OPEN 2020

OPEN 2020

O OPEN 2020 ISBN: 978-0-9929657-4-7 Cover image Thomas Riddell-Webster Designed & produced Clare Hamman First published July 2020 Printed London Š University of Westminster

Contents

Introduction

Beyond the Studio Cultural Context Dissertation Technical Studies Digital Design Fabrication Lab Professional Development Westminster Architecture Society Masters

BA Interior Architecture Introduction and Process Interior Architecture First Year Interior Architecture Second Year Interior Architecture Third Year

2

4 6 8 12 14 16 18 20

BSc Architecture & Environmental Design Introduction and Process Architecture & Environmental Design First Year Architecture & Environmental Design First Year

BA Architecture [RIBA Part 1] Introduction and Process First Year Second Year Design Studios

24 28 34 40

Third Year Design Studios

MArch Architecture [RIBA Part 2] Introduction and Process MArch Design Studios

Introduction and Process

48

Staff

Architectural Technology Second Year

52 56

Practice Links 2020

BA Designing Cities

90 94 106 130

166 170

Department of Architecture

BSc Architectural Technology

Architectural Technology Third Year

76 80 84

Introduction and Process

62

Designing Cities Second Year

66

Designing Cities Third Year

70

Sponsors

236 238 240

IT’S JUST OVER three months since we left our Marylebone studios and Fabrication Laboratory and began to work from home. What our School’s students have done since then has been extraordinary, and OPEN2020 is testament to their endeavour and creative achievement. In any year, the final months of putting a portfolio together for submission are gruelling, but it is usually a collegiate experience, undertaken with the immediate social and intellectual support of student peers. This year, our students did it virtually alone. Our staff have been equally remarkable, moving an entire school online in a matter of weeks, and shaping an engaging online educational environment of tutorials, seminars, reviews and lectures that have kept our community of learning alive.

Despite the closure of our Marylebone campus, the School was determined to put OPEN on to celebrate all this, and, in particular, give our graduating students a suitable finale to their studies. Usually, OPEN has been a collective effort, with students and staff transforming our studios into an exhibition, and with each year building on past shows. This year for our first Virtual-OPEN we had to start from scratch, and the show is very much the achievement of two colleagues, David Scott and François Girardin, who designed and built the platform and the exhibition, and who have enabled our students’ conceptions and display of exhibition material. Many thanks to you both, as well as to Daniel Scroggins who coordinated OPEN’s organisation, and to Clare Hamman who has collated, edited and designed our 2

Catalogue and made the OPEN film with the stoic assistance of Elliot Smith – all remotely.

The last few months have been remarkably difficult, but they have also been revelatory in considering our future. Firstly, it is possible to cope and thrive with ‘normal’ suspended. As a School we have experienced an evolutionary jump in our digital capabilities and have had to helpfully (if exhaustingly) rethink our pedagogies, while this Virtual-OPEN has given us a reach, and an environment, that we have never had before. More broadly, the crisis has shown it is possible to suspend assumptions, habits – and an entire economic system and its implicit judgements about social worth and environmental value. The challenge is to hold on to the things we’ve learnt. It is a time to experiment as never before, and to understand that new ways of doing things are not only possible, but critical to addressing the crises we have inflicted on ourselves and on our home – our conditions of existence. The School’s commitment to resilient and strategic design, ethical and crossdisciplinary practice, inclusive and environmentally responsive place-making, low-carbon and innovative building, and rigorous research and testing, have never been more important, and we will continue to develop these in our architectural work with ever greater intensity and generosity in the coming decade. The projects in OPEN2020 point a way.

Please enjoy the show.

Harry Charrington Head of the School of Architecture + Cities

Welcome to OPEN 2020

Beyond the Studio | Cultural Context

Cultural Context Nick Beech (module leader CC1) is an architectural historian and teaches that history as part of a wide range of material cultural practices.

Kate Jordan (module leader CC2) is an architectural historian with research interests in gender, heritage and faith architecture.

Ben Stringer (module leader CC3) teaches design and cultural context. His recent publications focus on ideas about the rural.

IN ARCHITECTURAL PRACTICE, those who create the spaces we inhabit also need to be able to research, understand and communicate ideas about the way design relates to society. The Cultural Context programme is where all students studying on Westminster’s BA Architecture, BA Interior Architecture and BSc Architecture and Environmental Design courses learn how to do these tasks. The course is designed not only to develop deeper understandings of the histories of built environments, but also to reflect on how those histories are formulated and to ask whose histories they are. It is structured progressively over three years in three successive modules: CC1 A History of Architecture, CC2 Architectural History and Urbanism, and CC3: Dissertation.

Through a lecture programme, regular site visits, and seminars, students in CC1 are introduced to the history of architecture. Elementary spatial themes, ideas and broader contexts of architectural production from around 700BC to the present are presented in lectures. Through site visits – to buildings, archives, and museums – students practice ways of seeing, analysing, and recording historic architecture. Through regular set tasks and a final essay, students explore and test their understanding of a particular problem or idea in architectural history.

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CC2 opens with a series of lectures that explore critical issues in contemporary architecture. Students work in groups to produce workbooks that review the lecture series and include independent research on the themes that they have been introduced to. In the second semester, the students are taught in small groups by individual tutors who lead seminars around their own research expertise. The students produce two pieces of coursework in this semester: an essay and a statement which describes the learning trajectory throughout the module.

In CC3, students research a subject of their choice for their dissertation with the support of seminars, presentations and weekly tutorials from a diverse group of academics. It is an important opportunity for students to begin shaping the particular direction of their future academic and professional careers. Among the many notable dissertations produced this year were: Zeina Alanzarouti’s study of post-conflict reconstruction in Damascus; Silvia Galofaro’s analysis of Battersea Power Station as a ‘body without organs’; Desire Lubwama’s research into the conservation of Brixton’s cultural heritage; Nada Maktari’s study of visitor experience at the Soane Museum; Isabelle Reid’s examination of public space in Kings Cross; Rowan St John’s piece on Lewisham’s Rural Urban Synthesis Society; and Alicia Montero’s study about resisting gentrification in Stokes Croft, Bristol.

(clockwise from top left) CC1: Manifesto as Poster Exercise; CC2: Seminar site visit to Royal Festival Hall; CC3: Nada Maktari – 'Experiencing Soane', and Silvia Galofaro – 'Body without Organs'

Cultural Context | Beyond the Studio

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Beyond the Studio | MArch Dissertation

Dissertation Richard Difford, Nick Beech, Harry Charrington, Kate Jordan, Alan Powers, Shahed Saleem, Ro Spankie, Rachel Stevenson, Ben Stringer

DEVELOPED IN THE context of their first year MArch History & Theory seminar group, students choose their own subject to explore in the Dissertation. They are guided by tutors with a diverse range of interests and methods but a common commitment to advancing the individual specialisms and scholarship of each student. A breadth of topics and a plurality of approaches are encouraged with the ambition that the work produced will be distinguished by its high quality, not its adherence to any particular methodology, dogma or style.

This year, MArch student Ruth Pearn was the recipient of the Dissertation Medal in the RIBA President’s Medals awards for her dissertation Age Through the Terrace: The Evolving Impact of Age on Social and Spatial Relations in the Home’ (Tutored by Prof. Harry Charrington). Ruth is the latest in a long line of dissertation medal winners from Westminster's MArch.

west London suburb known as ‘Little India’. The dissertation explores ways in which the phenomena of imported immigrant culture informs the production of space, displaying a hybridisation of local and imported cultures. Lisa Grönevik’s dissertation critically analyses the methods used by Swiss art historian Sigfried Giedion to define architectural modernism in his book Space, Time and Architecture – The Growth of a New Tradition. In her dissertation Learning from Jack Fitzsimons: Exploring the background to Jack Fitzsimons' book Bungalow Bliss and its impact on Rural Ireland’s identity, Kate Hosking explores the background to Fitzsimons’ book Bungalow Bliss and its impact on rural Ireland’s identity, and seeks to explain its impact on the people at the heart of the Bungalow Bliss story.

In Routes and Roots: The realisation of urban space through the Sikh nagar kirtan processions in Southall, Amrit Flora focuses on the Sikh community of this

Laura Snape’s dissertation examines the inhabitation and use of former Art Deco cinemas by Pentecostal Black Majority Churches as an indication of the continuing prevalence, energy and significance of religion in society. As both repositories for, and indicators of, religio-societal change, these buildings are observed as ‘infrasecular’ spaces: new layers within Britain’s religious landscape that challenge the failure of the secularisation thesis to consider the more diffuse and informal role of Christianity in modern Britain. Moll Petit: A study of tourism and local identity in twenty-first century Mallorcan architecture is a study by Jean-Christian Whitehouse which aims to determine how tourism and media are affecting the local identity of Mallorcan architecture. It seeks to establish an understanding of how local practice, TEd’A, have subtly scrutinised the topics of globalisation, tourism and mass media to enhance the occupant’s awareness of locality.

(clockwise from top left) Amrit Flora: Junior Panj Piyare Boarding the Palki Sahib Float; Lisa Grönevik: Sigfried Giedion – Space Time and Architecture; Robert Beeny: Robert Adams, Descending Forms, Eltham Green School, 1958 Amy Bettinson: Ovington Square

Kate Hosking: Bungalow Bliss Jean-Christian Whitehouse: Moll Petit [image © Luis Diaz Diaz reproduced with permission] Laura Snape: The Rainbow Theatre, Finsbury Park ( former Astoria cinema) [Courtesy of the Cinema Theatre Association archives]

2019-20's dissertations reflect the diversity described above. Amy Bettinson’s A Laboratory for Contextualism: Post-War Infill Buildings reflects on how architects seized the opportunity to experiment with the way Modernist buildings could fit into historic settings. Through a study of the procurement by the London County Council of murals, Robert Beeny’s dissertation Modern Murals and the LCC: The London County Council and its Patronage of the Arts Scheme 1956-1965 aimed to ascertain why the LCC felt so strongly committed to introducing contemporary art into the lives of Londoners.

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Beyond the Studio | Technical Studies

Technical Studies Pete Silver, Will McLean, Scott Batty, Alison McLellan, Chris Leung & Andrew Whiting Scott Batty is a sole practitioner architect and coordinates the second-year degree Technical Studies programme – including The Site Diary, Environmental Design Study and Technical Design Study assignments. He is currently undertaking research on retro-fitting houses for improved energy performance. Chris Leung is an architect and associate professor at The Bartlett (UCL). Chris tutors environmental design and fabrication strategy for final year degree and MArch students. Will McLean writes and publishes about the technology of architecture.

McLean is a co-editor of Construction History: International Journal of the Construction History Society and he is currently writing two new books, Dante Bini: Architect (Bibliotheque McLean) and Environmental Design Sourcebook: Innovative design ideas for a sustainable built environment (RIBA Publishing). Alison McLellan established Form_art architects in 2004 having worked for over a decade in London and Berlin, with architects Stirling Wilford & Associates (Michael Wilford & Partners) and Stanton Williams. She provides technical tutorial support for second and third year students. Pete Silver is a practising architect, and former building contractor. Pete has taught at the Architectural Association, The Bartlett (UCL) and the Royal College of Art and he has co-authored four books with Will McLean, recently completing the 3rd edition of Introduction to Architectural Technology, which will be published in 2021 by Laurence King, London. Andrew Whiting is the director of HÛT Architecture, and has a particular interest in education and practice. He teaches at Degree and MArch level, providing technical tutorial and mentoring support. He is also an RIBA Awards judge, and RIBA Part III Professional examiner.

THE TECHNICAL STUDIES teaching in the School of Architecture at the University of Westminster has been designed as a linear progression from first year Undergraduate through to final year MArch. For each year of study a lecture series underpins the structure of the teaching. In first year undergraduate, a fourteenweek lecture series is delivered by Pete Silver that sets out an approach to the structure, form, material and environmental principles that constitute the ‘technologies’ of the built environment. In second year undergraduate, Scott Batty runs the successful Site Diary assignment that affords students their first experience of a construction site. During the first semester Will McLean organises the Thursday evening ‘open’ lecture series, which highlights new technological developments in the fields of architecture, engineering and environmental design.

We have embedded different types of teaching input and feedback in the BA and MArch courses, which include lectures, seminars, tutorials and the Friday afternoon consultant sessions, where visiting specialists provide technical expertise for our final year BA Architecture and MArch students in the design studio. This specialist input (as in practice) helps to focus the work of the student in regards to structural clarity, visual comprehension and environmental sustainability. In December, Scott Batty and the Arch_Impact group, organised ‘One Project’, a one-day sustainability symposium exploring case study projects. The Technical Studies team also organise field trips to factories and workshops and this year we visited H.G. Matthews handmade brickworks in Buckinghamshire. http://technicalstudies.tumblr.com

Guest Lecturers and Visiting Consultants: Megan Ancliffe (Rural Urban Synthesis Society), Jan Balbaligo (Natural Builder), Robert Barker (Stolon Studio), Roz Barr (Roz Barr Architects), Giovanni Beggio (Apt Architects), Raymonde Bieler ( Jestico & Whiles), Gianni Botsford (Gianni Botsford Architects), Jeremy Black (University of Exeter), Henry Burling (Morph Structures), Paolo Cascone (UOW), Cristiano Ceccato (Zaha Hadid Architects), Harry Charrington (UOW), Theclalin Cheung (Architecture PLB), Marc Exley (Morph Structures), Stuart Hancock (StructureMode), Rory Harmer (Tate Harmer), Cath Hassell (ech2o), Dave Heeley (Morph Structures), Thomas Hesslenberg (Elliot Wood), Mohataz Hossain (UOW), Andrew Ingham (Denizen Works), Ripin Kalra (UOW), Yashin Kemal (Apt Architects), Benson Lau (UOW), Tim Macfarlane (GLaSS), James Macrae (TFL), Colin McColl (ORMS), Geoff Morrow (StructureMode), Don Murphy (VMX Architects), Gordon O’Connor Read (Rural Urban Synthesis Society), Remo Pedreschi (University of Edinburgh), David Rayment (Morph Structures), Carmen Rist-Stadelmann (Universitat Liechtenstein), Craig Robertson (AHMM), Rosa Schiano-Phan (UOW), Ian Seabrook (Laing O’Rourke), John Spittle (Wiehag), Ben Stringer (UOW), Phil Waind (Waind Gohil Potter), Rachel Wakelin (Buckley Grey Yeomans) 8

Technical Studies – Year 2 Site Diaries

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Dora Varszegi: Year 2 Architecture, Site Diary – Tulse Hill Straw Bale Community Hub, London

Technical Studies – Brick Factory Visit On our visit to H.G. Matthews, 'the last brickworks in Buckinghamshire', students watched handmade bricks being made as well as bricks being glazed and the

Photographs by Thomas Hall-Thompson

manufacture of hempcrete blocks which is one of the firm's latest products.

With thanks to Jim Matthews and his team.

Beyond the Studio | MArch Digital Design

Digital Design Richard Difford (module leader), Roberto Botazzi, Jeg Dudley, Adam Holloway, Eva Magnisali, Elite Sher

UNDERTAKEN IN THE first semester of the first year on the MArch, Digital Design is a key component of the Architectural Reflections module, providing the opportunity to learn valuable computer skills and to reflect critically on the use of digital media in architecture. The programme offers a choice of six different groups each with a different focus and set of interests. The tutors

for these groups are drawn from both practice and academia, providing critical reflection on the role of digital technology in architecture along with practical experience and technical expertise. Each group combines technical instruction with related theory and precedents. In this way everyone gets a chance to learn something new and to build on their existing knowledge and experience.

The six groups this year were as follows:

GROUP A: Xpanded Realities Elite Sher

GROUP D: Interactive Technologies Richard Difford

Utilising the VR facilities now available as part of the university's new XR Lab, this group provides an introduction to the use of games engines, Virtual Reality headsets and Augmented Reality in architecture.

Focusing on the use of programmable graphics and physical computing, this group considers the way devices such as sensors, motors and lights can be used to construct responsive architectural features and environments.

GROUP B: Performative Parametrics

GROUP E: Mapping Complex Data

Jeg Dudley

Using evolutionary algorithms and project-specific analysis tools, this group sets out to construct and optimise parametric designs based on performative criteria.

GROUP C: Digital Craft Adam Holloway

Utilising digital fabrication and generative modelling tools, this group uses simulation and prototyping as part of a recursive cycle of testing and refinement in the design process.

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Roberto Bottazzi

Working through both 2D graphics and 3D computer modelling, this group looks at the ways in which digital media can be used to reconstruct a link between data and meaning.

GROUP F: Data-Driven Robots Eva Magnisali

This group explores the use of the Fabrication Lab’s industrial robots both in the design process and in the production of data-driven components.

(clockwise from top left) Group B: Hasan Jamshed; Group D: Sindiso Dlodlo; Group F: Nikola Wolkova

Beyond the Studio | Fabrication Lab

Fabrication Lab

IT’S BEEN A strange and challenging year in the Lab, as everywhere else. It began as usual, in style, with the black tie Master’s Banquet to welcome our MArch students to Westminster. In an equally extraordinary event to last year, incoming students spent the first eight days of their degree exploring and learning about the many opportunities to speculate and experiment in the Lab as they created nine courses of a unique, spatial dining experience for our Vice-Chancellor and special guests. For those unable to attend, we held a new take on Afternoon Tea later in the year. For our BA and BSc undergraduates, we re-invented the longstanding Digital Fabrication Workshop, beginning an extended and highly fruitful partnership with Skidmore, Owings & Merrill. The workshop this time included both first and second year students – over 300 people! – all working on the same project, focused on investigating nine key buildings from the distinguished heritage of SOM. Working with Partners and Project Architects from their London office, we used a diverse range of digital technologies and architectural media to unravel the design principles of landmark buildings like the Hancock Tower and Exchange House. The work then formed part of SOM’s own fantastic exhibition in Ambika P3. Sadly, the show was set to have its grand opening mid-March… The exhibition is still there, waiting for the world to open again and hopefully there will still be an opportunity for you to enjoy it.

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Life post-lockdown has seen the Lab go virtual, offering online support as best we can through our web platform, as well as the start of new and unexpected projects. One has involved setting up a mini-production line for personal protective equipment. Working remotely from home, the Lab team has been busy 3D printing face shields, contributing to the collective efforts of the 3D Crowd UK and The Industry Prints groups of digital makers, as well as supplying a number of care homes directly with face shields made in the Lab with our laser cutters and vacuum former. We’ve also turned our attention to developing an alternative for our students and the School of Architecture + Cities for this year’s OPEN exhibition. Building on expertise developed in our XR Lab we’ve been working with game engines to create an alternative and experimental, but, we hope, nonetheless memorable celebration of the amazing work produced by our students this year under very difficult circumstances. We hope you can experience and enjoy this alternative view of the students’ work, and very much look forward to welcoming everyone back to the physical Lab soon.

We want to particularly thank SOM for generously sharing their time and expertise this year for our Architectural Media Workshop.

David Scott Director

(clockwise from top left) Master’s Banquet, SOM projects recreated in the Architectural Media Workshop

Beyond the Studio | Professional Development

Preparing for Practice: Third Year Work Experience

PROFESSIONAL STUDIES FORMS an integral part of all courses in the School of Architecture and Cities. ‘Preparing for Practice’ is a third year undergraduate module designed to enable students from all undergraduate disciplines to gain some of the skills necessary to gain a Part 1 Year Out placement whilst getting the most from professional opportunities. Much loved by our students and highly valued by the profession and practices, the module builds both on the RIBA mentorship scheme which runs in the autumn term, as well as the opportunities offered across first and second year to enable experience in practice. The module is organised around guiding students through the steps necessary to successfully gain Year Out employment and culminates in a two-week placement in a London (usually RIBA Chartered) practice. We aim to tailor the student and practice pairing as carefully as possible and have a wide range of offices that take part including this year’s Stirling prize winning Mikhail Riches, Foster + Partners, Adjaye Associates, Burrell Foley Fischer, Morris and Co., Michaelis Boyd, and dRMM as well as smaller, younger practices including Studio Bark, Amos Goldreich Architecture, and Sophie Nguyen Architects. The

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experience informs a number of learning outcomes, including a detailed analytical report, which encourages the knowledge and breadth of understanding necessary for targeted career decisions and strategies.

Working closely with the profession, many of whom contribute to the module, Preparing for Practice delivers practical and focused lectures on key aspects of the profession, as well as encouraging debate on issues of ethics, morality and the role of the architect against a context of climate crisis and persistent patriarchal colonial hegemony. The University’s Employability Team also offers a Skills Academy to support the transition between academia and practice. Working with the Stephen Lawrence Trust, the scheme offers students profession-led workshops and practical help with job seeking.

Despite the course focusing on students gaining experience in architect run practices, we continue to support students gaining experience in some unusual, but architecturally relevant, contexts. In the past students have worked with the BBC, English Heritage, Developers and Contractors.

Jane Tankard Module Leader

(left & centre) Hands on experience at Studio Bark; (right) Wimshurst Pelleriti

Part 3: Professional Mentoring Alastair Blyth (course leader), Wilfred Achille, Samir Pandya, Susanne Bauer

THE UNIVERSITY OF WESTMINSTER Part 3 course has over 450 students working in a broad range of architectural practices – more than 230 practices based in London and the south-east.

examiners consistently comment on the high, critical standard of the coursework which we attribute to the structured tutoring system where students are challenged to think about practice differently.

The students come from a wide variety of backgrounds including overseas schools of architecture. Architects who trained outside the UK also attend the course to gain an in-depth understanding of the complexities of UK practice.

The different student backgrounds, as well as the types and number of practices represented on the course, alongside the tutors and examiners, gives an unprecedented reach into the architectural profession. This enables the course to both draw from the breadth of practice experience as well as contribute to it.

Following the requirements of the ARB/RIBA Professional Criteria, Part 3 is structured as a series of building blocks with clear assessment points throughout the year.

The lectures, delivered by industry experts, are repeated twice a week to allow students to balance attendance with work commitments. They are delivered online as well as in our large lecture theatre, and are recorded for easy future access.

Students’ professional development in the workplace is supported by a team of 41 professional tutors – all architects in practice – who provide one-to-one tutorial guidance on project-based coursework. Professional

The Part 3 Course was validated by the RIBA for a further five years in November 2017 and the Visiting Board gave it a Commendation citing its scope and delivery, dedicated Chair of Professional Practice and dedicated administrative support. It was revalidated by the University in 2018.

Despite the course focusing on students gaining experience in architect-run practices, we have had students gaining experience in some unusual, but architecturally relevant contexts. In the past students have worked with the BBC, English Heritage, Developers and Contractors.

Alastair Blyth Module Leader

Beyond the Studio | Society

Westminster Architecture Society Team: Giada Gonzalez, Jay Patel, Kristina Veleva (Co-Presidents), Hana Alsaai, Matthew Bailey, Lucie Barnes, Joshua Bulman, Esther Calinawan, Sarah Daoudi, Emerald Sky Henley, Mhina Landin-Johansson, Saffron Lord, Thomas McLucas, Suzana Meziad, Alicia Montero, Henry Morgan, Aisha Nadim, Alexandru Oltean, Zoe Onatoye, Aleyna Pekshen, Fynla Stallybrass, Hafsa Syed, Linda Tighlit, Elifur Ulucay, Laura Vasile, Emanuele Volpe, Bradley Welch, Sude Yilmaz

The society is created for students with the valuable and generous support of our tutors and faculty. We always welcome new ideas, members, and collaboration opportunities. Please get in touch: architecture.soc@su.westminster.ac.uk

THE WESTMINSTER ARCHITECTURE SOCIETY expanded its horizons this year, and aimed itself at strengthening its relationship with students and other universities. This year also brought about one of the biggest teams yet, with a growing interest from students in all disciplines to join the society.

Climate Emergency and how this will affect London’s built environment. This led to the planning of a second Megacrit at City Hall, where the GLA would be present and students could discuss ideas with those who have the power to make changes. LASC has also organised online peer-review sessions between different universities, allowing students in isolation to still get valuable feedback on their projects during challenging times. Thanks to Rosie Gibbs-Stevenson for bringing our societies together.

The idea of peer learning and discussion became an early focus in the first semester, and a debate series was launched. Our aim was to focus on current issues, with our opening theme being the idea of Social Housing and the Stirling Prize. Climate Change and Diversity in Architecture became the themes of our following debates. These debates presented opportunities to have informal discussions with tutors from different departments as well as students. Thanks to Will McLean, Jane Tankard, Richa Mukhia and Wilfred Achille for supporting the event.

Our interest in diversity also led to a student discussion with Richa Mukhia and how students feel about the issue of the Attainment Gap. The impact of the debates led to many more discussions between students about the important topics which affect the architectural world.

The previous years have had the Megacrit as the main event in the academic year. However this year the society expanded and joined forces with other London universities to form the London Architecture Schools Collective (LASC). The LASC committee proposed that all the universities in London could come together and host one Megacrit in a unified act. LASC partnered with the Architecture Foundation to organise the first Megacrit organised by multiple universities at the Oxo Tower Wharf on the Southbank. The theme this year focused on the

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The society held celebrations in the usual style to mark the end of the semester and bring the department together to celebrate with our biggest Christmas party yet. We also worked with students who ventured on their own endeavours such as MArch student Hamza Shaikh and his multi-modality project. Other projects the society has been involved in include co-ordinating the development of the Architecture Student journal with the help of Nick Beech. Notable professionals in practice also forged relationships with the society this year, creating the opportunity for more lectures in the future. Society members also formed relationships with the Architects Union through Kirti Durelle, and had discussions about workload and mental health which benefitted the lives of the students.

Finally, we would like to thank all those who helped the society in its adventures this year and those who continue to strive for the voice of the students. A final thanks to Harry Charrington, who continues to support the society even in the most challenging of times. We hope that the society expands further still and continues to be successful in its aspirations!

(top) WAS debate series; (bottom) Christmas party

DEBATE DIVERSITY IN ARCHITECTURE CAN ARCHITECTURE SOLVE SHOULDCHANGE POLITICAL CLIMATE ? CORRECTNESS IS THE PROFESSION ACCESSIBLE TO ALL? AFFECT ARCHITECTURE ?

EXTINCTION REBELLION AND PROTEST ARCHITECTURE

DEBATE DEBATE

COUNCIL HOUSING & THE STIRLING PRIZE 2019

DIVERSITY IN ARCHITECTURE

Westminster Architecture Society Debate

Westminster Architecture Society Debate Monday 10th February 2020, 5:30pm, M416 Monday 11th November 2019, 5:30pm M401

CAN ARCHITECTURE IS THE PROFESSION ACCESSIBLESOLVE TO ALL? CLIMATE CHANGE ?

EXTINCTION REBELLION AND PROTEST ARCHITECTURE Westminster Architecture Society Debate Monday 10th February 2020, 5:30pm, M416

Westminster Architecture Society Debate Monday 11th November 2019, 5:30pm M401

Research | Masters Introduction

Masters

THE MASTERS DEGREE at the University of Westminster offers unique programmes for students to develop their architectural education, and establish their own identity with a specialisation for future professional practice or the first step towards a PhD and an academic career. In all cases, for those engaged in Masters level study in the School of Architecture and Cities at Westminster, the experience is one of a kind in the UK. It brings together a diverse body of expert academics, practitioners and students from across the globe with an appetite for invention, creativity and critical thinking. Although each Masters programme is distinct in the way it is structured – as you will see in the following pages – all share one aim of deepening students’ skills in critical and creative thinking and design. The University offers three postgraduate programmes: MA Architecture MA Interior Design MSc Architecture and Environmental Design

This year all the MA and MSc programmes have successfully revalidated their course and continue to offer the students the chance to choose from distinct fields of enquiry, building on their previous education and interests, and develop cultural and environmental awareness in their work. The programmes allow the student to explore theoretical positions and a deep understanding of the subject matter while also offering them a platform to engage

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with some optional modules and activities. A highly passionate and experienced staff from different design and technical disciplines tailor these activities to compliment the students’ learning experience.

Moreover, the course offers the students the opportunity to be part of extra curricula activities in a collective studio culture, such as London Festival of Architecture, Fabrication Festival and Megacrit amongst many others, as well as an annual student Award for Outstanding Academic Achievement.

Up-to-date facilities are also provided, offering students an exposure to endless possibilities to explore including CNC fabrication, 3D printing, and the latest approaches to robotics. Students this year were actively involved in Live Projects, design and making. They also had the opportunity to work closely with MArch – RIBA Part 2 – students through lecture series and theory seminars. Students were also actively engaged with community projects and field studies in the context of London as well as internationally. This year due to the Covid-19 pandemic our international activities were confined to limited activities.

The following pages feature a small sample of the students’ work along with a short introduction by the Course leaders about the three Masters programmes and modules – all of which are inspired and supervised by dedicated scholars and dynamic students.

Dr Nasser Golzari Post Graduate Co-ordinator

MA Architecture | Research

Nasser Golzari (Course leader), Richard Difford, Maja Jovic, Krystallia Kamvasinou, Dirk Lellau, Samir Pandya, Yara Sharif, Filip Visnjic MA Architecture Students: Alia Althinayyan, Suraj Andhare, Fatima Hamadani, Shirin Azizi, Mansi Dixi, Salomeh Emani, Elena Evgenieva, Kamal Gundogdu, Merve Karatas, Iman keaik, Shubham Lohe, Sergiu Moscaliuc, Ina Nuzi,

Sirach Osei-bonsu, Anuja Panicker, Rabia Pirbai, Vaeria Rici, Omer Sabah, Vannasa Schenhdorf, Kawthar Sinaidi, Rana Soliman, Rahaf Subaidie, Prahabat Tripathi, Jiajun Zhao

THE ARCHITECTURE MA course offers a dynamic and unique programme on advanced postgraduate study combining a high level of design and theoretical investigation with innovative representational methods and critical approaches to contemporary discourses in subjects of design and theory. The programme is both wide ranging and flexible, facilitating alternative modes of study and creative methods in design, representation and research. The course team of academics and practitioners offers full skills and intellectual support for students to develop their own Thesis subject, concluding in a design or written thesis project.

The MA Architecture allows for specialism through its three pathways: Cultural Identity and Globalisation; Digital Media; and History and Theory. Alternatively, students can also create their own pathway by selecting and combining relevant modules that meet their individual requirements.

The range of optional and specialist modules offered allows students to develop their individual learning trajectories, involving design and theoretical components as well as practical applications.

Guest Lecturers & Critics: Abdullah Almurigeb, Vladimir Bojkovic, Alastair Blyth, Simon Cole, Alejandro Fabragat, Kate Jordan, Rim Kalsum, Charlotte Khatso, Jusik Lee, Rebecca Neil, Angelikie Sakallario, Mireille Tchapi, John Walter Imane Keaik & Ina Nuzi: Challenging Deep Pockets

Research | MA Interior Design

Lara Rettondini (Course Leader), Dusan Decermic (Deputy Course Leader), Tomasz Dancel-Fiszer, Matt Haycocks, Bruce Irwin, Maja Jovic, Joe King, Debby Kuypers, Lola Lozano Lara, Filip Visnjic MA Interior Design Students: Fernanda Albuquerque, Seyma Dilber, Brikena Haxhiu, Yuying Huang, Masuda Karim, Nevenka Krzelj, Zitong Liu, Marina Magalhaes Furlanetto, Mallyn Nelson-Homiah, Ngoc Nguyen, Cong Sun, Gopika Sunil, Yi Tong, Isha Tripathi, Adeline Waldron Pratt, Jiahui Yi, Yumeng Zhang

OUR INTERIOR DESIGN MA promotes a conceptual and speculative approach to the design of interior environments. In doing so, it places an emphasis on research that seeks to expand the boundaries of the discipline as well as challenge standardised processes and traditional methodologies. The programme affords multiple avenues of creative engagement, giving students

the opportunity to pursue their particular issues of interest in interior design, or specialist areas of three-dimensional design, through in-depth and focused studies under the guidance of research-active and industry-experienced staff. Over the years, the course has continued to grow and is now an internationally sought after Masters programme.

Guest critics: Alan Farlie (RFK Architects), Tom Piper (Artist), Jo Prosser (Royal Academy), Manuela Vibi (RFK Architects) 22

Isha Tripathi: 'Within and Beyond' flagship store

MSc Architecture & Environmental Design | Research

Rosa Schiano-Phan (course leader), Joana Goncalves, Benson Lau, Juan Vallejo, Mehrdad Borna, Amedeo Scofone, Kartikeya Rajput MSc Architecture & Environmental Design Full-time students: Alessandro Cirillo, Mary-Joe Deccache, Eleni Maragkaki, Lalaruk Sohail Part-time Yr 1 students: Diana Criollo Guaman, Liam Rollings

IN 2019/20 THE Architecture and Environmental Design MSc focused on the investigation of the environmental performance of work environments in London. Semester one case studies included offices of architectural and consultancy firms in the London Bridge area. This study led to the semester two design brief on ‘Work environments for London 2050’. Proposals for the complete re-imagination of the studied sites were offered by the students with attention to the climatic, social and economic sustainability of each project.

The course successfully continues the Collaborative Thesis Programme with industry and the BREEAM approved graduate course, while gaining learning affiliate status with the Energy Institute. These initiatives have led to joint publications and employment opportunities for our students.

Special thanks: Carine Berger, Scott Batty, Meital Ben Dayan (Architype), Christian Dimbleby (Architype), Negin Esmailzadehanjani, Noemi Futas, Julia Galves, Jon Goodbun, Catherine Harrington (Architype), Mina Hasman (SOM), Dean Hawkes, Mohataz Hossain, Shashank Jain (Studio 4215), Joao Matos Da Silva, Phil McIlwain (Westminster Council), Zoe Shattock (Elmbridge Building Control Ltd.), Minh Van Mary-Joe Deccache, Liam Rollings, Lalaruk Sohail: Tower Bridge Creative Business Incubator

INTERIOR ARCHITECTURE IS a distinct contextbased practice concerned with the re-reading, reusing and altering of an architectural shell. Whether at the scale of the city, a building or a room, the ‘interiorist’ always starts with something and within something. Thus, Interior Architecture is a creative practice concerned with re-imagining the present to anticipate future need, rather than simply preserving the past. This year we focused on ideas for the future, anticipating scenarios for the home and at university. Of course, none of us predicted what was about to come. Project sites this year included the University of Westminster’s own 29 Marylebone Road, the Ragged School Museum, Spitalfields Market, the Horniman Museum, and Hansard Mews in Shepherds Bush.

Extra-curricular activities are highly encouraged and this year we were as busy as always. With generous support from the Quintin Hogg Trust, in November forty third years students flew to Lisbon for a week; highlights of the visit included the Architecture Triennale and visiting a cork factory outside Evora. Second Year appreciated the freedoms of higher education following a Victorian classroom role play session at the Ragged School Museum and first year explored Peckham Levels and the Peckham Library. Regular guest lectures included: Jane Barnwell (Production Design UoW), Svenja Frahm (Mirror Design) on projection mapping, Adam Hills & Maria Speake (Retrouvius Reclamation & Design), Luke Jones (Mill & Jones), William Skeaping 24

(Extinction Rebellion) and Oliver Wilton (UCL) on the Cork House. That was before everything went into lockdown.

The course has been set up to have strong links to practice and a wide range of international design companies, including Professor Sadie Morgan (de Rijke Marsh Morgan Architects), Linzi Cassels (Perkins + Will), and Amaya Eastman (VOLA) who all contribute to the course by inviting students to in-office design crits, presenting their approach to careers at our Employers Events, and judging student awards. This year we introduced the ‘Employability Week’, a week-long event including visits to a wide range of practices, presentations, CV workshops and a ‘speed-dating’ mock interview afternoon. Thank you to all the contributing practices: Tony Sayers (Ant Architecture); Lucy Cahill, Molly McCloy & Jill Sowell (Bespoke Careers); Sheila Birungi & Rumen Rachev (CEC Creative Enterprise Centre); Ewald Van Der Straeten & George Bradley (Bradley Van Der Straeten); Lola Rasic (Foster + Partners); Massimo Tepedino & Marko Nescovic (Hawkins\Brown); Henning Stummel (Henning Stummel Architects); Stuart Templeton & Adam Lloyd Phillips (Gensler); Richard Gill (Paul Archer Design); Clay Thompson (Perkins + Will); Stephen Mackie (Sean and Stephen Architects); James Engel (Spaced Out); Inan Gokec (Studio Anares); Allan Sylvester (Ullmayer Sylvester Architects); and Ioana Iliesiu (Your Studio).

Ro Spankie Course Leader

BA INTERIOR ARCHITECTURE

BA Interior Architecture | Process

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MAKING AND EXPLORING are the foundation of Interior architecture. Here are some images of the extra curricula activities this year from the top left: 3rd Year BA Interior Architecture outside the MAAT – Museum of Art and Technology – in Lisbon; 1st

Year making models in the studio and taking a moment for photographs while on a site visit to Hansard Mews; 2nd Year making sushi models; 3rd Year write ‘BAIA’ on the beach; and 2nd and 3rd year discuss the outcomes of the ‘Domestic Futures 2069’ collaborative workshop.

BA Interior Architecture | First Year

Sue Phillips (Year Leader), Yota Adilenidou, Inan Gokcek, Matt Haycocks Dr Yota Adilenidou is an architect and holds a Ph.D. by Architectural Design from The Bartlett, UCL. She is Director of Arch-hives Ltd., a practice that focuses on the research of computational methodologies and digital fabrication for the activation of matter and form.

Inan Gokcek is an interior and architectural designer running Studio Anares. Inan is also a collector of cultural artefacts which he upcycles and uses in his various architecture and interior design projects. Matt Haycocks is Senior Lecturer, and a designer and maker. His research concerns domestic and family photography, the historicisation of public space and the politics of place-making and branding. Sue Phillips is an architect and Visiting Lecturer. Teaching for over 20 years, she aims to empower students to understand their own learning processes. Sue has worked in social and economic development in Africa and makes videos and sculpture.

YEAR 1: Design Fundamentals & Strategies Students: Jana Abdalla, Nargese Abdulghafar, Nasreen Aideed, Tatiana Akhmetova, Passawit Anannutthapong, Jody Atkinson, Laura Aylen, Rabab Bilal, Alison Carrillo Culqui, Samantha Castrillo, Evie Catto, Rahul Chaudhary, Izabela Chera, Salome Cheriha, Carla Chisari, Sema Dag, Mariah Dechavez, Lei Feng, Daniela Galhardo, Daniella Hakim, Amber Harvey, Mahdis Hosseini, Rwzhan Kader, Nikol Kaso, Fatima Khan, Beritan

Kilic, Julia Knapek, Wiktoria Kulesza, Erica Li, Shuzhou Lin, Jade Litchfield, Angelica Miranda Valdiviezo, Niusha Mobasheri, Sarah Mohammad, Osbo Mohamud, Laeticia Ngassa, Loren Pacarada, Trevena Reade, Mishaal Shamriz, Danil Sidnenko, Naira Sobrevilla Quiton, Daria Szablewska, Dilani Thevathas, Asya Tirak, Yaren Topal, Iulia Tutomir, Aldiar Tuyakbay, Joanne Ursini, Mara Von Kymmel, Dandan Zhou

IN FIRST YEAR students on the BA Interior Architecture course are introduced to underlying concepts and principles associated with the discipline, and learn fundamental processes, skills and techniques relevant to conceive, develop, resolve and communicate spatial design proposals. They are also introduced to the use of graphic design, CAD and 3D-modelling software as well as Cultural Context, Technical Studies and the Faculty’s Fabrication Lab.

The students were then set a design task to create a transformable micro-architecture in the Gallery Square space to address the needs and aspirations of the workers and visitors to the museum – we called it Museum-tecture!

In the first semester students are set a range of assignments and short projects: a light-box study, to investigate qualities of light and scale through photography and drawing; and group research on existing built projects to understand intent and representation. Building on these skills they are then asked to design their first piece of interior architecture. This year, working in teams, students surveyed and modelled part of the Horniman Museum in Forest Hill.

With thanks to: The Horniman Museum 28

In the second semester, students individually re-ordered the interiors of Hansard Mews properties for an increasingly urgent programme of specialised repair, repurposing, up-cycling or recycling of ‘stuff ’, considering also issues of waste, existing buildings and lifestyles.

The Shepherds Bush location, burdened by consumer waste but strong in community potential, fuelled students’ site and context investigations. While developing an understanding of re-making and reuse practices and ecological design, they iteratively investigated materials and techniques with an equally utopian eye.

Peer-Assisted Learning Assistants: Trixie Bedwei-Majdoub, Gigi Ivanova, Amy Lee, Arch Rajaratnam, Aba Reyad, Wes Stone (top) Alison Carillo Culqui: From Cradle to Here; (bottom) Fatima Khan: Lighting models, Makers’ Mews

BA Interior Architecture | First Year

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(top) Fatima Khan: Timber Recycling Showroom; (bottom) Jade Litchfield: Repair and Make Good Society

(top and bottom left) Danil Sidnenko: Coffee and Soap; (top right) Julia Knapek: RWP Ceramics; (bottom right) Nuisha Mobasheri: Bright Cubic House

BA Interior Architecture | First Year

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(top) Nikol Kaso: Outside In; (bottom) Amber Harvey: Cocoon

(top) Laura Alyen: The Old Stage Shop; (bottom) Daniela Gahardo: Sketches, Makers’ Mews

BA Interior Architecture | Second Year

Chloe Van der Kindere (Year Leader), Alessandro Ayusso, Tania Lopez-Winkler, Fiona Zisch Dr Alessandro Ayusso is Senior Lecturer whose studio-based practice and research focus on the intersection of representation, architecture and the body. Dr Tania Lopez-Winkler is an award-winning artist and architect based in London. Her work explores the alter-ego as a means to enquire about different aspects of modernity. Chloe Van der Kindere is Senior Lecturer coming from architectural practice specialising in residential projects. She explores how memory and perception influence domestic place-making. Dr Fiona Zisch works across architecture and neuroscience. Her research uses 3D scanning, biosensing, and immersive VR technologies.

YEAR 2: Culture and Alteration, Material and Detail Students: Maria Abon, Halima Ahmed. Ebunayoola Alao, Dana Al-Mohamadi, Mariam Ashraf, Ainul Azizi, Franchesca Balones, Nafesaa Banaras, Eugene Ben-Oluwole, Victoria Berry, Mina Billung, Tiffany Butler, Pui Lam Chang, Lauren Clarke, Feyyaz Duman, Tasnim El-Halimi, Naiat Elkilabi, Xinyong Fang, Alexandra Filip-Anghelescu, Matheus Gomes Diniz, Ana Guleaev, Guz Guven, Khushboo Halai, Aleefa Haque, Zhiqing He, Monica Kayila, Kwan Yin Lam, Tahir Mangarah, David Mante, Megi Mukja, Vanita Narwani,

Noor Nasaruddin, Zoe Onatoye, Sandra Opara, Rim Otmani, Kalina Petrova, Darrell Sackey, Bisma Shah, Hannah Smith, Katherine Stewart, Paulina Swarovski, Rhys Taylor, Cristina Teodoro, Mika Thomson, Terezia Torousova, Ka Ming Tsoi, Zeynep Uzun, Karan Vadgama, Vernel Verzo, Thiviyanthini Vimalachandran, Gabriella Wells, Zhengyao Xu, Burdzhu Yaman, Yunuo Zheng, Jiaxing Zhu

THIS YEAR, OUR interior students went on a journey exploring pursuits of projection and speculation. We considered the world through a cinematic lens, abstracted our scripted characters and speculated on the settings we would inhabit in alternate scenarios.

making and collage. We then set the stage and designed spaces for them to inhabit together within the Victorian market buildings.

We started the first semester working with the thirdyear cohort, investigating the future of our domestic spaces. Together we studied production design and created sets for short films, contemplating how our simple domestic activities would have developed by 2069.

Continuing with the cinematic theme, we began our design project set in Spitalfields Market, London and envisioned how two established film characters would inhabit this bustling setting. We abstracted the personas to enable us to interpret their relationship spatially through model-

Guest Critics: Ava Aghakouchak, Jowin Foo, Saria Ghaziri, Ed Hancock, Olga Smoili, Shaden Meer, Dalia Todary-Michael, Anastasia Tsamitrou 34

The second semester focused on a speculation about alternate scenarios by redesigning The Ragged School Museum in Mile End, London. Radical scenarios needed to be investigated and researched to discern which skills would be required to live in this alternate environment. Through this exercise in extreme imagination we were able to uncover aspects of our own habits and culture, and reflect on our contemporary choices and inhabitation.

In parallel with this, we studied a variety of materials, constructions and structures to establish relevant materials to use in our design. This was developed through a study of atmospheres, inhabitations and technical detailing.

Special Thanks: Erica Davies and the rest of the staff at The Ragged School Museum, Lauriane Hewes and Laura Snape.

Karan Vadgama: The Cult of the Eternal Fire

BA Interior Architecture | Second Year

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(top left) Kwan Yin Lam: Gramaphone Music School; (top right) Zhiqing He: The Tofu Lab; (bottom) Terezia Torousova: Reef Interiors

(top) Zhiqing He: The Tofu Lab; (bottom) Vanita Narwani: Beethoven Boarding School

BA Interior Architecture | Second Year

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(top) Zoe Onatoye: The Story of Litter Fishing ; (bottom) Katherine Stewart: Blending Etiquette

(top) Mika Thomson: Mush Sun; (middle) Dana Al Mohamadi: Water Studio – Light Studies; (bottom) Ana Guleaev: Green Lab – Light Studies

BA Interior Architecture | Third Year

Diony Kypraiou (Year Leader), Ana Araujo, Ro Spankie, Allan Sylvester, Sam Aitkenhead, Fiona Zisch Sam Aitkenhead is a designer and maker working across architecture, interiors, graphics and product design. His work explores ways to reduce environmental impact through design and material innovation. Dr Ana Araujo is an architect, teacher and researcher. She has taught in architecture schools in Brazil and the UK. Her interests and expertise are around modern and contemporary design, with a special focus on gender studies, postcolonialism and psychoanalysis. Diony Kypraiou is an architect and researcher. Her work explores practices of polyvocalism and performativity in design and writing, and she is interested in analogies staged across theatre, psychoanalysis, interiors and architecture. Dr Ro Spankie is fascinated by the role of the drawing in the design process, and has exhibited and published work related to the interior both in the UK and abroad. She is Associate Editor of the journal, Interiors: Design/Architecture/Culture and is a founder member of Interior Educators. Allan Sylvester is Visiting Lecturer, a practicing architect, and founding partner of Ullmayer Sylvester Architects, a design-led multidisciplinary collaborative practice.

YEAR 3: Spatial Narratives & Thesis Project Students: Kiymet Aksu, Bahyah Alhareri, Mona Alqumairi, Arthur Bama, Duarte Barosa Santos, Kevin Chellakudam, Limin Chen, Daisy Day, Marie De Haan, Noelia Del Rio Sanchez, Alendita Fanaj, Alison Fung, Jessica Gower, Anna Gregory, Aisha Hassan, Gemma Hopkins, Xinyu Jiang, Ailar Kalami, Amir Kamali, Ivelina Kapandzhieva, Mitra Karimaghaei,

Thugitha Kugathasan, Ludovica Lillo, Jaime Llavona, Aisha Malik, Sharitha McNeil, Hazel Omukoko, Anoushka Pacquette, Khuzaymah Pathan, Anna Perfileva, Rana Refahi, Jack Ruedisueli, Luanne Santana, Li Saw, Orkidea Shala, Rajvinder Singh, Fynla Stallybrass, Gurrajsukh Talwar, Carina Tirnavean, Milena Tosic, Samiya Zafar.

THIS YEAR STUDENTS deployed the Design of Future Scenarios as an anticipatory tool to creatively and critically prepare for, and respond to, some of the great challenges of our times.

The Thesis Project is the main pursuit for Year 3 students. Each student is asked to identify a host building located in London and devise a programme based on their analysis and personal design interests. They pursued these ideas through an array of techniques, including material testing and experimentation, 3D scanning, projection mapping and animation. The diversity of schemes and depth of speculation is indicated by a sampling of project descriptions and locations: House of Chronicles – a bookstore forefront for a new Occult in disguise; Reimagining Electric Brixton – the future of the night scene in a 24-hour multipurpose club; House of god – a strip club towards the liberation of women; Alive Inside – a performance and dance centre for the elderly; Ravensbourne River-side – a local wildlife discovery centre, otter sanctuary and a mycelium facility in Lewisham; The Bell Jar – a wellbeing youth hub in Clerkenwell; Medical Revival – a centre for repurposing medical waste; SmartRoom – a clothing and sustainability centre for the future of retail design.

Guided by practitioners and experts from cinematography, production and set design, and in collaboration with second year students on the Domestic Future(s) Workshop, the group speculated, staged and animated rituals of our future lives.

The term advanced to consider the future of education as informed by implications of digitalisation, technological revolution, human intelligence and their representations in fiction. Speculating on the form and role of the University of the Future, the group concluded with the design of Future Incubator(s); spatial metaphors that simulate future learning as a multidisciplinary, interactive, and customisable experience, staged upon the emerging interiors of 29 Marylebone Road, London, in the year 2069.

Guest Critics: Abdi Ai (Ruimte Design), James Barret (Inside Out), Willem de Bruijn, Ana Diez Lopez (Heatherwick Studio), Francis Field, Tom Herr (David Chipperfield Architects), Jack Hoe (Inside Out), Mehdi Jelokhani (Perkins + Will), Jonas Lencer (drmm Ltd), Adam Phillips (Gensler), Rodolfo Rodriguez, Helene Solvay-Johnson, James Stroud (Loyn + Co Architects), Clay Thomson (Perkins + Will) 40

Special Thanks: Malcolm Kirkup (Pro Vice-Chancellor), Chris Meloy (Campus Services Manager), John Whitmore (Front of House Team), David Scott (Fabrication Lab director) and the rest of the Fabrication Lab team.

Aisha Hassan: Ghost – (top) Concept collage; (bottom) Long section

BA Interior Architecture | Third Year

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Thugitha Kugathasan: Revival Barracks – (top) Sleeping island; (bottom) Socialising island

)

Daisy Day: Ravensbourne Riverside – (top) Exterior view of mycelium wall panels & Interior sleeper panels; (bottom) Sections

BA Interior Architecture | Third Year

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Bahyah Alhareri: Arab Film Institute – (top) Visitor’s storyboard; (bottom) Framing perspective & Long section

(top) LiHui Saw: House of Chronicles – section with stained glass petitions; (bottom) LiHui Saw: New Occult member’s bookshop & Witchcraft supply room

BA Interior Architecture | Third Year

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)Fynla Stallybrass: Electric Brixton – (top) Plaster cast concept models; (bottom) Atmospheric night section

(top) Gemma Hopkins: House of God, Section; (bottom) Gemma Hopkins: Act II Project

BSC ARCHITECTURAL TECHNOLOGY combines specialisms in the technological, environmental, material and detailing decisions necessary to solve architectural design problems, from conception to completion. It requires complex understanding of design processes, architectural composition, development, construction technology and management tools, and the effective communication of design information.

In the Architectural Technology studio this year, our 1st Year students experienced a dedicated studio to collaborate in their exploration of Design Principles with a domestic dwelling house at a site linked to our Harrow campus, understanding the synthesis between site analysis and environmental design considerations; 2nd Year students explored interactions between the climate, topography, and social and political economy on the site that shaped the dynamic landscape of the river Thames at Woolwich (Royal Arsenal); and 3rd Year students transformed an existing leisure facility in Bermondsey, with a focus on demountable construction.

Research Initial research is key in both semester one and two, in order to understand any constraints that might follow from the site, building use, and client. In semester two, technical aspects of the progressive design are investigated, including construction materials and structural considerations. Architectural and technical precedents are gathered – an analysis of existing

buildings and technologies relevant to the design project is a vital part of the design process for our students.

Development With a clear understanding of the design task following from the research phase, students go on to develop individual designs and/or technical solutions. Sketches, models, 3D visualisations and BIM models are produced in order to progress ideas and as an aid to weekly discussions with lecturers, visiting architectural technologists, architects and other students.

Realisation Architectural design and construction are collaborative endeavours, even more so as new technologies are introduced and respond to the greater energy efficiency demanded by building requirements and the complexities associated with this. For this, communication, particularly visual communication, is of the utmost importance and students must graduate with the ability to sketch ideas and concepts, construct physical and digital models, and produce technical drawings and specifications.

We have acknowledged and embraced the challenges of collaboration while under the constraints of remote learning and development this year. The outstanding contribution of the architectural technology students and teaching team are testament to the adaptability of our professional skills and explorative mindset.

Tabatha Mills Course Leader

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BSc ARCHITECTURAL TECHNOLOGY

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2ND YEAR ARCHITECTURAL TECHNOLOGY students took a five-day trip to Scotland in March, thanks to QHT funding. Using Edinburgh as a base, they explored Glasgow and Dundee too.

Numerous sites were experienced, including Glasgow Cathedral, Glasgow Necropolis, St Mungo Museum of Religious Life and Art, the Riverside Museum and Glasgow Science Centre. The places visited held great value for students of Architectural Technology from magnificent thirteenth-century gothic architecture and ornate details to the melted asphalt on the roof of Glasgow Science Centre; each offered real life case studies of architectural brilliance, but also mishaps and consequences of

inadequate design, highlighting how important good architectural detailing is. The Riverside Museum designed

by Zaha Hadid was a highlight of the trip, holding valuable information about the city. The day trip to Dundee saw students explore the city and visit the V&A Dundee. In Edinburgh, the group visited the Scottish Parliament and Edinburgh Castle.

Students found useful links to their design projects including a 165-year-old camera obscura in one of the museums which resonated with one of the students’ project briefs; others gained valuable insight into structural design in geothermal piling at the V&A Dundee which directly informed their own designs, with models being created and tested back in London.

BSc Architectural Technology | Second Year

Tumpa Fellows, Eleni Han, Hocine Bougdah & Adam Thwaites Tumpa Fellows is a chartered architect with ten years’ experience working in large firms before co-founding her own practice. Her research focuses on architectural responses to the changing climate, landscape and social practices. She received RIBA President’s Award, 2019 (commendation).

Eleni Han is an architectural designer, an educator and researcher on architecture, art and curation with a particular interest in space as a state as well as a construct. She is currently a PhD researcher in architecture and photography.

Hocine Bougdah runs a design/consultancy practice alongside his academic role. His research interests cover topics including sustainable design, innovative low-tech/low-energy buildings, spatial experience of users and issues of culture, urbanisation and globalisation.

Adam Thwaites is Senior Lecturer and a passionate advocate of Architectural Technology as a distinct profession. His current research interests include the use of CLT construction in medium- to high-rise buildings; and using vegetation to mitigate air pollution in cities.

YEAR 2: Changing Climate – Changing Landscape Students: Hannah Clarke, Regina Dadiala, Jack Deboo, Thomas Diduca, Aleks Dimov, Kornelia Dobien, Hasan Farah, Chantel Forrester, Dhanali Gosalia, Muhammad Haji Sulaini, Rhys Harris, Yassin Hamam, Gus Hodge, Samuel Hodges, Muhammad Islam, Darsh Mangukiya, Thomas Mcginnity, Christopher Mejia, Katie Munday, Hamza Muridi, Rafna Muslim,

Jaswinder Nandhra, Maianh Nguyen, William Nicholls, Amy O’Donnell, Samuel Quainoo, Jorge Reyes Salinas, Norah S N Alhamdan, Tarek Sankari Tarabishi, Asad Sethi, Zainab Shahid, Ahmed Sharaf, Luka Stojanovski,Tanvir Syed Mohammad, Fariba Taherkhani, Arsalna Usmani, Arcangela Varela Tavares, Syed Hussain, Amira Shalaby, Muzzammil Jiwabhai

THIS YEAR WE set out to explore the role a designer can play in addressing the climate emergency, and how design can address issues of social inequality within affected communities. While maintaining a particular focus on ecology, students were encouraged to be explorative and investigate design which considers collective (human and non-human) environments, landscapes, architectural responses, and architectural technology.

land, water, weather, climate and human and non-human habitations.

We began by exploring the interactions between climate, topography, and social and political economy that shaped the dynamic landscape of our chosen site at Royal Arsenal, Woolwich. The studio’s agenda has been to investigate the given site and to look beyond what is visible; to observe the ‘unseen’ and understand the character, quality and conditions of the site.

The students designed and fabricated a physical device, responded to the site and the constraints of materials and technology. The proposals are embedded within the neighbourhood and the community, forming an integral part of everyday life, and beautifying and activating a public space. Students’ site-specific devices have been used in discussions with the local communities, understanding their neighbourhoods and the issues they face, and as a tool to engage with the site’s context. These interactive methods have informed the final building proposals that respond to the environmental, ecological and social aspects of the site.

Through a series of inventive and imaginative design projects, the students used models and drawings at a range of scales to investigate their design interventions. This challenged them to create designs which interact with the

The design principles developed through the mapping of the site and the ‘designing by making’ exercises constituted the starting point for the final project of the year, to design a civic space for Royal Arsenal, incorporating an architectural landscape and spatial form for the community.

Guest Critics: Angeliki Sakellariou, Harshavardhan Bhat, Paolo Cascone 52

Norah Alhamdan: Woolwich War Museum – (top left) Sketch of new stair; (top right) 3D digital model; (bottom) Section

BSc Architectural Technology | Second Year

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(top) Thomas McGinnity: Final site mapping ; (bottom) Arsalna Usmani: Model

(top left) Will Nicholls: NuMarsh Centre internal perspective; (top right) Will Nicholls: Plant irrigation device model;(bottom) Thomas McGinnity: Scheme renders

BSc Architectural Technology | Third Year

Adam Thwaites, Tabatha Mills, Alice Odeke & Paul Smith Adam Thwaites is a passionate advocate of Architectural Technology as a distinct profession. Adam is Senior Lecturer and worked for a series of small architectural practices prior to moving into education. His research interests include the use of CLT timber in medium- and high-rise building construction; using vegetation to mitigate air pollution in cities; and energy efficient and sustainable construction methods.

Tabatha Mills is Senior Lecturer and Course Leader at Westminster where she has taught for 12 years. With 18 years’ industry experience as a practicing Architectural Technologist, she established her own studio in 2005. Her research focuses on design and technical solutions for self-building, community housing, and timber construction in medium- and high-rise as part of the KnoWood Erasmus+ project.

YEAR 3: The Arch Climbing Wall Students: Aybek Altay, Amelia Bond, Angela Brown, Desie Dan-Okoro, Kornelia Dobien, Oliver Greenlees, Syed Hussain, Dileep Manku, Julia Naploszek, Ivy Ndagire, Joseph Neumann, Sandi Nurpeissova,

Sanjida Nurul, James Park, Orville Phillips, Mahfuzur Rahman, George Smith, Jasmine Smith, Matthew Swift

3RD YEAR PROJECTS are divided into two parts: part one/semester one mirrors the process through which Planning Approval is gained, following the process from project conception to general arrangement planning drawings and visualisations. Part two/semester two concerns the technical production of a project, encompassing structural considerations, construction technology, and the production of construction drawings, details and specification.

significant expansion of a bouldering/climbing leisure facility on an existing site in Bermondsey, London, where part of the existing 15000 sq.ft. structure had to remain. Another constraint – or opportunity – was for the design to facilitate the possible future use of this building.

The Clients’ ethos emphasises sustainable best practice, energy efficiency and the need to include elements within the building to mitigate against the poor air quality in its central London location.

For this year’s final brief, the design project was set by a real Client, The Arch Climbing Wall Ltd. Third year students were asked to put forward proposals for the

These added parameters lead to an interesting range of designs; with ‘demountable’ or temporary structures, and alternative uses for the large commercial space.

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) James Park: 3D south-east elevation

BSc Architectural Technology | Third Year

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(top left) James Park: Roof parapet detail ; (top right) Amelia Bond: 3D structural skeleton; (bottom) Jasmine Smith: Details :

(top right) Desie Dan Okoro: Aerial view ; (middle and bottom) George Smith: Sketches and elevation :

BSc Architectural Technology | Third Year

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(top, clockwise from top left) Orville Phillips: Details of valley gutter, render, and section ; (bottom left) Sandi Nurpeissova: 3D view :

(top) Orville Phillips: Perspective ; (bottom) Sandi Nurpeissova: Section :

DESIGNING CITIES IS an integrated course bringing together knowledge about the city, its architecture and urban planning, to design more sustainable places and futures in both local and international contexts.

The course addresses the challenge of building sustainable cities by training a new generation of experts capable of facing the complexity of cities to understand the forces that shape them and to provide innovative and creative solutions for their urgent problems, including climate change and increasing social inequalities. We are committed to deliver, in our teaching and research, the UN Sustainable Development Goals, and in particular Goal no.11: ‘To make cities and human settlements inclusive, safe, resilient and sustainable’; and Goal no.13: ‘Take urgent action to combat climate change and its impacts’.

The course leaders, Dr Giulio Verdini and Dr Roudaina Al Khani, have been members of the UN-HABITAT Initiative, ‘Planners for Climate Actions’, since 2019. These themes are addressed throughout the Designing Cities course through various modules developed with an emphasis on sustainability and climate concerns, such as ‘Sustainability and Environment’, and ‘Research Report’. Year 2 also includes a ‘Climate Change Studio’, working in the very different climate contexts of UK and Morocco.

We promote a project-based and crossdisciplinary learning approach, revolving around two complementary strands: Urbanism, and City

By Design. Students are exposed to a diverse range of expertise from architects, planners, urban designers and economists, and by engaging with practitioners, policymakers and communities, with many tutors working at the interface of academia and industry.

We promote a truly international experience, and every year we explore different parts of the world where urban planning and design are influenced by different cultural, institutional, economic and social issues. Students have received support to travel for fieldtrips and visits to Italy (2017), China (2018) and, for the last two years, Morocco.

We support our students in their learning journey and self-development, enabling them to work in a changing market. We are proud that our students have secured internships in renowned international firms including Aecom, Arup, Farrells, Gillespies and HTA Design, and we are just launching a series of ‘Industry Projects’ to reflect upon the impact of COVID-19 in our cities, neighbourhood and work places. The course is accredited by the Royal Town Planning Institute (RTPI) as meeting the requirements for the spatial planning element of initial planning education.

Giulio Verdini & Roudaina Al Khani Course Leaders

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BA DESIGNING CITIES

BA Designing Cities | Process

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DESIGNING CITIES IS a journey through places, cultures and innovative ideas, aiming at the creation of sustainable urban futures around the world explored in the classroom and on the ground.

During 2019/20, students visited Marrakesh and Casablanca during their international fieldtrip to Morocco in March, and discussed the issues of urban environments with London-based urban planning and design firms between examining them on the ground.

BA Designing Cities | Second Year

Giulio Verdini & Corinna Dean Giulio Verdini is Reader in Planning and Course Leader of the BA Designing Cities. He is also Visiting Professor at Mohammed VI Polytechnic University (UM6P) in Ben Guerir, Morocco.

Corinna Dean runs the Archive for Rural Contemporary Architecture and is a member of the Expanded Territories research group. Her recent work investigated the ecology of the Isle of Sheppey and its retreating shoreline, a result of historical practices of extraction and cement making. She has exhibited widely and published on the topic of cultural regeneration in the UK and India. She is author of Slacklands 1 & 2.

YEAR 2: Regeneration and Development: Designing in super wet and super dry contexts Students: Kasem Abbas, Leen Bafakih, Ciara Clapp, Giorgiana Fagaras, Anita Feleki, Alicia Privett, Saleem Samuda, Daniel Sefton, Hamza Sohail, Zakir Uddin, Luka Zumbach

THE DESIGN STUDIO focused on two different geographic, socio-economic and climatic contexts, one which centred around the studio field trip to Ben Guerir, Morocco, and the other to London’s Lea Valley. These two distinctive case studies provided analytical evidence to inform debates around the wider urban and regional contexts and the current use of waterways.

In creating resilient urban strategies for these areas, students focused on the environmental history of the place, narratives around water, and the current environmental/ climatic challenges, alongside the social divisions associated with presence or lack of water. Precedents of designing in super wet and super dry contexts were gathered in order to provide scenarios to develop the individual proposals in the second part of the semester. The studio centred their design analysis and production around social and cultural dimensions of water and hydro-citizenship, river governance and contested visions, as well as interstitial

Guest Critics: Salwa Aomor and Khaoula Benaomar (architects and lecturers at UM6P), Marcus Lee (architect at Nordic Architecture) 66

spaces between land and water to provide creative and inclusive urban and architectural responses to local climatic conditions.

The case study in London is located between the Upper Lea Valley Opportunity Area and the Olympic Legacy area. It is an area where the existing appetite for development is threatening local environmental resources, such as the Leyton Marshes. Advocacy for a more sustainable use of waterways and the surrounding areas has been made by activists of the civil society.

The case study in Ben Guerir in Morocco is located between the new Green and Smart City in the south (Ville Verte) and the existing town in the north, where informal settlements are located. The area, which is crossed by a creek, is today underused, but it could provide an opportunity for sustainable regeneration and reconnection for the entire town.

Special Thanks: Prof Hassan Radoine (Director of the School of Architecture, Planning and Design at Mohammed VI Polytechnic University) for his support in our collaborative project.

) Saleem Samuda: Map of Ben Guerir, Morocco, with pictures of the old town, the creek and the new university campus

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(top left) Luka Zumbach: Tiny communities: Shelters for homeless people; (bottom left) Daniel Sefton: The birdwatcher’s hide; (right) Saleem Samuda: Lea Valley site photos & water analysis map

(left) Saleem Samuda: Nature’s Curtain: Non-invasive nature observation centre and bird hide; (right) Alicia Privett: Lee Valley flood and land use maps

BA Designing Cities | Third Year

David Mathewson, Elisa Engel, Andrew Boughton & Kon Kim David Mathewson is MA Urban Design Course Leader. He has more than 20 years’ urban design and architecture practice having worked as a senior designer at SOM, AECOM and PLP Architecture on large-scale masterplans in Africa, the Middle East, China and Brazil. Elisa Engel is an architect who has worked on community-based, participatory planning-focused projects, particularly of schools, in Swaziland, Botswana and the UK. She co-founded Citizen Architects and currently teaches at Westminster, Base Habitat, and Liz University of Art, Austria. Andrew Boughton, is Lecturer in Urban & Regional Planning. He is an experienced urban planner and architect, as well as the Director of Boughton Associates planning consultants. Kon Kim is an architect and urban planner. He has worked on research projects with the National Architecture & Urban Research Institute (AURI) in South Korea and, in 2019, was appointed overseas researcher on urban regeneration policy by the Seoul Metropolitan Government. He is studying for a PhD in Urban Studies at University of Westminster.

YEAR 3: Re-Designing the Old Kent Road Students: Jamie Alley, Hyacinth Cabiles, Canyon Coleman-McDowall, Michal Godlewski, Halime Kamber, Perry Knight, ‘Anthony’ Ming Lim,

Janina Mamede Graça, Elina Mieme, Giovanni Mule, Xhanluka Sulejmani, Jenny Ting, Ceren Ulger, Yue Wu

THIS YEAR’S PROJECT is set in Southwark, one of the GLA’s Opportunity Areas, on the south bank of the Thames. Dating back more than 2,000 years to preRoman times, the thoroughfare that linked London to the south-east of England was used by the Celts and, later, the Anglo-Saxons who called it the ‘Old Kent Road’ or Watling Street.

The area is now the focus of much development speculation due to the large landholdings, high real estate values and the presence of redundant industrial sites. The Bakerloo Line extension along the length of Old Kent Road will further increase the reach of the area. Responding to these development pressures, the GLA established the Old Kent Road Opportunity Area, followed by Southwark’s Area Action Plan. Covering over 114 ha and providing up to 10,000 new jobs with 20,000 new homes, (7,000 affordable tenure), it will become the capital’s latest high density cluster with a number of tall buildings.

Until the nineteenth century, the road was fundamentally rural in character, but this began to change with the industrial development of several adjacent landholdings, including the Metropolitan Gas Works, the old Surrey Canal of 1811, leather tanneries and a soap processing plant. In 1845 the Bricklayers Arms goods station opened and the area developed rapidly to become one of Europe’s highest urban densities (up to 280 inhabitants per acre).

The area experienced rapid transformation during the preand post-war periods due to large-scale slum clearances and bombing, resulting in the development of some of the largest social housing estates in Europe. Industrial and warehouse development continued in subsequent decades, including big-box retail facilities from the 1980s.

Guest Critics: Roudaina Al Khani, Arun Baybars (associate director at Child Graddon Lewis Architects), Bill Erickson, Mireille Tchapi, Colin Wilson (Head of Regeneration for the Old Kent Road opportunity area) 70

In Term 1 the students worked in groups to undertake highlevel urban design and contextual spatial, demographic and socio-economic analysis while proposing strategic plans for large scale development parcels within the opportunity area. During Term 2 they split up to work on smaller sites in order to develop individual architectural development proposals for housing schemes, mixed-use developments or social infrastructure projects such as schools, along with comprehensive public realm design strategies while incorporating affordable housing, employment uses, and aiming to avoid community dislocation and gentrification.

Special Thanks: The London Borough of Southwark and the Mayor of London for their input into the studio project. To Ioana Ungureanu, MArch student, for her help with crits, teaching & facilitating workshops.

Yue Wu

BA Designing Cities | Third Year

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) Yue Wu

Jenny Ting

BA Designing Cities | Third Year

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) Hyacinth Cabiles

Elina Mieme

THE ACADEMIC YEAR of 2019/20 has been a challenging year for both staff and students, and collectively the team of dedicated design studio, cultural context and technical environmental design tutors have achieved excellence under the impact of the pandemic. Both staff and students have adapted well to the challenge of working from home and online teaching has been successfully delivered in the second semester.

Shared with BA Architecture Year 1, the BSc AED Yr1 students benefitted from the rich design studio culture and flourished under the guidance of experienced design tutors. The design project site chosen for both Year 2 and Year 3 is Hackney Wick, a site with rich industrial history and characterful buildings ranging from old warehouses to new built residential and office buildings. Both Yr2 and Yr3 students conducted extensive historical, contextual and environmental studies of the context and the Yr2 students focused their design projects on a particular site – 9 Queens Yard, undertaking four back-to-back thematic design projects to explore the spatial poetics and environmental delight of this warehouse building with the aim to transform this building to adapt to the future spatial and climatic challenges.

This year, the BSc AED course will have its first graduating cohort and a good number of well-designed thesis projects were produced by the final year students. All Yr3 students worked together as a group to conduct in depth historical, cultural, social and site microclimate analysis of a number of specific sites in Hackney Wick. They then individually chose a particular site which suited their individual thesis project which, supported by the Cultural Context module, helped students to set the architectural, environmental and theoretical grounding for their thesis projects. As part of the final thesis project, the Prototype Fabrication and Testing module delivered in the second semester required students to identify and develop a particular building component or façade design in detail. Special thanks to the Professional Studies and the Work Placement Team for their joint efforts in organising the Placement Scheme for our final year students.

The course was granted RIBA Part 1 Candidate Status in March 2019 following the visit of the RIBA Exploratory Board. The University is confident of gaining full validation from the RIBA in 2020 following the graduation of its first cohort. At this point all students who have successfully completed the course will be awarded a RIBA (Part 1) validated qualification required for Professional Registration.

Benson Lau Course Leader

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BSc ARCHITECTURE & ENVIRONMENTAL DESIGN

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THROUGH THREE KEY teaching focuses: Sensing the Environment in year 1; Transformation and Application in year 2; and Stepping Out and Making in year 3, students acquire architectural design, observation

and drawing skills by engaging in design projects and field trips. Spatial poetics and environmental delight were explored and tested by adopting an EvidenceInformed Design Approach.

BSc Environmental & Architectural Design | Second Year

Stefania Boccaletti, Mehrdad Borna, Paolo Cascone, Mohataz Hossain, Benson Lau, Rosa Schiano-Phan Stefania Boccaletti studied, practised, and taught Architecture in Italy, Canada and England. Throughout her carrier as a practitioner and academic, she has developed an interest in the impact of digital tools on the design and fabrication process in the field of architecture.

Mehrdad Borna has over 15 years’ architecture, sustainability and environmental design experience in professional practice and higher education. In addition to teaching, Mehrdad consults to the private and public sector on air quality and environmental design-related projects. Mohataz Hossain is an architect, educator and researcher in the field of integrated environmental design, digital technology and energy-efficient architecture with a special focus on users’ comfort, health and well-being. Rosa Schiano-Phan is an architect, consultant and academic who has worked in environmental design consultancy and research for the past 20 years. She coordinated numerous interdisciplinary EU-funded research projects at Nottingham University and is the co-author of The Architecture of Natural Cooling (2019).

YEAR 2: Spatial Poetics and Human Comfort in the Age of Climate Change Students: Genis Abdili, Nauman Asif, Armend Bajraktari, Preet Bansal, Cristiano Bizdani, Azoulas Compy, Dea Dalipi, Bahar Hekmat, Valentin Hirstov, Pantea Javdan, Deniece John, Afnan Merza, Maya Mira, Atyia Moore,

Carlos Neto, Yusuf Rahman, Rupinder Ryait, Viktorija Silkina, Anne-Flore Smits, Aruhzan Turganova

BASED ON CONCEPTS of transformation and application, second year students developed skills to incorporate both intuitive and evidence-based tools in their design. An evidence-based approach provided students with tools to implement environmental design principles on top of which they could playfully develop their design proposals.

Brief 3 and 4 looked at the effects of climate change on the performance of existing buildings, in particular on the historic chocolate factory at Queen’s Yard. Based on the climate predictions for London in 2050, students developed performance-based designs to retrofit the former chocolate factory to make it resilient to the new challenging climatic conditions.

Four briefs introduced students to gradually more complex scenarios and allowed them to familiarise and eventually master new digital and analogue tools to understand, simulate, and immerse themselves in the urban and environmental context with analytical precision. The data underpinning these exercises constituted the basis for the development of their design proposals.

Technical and Environmental Studies

All briefs focused on one site: Hackney Wick.

With the first brief students were asked to analyse Hackney Wick and communicate both its urban character and environmental data, such as light/shadow, air pollution, wind, thermal [pattern of temperatures], and acoustic [noise pollution]. The outcome of brief one was a meaningful environmental design strategy that informed the design of a Climate Change Hub [brief 2].

Guest Critics: Yota Adilenidou, Roberto Bottazzi, Duarte Santo, Adam Thwaites, John Zhang 80

The module offers a multi-scale approach to the study and practice of environmental design and its integration to the architectural design process. It is in this module that the principles of environmental design acquired in first year technical and environmental studies are deepened, creating explicit links with the year’s design projects and paving the way for more advanced applications in third year.

The module is structured as a combination of theoretical lectures immediately followed by applicative workshops ranging from climate and site analysis to building analysis and human comfort. Building and industry visits and guest talks complete the students’ learning experience.

Special Thanks: Scott Batty, Luisa Brotas (London Borough of Hackney), Chris Coonik (BRE), Bill Dunster (ZED Studio), Cath Hassel (ech2o), Sabrina Passley (Saint-Gobain), Will McLean, Johnathan Stockdale ) Viktorija Silkina: Living Hub: Climate change learning centre for primary school children

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) Carlos Neto and Viktorija Silkina: The Hall of Wholeness – Mixed use accommodation for NHS junior doctors

(top) Christopher Garkov and Jennifer Housego: The Barnacle: Rehabilitation centre for athletes; (bottom) Dea Dalipi and Rupinder Ryait: T-Control: Housing and homelessness centre

BSc Environmental & Architectural Design | Third Year

Paolo Cascone, Ruth Cuenca, Mohataz Hossain, Benson Lau & John Zhang Paolo Cascone is an architect and academic with international experience at the intersection of urban ecologies, digital fabrication and self-construction. He is founding director of CODESIGNLAB, and scientific director of the African Fabbers project. Ruth Cuenca is an architect and urban designer with extensive international experience through her own practice. Her research interests focus on sustainable development and participatory design processes, exploring the use of bamboo as a construction material. John Zhang is an architect and academic who runs his own practice and teaches on the BA architecture course. Benson Lau is an architectural and environmental practitioner and academic with expertise in Collaborative Evidence-Based Design. He has been engaged in practice internationally since 1996 and joined academia in 2005 to share his passion and experience in bioclimatic architecture and the poetics of light with students.

YEAR 3: Productive Architectures – Towards an ecological approach to environmental design Students: Ching Ang, Liva Irbe Balode, Sebastian Dawber, Jonilda Dilo, Giada Gonzalez, Maryam Islam, Ian Lei, Ella Reed, Emanuele Volpe, Jiaping Wu, Tugce Yigit, Abdul Uk

WE CONSIDER ECOLOGICAL architecture as a productive device able to support local communities from the environmental, economic and social point of view. As a matter of fact, architects are asked more and more to tackle climate change issues and rethink the relation between productive activities and sustainable living in our cities. Therefore, this studio was conceived as a researchby-design laboratory, investigating innovative forms of productive architectures through the negotiation between multiple social and environmental dynamics.

Both qualitative and quantitative analyses of the site were developed, taking advantage of the environmental tools learned in the third year Technical and Environmental Studies module, such as the IESVE software. Through an evidence-based process, students have developed design strategies that defined specific sets of performative criteria, aiming to regulate cause-effect relations between the geometry, the material system and the performances of their mixed-use and energy-efficient architectural proposal.

With this premise, students investigated a paradigm shift in environmental design, bridging techne and nature, in order to regenerate wasted fragments of Hackney Wick in East London, one of the most challenging and ever-changing areas in the UK. This neighbourhood developed over time in parallel with the industrialisation of the Lower Lea Valley and is now going through a process of regeneration and ‘gentrification’. Students explored the transformation of the area with a critical and constructive vision to identify suitable sites for their proposals of ‘productive architecture’ stitching together the existing and the new, the industrial and the social.

Students were also asked to integrate an eco-digital construction process into their project through the DS3B module which explored prefabricated solutions within a circular economy approach. Each student was asked to fabricate one specific architectural component (façade component, structural component etc.) of their building to investigate its materiality as well as the assembly systems. A series of ecological prototypes resulted from these investigations and were realised at different scales.

The interaction between analogue and digital fabrication was explored using natural and recycled materials processed with computer-aided manufacturing techniques.

Guest Critics: Yota Adilenidou, Harry Charrington, Orestes Chouchoulas, Tumpa Fellows, Mohataz Hossain, Will McLean, Rosa Schiano Phan, Marco Vanucci 84

Special Thanks: Yota Adilenidou, Jan Balbaligo, Samuel Bentil-Mensah, Alastair BlythGiles Bruce, Bill Dunster, Ian Flewitt (Price & Myers), Peter Lancaric (Planstudio Architecture), Julian Marsh, Phil Mcilwain, Esther Rivas-Adrover, Tanishk Saha, David Scott, Deepika Singhal, Prof. Jonathan Stockdale ) Ian Lei: Biofuel micro-algae research and community centre – scheme in context

BSc Environmental & Architectural Design | Third Year

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) Ella Reed: Meditation healing retreat, Hackney Wick – (left) plans & sections; (right) Biodiversity strategy

) Ian Lei: Biofuel micro-algae research and community centre – (top) Exterior view; (bottom) Biodiversity strategy

BSc Environmental & Architectural Design | Third Year

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(top left) Maryam Islam: Four Points Fish Island; (top right) Giada Gonzalez: The Circular Centre; (bottom left) Liva Irbe Balode: Advanced Timber Institute; (bottom right) Emanuele Volpe: Atelier of Colours

Performance and materiality modelling: (clockwise from top left) Ella Reed: Meditation healing retreat, Hackney Wick; Ian Lei: Biofuel micro-algae research and community centre; Ching Ang: The conservation and aviary centre of Hackney Wick; Liva Irbe Balode: Advanced timber Institute; Ella Reed: Meditation healing retreat, Hackney Wick

RIGHT NOW WE all need a hug – so let’s collectively embrace and share in congratulating everyone in coming through the endurances of the last five months and producing an extraordinary body of outstanding work.

In architecture we concern ourselves with the making of spaces for people to convive, so it has been challenging to experience a city without people, and public life flattened to the screen surface. It has also been a reminder that learning happens in a social dimension where creative thinking and practice can thrive. Studio culture nurtures trust between us through the embodied actions of talking, drawing and making. The translation of many of these things into our online world has only reminded us of the power of physical places to shape experiences and stimulate our imaginations.

Our new ways of working have demanded resourcefulness and tenacity, drawing on the extraordinary dedication of staff to energise the online space. The transformative experience of studio culture is the centre of architectural education, and is a place where we can put aside outside pressures and commitments and let the imagination take hold. We have been very aware of the challenges our students have faced; the pressures of working at home in difficult situations; lost jobs and isolation.

Whatever the future holds we will savour the doing together, the talking, the ‘making sense’ of things that in so many ways forms the heart of the studio. We have been inventive in our work: now is the time for us to be creative with how we teach and interact; working out with fresh eyes how to work alone while being together.

Looking back to the start of the year we began as usual with goodbyes and welcomes: Duarte Santo left for Cornell, Sarah Milne for the Survey of London, and Alicia Pivaro for radical Highgate (though we have enjoyed her bedtime stories thanks to the AF). We welcomed Bo Muchemwa, Balveer Mankia, Ross Perkin, Katherine Leat and Florian Brillet to 1st year, Kirti Durelle to 2nd year and Michael Spooner to 3rd year.

London has, as ever, been the focus of project work: the physical landscape of the city, its river and its tributaries, as well as its diverse cultural landscape. The question of climate change has been taken up by final year students, supported by a new approach from the Technical Studies team. The responses engage with not just the technical challenge but also its political, cultural and experiential dimensions.

I hope you enjoy the very diverse and rich work of the studios, both here in the following pages and online in the virtual exhibition.

Julian Williams Course Leader

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BA ARCHITECTURE RIBA Part 1

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A year in pictures: (top left to right) Mariame, Grace and Aisha from

Studio (3)2 study the planting at the Queen Elizabeth Olympic Park. Studio (2)6 in PPE visiting the construction site of ITER Tokamak in Provence: a 35 nation collaborative project to build the world’s largest tokamak, a magnetic containment and plasma fusion device designed to prove the feasibility of fusion as a future energy source.

from Studio (3)1, Miralles’ inspiration and concept sketches for an urban refuge

by Alicia Montero, and Esther Calinawan working on a model for her Na Lubog garden project. Studio (2)2 mudlarking on the Thames foreshore. Hana Alsaai from Studio (3)1 at work in the studio, and the students of Studio (2)4 at work online, in a group discussion after lockdown.

(bottom left to right)

BA Architecture | First Year

FIRST YEAR ARCHITECTURE STUDIOS FOR THE FIRST twelve weeks, the eight First Year studios shared the same briefs. We started the year measuring and drawing the human form and exploring the relationship between the body and space. Students then learnt to ‘read’ a dwelling, by redrawing a housing case study at 1:1 scale. This early analysis and other research was used to inform the design of a piece of ‘furnitecture’ for the selected dwelling.

The final project asked students to design an Urban Bothy, a small-scale intervention to provide a retreat or social gathering space for an identified transient group, or urban tribe, not currently catered for in the City. Clients included Deliveroo riders, electrosensitives and refuse collectors amongst others. In semester two, each studio developed their own briefs as described below.

): Human Scale Exercises: measuring , drawing and performance

Christopher Daniel is director of Polysemic, a cultural design practice focused on the creation of places for performance and the physical and societal infrastructure that supports them.

Jenny Kingston is an architect and urban designer working mainly on public realm schemes in rapidly changing areas of London. Alongside teaching at UoW she works with muf architecture/art.

Katherine Leat is director of Fabrica Architecture, inspired by research in international development working hand-in-hand with disadvantaged communities, and adapting existing buildings for more than one family.

John Edwards is an architect and educator. A director of E-GG, he leads projects that follow a strong ethical agenda, working with clients and collaborators to make elegant and simple spaces that everyone can enjoy.

Richard Watson is a tutor, artist, product designer who started teaching in 1999 and has exhibited at the University of Westminster and the AA. His work is hand made.

Emma Perkin is the co-director of Emil Eve Architects. With a background in architecture, interior and exhibition design, research and teaching, Emma brings a diverse range of experience to the studio.

Vasilija Abramović is an architect, holding a PhD in the field of Interactive Architecture. Alongside University of Westminster, she also teaches on the MArch programme at The Bartlett School of Architecture, UCL.

Bongani Muchemwa has won numerous awards for design excellence.

He runs a studio exploring projects in the public realm and is a trustee of Beam, an arts organisation that promotes and delivers arts programmes.

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GROUP A: Christopher Daniel & Katherine Leat

Students: Fatima Al-Gersani, Rima Almesri, Donnell Bailey, Konstantinos Branias Vakirtzis, Giorgia Bresciani, Aleksandra Burnatowska, George Darlington, Jill Fernandes, Alejandra Iglesias Garcia, Sami Kassim, Natalia Konstantinidou, Laurens Koster, Evita Malnaca, Aida Osmani, Julia Pastor, Anastasiya Romanets, Shaena Sacatani, Karolina Szymczak, Chloe Torres, Kamaljit Ubhi Many thanks to our Peer Assisted Learners Joshua Smith and Anastasia Tsamitrou

GROUP B: Richard Watson & Vasilija Abramović

Students: Lamisah Abdal, Naz Al-Nawrasy, Alan Angulo Custodio, Laurynas Arbaciauskas, Arjun Bansal, Nina Busz, Izabela Dima, Luiza Garavelo, Meryem Geldiyeva, Zahra Iben Khayat Zouggari, Hamzacan Keskin, Milan Lad, Elena Laouini, Khalid Mohamed, TaraMaria Nayfe, Laura Panaete, Anastasia Plahotniuc, Mohammed Raja, Heshu Rashid, Valentina Rivera Olivares, Greta Sakenyte, Saba Torabi, Sofia Whilby Many thanks to our Peer Assisted Learners Tamanna Akhter and Aderinsola Fadina

Makers’ Place & Piece Work “Pattern #157: Home Workshops As the decentralization of work becomes more and more effective, the workshop in the home grows and grows in importance.”

Christopher Alexander et al., A Pattern Language

A PLACE FOR A MAKER. Each project includes a live/work building designed for the makers of a particular type of object.

Having been assigned a client by lottery, individual research centred on the making of ‘piece work’ as a means of studying materials, processes and techniques integral to diverse craft practices. A resultant increased understanding informs the architectures proposed for these activities.

Lantern Maker’s Studio, Bethnal Green THIS YEAR’S PROJECT was to design an outpost for the Japanese company Ozeki and Co. in Bethnal Green. The company produces Japanese Lanterns. So, a sort of cultural exchange was envisaged, re-visiting the relationship formed when Isamu Noguchi visited the town of Gifu in Japan in the 1950s.

The outline brief for the maker’s studio was to provide four areas: display, work, prototyping, and an area to live in. Through making Japanese lanterns, conceptual models of influential western designers and studying the site, the brief was further developed. Hopefully some meaningful and inventive proposals were achieved, and some new skills learnt.

Neil Kiernan is a practicing architect specialising in the residential sector.

He is currently developing research interests in the areas of spatial performance, occupation and gender readings.

Ursula Dimitriou is a practicing architect and researcher and holds a PhD in Visual Cultures from Goldsmiths University. She is the co-director of Studio SYN: https://studiosyn.co.uk.

Richa Mukhia is director of award-winning architectural practice M.OS Architects. She has particular interests in housing design, public realm and community engagement.

Balveer Mankia is the founding director of BAL Architecture. Formerly a partner at MAKE, he was involved in several award-winning schemes. He also teaches architecture at the University of Greenwich.

Jean Wang is the founding director of CW2 Architects. She has worked for numerous design-led practices around the world and worked on projects ranging from schools, a Vajrasana Buddhist retreat to bespoke homes.

Florian Brillet has worked in international practices for 15 years including Dominique Perrault and Jean Nouvel. He has developed his own practice focused on public art commissions and furniture design.

Ross Perkin is an architect and co-founder of Emil Eve Architects.

Working with Feilden Fowles Architects, he completed the RIBA Stirlingnominated Weston Visitor Centre at the Yorkshire Sculpture Park.

Natalie Newey is Senior Lecturer and SFHEA. She has extensive experience working in practice and is particularly interested in engaging students in collaborative projects and local issues.

BA Architecture | First Year

GROUP C: Jenny Kingston & John Edwards Students: Syafiqah Binte Abdul Aziz, Nicholas Atanasov, Monica Basta, Qiyi Cai, Iman Dagnoko, Grete-Andreea Fustos, Miruna Grigore, Manvin Grover, Marina Ioannou, Assa Khalilpour, Rachel Mangaya Kumba, Julia Lassota, Rakan Lootah, Jan Macbean, Alex Marton, Cosmina Mirza, Aleyna Pekshen, Andreea-Laura Petrescu, Jenan Rachid, Joshua Reginaldo, Haneen Saleh, George Sorapure, Berfin Tas, Changsoo Yoo Many thanks to our Peer Assisted Learners Andrea Antoniou and Eleanor Riley

GROUP D: Emma Perkin & Bongani Muchemwa

Students: Marina Bebana, Oliwia Biesiaga, Gregory Brookhouse, Kwatchila Costa, Humaydah Fabiha, Gabrielle Ferreira Dias, Paula Fleschin, Valentina Gonzalez-Castaneda, Raluca Hamza, Anisha Iqbal, Dania Khayal, Eridona Kurtaj, Jessica Leach, Othman Marrakchi, Mikala Marville, Amar Mohammed, Barbara Piskor, Ioana-Andreea Popescu-Argetoaia, Evelyn Sarmaah, Saleh Shesha, Tugce Simsek, Elifnur Ulucay, Victoria Van Reijn Many thanks to our Peer Assisted Learners Aleksandra Gutkowska and Xiao Ma

GROUP E: Neil Kiernan & Richa Mukhia Students: Dunsin Adedimeji, Pramila Cox-Sehmi, Ivan Da Costa, Louis Davis, Gabriella Daza, Victoria Fatimehin, Hebah Gheedan, Nancy Guest, Emma Hafner, Bodhi Horton, Maria Ionova, Grace Lancto, Audrey Liu, Anya Lyubareva, Karol Maranski, Georgia Rich, Kacper Sehnke, Akshay Sethi, Rhianna Stirton, Laura Vasile, Kirill Vilsenko, Nikola Wasilewska, Becki Weller Many thanks to our Peer Assisted Learners April Glasby and Eliot Ellis-Brown

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Emporium of the Ordinary: The Butcher, The Baker, The Candlestick Maker THE STUDIO EXPLORES the frisson between production and community in a city, through the lens of the Great Guilds of London. Students reimagined the historic ‘Pageant Wagon’ – a mobile showcase and performance platform for a given Guild – before developing their Guildhall as a new typology of display, exchange, production, living and learning in response to a studied local social, ecological and physical context.

Wunderkammer: House for a Collector THIS BRIEF FOCUSED on the design of a house for a specific collector and their collection. Starting with the construction of a 1:1 Wunderkammer for real items of the collection, the students explored themes of display, curation, materiality and craft. Taking a lead from these pieces, site observations, research and conceptual making, the students developed a proposal for a building which housed both their client and collection, as well as inviting the community of Bethnal Green inside to engage in considered programmes and activities.

Circular Communities THE BRIEF ASKED students to design a building in response to their explorations around communities and the circular economy within Bethnal Green.

An intense programme of talks and site visits with community and action groups, alongside research around ideas of waste material being utilised as a valued resource, prepared the students to produce a building design with a socially circular response that operates as an urban connector and builder of communities. Sociopolitical demographics, public and private placement, material detail and re-appropriation with the avoidance of virgin source material were all underpinning criteria for each of the students’ proposals.

GROUP F: Jean Wang & Ross Perkin Students: Hannah Ali, Michalina Bialkowska, Defne Bayrakci, Naciimo Cali, Brandon Clark, Christou Evangelos, Mina Gohary, Halima Haq, Zainab Karimi, Kamilya Kelbuganova, Marta Koleva, Mihna Landin Johansson, Aidan McMillan, Michael Molloy, Vanessa Muamba, Aziz Yusufi Nimuchwala, Florentine Rockenbauer, Marisoul Rofail, Nikhil Shetty, Uktambek Uktamov, Annie Williams, Katarzyna Wojciechowska Many thanks to our Peer Assisted Learners Tanatswa Borerwe and Will Lawton

GROUP G: Ursula Dimitriou & Balveer Mankia

Students: Sari Abuali, Khushi Agarwal, Jafar Al-matin, Tilda Blomqvist Lyytikainen, Maja Dworak-kula, Suha Faisal Valiyaveettil, Mateusz Gliniewicz, Betina Greca Menescal, Paula Hryniewicka, Monzurul Islam, Laura Lita, Anisa Mini, Larisse Mongaba-Mata, Hamza Mughul, Nasim Nikookam, Huu Long Nguyen, Shkemb Shala, Feriel Siad, Jose Soriano Lertora, Stefana Straub, Linda Tighlit, Sude Yilmaz, PingHsun Yang, Zam Zam Al Rubaye Many thanks to our Peer Assisted Learners Celine Battolla and Anna Maria Voicehovsky

GROUP H: Florian Brillet & Natalie Newey Students: Miriam Al-Bahadly, Giancarlo Albarello, Ajvi Allmuca, Yusuf Arfaan, Suzanna Bowtell, Alina Hafeez, Lourdmia Huber, Judy Kader, Anna Ludmann, Connor Martin, Jessica Morrison, Thanai Morphi, Deividas Meroncikas, Tooba Nasir, Julia Noiszewska, Anjali Panchani, Elton Pushimaj, Karina Rudkovskaja, Glena Sabri, Hasniha Thanganathan Many thanks to our Peer Assisted Learners Lou Kelemen and Varsha Raji

Children in the City WE EXPLORED SPACES for children’s learning and playing in the heart of London’s Bethnal Green. Drawing inspiration from our visit to the Little Forest Folk forest nursery, and precedent children’s nurseries from around the world, the students explored blurring boundaries between internal and external space, and how materiality can impact on experience.

The design projects evolved through thorough research, model-making to explore elemental building components, and explorative drawings methods that question and explore the physical and pedagogical relations of learning, playing, and creating spaces in the city for children.

Studio for a Sculptor GROUP G EMPHASISES the investigation of the relationship between social conditions, materiality and performativity of space, and conceptual and formal ideas. We test forms and notions with a series of smaller compositional exercises and ended the year with ‘Studio for a Sculptor’.

This project explored the spatial relationships in a unique place to live, work and exhibit. The brief was to design a home-studio for a globally renowned sculptor, including a public exhibition space that engaged with the local community. Students created an architecture that responded to their chosen sculptor’s body, personality, conceptual themes and process of sculpting.

An Artist’s Studio in Bethnal Green FOR THE SECOND semester, students were asked to design an artist’s studio in the neighbourhood of Bethnal Green. Thinking about the role of artists in our society, they developed a project specific to a chosen contemporary artist.

BA Architecture | Yr1 A

98 (clockwise from top left) Chloe Torres; Sarah Saedan; Karolina Szymczak; Alejandra Iglesias Garcia; Evita Malnaca; Giorgia Bresciani; George Darlington; Sami Kassim

Yr1 B | BA Architecture

(top) Sofia Whilby: Lanterns workshop & studio; (middle) Nina Busz: Concept collages; (bottom) Mohammed Raja: Lanterns workshop & studio

LAGE:

BA Architecture | Yr1 C Architectural Portfolio George Sorapure W1732062 Contents Portfolio 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Laser lab tutorial: Lee III Clemson Hall Bethnal Green: Sensory analysis Bethnal Green: Site context The origins of the Vintners’ Guild Wine making and viticulture Cornucopia wagon design Wagon elevation collage Wagon axonometric collage Expo 2000: Preliminary Volume and space Initial designs Foam models Reorganisation process Spatial organisation Strut development Final volumetric model Greenhouse design Collage: materiality elevation Collage: Interiors Collage: Exterior Elevation 1:50 Section 1:50 Plan 1:500 Plan level 1 1:50 Plan level 2 1:50

Appendix 1 2

Plan level 3 1:50 Plan level 4 1:50

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DRAPERS‘

STUDIO

Sectional perspective, looking South into workshop

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(clockwise from top left) George Sorapure: Vitners Pagent Wagon; Andreea Petrescu: Pagent Wagon for Pressing Wine; Syafiqah Binte Abdul Aziz: Guild of Salters Pagent Wagon; Alex Marton: Guild of Skinners Workshop; Aleyna Pekshen: Exploratorium; Jan Macbean: Weaving Studio for Drapers Guild; Changsoo Yoo: Fishmongers Guildhall

Yr1 D | BA Architecture

(clockwise from top left) Eridona Kurtaj: House for a corkscrew collector; Valentina Gonzalez-Castaneda: Concept model; Raluca Hamza: House for a brick collector; Victoria Van Reijn: Concept model; Greg Brookhouse: House for a mudlark; Danya Khayal: Concept collage; Elifnur Ulucay: House for a postcard collector; Gabrielle Ferreira Dias: Concept collage

BA Architecture | Yr1 E

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(clockwise from top left) Emma Hafner: Weaving Activists; Nancy Guest: Fabric Theatre; Becki Weller: Ground to Grain section & collage; Becki Weller: Urban Bothy; Rhianna Stirton: Insect Farm; Kirill Vilsenko: Coffee Cobblers; Nancy Guest: Fabric Theatre; Kirill Vilsenko: Coffee Cobblers

Yr1 F | BA Architecture

(clockwise from top left) Aidan McMillan: Urban bothy; Mina Gohary: Internal collage; Brandon Clark: Internal collage; Kamilya Kelbuganova: Axonometric drawing ; Annie Williams: Model; Kasia Wojciechowska: Curtain casting ; Mina Gohary: Internal collage; Brandon Clark: Section

BA Architecture | Yr1 G

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(clockwise from bottom left) Monzurul Islam: Studio for Emil Melmoth – interior collage, maquette study, & east elevation; Feriel Siad: Alberto Giacometti’s Studio – interior collage; Sude Yilmaz: Studio for Yi Chul Hee – model view; Suha Faisal Valiyaveettil: Studio for Magdalena Abakanowicz – concept model

Yr1 H | BA Architecture

(clockwise from top right) Giancarlo Albarello: Artist’s studio; Anna Ludmann: Artist’s studio; Hasniha Thanganathan: Photosensitives bothy; Alina Hafeez: Amazon delivery drivers’ bothy; Jessica Morrison: Dog walkers’ bothy; Karina Rudkovskaja: Protesters’ bothy

BA Architecture | Design Studio (Two) One

Corinna Dean Neil Kiernan & Duarte Santo Corinna Dean runs the Archive for Rural Contemporary Architecture and is a member of the Expanded Territories Research group at UoW. She recently published Slacklands 2.

Duarte Santo specialises in landscapes of island ecologies and is currently teaching at Cornell University.

Neil Kiernan is a practicing architect specialising in the residential sector. He is currently developing research interests in the areas of spatial performance, occupation and gender readings.

DS(2)1: Land and Water – Interwoven Architectures Students: Wieme Azzouzi, Sak Ahmed, Ribya Bashir, Calin Bulzan, Nicole Frankiewicz, Safa Husain, Vilde Myrhaug, Juwana Noori, Momo Petrinski,

Akaterina Pechynaki, Yahyha Shire, Maisie Spencer, Lillia Stefanova, Blessing Sulaiman, Ralf Suleymanoz, Mohammed Talat, Jaziba Tahir, Sonia Wedman

THE DESIGN STUDIO focused on Common Ground in an urban context, with reference to urban landscapes, in particular conditions of wetland sites leading to analysis of local ecologies in the flora and fauna.

identify options for a development at the Thames Water Depot site that will bring this site into a park-compatible use. The studio attended an Arts Catalyst workshop at the Walthamstow Wetlands and students attended a studio workshop with the School of Speculation to explore the tensions and agendas of the different stakeholders involved in shaping the future of the Lea Marshes site.

Referencing former industrial or working landscapes the first design project was sited at the Walthamstow Wetlands. Students proposed a structure which questioned the interplay between the public and natural ecologies within this urban area.

In the second semester we worked with Save Lea Marshes Campaigners who are working with Thames Water, London Borough of Waltham Forest and other stakeholders to

The studio has an emphasis on material culture, pursuing the possibilities of materials and making, casting and modelling, material expressions, mapping materiality, tracing and castings.

Guest Critics: Celia Coram (Save Lea Marshes Campaign), Marcus Lee (Nordic Architects), Phil Longman, Maria-Chiara Piccinelli (Director, PiM.studio Architects) 106

(top) Blessing Sulaiman: Recycling Centre; (bottom) Maisie Spencer: Wild reed bed swimming pool

BA Architecture | Design Studio (Two) One

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(top) Vilde Stadtler Myrhaug: Interior of Lea Bridge Ecology Centre & Plant Exchange; (bottom) Momo Petrinski: Hydroponic Farm, axonometric & section

(top left) Vilde Stadtler Myrhaug: Site Plan of Thames Water Site; (top right) Blessing Sulaiman: Recycling Centre; (middle) Maisie Spencer: Film stills of community and cafĂŠ space development; (bottom) Sonia Wedman: Forest School models and programme

BA Architecture | Design Studio (Two) Two

Natalie Newey & Richa Mukhia Natalie Newey is a Senior Lecturer and SFHEA. She has extensive experience working in practice and is particularly interested in engaging students in collaborative projects and local issues.

Richa Mukhia is a director of award-winning architectural practice M.O.S Architects. She has extensive experience working in the private and public sector with a particular interest in housing design, public realm and community engagement.

DS(2)2: Shifting Territories: Tidal City Students: Anna Adetiba, Kuhu Arnalkar, Minaa Baig, Mathew Bailey, Andrei Bigan, Andrei Dobrinescu, Stephanie Grange, Emerald Sky Henley, Jayden

Lau, Fenton Lau, Farel Mardiyunanto, Josh Mooney, Aisha Mughal, Leonardo Pelli, Sofija Stupar, Jessie Wan, Sumaita Zaman, Zaida Zekaj

OUR YEAR’S WORK explored the shifting relationships between nature and culture in the context of Albert Island, a post-industrial landscape bordered by The Royal Docks and the River Thames. We explored the intangible qualities of the river, the energy, history, life and memory that has accumulated along this threshold between water and solid ground over millennia. Looking closely at this edge condition, students made proposals which mediate between nature and the manmade, responding to the ebb and flow of history, time and changing use.

Riparian Encounters, a collection of ‘meanwhile’ projects, fostering connections between nature and culture and drawing the disparate local communities to the island.

The studio was invited by the GLA to engage in a live project developing proposals for Albert Island, a designated Enterprise Zone and part of the Royal Docks regeneration project.

The design process began with a flurry of activity, engaging with the Thames Festival, investigating the river and site through local walks, taking inspiration from Peter Ackroyd’s Thames: Sacred River, and a bit of Mudlarking to get our feet wet. All of this led to proposals for

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Semester two began with a visit to Holland to explore projects engaging with the circular economy, floating farms, city labs and co-creation projects. On our return to London, students were able to ‘pitch’ their semester one proposals to the GLA team, project architects, and other stakeholders at a Pecha Kucha event where their many and varied ideas were received with great enthusiasm.

Research into Future Trends generated speculations for a Riparian Future, imagining the island and its watery boundaries as a proving ground for new futures and propositions responding to the many challenges we face – environmental, technological, political, cultural and commercial. The resulting projects propose radical futures, imaginative and practical solutions and inspired narratives about the future of architecture.

Guest Critics: Scott Batty, Callum Bleasedale, Matt Chan (Notch), Rafaella Christodoulidi, Corinna Dean, Karen Fitzsimon, Jason Flanagan (Flanagan Lawrence Architects), April Glasby, Abiel Hagos, Clare Hamman, William McLean, Laura Nica (dRMM), Mirabell Schmidt, Anissa Colaco Souza, Nick Stevens (Mudlarker/cofounder Thames Museum), Ben Stringer, Jason Sandy (Mudlarker & Architect), Camilla Wilkinson Special Thanks: Paul Clarke (Development Officer, GLA), Suzi Lane (SNM, GLA), Hugo Braddick (Haworth Tompkins), Richard Gibbs (Innovation First), Deborah Leach (Thames 21), Isabella Rossen (OMA), Matthew Stewart, Karen Fitzsimon

(top right) Josh Mooney: Boating Exchange; (bottom) Aisha Mughal: Growing Green

BA Architecture | Design Studio (Two) Two

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(top) Sumaita Zaman: Creative Recycling Hub; (bottom) Stephanie Grange: Mushroom Lab

(top left) Mathew Bailey: The Laws of Utopia; (top right) Minaa Baig: Recycling LAB; (bottom) Andrei Bigan: Acts of Privacy

BA Architecture | Design Studio (Two) Three

Shahed Saleem & Michael Rose Shahed Saleem is a practising architect and academic. His area of specialism is in researching under-represented architectural histories through participatory and other methods. He writes on the intersections between heritage, nationhood, identity and belonging.

Michael Rose graduated from the AA School of Architecture in 1971, and has been teaching architecture for over 40 years. His interests lie in how architecture can enhance human experience and well-being, and celebrate cultural diversity.

DS(2)3: Architecture, Memory, Storytelling Students: Hicham Abari, Ruhel Ahmed, Hayden Ames, Akramul Askaari, Nur Huda Binti Ashari, Shahida Begum Janka Docs, Eadan Filbrandt,Youmin

BUILDINGS AND CITIES are made up from layers of stories, memories and histories. Peoples’ narratives, the lives they have lived and the events that have happened to them and around them are inscribed into architecture. The city, therefore, is the layering of a dense network of diverse stories which cross over, intersect and overlap. What are these stories, how do we find out about them, what is their value to us now, and how do we use them in the present and the future?

In this studio we have explored the hidden histories and stories contained within buildings and places in East London using the Survey of London’s historical research as a starting point. Our aim is to find ways that creatively

Ho, Vlad-Ilie Necula, Riane Oukili, Mario Priore, Haseeb Qadeer, Kenzie Rebelo, Eleni Savvaidi, Andrijana Sitic, Dominika Sokalska, Angela Tice

enable these histories to be part of a new architecture.

In semester one each student studied the histories of different sites in Whitechapel and designed new buildings to represent and narrate the stories of these places. This project was the starting point for the semester two project, where students developed their own programmes for new architecture that would reinterpret the historic sites they had studied. This resulted in a diverse range of projects where new types of building were being invented and designed through the dynamic relationship that each student explored between the past and the present. In our field trip to Andalucia we visited and studied sites and buildings that embodied multiple layers of history.

Guest Critics: Ana Betancour, Ana-Sabina Cioboata, Malcolm Crayton (Form Studio), Fiona Dunn (Building Design Partnership), Khuzema Hussain (Collective Works), Mirna Pedalo, Hamza Sheikh, Alex Spicer (Matthew Lloyd Architects), Pat Woodward (Matthew Lloyd Architects) 114

Akramul Askaari: Weaver’s Studio, site collage

BA Architecture | Design Studio (Two) Three

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(left) Dominika Solkaska: Fabric recycling facility, interior concept; (top right) Janka Docs: Combining Whitechapel’s buildings; (bottom) Eleni Savvaidi: Space of self-actualisation, concept sketch

(top) Mario Priore: Fashion school and mulberry orchard; (bottom left) Riane Oukili: Whitechapel agora; (bottom right) Vlad-Ilie Necula: Bell Foundry museum

BA Architecture | Design Studio (Two) Four

Eric Guibert & Anthony Powis Eric Guibert is a gardener architect. He researches through his practice how the design of built and grown architectures can nurture and express dynamic relations between humans and their ecosystems, and ways of creating with their emergence to enhance their resilience.

Anthony Powis is an architect and researcher, working with themes of urban nature, more-than-human vitality, and representation. He led public space and other projects at muf architecture/art, and is currently part of the Monsoon Assemblages research project at Westminster.

DS(2)4: The Institute for Living Systems Design Students: Mohamed Alkhaja, Jehaan Bhoyroo, Erika Boguckaite, Ugne Boskaite, Erin David Rae Camagay, Filippo Cocca, Maik Fischer, Jakub Jazdzynski, Noor Kassem (S2), Soraya Mohajeri, Giovanni Musumeci,

Melissa Nese, Leticia Ramirez, Thais Ribeiro Rodrigues, Yael Schreiber (S1), Anastasia Shepel, Shani Warshawsky, Nicholas Wood

AS PART OF our ongoing investigations with the architecture of ecological processes, this year we have challenged our students to design spaces that support the growth and dissemination of living system design knowledge: for the individual learner, the collective, and society.

The semester two projects built on this, as the students developed designs for larger institutes to grow and disseminate multiple forms of practice and research, located on the nearby University of Westminster campus. They focused on various specialisms such as Sympoetic Arts, Biodesign, Co-making, Entropic and Negentropic creativity, Materials Reuse. Some organisations are guilds of practitioners, others provide for artistic and/or academic residencies, while some are experimental design schools.

Living systems design is understood as a set of creative and experimental practices (built and grown architectures, art, gardening...) that design with the environmental, societal, and intra-personal ecologies nested within sites, caring for the emergent creativity of existing complex systems instead of erasing or fixing them into static visions.

Students began semester one by collectively researching examples of such design processes. Each then developed a design for a space (studio, garden, school) to host their chosen form of practice/learning on a site in Harrow. Many of the projects were durational and were intended to be re-made over time as the processes of living systems design were performed.

The institutes are understood as scaffolds supporting the development of a plurality of practices, places for sharing knowledge, and for multidisciplinary research communities to develop. This has led to four flexible typological approaches: large floorplate ‘support’ systems, villagelike arrangements around squares, 3D modular systems creating complex topographies, and large sheds (or tent) structures for large-scale production. Most schemes have deep and porous, lived-in edges through which the exchanges between climate, humans and other species can be dynamically negotiated.

Guest Critics: Daniel Berende, Esther Calinawan, Jenny Dunn, Karen Fitzsimon, Keb Garavito (Pilbrow and Partners), Christina Geros, Jenny Kingston (muf architecture/art), Hwei Fan Liang (UEL), Philip Longman, Shahed Saleem, Anna-Marie Versteeg (Ivanov Versteeg Architecture), Tim Waterman (The Bartlett, UCL), Victoria Watson, Camilla Wilkinson 118

Special Thanks: Sandra Jasper (Humboldt-Universität, Berlin), Poligonal Office for Urban Communication, Brandlhuber+ Architects and Urban Planners

) Village typolo Filippo Cocca: The Institute for Systemic Thinking – Village typology

BA Architecture | Design Studio (Two) Four

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3 of the 17 Living System design processes: (top) Thais Rodriges: A centre for co-design processes; (bottom left) Giovanni Musumeci: Concept model for a growing building ; (bottom right) Erika Boguckaite: Acoustic timelines of a pavilion for Chance Operations

Three typologies: (top) Leticia Ramirez: The Re-centre – shed; (bottom left); Nick Wood: The Institution of Entropic and Negentropic Art – incremental modular; (bottom right) Ugne Boskaite: The Institute of Biodesign – cellular support system

BA Architecture | Design Studio (Two) Five

Camilla Wilkinson & Chris Bryant Camilla Wilkinson is an architect and lecturer. She has worked in high profile practices in Germany and the UK. Camilla researches, communicates and lectures on Dazzle Painting, the 1914-18 war camouflage system, as Experimental Practice.

Chris Bryant is a founding director of London practice Alma-nac Collaborative Architecture. After graduating from The Bartlett, he worked at Arup Associates and taught at Birmingham School of Architecture. Alongside practice and teaching, he co-edited Architectural Design: New Modes: Redefining Practice with his fellow directors at Alma-nac.

DS(2)5: The Shadow Line1 Students: Atefeh Arefcheh, Maria Bahrim, Julia Brodzinska, Zbigniew Czaja, Daniela Gomez Garcia, Kimya Hajisabagh, Kopal Halway, Rawad Kayal, Gabriela Mac’ Allister, Wiktoria Matyja, Vinay Nath, Jijie (James) Peng,

Justina Pukiunskaite, Daniel Smith, Iris Spahiu, Haodong (Harry) Wu, Adrienn (Dora) Varszegi

MARGATE’S SOCIAL AND ENVIRONMENTAL changes are the context for our investigation into the relation of architecture and time. It is ten years since Turner Contemporary arrived in Margate, bringing new architecture and cultural opportunities to the seaside town. Through two briefs, aiming to engage a wide variety of residents in Margate, we began to explore what value architecture brings to this seaside town and what a fresh, unfettered approach might offer.

Projects this year reflect the colourful, quirky, sometimes gritty face of Margate. Among the students’ propositions are: a Romanian fish and chip smoke house/night club; seaweed to eat and inhabit; a weaving school with a basketball court; a carpentry workshop utilising Montessori ‘patterns’; and a commercial ceramics workshop.

Semester 1: Fish and Chip Shop Semester 2: School for Further Education focusing on manual skills

DS(2)5 explores spatial possibilities through model making and drawing. With equal emphasis on the development of early conceptual models and research into programme, context and construction techniques, we have encouraged students to develop multi-layered architectural concepts based on Bernard Tschumi’s text ‘Architecture and Concepts’.2

Our study trip was to Barcelona and we were fortunate enough to visit Sala Beckett and the studio of Flores Prats. The playful cultural engagement with context, materiality and space witnessed in their work has been a positive influence along with the semi-industrial use of materials and urban considerations in Carme Pinós Massana Art school.

DS(2)5 has explored the positive impact that architecture can have but also become aware of how closely we must engage with the context of our projects in order for it to be achieved.

1 Joseph Conrad, The Shadow Line: A confession, (London: J.M. Dent, 1917) 2 Bernard Tschumi, ‘Architecture and Concepts’ in Frédéric Migayrou (ed), Bernard Tschumi: Architecture: Concept and Notation, (Paris: Centre George Pompidou, 2014)

Guest Critics: Joe Bacon, Fran Ballam, Alastair Blyth, Stanislava Boskovic, Corinna Dean, Cosmo de Piro (ADNOC), Holly Galbraith (Niall McLaughlin Architects), Sean Griffiths, Chris Hildrey (Hildrey Studio), Maja Jovic, Abigail Morris (Fairfield Heritage), Natalie Newey, Chris Romer-Lee (Studio Octopi), Guy Sinclair

PG Student critics: Michelle Barratt, Lou Kelemen; UG student critics: Joshua Bulman, Alicia Montero, Thomas Hall-Thompson, Maria Motchalnik, Isabelle Reid 122

Special thanks: Alastair Blyth, Stanislava Boskovic (Imperial College, London), Ollie Briggs, Arts Education Exchange Margate, Valeria Carullo, RIBA, Patricia Lora, Boaz Kogon, RMIT Barcelona, Eva Prats, Ricardo Flores and Julia Doz (Flores Prats Arcquitectes)

Gabriela Mac’ Allister: Margate Community School for Metalwork – (right) Axonometric; (left top-bottom) Exterior view; Interior view; Model plan view

BA Architecture | Design Studio (Two) Five

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Atefeh Arefcheh: Pro Carpentry Solutions School – (left) Axonometric; (top right) Tower view; (bottom right) Elevation New Street

)Maria Bahrim: Fabrica textile school – (top) Interior perspective; (bottom) Long section

BA Architecture | Design Studio (Two) Six

Victoria Watson & Kirti Durelle Victoria Watson is a Senior Lecturer at the University. She is the inventor of AIR Grid and director of Doctor Watson Architects.

Kirti Durelle works for Ben Adams Architects and for the LSA. He is a member of the architectural workers union UVW-SAW. Victoria and Kirti have a common interest in the shared histories of architecture, engineering and archaeology.

DS(2)6: Heritage to Helios Students: Omar Abu Wishah, Saya Agha, Davide Ciaravola, Amber Collinson, Anna Essouissi-Coulton, Hannah Ismail, Jason Jones, Karolina Kownacka, Jason Lai, Saffron Lord, Rojan Keshavaz Omarabad,

William Pope, Joseph Robinson, Yael Schreiber, Benjamin Shorrock, Emir Sirkeci, Yuen-Wah Williams

THIS STUDIO IS about architecture and cosmos. It is influenced by Cosmist texts and projects that try to teach us about our inter-stellar connectivity, to think and feel our entanglements with the deep matter, waves, particles, stars and exploding galaxies of the cosmos.

In the second semester they worked on their proposals for a Factory and Fun Palace dedicated to the project of the Great Electric Boat (F-GEB). They focused their enquiry around the themes of site, programme and technology.

This year Studio (2)6 continued to work with the International Institute of Cosmism (IIC), only now the IIC were planning to develop a historic dockyard site on the banks of the River Thames, in Deptford. The IIC were especially interested in the architectural implications of Nikolai Federov’s concept of the Great Electric Boat, which he wrote about in his essay ‘Astronomy and Architecture’. The IIC wanted to team up with young architects to test the possibilities of turning the dockyard site into a Factory and Fun Palace dedicated to the project of the Great Electric Boat.

In the first semester the young architects worked on the design of a hybrid enclosed/semi-enclosed building whose purpose was to announce and publicise the Cosmists’ presence on the Deptford site and their longer term plans to develop it.

Guest Critics: Raluca Cirstoc (5th Studio), Will McLean, Jessica Mulvey (Ben Adams Architects), Pete Silver, Guy Sinclair, Keith Tillman (Guard Tillman Pollock Architects) 126

In the interregnum between the two semesters, the young architects went to southern France, where they conducted field work in the city of Marseille and visited the world’s largest building site at a place called St Paul lez Durance. Here they witnessed the current state of a 35-nation collaborative project nicknamed ITER that is building the world’s largest tokamak, a magnetic fusion device designed to prove the feasibility of fusion as a largescale, carbon-free source of energy.

You can see more work of the studio at: https://www.architecturefoundation.org.uk/schools/design/ heritage-to-helios/ https://www.architecturefoundation.org.uk/schools/design/carpark-to-cosmos/

Special thanks to: Keith Tillman, for drawing our attention to such a stimulating site; and to all (2)6 students of previous years who continue to support the studio. (top) Hannah Ismail; (bottom) Jason (Chan) Lai

BA Architecture | Design Studio (Two) Six

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(top and centre right) Joseph Robinson ; (centre left) Yuen-Wah Williams ;(bottom) Saya Agha ::

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(left) Amber Collinson ; (right and bottom) Will Pope ::

BA Architecture | Design Studio (Three) One

Jane Tankard & Tom Grove DS(3)1 approaches the design studio as a site of experimentation and innovation. A laboratory of transformative ideas underpinned by the creative process, and professional and technical understanding, we see architecture as a multi-disciplinary action, intrinsically implicated by the political constructs that shape our world.

Jane Tankard is a full-time Senior Lecturer and RIBA/ARB registered Architect, researching experimental architectural educational practice.

Tom Grove is a PTVL. His research currently focuses on the socio-political ramifications of architecture.

DS(3)1: May You Live in Extraordinary Times Students: Hana Alsaai, Pietro Asti, Joshua Bulman, Esther Callinawan, Sarah Daoudi, Aleksandar Donov, Julia Gromny, Aissam Hachemi, Kirill Menshikov,

Suzana Meziad, Alicia Montero, Henry Morgan, Sebastian Mortimer, Nabiha Qadir, Ecaterina Reabov, Rowan St John, Hafsa Syed, Bradley Welch

AFTER A PERIOD of unprecedented wealth and prosperity, London faces an uncertain future where the challenges of a rapidly changing climate, political upheaval, the restructuring of global economic power and the decline of western cultural hegemony will transform everything from the macrocosm of the city to the microcosm of the street.

to address climate change and consequently what it means to dwell or act in a radical way. These fragments became the elements and critique from which we constructed choreographic drawings which in turn informed focused interrogations of our site and its social, historical and cultural context as well as the conventions and bias of architectural drawing. These explorations informed a project for a local archive; for some, this meant the storage of that which local communities hold dear; for others the building itself embodied what was to be remembered.

In response to this social and political context, DS(3)1 have been exploring how architecture can rejuvenate, adapt and transform the urban built environment. Over the course of the year, we have been imagining new futures for a challenging site in Southwark, one of the oldest parts of the city, where the ancient and the hyper-modern collide. Using film, literature and political comment to devise methodologies, we have proposed projects that address and interrogate the radical past in order to think about possible radical futures.

In semester one we explored a number of films and literary fragments that examine the urgent need for action

In semester two we began by considering what makes a local urban neighbourhood. Using the ‘Marrakech 5’, (fountain, hammam, school, mosque, bakery), we explored how these traditional functions might be translated to 21st century London, either to inform a radical settlement for the artists currently inhabiting the site next door, or a neighbourhood centre for the local community.

Guest Critics: Ali Glover (F.A.F. Collective), Henry Burns (F.A.F. Collective), Rauiri Fallon McGuigan (F.A.F. Collective), Daniele Natale (DBLO Associates Architects), Dean Van der Vord (Red Deer), Kevin Driver (Turner Studio), Steve Bowkett, Alicia Pivaro, Farid Abdalla, Amy Wallace 130

Special Thanks: Ali, Henry and Ruairi at the F.A.F. Collective Rowan St John: The MayDay Rooms have relocated…

BA Architecture | Design Studio (Three) One

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(top) Sarah Daoudi: Southwark Marsh; (bottom left) Alicia Montero: Sexual Health Clinic and holistic landscape for the outcasts of Southwark; (bottom right) Bradley Welch: Pit-Stop for Protest

(left) Aleksandar Donov: Borough’s Seasonal Brewery; (right) Joshua Bulman: The Machine Stops

BA Architecture | Design Studio (Three) One

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(top) Hafsa Syed: Rest for the Pests – A radical working community for humans and wildlife; (bottom) Hana Alsaai: From Syria to Southwark – Turning a new leaf

Nabiha Qadir: Revolutionary Prosthetics Centre

BA Architecture | Design Studio (Three) Two

Maria Kramer & Roberto Bottazzi Maria Kramer established her own award-winning studio, Room 102 ltd, in 2011 and is also a RIBA part III tutor. Her research focuses on bridging the gap between academia and practice via co-creation, and integrating high and low technology.

Roberto Bottazzi is an architect and academic, whose research analyses the impact of digital technologies on architecture and urbanism.

He is the author of Digital Architecture beyond Computers: Fragments of a Cultural History of Computational Design (Bloomsbury, 2018) and editor of Walking Cities: London (Camberwell Press, 2017).

DS(3)2: Zeitgeist Living Students: Marwan Almeligy, Mariame Amouche, Mariah Bondad, Bilal El Figuigui, Thomas Hall-Thompson, Cindy Hasho Bogdani, Rachel Howsen, Grace Izinyon, Mariam Jamal Eddin, Svetlozar Kudinov, Michelangelo Misiti,

Maria Motchalnik, Aisha Nadim, Hong Phong Phuong, Isabelle Reid, Saima Rouf, Rajan Suri

The city is now everywhere, and the world is a hybridized, denatured, coevolving ecology of our own making. The global city, spread across vast landscapes of resource extraction and waste, is the new nature, and this new nature is suicidal unless we transition cities from their basis in 19thcentury engineering and move them toward 21st-century understandings.

were ideas to provide habitats for biodiversity, such as birds and bees and living in a way that is inspired by ant colonies; also growing your own vegetables, with the root depth defining the roofscape or via hydroponic gardens acting as an additional nighttime light source.

Richard Weller

WE INVESTIGATED THE societal, contextual and psychological aspects at our site in Waltham Forest, focusing on developing a local hub in semester one and sustainable co-living in semester two, in collaboration with the council and locals.

Our aim was to develop ideas about how we can raise awareness and have a positive influence, with an intervention based on wellbeing and connectedness to our environment linked to programmatic invention. We invited local community leaders to our crits and it was insightful to understand the complex local issues close up.

Human body clocks are in line with the circadian rhythm and we are interlinked. How can we reconnect to the Earth so we can act with environmental responsibility and explore this on an intellectual, experiential, emotional and spiritual level? How do we prioritise a sustainable planet over economic growth? How can we live without depleting our resources?

Understanding that the urban and the domestic, the public and the private, the individual and the collective, the political and the personal, are not opposing concepts but constructs that are linked to the spatiality of the city was part of our investigation.

In term two students explored and learned from their individual ecology, integrated with the idea of co-living and co-housing. There

Guest Critics: Wilfred Achille, Hanna Benihoud, William McLean, Alex Onufriev, Alicia Pivaro, Peter Silver, Maciej Sobieraj, Sam and Joanna Vasanth 136

Special Thanks: Wilfred Achille, Paolo Cascone, Harry Charrington, Paul Dwyer, Franรงois Girardin, William McLean, MVP Workshops, Pawel Pietraszek, Julian Williams ) Bilal El-Figuigui: Residential Bird Tower

BA Architecture | Design Studio (Three) Two

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(top) Grace Izinyon: An Unorthodox Adventure with Nature – perspectives; (middle) Michelangelo Misiti: The Kids’ City Bird Sanctuary – Section; (bottom left) Phong Phuong Hong: Re-Nature Inhabitant – axonometric; (bottom right) Thomas Hall-Thompson: The 3rd Farmland – dwelling tower for night-shift workers

Svetlozar Svetlozar Kudinov: Kudinov: Image title; Funghi Funghi Living Living– Scheme Views -of View dwellings of Exterior and andforest of Socialising space Forest Space

BA Architecture | Design Studio (Three) Two

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(top) Maria Motchalnik: Community Yarn Lab Concept Models; (middle) Rajan Suri: Modula Eco Living Sketches (bottom left) Isabelle Reid: Vegetable Stew Polycentric Allotment Housing Model; (bottom right) Mariam Jamal Eddin: The Reed House Perspective

(top) Saima Rouf: Section residential groundscape proposal carved into the earth; (bottom) Saima Rouf: Section of ‘Ants Complex Social Live’

BA Architecture | Design Studio (Three) Three

Constance Lau & Stephen Harty Constance Lau practices and teaches architecture in London and Singapore. The studio’s research interests in multiple interpretations and narratives are explored through the techniques of montage as well as notions of allegory. Narrative as an ongoing dialogue in architectural design is further articulated through projects in the book Dialogical Designs (2016).

Stephen Harty is an architect and director of Harty and Harty who specialise in contemporary art sector projects. He is interested in creating learning links and is currently working to create teaching opportunities between London, Glasgow and Copenhagen. Stephen is an occasional critic at The Bartlett, where he completed his study in 1992 receiving distinction, the school drawing prize and a travelling scholarship.

DS(3)3: Sweet Disorder and the Carefully Careless, Montage and the Picturesque Students: Maryam Babayeva, Lok Him Chang, Silvia Galofaro, Alcina Lo, Olga Korolkova, Desire Lubwama, Nada Maktari, Thomas McLucas,

Viktoriia Nozdracheva, Alexandru Oltean, Ceyda Ozsoy, Jay Patel, Edoarda Trombini, Tereza Vesela, Sofia Yanez Perteagudo, Boyuan Zhang

THE NOTION OF cultural sustainability and learning from history for existing knowledge to be preserved and adapted is this year’s starting point for the studio’s interests in multiple interpretations.

architectural definitions of galleries, museums and gardens as well as new understandings of nature and/or natural history. Through notions of site, science-fiction and sustainability, the translation of research material into architecture encourages history to be (re)presented and take on its own relevance in this present day. Located at the Natural History Museum, London, the design work is approached by means of the techniques of montage as a spatial device and readings of the urban context through Bernard Tschumi’s The Manhattan Transcripts (1981). These include the generation of visual and tactile user experiences that consider in detail issues of site, authorship, conservation and presentation of the subject matter.

Sweet disorder and the carefully careless refers to

the orchestration of nature through framing techniques and design strategies where landscape and architectural features are co-dependent. This eighteenth-century adherence to particular instructions and design approaches resulted in aesthetic pleasures referred to as the picturesque. Consequently, the idea that nature can be displaced, controlled and contained was evident in the advent of greenhouses, museums and galleries where new ways of representation and presentation were key. These also include social conditions that have evolved from political, economic and cultural shifts and in this instance have brought about new architectural typologies.

The architectural proposals for the Marianne North Salon and Urban Pleasure Garden will elaborate upon and contest these discussions, to emerge with innovative

Guest Critics: Larisa Bulibasa (Projet d’A rchitecture), Loreta Lukoseviciene (Squire and Partners) 142

Hence architecture as an ongoing dialogue sees the construction of urban narratives that generate new meanings and, most importantly, create updated definitions and different readings of ‘natural history’ that are relevant to the present context.

Special Thanks: Will McLean and the Westminster technical team, Thomas Grove and John Zhang )Thomas McLucas: The Fantastical Garden, A Salon to the Mousai

BA Architecture | Design Studio (Three) Three

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(top) Desire Lubwama: The Urban Banana Conservatory; (middle) Sofia Yanez Perteagudo: Soundscape Archive, Pleasure and Silence; (bottom) Nada Maktari: The Studios of Romantic Ballet – Momentum and the Metronome of Pleasures

(top) Alcina Lo: The Urban Teahouse, Contemplation and Cultural Revolutions; (bottom left) Jay Patel: The Hall and Studios of Invention and Discovery; (bottom right) Alexandru Otlean: The Cathedral of the Shoemaker in Exile

BA Architecture | Design Studio (Three) Three

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(top) Tereza Vesela: The Extended Living Room; (bottom) Olga Korolkova: The Salon of Natural Treasures

Silvia Galofaro: The Lion and the Unicorn – The Laboratory of Taxidermy and the Vertical Garden of Pleasures

BA Architecture | Design Studio (Three) Five

Bruce Irwin & Catherine Phillips Bruce Irwin studied art and architecture at The Bartlett and Rhode Island School of Design and has lived and worked in New York and London. His practice combines design, teaching and curating. He is a founder and co-director of SCAN Projects.

Catherine Phillips studied architecture at The Bartlett and Manchester University, and art at City and Guilds of London Art School. Her practice combines architecture, teaching and art. She is a director of MPH Architects, executive architects for the Cork House, Eton, recent winner of the Stephen Lawrence Prize, Gold Wood Award and several other awards.

DS(3)5: Time is a River Students: Zienab Ahmed, Zeina Al Anzarouti, Juliana Antunes, Gozde Aydemir, Amin Benmoussa, Gizem Bulbul, Maryam Daoudi, Simran Dovedi, Angeliki Giannakodimou, Samanta Grudzien, Sarah Hisham, Wojciech

Hoffmann, William Howes, Jelena Jablockina, Sharna Johnson, Anthony Kourpas, Georgia Papadopoulou, Rosita Shirazi, Martyna Varslavenaite

Time is a river which sweeps me along, but I am the river; it is a tiger which destroys me, but I am the tiger; it is a fire which consumes me, but I am the fire.

Jorge Luis Borges, Other Inquisitions, 1952

OUR FOCUS THIS year was on the action of time and tide on site, programme, and material. We explored avenues of sustainable construction in durable and renewable materials and speculated about future forms and uses of the water’s edge in London. Issues of physical, historical, cultural, and social change have been examined in the context of rising (and sometimes falling) water levels.

The area studied has undergone substantial change over the last century, shifting from an economy of small manufacturing and shipping into a bedroom community for the metropolis. Large scale development is currently planned which will push this to new levels. What

interventions for employment, education, leisure, and culture are needed?

We worked in Brentford, West London, opposite Kew Gardens where the River Brent (Grand Union Canal) meets the River Thames. In semester one we examined two small sites adjacent to the river and near the Brentford Ait, an island refuge for wild birds. In semester two we explored the current site of the Watermans Arts Centre, seeking terms of renewal and possible relocation or re-programming within the local community.

Guest Critics: Marta Pedrosa, Katherine Sells, Philip Springall 148

) Jelena Jablockina: Arts Centre

BA Architecture | Design Studio (Three) Five

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( from top, left-right) Angeliki Giannakodimou; Rosita Shirazi; Juliana Antunes; Maryam Daoudi; Rosita Shirazi; Zienab Ahmed; Simran Dovedi; Wojciech Hoffmann; Samanta Grudzien; Georgia Papadopoulou; Martyna Varslavenaite; Anthony Kourpas; Anthony Kourpas

(top) Anthony Kourpas: Hydroponics Research Centre; (middle) Martyna Varslavenaite: River Community Centre; (bottom) Gizem Bulbul: River Community Centre

BA Architecture | Design Studio (Three) Five

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(top) Jelena Jablockina: Ornithology Research Centre model and structural isometric; (bottom left) Martyna Varslavenaite: Arts Centre and Skate Park; (bottom right) Jelena Jablonckina: Arts Centre development model

(top) Martyna Varslavenaite: Arts Centre and Skate Park collage; (bottom left) Jelena Jablockina: Arts Centre; (bottom right) William Howes: River Archaeology Research Centre

BA Architecture | Design Studio (Three) Six

Julian Williams & Michael Spooner Michael Spooner trained in medical sciences in his native Canada and neurophysiology in Japan, before settling in London to study at the AA. As an associate director at dRMM his work included school design, and the Stirling prize-winning Hastings Pier. He now combines teaching and examining while running a collaborative practice studioSpoon.

Julian Williams worked as a project architect for 20 years before moving into full-time teaching. Ten of these were spent at muf architecture/ art, collaborating with artists on public realm works and projects for the arts and young people. His current research is in the field of architectural education and study of the territories of public housing.

DS(3)6: (de)Schooling of an Eco-warrior Yr3: Mejan Ahmed, Jannat Alam, Halima Arafat, Lucie Barnes, Daniel Berende, Shivani Bhawnani, Evelyn Iguasnia Castelo, Saniat Chowdhury, Filippos Divaris, Selim Elleithy, Alicja Graczyk, Susann Kerner,

Ramshey Khan, Niamh Lenderyou, Michalina Rusinek, Holy Serunkenya, Solihah Sohail, Zahraa Tayyar

FOR THE FUTURE of our world every child needs to grow up a climate change warrior – how can the architecture of school nurture this?

The follow-up major project was the design of a single form entry primary school for a site in North Lambeth. It was to be conceived as a model school following the tradition of ambitious school building programmes of the past.. To this end the students grounded their work in ideas of learning, reflected on landscapes to nurture growth and self-discovery, and examined the idea of the school as a microcosm of an alternative city.

From our earliest experiences in school, we are confined to highly regulated, controlled and moderated realms, unimpeded by the vicissitudes of the weather, nature and the seasons, and with the classroom becoming an insulated space from which we learn about the world beyond.

To begin to address these questions, we worked with St John the Divine primary school in Kennington, running science workshops and getting a good insight into the child’s world.

Designs to transform the existing school grounds, including new teaching and community spaces, invited practical speculation that architecture could be a ‘third teacher’: a direct and didactic agent in children’s learning about the world about them through embodied experiences.

The work involve diverse explorations: reflections on the spaces of children’s fiction; the sublime as childhood experience; the exhilaration of urban terrain as both landscapes and ruins; the school as a village or farm in the city; and schools shaped not by classrooms or lesson plans but multifarious places for learning and discovery.

Climate change has brought not only a heightened awareness of the impact of material and constructional decisions but the opportunity to revisit their phenomenological parameters.

Guest Critics: Thomas Grove, Stephen Harty, Bruce Irwin, Will McLean, Roman Pardon (Pardon Chambers Architects), Nic Pople (Nicholas Pople Architect) 154

Special Thanks: John Camilleri, Catherine Warland and the staff and pupils of St John the Divine Cof E Primary School, Kennington Karen Fitzsimon MA CLMI ) Selim Elleithy: Lambeth DeSchool – short section

BA Architecture | Design Studio (Three) Six

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(top) Saniat Chowdhury: School within the City Ruins – long section; (bottom) Niamh Lenderyou: A Nelipot School – concept section

(top left) Holy Serukenya: Cookery Class – Mixing , rolling , chopping plan; (right) Saniat Chowdhury: ‘We need fresh air!’ – cut-away detail; (bottom left) Halima Arafat: Nature and the Classroom – collage

BA Architecture | Design Studio (Three) Six

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(top) Niamh Lenderyou: The Forest Ritual – short section; (bottom) Michalina Rusinek: Children of the Woods – entrance elevation

(top) Lucie Barnes: The Water Cycle School – birds eye view; (bottom) Lucie Barnes: The Water Cycle School, playground

BA Architecture | Design Studio (Three) Seven

John Zhang & David Porter John Zhang is an architect and academic. He runs his own small boutique studio and was previously an associate at award-winning practice DSDHA. He holds a PhD from the RCA on the topic of contemporary Chinese architecture.

David Porter is an architect, urbanist and educator. He was a partner of David Porter Neave Brown Architect. He was Professor of Architecture at the Central Academy of Fine Art, Beijing (2012-18) and Head of the Mackintosh School of Architecture (2000-11).

DS(3)7: Perfect Strangers Yr3: Lucy Bambury, Barbara Cellario, Rujina Chaudhury, Billy Nguyen, Zuzanna Osiecka, Jason Prescod, Jacqueline Rosales, Anna Tabacu, Kristina Veleva

USING BEIJING AND LONDON as our testbeds, and the city as our client, DS(3)7 seeks a new poetics of habitation.

Our programme is built around two extensive periods of annual mutual exchange, in which we encourage the mixed team of students from China and the UK to investigate the radically different urban morphologies of London and Beijing. Using creative and comparative methods, we ask the students to develop new concepts and novel tectonics for living that emphasis the organisational and spatial continuity between the new and the old. Key to the studio’s approach is the focus on the thresholds between public, communal and private, as well as the nature of the landscape between buildings. The joint programme is a platform for dialogue and the exchange of ideas. We pursue a global perspective in tackling increasingly shared urban challenges. We constantly question what it takes to think in context, posed as a general problem in human thought and as a particular problem for architects.

This year DS(3)7 has been exploring how, under the pressure of urban densification, existing communities and new arrivals can come together to form new, sustainable and meaningful collectives.

We spent our first semester embedded in Beijing, living and studying at the Central Academy of Fine Arts (CAFA), immersed in a radically different cultural and urban context. Through analysis of a post-reform era residential estate in Sanyuanli, the students developed a series of strategic residential housing proposals aimed at ensuring the long-term sustainability of the local community.

In semester two, the students consolidated the lessons learned from Beijing in the development of a comprehensive architectural proposal for a housing scheme in New Cross, London. Working in consultation with Lewisham Homes at one of their sites slated for temporary social housing, the students’ projects offered alternative visions for how a new housing programme – developed in response to the social, economic, and idiosyncratic needs of their identified users – can be integrated into the existing urban fabric and engage with the existing community.

Through a tectonically-led process, informed by modelmaking at a range of scales, we explore the spatial, material and experiential qualities of our proposals, accompanied by a clear understanding of the appropriate construction approaches and structural principles.

Guest Critics: David Lowry (Lewisham Homes), Catherine Mollett (London Borough of Lewisham / Public Practice), Sarah Beth Riley (Lewisham Homes) 160

Special Thanks: John Edwards, Signe Pelne ) Jacqueline Rosales: Housing above a landscaped market

BA Architecture | Design Studio (Three) Seven

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(left) Billy Nguyen: Courtyard (three ways); (top right) Jason Prescod: A shared green porch; (bottom right) Zuzanna Osiecka: A moment in Beijing

(left) Barbara Cellario: 1:20 study of copper clad balcony; (right) Kristina Veleva: Co-housing for vulnerable women

BA Architecture | Design Studio (Three) Seven

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(top) Lucy Bambury: London Shikumen; (bottom) Rujina Chaudhury: Model tests for family homes; (opposite) Anna Tabacu: Co-housing in New Cross

THIS YEAR WAS certainly one that we will all remember. Beginning in December with the RIBA President’s Medals, there were, as ever, many notable achievements. In this year’s awards, the MArch enjoyed success in the Dissertation medal category, as well as the Serjeant Award for Excellence in Architectural Drawing and the SOM Foundation Fellowship award.

These prizes were, of course, in recognition of the previous year’s work and in June 2019 as we prepared to display these projects for OPEN we could never have imagined that a year later we would find ourselves banished from our muchloved studio spaces and forced to seek refuge in an online world. Our central London location is also different, the once busy streets now strangely quiet. Describing a similar moment roughly three centuries ago the author of Robinson Crusoe, Daniel Defoe, also noted how much the city had changed: “…it was a most surprising thing, to see those streets, which were usually so thronged, now grown desolate, and so few people to see in them…”

(Daniel Defoe, A Journal of the Plague Year)

But unlike Defoe’s London of 1665, in 2020 we now have the benefit of the many and varied communications technologies that inform every aspect of our lives. And whilst the coronavirus pandemic has forced us to adapt, it has also been the impetus for ingenuity and invention – not least the creation of a whole online replacement for our usual end-of-year show. Sited in a virtual replica of the Architecture Studios, Virtual OPEN, now hosts an amazing collection of work representing the diversity and imagination of all the MArch studios. That such an outstanding body of work has been produced under these difficult circumstances is a testament to the dedication of the staff; and the talent and resilience of the MArch students. Congratulations are due both to the director and staff of the Fabrication/XR labs (who facilitated this move online) and to the students and tutors for the quality of the work displayed. The determination and resourcefulness that has gone into this celebration of the year’s achievements suggests that, whatever challenges the year ahead may bring, we can continue to expect the kind of success that we enjoyed back in December at the RIBA. Richard Difford Course Leader

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MArch ARCHITECTURE RIBA Part 2

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From experiencing the city to inscribing it on paper, MArch is underpinned by the community of the studios creating, assimilating and designing the way in which we as a society may approach the urban landscape of the future.

DS16 explored the marble factories of Carrara, Italy.

MArch celebrated this year’s RIBA President’s Medals awards whose winners this year included Ruth Pearn (Dissertation Medal), Fiona Grieve (Dissertation Commendation), Rachel Wakelin (Serjeant Award for Excellence in Architectural Drawing) and Sun Yen Yee (SOM Foundation Fellowship).

DS11 celebrated the harsh Icelandic landscape through the delicacy of line. The opportunities presented to the students by the Fabrication Lab are introduced at the start of the year through the MArch ‘banquet’, providing a chance to get to know one another and to learn some valuable digital fabrication skills.

Crits are the milestones against which progress through the studio year can be measured. They are also a celebration of the students work and a chance for lively discussion and debate, as illustrated here by DS22 and studio leaders Nasser Golzari and Yara Sharif.

MArch Architecture | Design Studio Ten

Toby Burgess & Arthur Mamou-Mani Toby Burgess is the director of Toby Burgess Design Ltd. He has previously been design tutor on the Architectural Association’s Design and Make Course and taught the Advanced Digital Design Master’s at London Metropolitan University, with a focus on the funding and delivery of live student projects, designed and fabricated using digital design tools. www.tobyburgess.com Arthur Mamou-Mani is an architect and director at his eponymous studio, a lecturer at the University of Westminster, and owns a digital fabrication laboratory called Fab.Pub. www.mamou-mani.com www.fab.pub

DS10: WeWantToLearn.net Yr1: Sarah Al Abed, Thuy-trang Dao, Shayan Gamouri, Almudena Tesorero Garcia, Eliza Hague, Zainab Khan, Gurpal Kular, Lauren Polesel, Abanoub Reyad, Yagmur Sil, Nikola Wolkova, Jacky Yomi

Yr2: Jessmine Bath, Myles Chapman,Yvonne Onah, Kinbarra Smith, Urangua Sodnomjamts, Markos Stergios, Jean-Christian Whitehouse

DS10 BELIEVES THAT architects are in a unique position to impact positively on the climate emergency, and that life-cycle analysis should be a key parameter of any design. We learn through making, using parametric design tools coupled with digital fabrication techniques to create iterative large scale physical models. We value combinations of conceptual bravery matched with architectural reality that respond intelligently to its environment and sits within the wider cultural context. Past students have become successful entrepreneurs, raising funds to realise innovative projects that change the status quo.

large scale physical models showing the progression and development of understanding between the material and botanical studies.

Students chose a building material with genuinely sustainable credentials and explored it through physical modelling informed by digital fabrication techniques at the Fabrication Lab. The chosen material was explored in terms of life-cycle, and economic impact: looking at where the material comes from, how it can be reused, and how it can be disposed of sustainably (composting, biodegradability, etc.).

Students then looked for sites and industries with historically bad sustainability credentials such as the cotton industry, the pineapple industry and the banana industry. Industries that were polluting and unethical were scrutinised and alternative solutions proposed, be that a building, a process or a programme that contributed positively in demonstrable sustainable terms, according to the UN Sustainability goals.

Through rigorous physical and digital experiments students explored the physical and assembly potentials of the material to find novel applications, structures and geometry. These experiments were combined with research into flora to understand the systems that organise plants and the living processes that operate within them. The output of this brief included many

Projects this year included a city made of sand solidified with natural resin in Sudan, a self-sustaining floating city, fireproof Californian homes, rammed-cotton self-build construction in Bangladesh, a woven mud-clad tensile building in China, an optimised natural light vertical farm in London, and recycled pallet and shipping container housing in Athens.

Guest Critics: Lloyd Evans, Joe Leach, Hamish McPherson, James Solly

Special Thanks: Lucian Glass, OMA, Studio Drift, Mediamatik, Blue City NL, UN STUDIO, University of Utrecht, MX3D

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The first term was complemented by seven sessions of software training in parametric tools such as Grasshopper, Daysim, Radiance, Honeybee, Ladybug for environmental analysis, Kangaroo for physics simulation, Galapagos and Karamba for structural analysis, and Silkworm G-Code generation, together with general computational design, mathematical concepts and books about the topic.

Abanoub Reyad: A City Built with Sand, solidified by gum arabic

MArch Architecture | Design Studio Ten

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(top) Eliza Hague: An Inflatable Origami Greenhouse, all made of paper coated with shellac; (bottom) Abanoub Reyad: A City Built with Sand, solidified by gum arabic

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(top) Yvonne Onah: Palm plywood structures; (bottom) Urna Urangua: Minimal surface with daub and wattle

MArch Architecture | Design Studio Ten

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(top) Jean-Christian Whitehouse: Solar analysis matrix for Azola Floating Farm; (bottom) Jessmine Bath: Tree City

(top) Eliza Hague: Inflatable Origami; (bottom) Zainab Kahn: Lattice Hinge Matrix

MArch Architecture | Design Studio Eleven

Dusan Decermic & Elantha Evans DS11: Guided by Dusan Decermic and Elantha Evans, both experienced architects and educators, the studio is conceived as a supportive, open-minded, reflexive and critical framework. By negotiating design ambitions at large geographical or urban scales and their implications at architectural scales and as inhabited spaces, projects carefully explore the relationships between abstracted urban genetics and unearth unexpected possibilities for material rendering of space. A series of relevant, sensitive and emotive programmes are developed in a different European city each year, responding to the contextual, socio-economic and political concerns exposed through careful study.

DS11: Reykjavík: The Land of Ice & Fire Yr1: Jeffrey Chan, Simon Dendere, Lucy King, Aleksandrs Manza, James Mason, Raluca Rimboaca, Anthony Saynor, Wesley Stone, Wan Wong

Yr2: Thomas Davison, Aderinsola Fadina, Josephine Kawiche, Aleksander Kochanowicz, Esther Medina-Llamas, Ross Ridges, Joshua Smith, Carlota Susino Martinez, Gavin Yau

CONTINUING OUR EXPLORATION of the furthermost extremes of Europe, this year we went north; to Reykjavík, Iceland. The journey began in London with four short week-long projects in the first semester; utlitmisskilnigur-safna-neyta, appearance-suggested-gatheredconsumed.

challenged and tested in situ, and then revised and refined on return to London. The visit to Reykjavík was instrumental in developing a series of quick masterplans in response to discussions with local planners and first-hand observations. These presented themselves as exciting opportunities for project development on a wider and fresher canvas of urban morphology, joining together in a vision that linked the north of Reykjavík with its old port, through the Tjörnin lake, to reimagine the domestic airport as a new Miðborg (monorail included), culminating in the southern geothermal beach at Nauthólsvík.

A particular interest in consumption was taken forward and then developed architecturally as a space of consumption to be ghosted on to a site selected from afar. In parallel, Reykjavík was studied at a distance in preparation for the second semester visit, with MArch1 developing a Reykjavík Hallmerki as a new space of consumption for the city and MArch2 developing a catalogue and thesis proposal in response to personal research and contextual investigations.

The field trip in January proved challenging as expected, but also invaluable, enabling direct experience of the indigenous culture and environmental conditions, and establishing a strong sense of place. Assumptions and preoccupations in programme and placement were

Guest Critics: Roudaina Alkhani, Simon England, Sam Giles, Sean Griffiths, Clare Hamman, Nick Jackson, Daria Konopko, Gill Lambert, Johanna Muszbek, John Ng, Ben Pollock, Layton Reid, Yara Sharif, Ben Stringer, Jacob Szikora 176

This fertile context enabled diverse projects, for example: an ‘Arctic research and drone submarine centre’ in the old harbour; an ‘extreme weather rescue training facility’; a ‘new city library with saga-house and hydroponic botanic garden’ as the new Miðborg town centre; an ‘institute for genetic research and human alterations’; new ‘housing scheme with bamboo paper mill’, a ‘dream laboratory and cherry orchard’ to harness the un/sub-conscious power of Reykjavík’; and a ‘new city cemetery with promession (freeze-drying) facility’.

Special Thanks: Daniel McLean (architect of ‘Reykjavik City of Light’, University of Bath 2019), Massimo Santanicchia (Programme Director in Architecture, Iceland Academy of the Arts), Haraldur Sigurðsson (Head of Municipal Planning, Reykjavik)

(top) Aleksandrs Manza: Arctic Research & Drone Submarine Centre; (bottom) James Mason: Iceland’s seasons, senses and spaces

MArch Architecture | Design Studio Eleven

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(left & top centre) Gavin Yau: Genetic Research Institute; (top right) Esther Medina Llamas: The Art Factory; (middle) Anthony Saynor: Hermt Umhverfi Extreme Weather Rescue Training Facility

(top centre) Carlota Susino Martinez: The Grand Reykjavik Hotel;; (centre left) Recording twilight; (centre right) Aderinsola Fadina: Fyrir Folkid Paper Mill elevation study; (right) Wesley Stone: New Midborg City Library, writer’s room

MArch Architecture | Design Studio Eleven

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(top left) Lucy King: Culinary School; (top right) Anthony Saynor: Hermt Umhverfi; (middle left) Aderinsola Fadina: Fyrir Folkid; (bottom) Tom Davison: Confronting the Somnabulant City – A Tesselation of Aerostatic Dreamcatchers

Wesley Stone: New Midborg City Library, Saga-house and Hydroponic Botanic Garden

MArch Architecture | Design Studio Twelve

Ben Stringer & Peter Barber Ben Stringer teaches design and cultural context studies at the University of Westminster. Recently he has been publishing articles about architecture and rurality.

Peter Barber has a practice noted for its social housing and urban design projects, mostly around London. He also teaches design studio at the University of Westminster.

DS12: Doggerville Yr1: Antrea Antoniou, Callum Bleasdale, Isabel Briggs, Olivia Britten, Anissa Colaco Souza, April Glasby, Lorena Lima Loureiro

Yr2: George Badman, Nicholas Chapman, Lisa Gronevik, Rupert Heasman, Xiao Ma, Marija Petrovska, Abhinav Seethamraju, Mei Tsao, Ioana Ungureanu, Samuel Whitehead

THIS YEAR WE imagined and design a productive populated island in the Thames near Tilbury. Everyone in the studio designed a part of this settlement which includes ideas for experimental housing, industry and agriculture. It is intended to be a site for new technologies, ideas about settlement form, and our future relationships with climate and ecology.

to locate our settlement and what form its masterplan should take. Unlike Thomas Moore’s Utopia, Doggerville is an unsettled site of conflicting opinions and ideals, where nothing can be achieved without contradiction, negotiation and co-operation.

The project brief meant that everyone in the studio had to work together more than usual, and everyone had to agree on fundamental decisions about things like where

In November, DS12 took a little train tour to some places in Belgium, Holland and Germany. Highlights included our visits to BIGH Anderlecht, the floating farm in Rotterdam, the Landschftspark in the Ruhr valley, the Pilgrimage Church in Neviges, and the Schwebebahn in Wuppertal.

Guest Critics: Pierre d’Avoine, Toby Burgess, Nat Chard, John Cook, Catherine Flood, Eddy Fox, David Greene, Dionysia Kipraiou, Maria Kramer, Jane McAllister, Eric Moed, Stuart Piercy Alicia Pivaro, Toby Shew, Aly Struthers, Mireille Tchapi, Igea Troiani, Tashia Tucker 182

DS12: Doggerville

MArch Architecture | Design Studio Twelve

(top left) April Glasby: Great St[Ink] Pier ; (top right) Antrea Antoniou: Below Plasticod; (bottom) Rupert Heasman: Warbler Ville :

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(top left) Isabel Briggs: Living Spud ; (top right) Callum Bleasdale: Aylesbury on Sea Paresh Parmar; (bottom left) Abhinav Seethamraju: Cow Town; (bottom right) Sam Whitehead: DoggerBrew :

MArch Architecture | Design Studio Twelve

(top left) Nic Chapman: Oyster Farm ; (top right) Marija Petrovska: FabRig ; (middle left) Olivia Britten: Lido Pod; (bottom left) George Badman: House Dock; (bottom right) Anissa Colaco Souza: Kelp Hill Market :

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(top) Mei Tsao: Crab Motel; (bottom left) Ioana Ungureanu: Mycotopia; (bottom centre) Xiao Ma: Alder Village; (bottom right) Lisa Gronevik: Modular Bug Village

MArch Architecture | Design Studio Thirteen

Andrew Yau & Andrei Martin Andrei Martin is a partner at PLP Architecture, a London-based multidisciplinary design practice.

Andrew Yau is a design director at Urban Future Organization, an international practice and design research collaborative.

DS13: On Display Yr1: Kiesse Andre, Sharaye Campbell, Christina Gelagotellis, Aleksandra Gutkowska, Hasan Jamshed, Seungmin Lee, Kin Dorothy Leung, Gemma Mohajer, Owen Nagy, Arshana Rajaratnam, Joshua Spitter, Renzhi Zeng, Filip Zientek

Yr2: Ayokunle Ambali, Celine Battolla, Monika Bochynska, Adnan Khan, Xiaolan Lu, Han Yang

AT THE CORE of each creative discipline is the production of a body of effects that shapes the way we relate to the world and each other. At DS13 we are interested in disciplinary specificity, in the effects specific to architecture. We believe that architecture’s relevance, its engagement with the world and its sense of agency derive from its ability to generate effects and, through these effects, to produce affect, thus shaping human experience.

investigated a new type of architectural imagination, concerned with boundaries, edges, volumetric primitives and relations through separation and difference. We explored the spatial effects produced by polygonal constructs, their chunks, joints, niches, patchiness, inlaying and interiority.

This year, through the context of Shenzhen’s urban transformation, we have explored the spatial and organisational opportunities of urban expansion through re-zoning, and studied the novel architectural and urban typologies emerging from the potent social, cultural and political pressures that are reshaping the city, with a specific focus on typologies that rely on the notion of display.

To do this we have looked at the role, relevance and political agency of architectural objects in a cultural landscape defined by affect. We have explored how affect creates new forms of attention, desire and political will. More specifically, we have investigated the possibility of creating new types of architectural and urban conditions through a deliberate architecture of affect.

Our study was focused on an exploration of architectural objects: their wonder, suspense and surprise. We

In addition to Objects, we also explored counterObjects, which defy precise delineation: heaps, totems, piles, glitches, assemblages, flocks, unexpected composites.

These deliberately ambiguous formations distance themselves from clear perception, interpretation or direct understanding. We produced counterObjects through a series of techniques including entropy, arbitrary operations and indeterminacy, and explored qualities traditionally rejected in architecture such as failure, the ad hoc, the ugly, the ironic, the awkward, the absurd, the cute, the generic, the ready-made, the entropic, the cheap, the hand-made.

As Objects and counterObjects interact, they produce superObjects: affectively charged spaces and architectures of less predictable experiential conditions. Through superObjects we explored a new world of architectural typologies, their effects, qualities and potentials.

Special Thanks: Eddy Yi Jing He & Manuela Letti - Executive Curator, (Shenzhen Biennale 2020), Dir. Simon Sun & YauLeeWah Prefabrication Factory, Dir. Robert-Jan Van Santen & VS-A Envelope Engineering, Shenzhen Planning Bureau, Qianhai Area Development Bureau 188

) Owen Nagy

MArch Architecture | Design Studio Thirteen

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(clockwise from top left) Seungmin Lee; Renzhi Zeng; Gemma Mohajer; Joshua Spitter

Gemma Mohajer

MArch Architecture | Design Studio Thirteen

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(clockwise from top left) Celine Battolla; Hasan Jamshed; Aleksandra Gutkowska; Kin Leung; Adnan Khan; Seungmin Lee; Christina Gelagotellis; Monika Bochynska; Christina Gelagotellis; Ayokunle Ambali

Monika Bochynska

MArch Architecture | Design Studio Fifteen

Sean Griffiths & Kester Rattenbury Sean Griffiths practices as an architect, artist and academic. He was a founder member of the art architecture collective FAT and now practices as Modern Architect.

Kester Rattenbury is an architectural writer and critic. Her recently published book, The Wessex Project: Thomas Hardy Architect is a study of the architectural work of the novelist, Thomas Hardy and was shortlisted for the RIBA research medal. She leads the research group Experimental Practice (EXP).

DS15: The Really, Really Real Yr1: Sophie Guneratne, William Lawton, Andreas Makris, William Rowe, Virosh Samuel

Yr2: Michelle Barrett, Edwin Chan, Luke Eve, Sinead Fahey, Joshua Heather, Lou Kelemen, Constanza Moni, Magnus Pahlberg, Grigory Slipenchuk, Emmanuel Tetterfio, Anna Voicehovsky

DS15 IS A STUDIO that uses experimental methods, based mostly on ‘Chance Operations’ to develop new forms of architecture. We develop strangely poetic architectural components out of processes that challenge the ideas of authorship, intentionality, causality, concepts and meaning, normally considered central to the production of architecture.

East London. The site hosts the spectacular Dagenham Market, whose festival-like character the students were encouraged to draw from and to incorporate into their masterplans. Each individual student then designed a substantial building and some student accommodation for colleges of music and performance, health and beauty, and construction and mechanics.

Students are encouraged to swap pieces of work with each other and to design notation systems, forming instructions from which their colleagues make work. The students therefore act as designers, collaborators, clients and contractors for each other. The resultant objects, made collectively by the group, form a catalogue of parts available for the use of all members of the studio in their individual projects.

In order to experience the spirit of formal invention and its application to an architectural programme of communal living, we undertook a richly rewarding study tour to France to view several works by Le Corbusier, the highlights of which were an overnight stay in the Monastery of La Tourette near Lyon and a visit to the Chapel of Notre Dame du Haut at Ronchamp. These visits inspired the students to integrate the highly inventive formal and material components generated by chance operations into a cohesive whole, incorporating complex programmatic requirements while simultaneously responding to each other’s projects on a challenging urban site.

Collaborative work is an important part of our studio ethos and this year the students worked in groups of four to produce integrated masterplans for a further education college sited on the River Thames in Barking,

Guest Critics: Eddie Blake, Matt Barnes (CAN), Roberto Botazzi, Matt Crawford, Ben Ellis, Elantha Evans, Marysia Lewandowovska, Max Martin (Studio Mash), Sara Martinez, Liana Psarologarki, Geoff Shearcroft (AOC), Connor Sheehan (Studio Mash), Nina Shen Poblete (Hop Projects), Angus Smith (Studio Mash) 194

) Virosh Samuel, Sophie Guneratne, Joshua Heather, Anna Voicehovsky: Further Education College, Barking , Masterplan

MArch Architecture | Design Studio Fifteen

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(left) Emmanuel Tetterfio: Fragmented Interior; (top) Lou Kelemen: Performance Space; (bottom) Will Lawton: Workshop Interior

(top left) Virosh Samuel: River Approach; (top right) Will Rowe: I Ching Ruff; (bottom) Michelle Barratt: Student Room and Floor Plan

MArch Architecture | Design Studio Fifteen

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(top left) Joshua Heather: Rainwater Detail; (top centre) Edwin Chan: Tectonic Study; (top right) Sophie Guneratne: Fashion School; (bottom) Sinead Fahey: Elevation

(top) Emmanuel Tetterfio & Sinead Fahey: Student Housing ; (bottom left) Constanza Moni: Student Housing ; (bottom right) Luke Eve: Construction School

MArch Architecture | Design Studio Sixteen

Anthony Boulanger, Stuart Piercy & Callum Perry Anthony Boulanger has an MArch from The Bartlett, UCL and is co-founding partner of AY Architects, recognised for innovative design and research, and winner of several awards including the Stephen Lawrence Prize in 2013. Stuart Piercy is a Fellow of the Royal Society of Arts and founding director of the acclaimed craft-dedicated practice Piercy&Co. Callum Perry is a DS16 graduate (2014), designer/fabricator and architect at Piercy&Co. DS16 offers students an advanced platform for experimentation of architectural concepts with a civic purpose activated by a culture of making.

DS16: Forgotten Country: Rural Change and the Urban Unconscious Yr1: Daniel Atkinson, Rebecca Gardner, Maria Garvey, Finlay Johnson, Connie Latham, Tobias Pullen, Bryn Reynolds, Zheng Kangli

Yr2: Robert Beeny, Tanatswa Borerwe, Ben Dart, Thomas Howard, Zhivka Ivanova, Frans Khan, Silas Koopmans, Thomas Leach, Agatha Savage, Tia Shaker, Manuel Enrique Urbina Meza

DS16 CONTINUES ITS preoccupation with interrogating architectural concepts through in-depth explorations of materials and techniques of making.

nostalgia, tradition, migration, automation were a few of the areas being scrutinised. Students then collaborated in groups of two or three to create a variety of Hybrid Artefacts, physical objects imagined from and inspired by one or more themes associated with the changing countryside. Each artefact was conceived, designed, tested and produced through studying and utilising a traditional (analogue) craft married with at least one digital technique.

The theme of the year, Forgotten Country, invited students to undertake a process of concentrated research to examine and respond to the recent intensification of change being experienced by the countryside. This severe transformation and transfiguration is demonstrated by a variety of practices while increasingly being shaped by technology, immigration and climate change. Although more than 50% of the world’s population now inhabits only about 2% of the land, the dynamics of the countryside have become far more complex than those of the city. The global market economy and the concurrent political environment keeps reminding us of the importance of the countryside.

The question is how can we revitalise and reinvent the countryside as a meaningful answer to current and future trends? How can we use technology to support rurality and can we create new building typologies for human (re)inhabitation?

To start the year we examined wide-ranging themes addressing the metamorphosis in life, culture and use of the rural landscape in England; folklore, authenticity,

The investigation was brought to the rural environments of Tuscany where we visited a marble quarry, production centre and a robotics workshop in Carrara and where we toured the provinces of Lucca and Siena. Students instigated their main individual thesis projects, writing their own briefs and selecting their own sites – whether inTuscany or England – and devised their own programmes. The challenge, as always with DS16, was to form critical and experimental spatial and material responses to a social, cultural, political, economic and environmental context with an explicit civic endeavour.

The studio’s normal wealth of physical models and 1:1 components was curtailed by remote learning, when a more involved spatial, technical and experiential resolution was adopted, sometimes represented by other means, including animation and hand drawings.

Guest Critics: Sophie Cole (Mikhail Riches), Yannis Halkiopolous (Piercy&Co), Yeoryia Manolopoulou (AY Architects), Amy Martin (Thirdway Architecture), Al Scott (If-Do), Liam Spencer (Thirdway Architecture), Michiko Sumi (KPF), Lewis Toghill (Architecture Social Club) 200

Special Thanks: To Matter of Stuff and Garfagnana Innovazione SRL for their hospitality in experiencing the world of Carrara marble.

(clockwise from top left) Beeny & Johnson: Jiggy Jolly – rotational casting process; Savage & Reynolds: Hybrid Moulded and Woven Ceramic Vessels; Urbina Meza & Garvey: Reviving the Reject – leather jackets for ceramic rejects; Koopmans, Leach, Atkinson: A Very Curious Cabinet – detail; Pullen & Khan: Hemp Bio-Plastic Everyday Bag

MArch Architecture | Design Studio Sixteen

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(top) Manuel Enrique Urbina Meza: Marmo Carrara Artist Collective – perspective view of public galleries; (bottom left) Connie Latham: Lucy’s Corner Great Hall and Textile Studios Buntingford – great hall root plan; (bottom right) Tobias Pullen: Re-shaping Rural Devizes – concept model

Maria Garvey: The Sustainable Leather Craft Collective Santa Croce Sull’Arno – (top) Illustration of approach from the town centre; (bottom) Illustration of leather working studio

MArch Architecture | Design Studio Sixteen

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(left) Silas Koopmans: Bugsby’s Reach Thames Public Space – axonometric of floating workshop pavilion; (right) Agatha Savage: Rocca Di Montestaffoli Saffron Research and Craft Centre San Gimignano – illustration of drying towers and dyeing pools

Rebecca Gardner: The Alabaster Guild Volterra – site plan

MArch Architecture | Design Studio Eighteen

John Cook, Ben Pollock & Laura Nica John Cook is an architect and research associate at Monsoon Assemblages, developing tools to process, analyse and visualise a range of global-scale physical and climatic observational and modelled data centred around three cities within the South Asian Monsoon context.

Ben Pollock is an architect and co-founder of 4D Island, a research collective investigating sustainable development and climate adaptation in the Maldives.

Laura Nica is an architect working at dRMM on mixed-use sustainable masterplans and various digital tools for timber construction. Her broader interests extend to material research, digital fabrication and assemblage processes.

DS18: Air, Architecture + Other Climates: 57.0º to 71.0ºN: Norway Yr1: Seni Agunpopo, Nikhil Berwal, Denise Carcangiu, Gergana Georgieva, Rishi Mistry, Hannah Pinsent, Lizzie Terry, Helen Windsor, Jamie Williams

Yr2: Tamanna Akhter, Gabrielle Bucknall, Aimée Daniels, Katherine Dechow, Dagmara Dyner, Charlotte Grasselli, Kate Hosking, Sara Kosanovic, Carolina Lopez, Una Osterhus Ledaal

THE CONTEXT OF our global climate and ecological emergency provides the foundation for all DS18 investigations. We use the architectural project as a tool to test the effects of changing environmental processes upon life and design, and to communicate and represent these intangible global issues to new audiences in new ways. We aim to ground projects through directed and critical levels of research using experimental diagrams, cartographic imaginations and computational tools to record, analyse and communicate the connections between the vast assemblage of project themes, relationships, scales, actors and material.

investigations. As the country braces for our impending climatic breakdown, its landscapes are being reshaped, ecologies disturbed and urban settlements, agriculture and industry transformed. It is within this context of shifting territories, colliding boundaries and emerging practices that students were asked to explore the threats, risks and opportunities of the ‘other climates’.

The studio’s wider framing was formed around three interlinked climatic phenomena: the Arctic Circle, the Ferrel/Polar air cells, and the Polar jet stream. These entwined atmospheric systems shape the climates and weather patterns throughout the Northern Hemisphere but are now destabilising and transforming unpredictably as a result of man’s anthropogenic exploitations.

Stretching 13° of latitude within this belt of volatile climatic activity, Norway was the focus for this year’s

Students researched at a global, regional and territorial scale. They constructed datasets, employed mapping and experimental micro simulations (CFD) to uncover scenarios, characters and narratives within this context, as well as the atmospheric constituents they are entangled with. During the field trip, students furthered their research and contextual understanding through workshops held with The High North Research Centre for Climate and the Environment, Tromsø, and The Norwegian Institute for Air Research, Kjeller. All of which was used to inform the second semester’s thesis project: to contextually explore these complex scenarios and interacting agents through novel programmatic assemblies, narratives, representation and architecture.

Guest Critics: Carlos Bausa Martinez (Zaha Hadid Architects), Tom Benson (MIT), Raymonde Bieler (White Arkitekter), Roberto Botazzi, Lindsay Bremner (Monsoon Assemblages), Charity Edwards (Monash University), Jon Goodbun, Alex Gordon ( Jestico +Whiles), Fiona Grieve (Scott Brownrigg Architects), Druv Gulabchande (HFM/ Narrative Practice), Aidan Hermans (Grimshaw Architects), Philip Hurrell (Millar+Howard Workshop), Constance Lau, James Mak (dRMM), Martyna Marciniak, Oscar McDonald (Space Syntax), Mike O’Hanlon (DSDHA), Richard Portchmouth (Birds Portchmouth Russum), Jose Alfredo Ramirez (Groundlab), Matthew Rosier (ACAN), Cid Schuller (Undercover Architecture), Katt Scott (dRMM), Calvin Sin (SCI-Arc), Iulia Stefan (Groundlab), Ben Summers (RCKa), Alice Thompson (MATA Architects), Rachel Wakelin (Buckley Grey Yeoman), Alex Watts (Eric Parry Architects) 206

www.designstudio18.com Special Thanks: Ben Ashby & Shahid Padhani (Advanced Digital Engineering Group, ARUP), Kathryn Donnelly (High North Research Centre for Climate and the Environment), Leonora Tarrason (Norwegian Institute for Air Research), Aurelien Thomas ( Jestico + Whiles), Namik Mackic (Oslo School of Architecture and Design), Matthew Dalziel (Oslo Architecture Triennale) Charlotte Grasselli: Encoding the Jet Stream – The Polar Wind Park

MArch Architecture | Design Studio Eighteen

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Kate Hosking: Black Ice Forum

Katherine Dechow: Micro-Plastic Parliament & Clean Air Park

MArch Architecture | Design Studio Eighteen

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(top) Gabrielle Bucknall: Moth Assembly and Reforestation Forum; (bottom) Sara Kosanovic: The Nordkapp Dust Research Station

(top left) Helen Windsor: The Seeping City and Perma-power plant; (top right) Seni Agunpopo: The Cloud Sanctuary; (bottom) Aimee Daniels: The Anthropocene Air Archive

MArch Architecture | Design Studio Twenty-One

Gill Lambert & Geoff Shearcroft Gill Lambert & Geoff Shearcroft practice together at award winning practice AOC Architecture, where they work with communities, institutions and individuals to develop new briefs for contemporary needs, and design buildings, rooms, objects and places in response. They are currently working on the transformation of the V&A’s Museum of Childhood, to create both an internationally relevant museum and an essential public space for the local community.

DS21: Joy in Architecture Yr1: Makbule Karadag, Leila Khadem, Akmaral Khassen, Maryam Khodaie

Yr2: Amy Bettinson, Christopher Birt, Hilary Chan, Tsun Chan, Amrit Flora, Frederika Fraser, Georgia Gollop, Tony Graham, Thomas Greenhill, Aditi Gurung, Jake Holmyard, Jonathan Radford, Eleanor Riley, Anna Sawey, Archie Stroud

DS21 IS CONCERNED with people, places and politics.

We remain optimistic (perhaps naïvely) that architecture can make the world better. In the contemporary context of a global climate emergency, diminishing belief in democracy and a decline in living conditions, we think there is potential for buildings to make people’s lives more joyful – environmentally, socially and, most significantly, emotionally.

We turned our attentions to the London Borough of Tower Hamlets – diverse and wealthy with vast inequalities. Each student identified and investigated a public service provided in the past and speculated on its future. Careful observation, archive research and analytical drawing developed an engaged understanding of the existing service and users. Contemporary challenges and political events informed a radical reimagining of the brief.

We began by defining joy through curating found objects. Intensely personal, frequently kitsch, often stereotypical, this collection grew and matured over the course of the year, captured in crafted boxes or curated accounts. A lexicon evolved, connecting the form, materials and myths of objects with the emotional effects they create.

On our field trip to Porto and Barcelona we enjoyed a diverse range of buildings that evoked a subconscious emotional response. We studied and stole how colour, pattern and symbolism can be used to enhance the physical and emotional conditions of the city.

The design and realisation of familiar everyday components – door handles, light switches, joist hangers, rainwater pipes – was our first built declaration of joy in architecture. Ergonomics, regulations, clichés and expectations were interrogated and models tested and redesigned. The final prototypes erred towards a full sensory engagement, enriching functional economy with emotional engagement.

The final proposals create a diversity of individual architectures that collectively define a new joyful and democratic vision for Tower Hamlets in which the emotional value and impact of public buildings and the services they host are paramount.

Guest Critics: Eddie Blake, Andrea Cunningham, Geraldine Holland, Richard Morrison, Alex Newson, Dingle Price, Jonny Pugh, Catrina Stewart, Kristian Volsing, Nick Wood 212

Tony Graham (Th (top) Hilary Chan: Hand Wash; (bottom) Amrit Flora: Smiley Handle; (opposite) Tony Graham: The First Love Tower

Fire door keep shut

MArch Architecture | Design Studio Twenty-One

(top left) Frederika Fraser: Tower Talks; (top right) Tsun Chan: Market Regeneration – Digest in the City; (below) Tom Greenhill: Youth Idea Store

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(top left) Jake Holmyard: Reinstating the Garden in Robin Hood; (bottom left) Chris Birt: E2 Bethnal Green Station; (right) Archie Stroud: Watney Plaza Reminiscence Home

MArch Architecture | Design Studio Twenty-One

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(left) Aditi Gurung: Hamlets Hall; (top centre ) Hilary Chan: Floats and Boats; (top right) Jonathan Radford: Whitechapel Wash House; (bottom right) Anna Sawey: Globe Town Assembly; (opposite) Eleanor Riley: The Klimate Estate

PERSPECTIVE SECTION

MArch Architecture | Design Studio Twenty-Two

Nasser Golzari & Yara Sharif Nasser Golzari and Yara Sharif are award-winning architects and academics with an interest in design as a means to facilitate and create resilient communities. Combining research with design, their work runs parallel between their architectural practice, NG Architects, and their Design Studio, DS22, at the University of Westminster. Golzari and Sharif have won a number of prestigious awards including the 2013 Agha Khan Award, 2014 Holcim Award for Sustainable Construction, and 2013 & 2016 RIBA President’s Award for Research.

The way they run the studio is very similar to how they run the practice, with a combination of design, drawings, testing and making.

DS22: Resilient City: An Oasis In A Fractured Landscape Yr1: Rojda Aslan, Trixie Bedwei Majdoub, Neguine Boumedine, Jake Cripwell, Varsha Raji, Savannah Williams

Yr2: Eliot Ellis-Brown, Michael/Wai Cheung, Alejandro Abreu Hermoso, Taraneh Joorabchian, Puiman Lee, Sara Muawwad, Kamran Nayyer, Julie/ Nosimilo Oti, Hemali Rathod, Haneen Shames, Neda Soltani, Julia Topley, Thomas Riddell Webster

AT A TIME of scarcity, and economic, political and environmental uncertainty, it is time once again, within the context of architecture, that we question and rethink our cities and imagine a better future inclusive for all.

This year DS22 envisioned an ‘Oasis’ within the fractured landscape in order to propose new socio-cultural typologies for a collective. While interrogating the notion of Oasis, we reconstructed new architectural narratives to inhabit the city; new, resilient means of living that challenge the normalisation of capitalist exploitation; and new modes of collective that place the community on the front line to combat the commodification of our resources and basic rights.

surrounding’.2 It is associated with order and relief; a prospect of escaping necessity to offer a fertile ground and the opportunity to sustain life. The oasis challenges the wilderness of the ‘desert’, to offer ‘secure resources’ and create order. It is generally seen as a symbol of protection, comfort and self-sufficiency.

Why Oasis? The word ʻOasisʼ seems to have originated from the Coptic language, which means, according to Harper, ʻdwelling placeʼ.1 In some dictionaries it is defined as a ‘heaven in the desert for travellers’. Metaphorically, however, the Oasis is seen as ‘a space of refuge in a harsh

Similar to every year, DS22 tries to encourage critical and imaginative thinking. We put a lot of emphasis on nurturing complex drawings and technical competence while adhering to a socially-driven agenda.

Students were encouraged to rethink and interrogate the notion of oasis and engage with the social and spatial realities of the city of Hanoi as the main site of exploration. Some however, chose their own sites of interest in places including Beirut, Cape Town, Algiers, Varanasi and the Isle of Wight.

1 D. Harper, Etymonline Origin of ‘Oasis’. Online Etymology Dictionary, (2011) 2 B. Aben, & S. de Wit, The Enclosed Garden: History and development of the Hortus Conclusus and its re introduction to the modern-day urban landscape (London: 010 Publishers, 1999)

Guest Critics: Canny Ash (Ash-Sakula Architects), Angela Brady (Brady Mallalieu Architects), Philip Breese (Weston Williamson and Partners), Toby Burgess, Andrew Carr (Brady Mallalieu Architects), Murray Fraser, Denia Groza, Rim Kalsoum (NG Architects), Eman Keaik, Martyna Marciniak, Ina Nuzi, Ciaran O’ Brian (Red Deer Architects), Mirna Pedalo, Pejman Savejbilagee, Rana Soliman, Sun Yan Yee 218

Special Thanks: Minh Van and Elise Luong (8A Architecture and Urban Planning, Hanoi), Michal Teague (RMIT)

(left) Thomas Riddell-Webster: The Melting City; (right) Alejandro Abreu Hermoso: Heroic Mothers

MArch Architecture | Design Studio Twenty-Two

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(top left) Elliot Ellis Brown: The Free State of the Isle of Wight; (top right) Jake Cripwell: Celebrating the Threshold; (bottom left) Wai Cheung: City in the Clouds; (middle right) Savannah Williams: Breathing Hanoi; (bottom right) Neguine Boumedine: Inverted Streets

(top left) Trixie Bedewi Majdoub: Teahouses of Hanoi; (middle left) Taraneh Joorabchian: City of Exuberance; (bottom left) Kamran Nayyer: People’s Parliament; (right) Sarah Mouawwad: In Between Two Realities

MArch Architecture | Design Studio Twenty-Two

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(top left) Hemali Rathod: The Untouchables; (middle left & bottom) Julia Topley: The Dialectic City; (top right) Neda Soltani: Gateway to Casbah

(clockwise from top left) Puiman Lee: Yellow Oasis; Nosimilo Oti: Ministry of Nostalgia; Varsha Raji: Inverted City; Hemali Rathod: The Untouchables; Rojda Aslan: Extended Oasis; Nosimilo Oti: Ministry of Nostalgia

MArch Architecture | Design Studio Twenty-Three

Richard Difford, François Girardin & David Scott Richard Difford is an academic with expertise both in creative technologies and architectural history. His teaching focuses on architectural representation and the use of electronics and coding in architectural design.

François Girardin is an architect and educator teaching design and cultural context. He has specialist interests in material technologies and digital fabrication.

David Scott is an academic and Director of the Fabrication Lab. His interests are in the transformative application of digital technologies to architectural design.

DS23: Data for Living In: Adaptive architecture in a networked age Yr1: Ceri Baxter, Thomas Burbery, Sindiso Dlodlo, Hayley Garnham, Shing Ma, Katarzyna Maskowicz, Isaac Read, Joshua Shield, Chung Shu Wing, Laura Walton

Yr2: Jonas Brazys, Adelina-Ruxandra Gutu, Martynas Kasiulevicius, Agata Korzeniewska, Hoi Laam Leung, Jacek Nowak, Hardik Patel, Hamza Shaikh, Shaun Taylor

IN PREVIOUS YEARS, DS23 explored the architecture of the factory: from the first mass-produced motor cars to the rise of automation and robots, we traced the way the rational order of the production line inspired a culture of functionalism and an aesthetic of the machine. This year we left the factory behind and turned our attention to the way industrial technologies have spread from the factories and the labs to change every aspect of people’s lives. Our focus has been on the contemporary world in which we now live; the rise of digital network technologies and the so-called ‘Internet of Things’.

it is also necessary to consider the social and cultural implications of these technologies and look critically at the more sinister aspects of a networked environment. As Bruce Stirling points out, the corporations that promote the Internet of Things, ‘don’t have customers. Instead they have participants under machine surveillance…’

Connected systems, we are told, ‘will ripple through education, government and business and fundamentally remap and rewire actions, behaviour and social norms. The technology will affect everything from the way people vote to the way we eat at restaurants and take vacations.’

But tempting as it is to celebrate this brave new world,

All the more reason, then, to take back control of these devices and to revisit the architectural potential of the machine; to attempt to discover how the information gathering sensors and embedded technologies of today will shape the architecture of tomorrow. In response to this provocation, a series of innovative programmes propose new forms of adaptive architecture. Considered both as technical detail, and at the scale of the urban or natural landscape, these schemes are not virtual worlds but material architecture through which digital technology and physical mechanisms interact.

Dedicated to the memory of Joshua Shield.

Guest Critics: Anthony Boulanger (AY Architects), Jami Cresser-Brown (Bryden Wood) Gillian Lambert (AOC Architects), Ben Pollock (4D Island), Ben Ward (SOM), Andrew Yau 224

Special Thanks: Special thanks to the Fabrication Lab team for their unerring support. ) Martynas Kasiulevicius: Eiderland: Wildlife Data Gathering Centre

MArch Architecture | Design Studio Twenty-Three

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Shaun Taylor: On-Off Shore Community

(left) Isaac Read: Adaptive Architecture In A Networked Age; (right) Thomas Burbery: Nucleus, Airhub.

MArch Architecture | Design Studio Twenty-Three

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Jonas Brazys: Van Life, Land Harbour One

(left) Hamza Shaik: The Sleep Institute; (right) Agata Korzeniewska: The Agbogbloshie Robotic E-mporium for Innovation

MArch Architecture | Design Studio Twenty-Five

Alessandro Ayuso, Martyna Marciniak & Daniel Wilkinson Alessandro Ayuso is a Senior Lecturer whose studio-based practice and research focus on the intersection of representation, architecture and the body.

Martyna Marciniak is an architectural designer and animator interested in architectural narratives. Her current research involves the relationship between architecture and post-digital bodies. She is currently working at Forensic Architecture.

Daniel Wilkinson is an architectural designer and researcher whose work probes the intersections of figural and architectural practice.

DS25: Body Agent Architecture Yr1: Sheikh Ahmed, Shahriar Doha, Laura Kershaw, Ryan Kyberd, Kai Law, Linggezi Man, Leah Roberts, Olga Smoili, Anastasia Tsamitrou, Rares Tugui, Alexandros Tzortzis De Paz

Yr2: Daniel Buban Ngu, Edward Hancock, Lauriane Hewes, Shaden Meer, Wilhelmina Ogoo, Laura Snape

DS25 TAKES THE fundamental relationship between bodies and architecture as a starting point. For each student, this year began with a hybridisation of two selected precedents of figures from art and architecture to construct their own unique body agent (a figure that enacts a conceptual and material idea of the body). For each student, this exploration quickly evolved into films and full-scale drawings of their own body agents which raised unique architectural issues and methods. On our field trip to Austria early in the year, we added to our understanding of precedents through seeing buildings alive with interaction between figures and architecture, for instance through our visit to artist-architect Walter Pichler’s farm, where he spent decades making figural sculptures and the buildings that house them.

by each student’s individual investigation. Speculation on heterotopias, or spaces of ‘otherness’, provided rich territory to imagine how critical issues might play out in the future, and provoked ideas of fantastical and sometimes outrageous architectural scenarios. For instance, a project considering a posthuman realignment of animal-human relationships used a series of ergonomic details as the starting point for a show-home for families of single ‘parents’ and their prosthetically-augmented ailuranthropic cats. Exploring the therapeutic potential of architecture, another project melded surrealism and high modernism to imagine an Alzheimer’s patient’s home where figurative architecture evokes memories and aids in navigation. Inspired by nineteenth-century flâneur culture and research on London’s past culture of sex cinemas, another project probed architecture’s potential to provide pleasure, envisioning a hidden, doll-burlesque theatre where the architecture plays a role in seducing visitors.

The final projects in the studio, sited in and around Mile End Park, are purposefully holistic with respect to their programmes, styles and media, and are driven

Guest Critics: Lida Evangelia-Driva (Arup), Harry Matthews (ÜberRaum Architects), Vishal Mistry (WilkinsonEyre), Stefano Peretti (Ryder Architects), Sylwia Janka Poltorak (Lobster Enterprises), Nat Reading (AK Patterson), Grant Warner (THINKfound), Ronni Winkler 230

Special Thanks: Gabriele Fabiankowitsch (MAK Museum), Karolin SchmidbaurVolk (Coop Himmelb(l)au), Anna Tripamer and the Walter Pichler Estate, Evelyn Zisch, Fiona Zisch and Coop Himmelb(l)au

(top) Shaden Meer: Oncomouse body agent drawing ; (opposite) Alex Tzortzis de Paz: 1:50 section

MArch Architecture | Design Studio Twenty-Five

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(left) Laura Kershaw: Model and exploratory drawing ; (margins) Shaden Meer: Oncomouse body agent drawings; (right) Daniel Buban Ngu: Isle End Alzheimer’s Care Home – perspective views

(clockwise from top left) Lauriane Hewes: Study drawing of aiulurathropic prosthetics; ‘Cat Belly House’ – Exterior perspective; Portrait of the millenial family; (inset) Shaden Meer: Oncomouse body agent drawing

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(top left) Olga Smoili: Study of an ‘unhuman’ body agent; (top centre) Olga Smoili: Insomnia Treatment Centre – plan detail; (top right) Anastasia Tsamitrou: Cloud Appreciation Society Building – 1:100 model; (bottom) Shahriar Doha: Project Nightfall 3050 – section panorama

(clockwise from top left) Ryan Kyberd: 1:200 exploratory model; ‘Journal Page’ of a young building ; Vignettes showing ‘birthing’ a building ; Section drawing of a ‘teenage’ Youth Centre; (margin) Shaden Meer: Oncomouse body agent drawing

Department of Architecture | Staff

Staff

236

Wilfred Achille

Joseph Conteh

Anna Gillies,

Yota Adilenidou

Andrew Cook

François Girardin

Dimah Ajeeb

John Cook

Nasser Golzari

Rachel Aldred

Matt Cousins

Joana Goncalves

Roudaina Alkhani

Robin Crompton

Anne Graham

Julian Allen

Paul Crosby

Alisdair Gray

Alessandro Ayuso

Ruth Cuenca Candel

Sean Griffiths

Peter Barber

Beth Cullen

Tom Grove

Scott Batty

Miriam Dall’Igna

Eric Guibert

Susanne Bauer

Christopher Daniel

Gerald Gurtner

Nick Beech

Corinna Dean

Michael Guy

Alastair Blyth

Dusan Decermic

Lindsey Hanford

Stefania Boccaletti

Luis Delgado Munoz

Tabatha Harris-Mills

Mehrdad Borna

Ursula Demitriou

Stephen Harty

Roberto Bottazzi

Nigel Dennis

Matthew Haycocks

Andrew Boughton

Davide Deriu

Catherine Hennessy

Anthony Boulanger

Richard Difford

Andrzej Hewanicki

George Bradley

Chris Dite

Mohataz Hossain

Lindsay Bremner

Claudia Dolezal

Edward Ihejirika

Alan Brown

Jeg Dudley

Clare Inkson

Terence Brown

John Edwards

Bruce Irwin

Chris Bryant

Bill Erickson

Alan Johnson

Toby Burgess

Elantha Evans

Kate Jordan

Niall Carter

Helen Farrell

Maja Jovic

Paolo Cascone

Tumpa Fellows

Gabriel Kakanos

Harry Charrington

Stefanie Fischer

Ripin Kalra

Hayley Chivers

Izabel Frost

Krystallia Kamvasinou

Jim Coleman

Christina Geros

Neil Kiernan

Shuko Kijima

Sadie Morgan

Kartikeya Rajput

Jane Tankard

Joe King

Rebecca Mortimore

Kester Rattenbury

Graham Tanner

Jenny Kingston

Rachel Moulton

Lara Rettondini

Mireille Tchapi

Maria Kramer

Richa Mukhia

Paul Richens

Adam Thwaites

Frances Kremarik

Rebecca Neil

Michael Rose

George v d Straeten

Debbie Kuypers

Michael Neumann

Shahed Saleem

Juan Vallejo

Diony Kypriaou

Natalie Newey

Izis Salvador Pinto

Chloe van der Kindere

Gillian Lambert

Laura Nica

Duarte Santo

Giulio Verdini

Constance Lau

Johannes Novy

Rosa Schiano-Phan

Filip Visnjic

Benson Lau

John O’Shea

Alex Schramm

Christine Wall

Chantal Laws

Alice Odeke

Amadeo Scofone

Jean Wang

Dirk Lellau

Chiara Orefice

David Scott

Jonathan Wang

Jacques Leonardi

Samir Pandya

Rob Scott

Richard Warwick

Chris Leung

Enrica Papa

Peter Sharratt

Richard Watson

Gwyn Lloyd Jones

Ilaria Pappalepore

Geoff Shearcroft

Victoria Watson

Tony Lloyd-Jones

Diana Periton

Elite Sher

Andy Whiting

Tania LĂłpez Winkler

Emma Perkin

Peter Silver

Camilla Wilkinson

Alison Low, Alison

Callum Perry

Andrew Smith

Dan Wilkinson

Jane Madsen

Catherine Phillips

Tszwai So

Elizabeth Wilks

Evangelia Magnisali

Sue Phillips

Ro Spankie

Julian Williams

Arthur Mamou-Mani

Maja Piecyk

Afolabi Spence

Johan Woltjer

Martyna Marciniak

Stuart Piercy

Manos Stellakis

Allan Woodburn

Andrei Martin

Marzena Piotrowska

Joanne Stevens

Andrew Yau

David Mathewson

Alicia Pivaro

Rachel Stevenson

John Zhang

William McLean

Ben Pollock

Matthew Stewart

Fiona Zisch

Alison McLellan

David Porter

Bernard Stilwell

Michael McNamara

Alan Powers

Ben Stringer

James Morgan

Anthony Powis

Allan Sylvester

Practice Links 2020

238

4D Island

Birds Portchmouth Russum

F.A.F. Collective

5th Studio

Bradley Van Der Straeten

Fairfield Heritage

ACAN

Brady Mallalieu Architects

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Form Studio

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Gensler

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Ant Architecture

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ech2o

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If Do

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Notch

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KPF

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Undercover Architecture

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muf architecture/art

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NG Architects

Roz Barr Architects

Tate Harmer

Niall McLaughlin Architects

Ruimte Design

THINKfound

Nicholas Pople Architect

Rural Urban Synthesis Society

Thirdway Architecture

We wish to thank the following organisations for their support:

T H E JAM ES P H I L L I P S F O U N DAT I O N

OPEN 2020

SCHOOL OF ARCHITECTURE + CITIES

A+C

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www.westminster.ac.uk iv