often unnoticed phenomenon from everyday life is the most fitting metaphor for slowness.
This building is a way to embrace liminality, edge conditions and peripheries. It is a way to confront the difficult past, speculative futures and precious presents. It is a way to envisage a new datum, of the city and of the mind. The building sits on the pinnacle of Spike Island, at the edge condition of the periphery, between the natural (Avon Gorge) and the man made (Floating Harbour). It is the conceptual anchor for the connection of Bristol’s past, present and future. It is a physical way to thread a connection of Bristol’s eclectic memories to its roots. Yuan Tong Neo
yuantong20@gmail.com
The scheme can be thought of in 2 directions, how linear (horizontal ) the site is and the various datums (vertical) that exist. The idea of the structural ‘layering’ (compression) pays homage to not only the topology of Bristol’s history, but also the various datums across site, both of which allude to the egress of time and coaggulation of memory. The idea of the linear nature of the site reflects the continuation of memories, flowing from central Bristol to the western end, its metaphorical, physical, starting and ending point.
BOTTOM LEFT: The ‘Hideout’ - quiet room for recharge
Zheng
This programme is designed for the people that are seen as ‘different’ – the neurodivergent groups. Bristol has a youthful population, a significant portion of this age group are students, whose lives are more susceptible to the challenges posed by neurodivergence. Thus, this scheme is dedicated to providing spaces for young people with autism, ADHD and OCD to learn, socialise and heal. The design is divided into five distinct zones: the education zone, therapy zone, community zone, administration zone, and a sensory garden, where users can enjoy privacy while remaining connected
to the outdoors. A key feature of the design is the use of curved walls and niches, creating a stress-free, cave-like environment that offers hiding spaces for users, fulfilling the human need for a sense of security.
With its pixelated façade, cranked beams, and slanted walls, this design declares to the world: “Being different isn’t just okay – being different is beautiful.”
Lateefat Sanni RECUPERATE: A treatment centre for psychosis
Psychosis is defined as when one loses touch with reality. This scheme serves as a vessel for patient recovery from psychotic epsiodes and associated disorders. A holistic approach to treating and managing psychosis is required to prevent epsiode relapses and empower patients with the agency to attain a high quality of life, post-treatment. Recuperate is driven by the need to soften the clinical aspect of patient recovery with nature, therapy and support acting as ‘natural medicines’ in treatment. In embodying this ethos, the scheme was realised with the following design principles:
Using the public to protect the private. Orienting with the Cloister Hierarchial green spaces (with degrees of privacy). ‘Pockets of peace’ for patients (indoor and outdoor spaces). Brick encasing a timber build-up.
The project largely restores and incorporates the Grade-II Listed Steam Laundry building into the comb-shaped building footprint which wraps around outdoor spaces for the ward.
This year’s projects are based in Bristol, originally called “Brig Stow” (Brycgstow) by the Saxons, meaning “meeting place by the bridge.”
Today, Bristol is a renowned historic port, with its administrative boundary extending west along the tidal River Avon to the Bristol Channel at Avonmouth, passing landmarks such as Brunel’s SS Great Britain and Suspension Bridge en route. Bristol’s rich culture, maritime history, and global influences have been celebrated for generations. The city’s motto, “Virtute et Industria” (“by virtue and industry”), captures the spirit of the class of 2025.
Their proposals cover a wide range of topics, creating remarkable places for the city’s people. Starting any journey is challenging, it is important to remember how far they have come. This work highlights their diverse skills, industrious spirit, and brilliant imaginations, the forces that put the wind in their sails. The impressive submissions are an important destination in themselves, but only the start of their adventures. We can look forward to seeing where their journeys take them ... “now bring me the horizon.”
Ocak — BRIGHTER HORIZONS page 179
Stutt — SAFE STEPS page 181
Woody
Saunders — NETHAM PARK PAVILION page 183 page 184
Edward
Law
THE VESSEL page 186
— CANON’S MARSH
Yiu
ENGI(NEX): a symposium around the ruins of St Mary Le Port Church
1: the youth of Bristol are underperforming academically and disengaging from education, spelling consequences to the economy and social order.
2: the St Mary Le Port corner of Castle Park is suffocated by derelict buildings that make no mention of the site’s rich history. What once was the centre of commerce is now an unpleasant cul-de-sac avoided by pedestrians.
This scheme understands that the site’s state of derelict mirrors the city’s weak will to improve
and reinvent itself. This is an opportunity for Bristol to project its belief in its youth and to regenrate the heart of the city to welcome and respectability-killing two birds with one stone. Where there once were three bank houses, a symposium complex comprising a historic exhibition, e-reader library, auditorium, studios, and canteen now welcome people into Castle Park and Bristol.
Whitney
A gateway around St Mary Le Port Street and into Castle Park
TOP: High Street steps and planters before growth BOTTOM: High Street steps and planters after growth
1:100 Hand-drawn plans
1:100 Hand and machine-drawn plan
Perspective Section
Defne Ocak BRIGHTER HORIZONS: Autism Learning and Support School
This project is a dedicated educational environment designed specifically for children with Autism Spectrum Disorder (ASD), distinct from a general Special Educational Needs (SEN) school. It is thoughtfully tailored to meet the spatial, sensory, and social needs of neurodiverse users. Guided by the concept of “calm through clarity,” the design emphasises predictability, structure, and gentle transitions. Spaces are organised to reduce anxiety, featuring soft boundaries, abundant natural light, and strong visual and physical connections to nature.
Organised around a central courtyard, the scheme includes dedicated blocks for nursery, primary, secondary and sixth form students, each with direct outdoor access to calm garden spaces. Predominantly single-storey, the layout prioritises accessibility and minimizes overstimulation. The architecture integrates natural materials, passive environmental strategies, and flexible learning environments to support neurodiverse users. This project is not only a place of learning but one for support, calm and safety for neurodiverse children.
VISION: A Vocational Educational School for Adults
Vision is an Education Institute located in Bristol designed to empower people of all ages through practical education, creative collaboration, and sustainable innovation. Situated on a historically industrial site near the M-Shed, the project reimagines the traditional boundaries between education, public engagement, and urban regeneration. The scheme is organised around two core buildings, The Learning Building and The Teaching Building, both connected by an internal street-scape atria with bridges connecting the two buildings on different levels.
email: hiya.g@hotmail.com
linkein: www.linkedin.com/in/hiya-gupta-/
This acts as both a social spine and a climatic buffer. Workshop spaces are located to the south to maximise daylight and visibility, while quieter classroom zones are stacked to the north for thermal stability.
Vision has a modular steel frame that supports circular construction, with low-carbon materials and passive design strategies complying with LETI, RIBA 2030 and other targets. Vision is not only a place for skill development, but a civic anchor for community resilience; embedding education into the cultural and ecological fabric of the city.
Hiya Gupta
Approach to Vision
TOP RIGHT: Internal Street View
TOP LEFT: External Street View
BOTTOM RIGHT: View of a Workshop
BOTTOM LEFT: View of a Classroom
Short Section Through the Building
SAFE STEPS: a haven of support
A Drug Rehabilitation Centre for the wider community of Bristol, settled on the north outskirts of Easton. A “Haven” for those in need of urgent help and refuge; A Support System for those tackling recovery and seeking advice. Safe Steps Rehabilitation Centre is made for all, at any stage in their life. With aims to destigmatise the judgements on drug users, the unit teaches safe substance practice and promotes the steps to break free from drug control. A new approach needs to adopted into how drug users are perceived, treated and accepted into society, and further
acknowledgement into how they have reached this point in their life in the first place. Without encouraging a user, support provided should never shame the person who is willing to receive assistance with their addiction, and perhaps by removing the stigma surrounding drug users in the South West, families will no longer find their loved ones overdosed or suffering. Though accessible help is available by free use for all, the complexities of rehabilitation are missed when compared to a luxury rehab facility, with a lengthy admission process, recovery affected by distractions, and changing therapy providers.
email: michaela.stutt@outlook.com
linkedin: Michaela Stutt
North West Front Elevation
Haven West & East Elevations
Michaela Stutt
TOP: Front Entrance Perspective
BOTTOM: Haven Shade Garden
Bristol’s history of being a commercial and maritime centre has formed a unique and expressive culture. With a thriving art scene, the pub becomes a gathering ground for people with different background and values. The SI”K” TINS offers more than just a space to serve and produce beer by promoting community engagement, social interaction and local culture. Bristol’s artistic heritage is embraced in the brewery’s facade, by allowing the building’s exterior to be used as a canvas for local artists. Their designs will be projected on the beer cans,
fostering connection between the local art scene and the brewery.
The brewing hall is displayed on the streetscape, giving pedestrians an insight into the craft of brewing, and inviting them inside to explore and relax. The copper-slag brick cladding, a material commonly seen in Bristol, combined with the exposed steel and glulam structure, embeds the history of the site into the brickwork and the tectonic.
email: woodylaw13@gmail.com instagram: @wudi__ql
Woody Qiao Law
SI”K” TINS
Isometric view
West Approach
TOP: Internal Perspective (GF Taproom)
BOTTOM: Long Section viewed from the east
TOP RIGHT: Swimming Pool
TOP LEFT: Lower Ground Cafe
BOTTOM RIGHT: First Floor Section
BOTTOM LEFT: Sports Hall Interior
Swimming Pool Plan
Sian Saunders
NETHAM PARK PAVILION: A Community Sports Hub for Barton Hill, Bristol
This community sports centre aims to revive a once- vital community asset by creating an innovative and inclusive space that promotes sports, leisure and social interaction. The former pavilion within Netham Park served as a hub for local activities and offered essential amenities. Its closure during the COVID pandemic in 2020 left a void in the local community, further emphasising the need for a renewed space which supports physical activity and strengthens community bonds. The proposed Pavilion integrates within the existing green space of Netham Park, and has a primary focus of
email: sianesaunders2002@gmail.com
providing an inclusive environment where community members can engage in a variety of sports.
The design of the facility emphasizes a constant connection to the surrounding woodland, ensuring that users feel immersed in the beauty of nature whilst engaging in physical activities.
Pool Hall Perspective
East Elevation
Harbourfront Space for Art
Situated on the edge of Bristol’s Floating Harbour, this art gallery and school is a considered architectural response to a distinctive waterfront and urban context. Its form is thoughtfully shaped internal zones shaped by the surrounding cityscape, creating a structure that appears to float above the water. Behind the building’s monolithic concrete walls, and frosted facades is a commitment to sustainability through the upcycling of materials collected directly from the harbour and used directly in naturally lit studios designed to support a wide range of artistic experimentation.
The project unfolds as two halves: meditative gallery spaces and productive artist studios, bound together by a central zone defined by an immersive ramp. This linking element acts as a spatial hinge, enabling seamless circulation while creating a layered, exploratory experience that completes and unifies the plan. This project exemplifies a harmonious fusion of form, function, and context, embodying the evolving dialogue between architecture and the creative spirit of art.
Sebastian Khan BRISTOL STUDIO ONE: A
1:50 Tectonic Section Model
TOP: Internal Perspective - Top floor Cafe BOTTOM: External Perspective from the Harbour
LEFT: Internal Perspective - Studio Gallery Site Plan - Landscape and Placemaking
Edward Law
CANON’S MARSH ART CENTRE: Making Art Accessible for All
Canon’s Marsh Art Centre is a community arts and art therapy centre, and will act as the new headquarters for local Bristol charity Studio Upstairs. Studio Upstairs is an arts and health charity dedicated to providing creative recovery opportunities for individuals experiencing mental or emotional difficulties. Their services include art therapy groups, workshops, exhibitions, and community hubs, all designed to enhance wellbeing through artistic expression. One key driver for the design of the Art Centre is its permeable ground floor and T-shaped atrium,
designed to act as an extension to the public realm and to encourage and nurture a curiosity in art.
The Art Centre will act as a new cultural anchor for Bristol, fostering creativity and supporting mental well-being in local communities through creating and engaging with art. The building will provide a space for anyone to have the freedom to express themselves and to reconnect with their creativity. We believe that art is for everyone, and that everyone should have access to creative experiences.
Ground Floor Plan - Extension of the Public Realm
External Render - Western Entrance to the Art Centre
TOP RIGHT: Internal Perspective - Main Gallery
TOP LEFT: Internal Perspective - Painting Workshop
BOTTOM RIGHT: Internal Perspective - Art Studio
BOTTOM
Boris Yubo Song
THE VESSEL: A Civic Framework for Cultural Exchange Through Food
The Vessel is a civic and educational centre on Bristol’s harbourside, using food as a means to foster cultural exchange, social inclusion, and environmental awareness. It brings together spaces for learning, gathering, and enterprise—supporting both everyday activity and civic events. Rather than enforcing interaction, the architecture encourages it indirectly through shared kitchens, communal dining, and adaptable public spaces. These informal encounters allow people to connect across cultures naturally, helping reduce misunderstanding and social division.
Workshops led by ethnic minority communities turn domestic culinary knowledge into shared cultural value, promoting empathy through participation rather than instruction. The design references the site’s industrial heritage while addressing sustainability through passive systems, circular resource use, and renewable energy. The project culminates in a rooftop terrace—a planted, sheltered space for gathering and reflection. Formed by infrastructure, defined by culture, and designed for exchange, The Vessel is an architectural framework for quiet connection and coexistence.
email: songyubo1006@gmail.com
instagram: @boris_song_art
Isometric Line Drawing
North-West Entrance from Princes Wharf
TOP RIGHT: Market and Casual Food Stalls
TOP LEFT: Festival Event Space
BOTTOM RIGHT: Culinary Teaching Kitchen
BOTTOM LEFT: Harbourside Dining Area
Arrival from Gaol Ferry Steps (South Side)
Photos by Rashin Shahmiran
Afroditi Ioannidou — PERMEABLE BOUNDARIES
CENTRE page 194 Nasser Chakkiwala — SYMPHONY — REDCLIFFE BRIDGE CENTRE page 196 Shazreh
VANESSA WARNES
Tutor
It has been my pleasure to get to know you all, see avenues explored and your schemes evolve. I hope you found the journey rewarding and go forward with enthusiasm and clarity. Wishing you all the best of luck for your next chapterwherever that might take you.
Onwards and Upwards!
BOUNDARIES page 190
Charlotte Kirkup —
LOVEROSE BALLET SCHOOL page page 193
Lucy Speed — THE HAZEL
SYMPHONY page 195 Olivia Robertson Zinger
Shazreh Abdullah — RESURGENCE page 197
BOUNDARIES:
An open dialogue between fashion and art, Bristol’s Textile Arts and Fashion Institute reshapes the fabric of the future. A space where tradition whispers through every thread, the institute breaks boundaries, giving space for creative voices to rise. Woven into the very soul of the fashion institute, a celebration of Bristol’s textile legacy that shapes an establishment where the community gathers, not just to learn but to dream, experiment, and inspire. Craftsmanship meets vision and artistic ambition in a dynamic intersection, allowing local talent to reach global influence. Creativity
flows through the institute’s spaces, allowing architecture to become an active participant in the building’s narrative. Transparent façades reflect the ethos of inclusion, inviting the entire community to become part of this creative journey, as the light-filled, flexible, and thoughtfully shaped environments nurture growth, passion, and creativity. The design represents a dynamic architectural canvas where ideas materialize and embody the city’s bold character. The Textile Arts and Fashion Institute is relentless in its pursuit of artistic expression, shaping a space where creativity and community thrive together.
BOTTOM RIGHT: Photography Studio BOTTOM LEFT: Sewing Worskhop
Long Section
RE-MAKERSPACE: A Community Hub for Repair
The world is currently facing an environmental crisis, caused, in part, by the rise of excessive consumption and ‘throwaway culture’. This proposal aims to tackle these critical issues through creating a sustainable, community hub that encourages users to reuse, repair and recycle over sending to landfill. Re-Makerspace will create a continuous cycle for items, where people’s belongings can be repaired, re-purposed and even borrowed through Share Bristol’s on site ‘Library of Things’. This circular economy exists as an obvious process over the length
of the building where visitors can see at all times the tasks involved in maintaining this agenda.
Furthermore, the space is designed to actively teach users about how things are made, reconnecting consumers with the origins of their belongings. Through classes in a range of abilities across all workshop specialties, the community can learn skills and crafts, as well as basic DIY. The collaboration between technicians and visitors throughout the building encourages users to be constantly learning from those around them.
TOP LEFT: View from the public circulation spine on the first floor
BOTTOM RIGHT: Machinery workshop
BOTTOM LEFT: View of the main workshop from the first floor public seating area
Structural Section of Main Workshop
LOVEROSE BALLET SCHOOL: Ballet School & Performing Arts Centre
Set along the harbourside at Loverose Way, this project envisions a new home for ballet in Bristol — a city with a rich arts scene, yet no dedicated space for vocational ballet training. The proposal responds to this cultural gap by offering a purpose-built school and performance centre that supports both professional development and community engagement. The design draws from the discipline and poetry of ballet itself: ordered yet expressive, restrained yet full of potential. Studios are filled with filtered natural light, and coloured glazing paints shifting reflections across
email: pincha.emma@gmail.com social: @emmapincha_
the water — connecting dancers to the rhythms of the harbour and the city beyond. Loverose aims to widen access to ballet by creating an inclusive, welcoming environment that nurtures a new generation of dancers from diverse backgrounds.
This project is about more than just dance — it’s about making space for movement, creativity, and belonging in Bristol’s evolving cultural landscape.
TOP: Dance Studio
BOTTOM: Theatre
Approach from Lloyds Amphitheatre
Harbour Elevation at Night
Emma Pincha
- a communal living room for all
Florence Williams-Rowe
OAK
HOUSE: A Home
From Home for Families Affected by Paediatric Cancer
Oak House provides families affected by Paediatric Cancer a place to seek support, community and recuperation. It hosts scheduled programming as well as enabling users to drop in for a chat. An enticing woodland walk leads visitors from the hospital to the front door, gently encouraging them to enter and explore the building. The planting has been considered to increase the bio-diversity of the site and provide a rich sensory experience for the users. Oak House has a clear spatial hierarchy, rooms becoming more intimate as you move through the plan. Visitors are initially
guided into a large ‘living room for all’ enabling them to seek support and emotional connection. Activity and age specific spaces enable children to be part of a community and quiet, contemplative rooms provide a place of escape from the social buzz of the larger spaces.
The building encourages visitors to take ownership of the space, creating connections and small moments of joy to help navigate one of the hardest journeys.
Ground Floor Plan - a communal living room for all connecting to activity specific spaces
External Perspective - clad in sycamore sourced on site, Oak House sits within woodland, fusing an internal and external sense of refuge
TOP: Roof Plan - an engaging woodland walk
MIDDLE: Perspective Section - a flexible facade system
BOTTOM: Perspective Section - interaction with the tree canopy Internal Perspective
Lucy Speed
THE HAZEL CENTRE: Redefining Care for Women
The Hazel Centre is a dedicated women’s health hub that redefines how care is experienced. Bringing together medical services, therapeutic support, community spaces, and research, it responds to the systemic gaps in women’s healthcare — addressing issues such as underdiagnosis, mistrust, and the silence surrounding conditions like endometriosis, menopause, and PCOS.
The three core functions — clinical, therapeutic, and social — are linked through a wide internal cloister that wraps around
email: lucy@speedfamily.com
instagram: www.linkedin.com/in/lucyspeed
a central courtyard. More than just circulation, this space offers calm transitions, places to pause, and clear orientation throughout. Connection to nature is embedded at every level, with planting, framed views, and outdoor access all supporting the healing process.
Flow
TOP RIGHT: Community Dining Table
TOP LEFT:Social Cafe Hub
BOTTOM RIGHT: Clinical Consultation Room
BOTTOM LEFT: Spaces for pause in the cloister
TOP: The Community Garden Courtyard BOTTOM: Cloister flow around the courtyard
TOP
BOTTOM RIGHT: Digital Exhibition Gallery
BOTTOM LEFT: Motion Capture Studio
Detail section cutting through key spaces
Nasser Chakkiwala
SYMPHONY: Educate, Collaborate, Illuminate
The Digital Arts and Media Academy is envisioned as a beacon for creative innovation, designed to empower a new generation of learners, designers and artists in an increasingly digital landscape. Strategically located within the heart of Harbor side Bristol, the building reflects a contemporary response to the city’s evolving educational and cultural identity, grounded in three core design principles: spatial adaptability, environmental performance, and tectonic legibility. Organized into three primary zones—academic, collaborative, and specialist—each floor supports
a specific pedagogical function. Collaborative zones, animated by bridges and atria, act as connective spines that foster spontaneous interaction and cross-disciplinary dialogue. The facade expresses a dual agenda: performance and identity. Clad in integrated photovoltaic panels, the skin generates renewable energy while visually anchoring the building as a sustainable and iconic civic presence. Rooted in the local wharf vernacular, the pitched roof form conveys a sense of place while enabling structural efficiency and environmental responsiveness.
Partii Diagrams Top to bottom: Collaborative Spine, Pixel style solar facade, Illuminating screen
Exploded isometric diagram of building
TOP RIGHT: South Elevation
LEFT: West Elevation with LED screen
Olivia Robertson Zinger
REDCLIFFE BRIDGE CENTER: Supporting Bristol’s homeless population through Education and Employment
The Redcliffe Bridge Center is a proposal for a new support system to expand the services avaailable to homeless and housing insecure Bristolians. Filling an existing gap in higher education provisions, the Center provides aid through the creation of an interior journey. Beginning with Wellbeing Facilities, offering showers, WCs, laundry machines, and mental health support, the user is then offered access to basic level educational support, including financial and other literacy, maths skills, and basic IT knowledge. The Employment Office is available to facilitate entry
into various industries, alongside a clothing exchange library and CV and interview prep classes. The Teaching Kitchen provides entry to the culinary industry through courses at various levels, with short- and long-term offers. Finally, a Community Cafe run on a pay-as-you-can system provides warmth and food to any and all who may need it. All food used throughout is grown on site in the multiple farm structures. Removing paywalls from facilities opens doors for Bristol’s most vulnerable, all the time knowing a national approach is the only true solution.
Ground floor plan (Wellbeing, Kitchen, Cafe, and Farm)
TOP: Wellbeing (North) entrance BOTTOM: Isometric studies of Exoskeleton (planted/walkable)
Shazreh Abdullah RESURGENCE: Boatbuilding to Begin Again
This project proposes a vocational boatbuilding centre for exoffenders, using craft as a tool for rehabilitation and reintegration. Located on Bristol’s waterfront, the scheme offers a clear, processled layout that mirrors the making of a boat—from timber delivery to launch—while reflecting the personal transformation of the maker. Two distinct volumes—a workshop block and a social building—are connected by a shaded canopy that acts as both threshold and communal space. The workshop is open and transparent, with exposed timber structure, natural daylight, and visual
connections to educational spaces. The social building houses quieter programmes including therapy rooms, a café, and a meditation space, offering moments of calm and reflection.
Together, the spaces form a holistic environment where making and healing happen side by side. The project becomes not just a place of production, but a framework for personal growth and second chances.
TOP: 3D Masterplan Showing Key Landscape Features BOTTOM: Perspective From Main Arrival Route
BATH ANNUAL 2025: A Selection of Projects from the BSc and MArch courses in the Department of Architecture & Civil Engineering at the University of Bath
