BA Architecture Catalogue 2016 (Stage 3)

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Central Saint Martins

BA (Hons) Architecture

Stage 3 is focused in the investigation of how architecture may have an agency, an effect, on articulating and enabling exchanges between different spatial, social, economic and cultural conditions that compose and characterise the urban phenomena.

Central Saint Martins 2015-16

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Contents

Introduction On Dwelling Design Research Agenda

Project 1 The City as Dwelling Main Project Beyond Dwelling Studio 1 Utopia, Dystopia and Beyond Studio 2 I Do Like to be Beside the Seaside Studio 3 Living Close Studio 4 Radical Arts – Radical Living

Technical Studies

Contextual Studies

Professional Practice

Acknowledgements

How To Apply

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BA (Hons) Architecture – Stage 3

Introduction

Oscar Brito, Stage 3 Leader

Stage 3 of BA (Honours) Architecture is the most intense part of our students’ journey through the course.

The explorations from previous stages are now consolidated and enhanced with a critical perspective based on extensive research, rigorous analysis and reflective experimentation on the relation between architecture and its cultural and physical context and how these may reciprocally influence each other.

Through the integration of spatial, theoretical and technical investigations, the aim of Stage 3 is to promote the development of conceptual, contextual and methodological approaches to construct the students’ individual position as strategic designers, empowering them as active and critical agents in an increasingly complex social, economical, political, and professional scenario.

Stage 3 emphasises the development of a critical understanding of the strategic role that architecture may have in the development and implementation of site-specific conceptual, programmatic, spatial and material agencies. We promote a direct engagement with the context of investigation and the different situations, narratives and processes therein that would inform specific conceptual and material approaches and outcomes beyond easy preconceptions.

Thorough the year, our students are engaged exploring the potential effect that architecture, as an expanded practice, may have in articulating and enabling exchanges between different spatial, social, economic and cultural conditions that compose and characterise the urban phenomena.

Central Saint Martins

On Dwelling

Design Research Agenda

This year we have been focussing in a critical and experimental investigation on what constitutes dwelling in the contemporary cities; how it may be understood as the meaningful articulation of multiple aspects of the everyday life, from its impact in the construction of the self to how this may condition our social and cultural environment and identity.

Dwelling is intrinsically related to human inhabitation, hence to housing but not only. According to Martin Heidegger in his text “Building, Dwelling, Thinking”, the implications of dwelling are better understood when mainly conceived more as an action than just as a thing. Heidegger emphasises the notion of being as a proactive act that links us, the constant constructions of ourselves, with that of the locations we inhabit, implicitly or explicitly engaging with processes of place-making.

Our students have worked on two projects, investigating how architecture, as an expanded field, could still have a strategic effect in the articulation of our private lives and our social, cultural and economic activities. A particular emphasis has been placed on the analysis of how current and emerging life-styles could somehow shape our public and private realms and, therefore, how these may inform our urban environment and, ultimately, our social, economic and political rights to the city.

Project 1: The City as Dwelling

Main Project: Beyond Dwelling

The year started with a collaboration with Crisis, a charity which focuses on helping single homeless people rebuilding their lives. Our students developed critical and experimental interrogations on what constitutes dwelling in an urban context, in specific situations where its traditional provision is challenged, producing comprehensive design proposals for a Crisis’ centre at Croydon while also exploring potential place-making strategies that would engage with the homeless population in the surrounding areas.

Studio 1 Utopia, Dystopia and Beyond Urban dwelling has often been source of optimism not always fulfilled. In the complexity of a emblematic context such as Thamesmead, which could be the role of spatial and programmatic juxtapositions to negotiate interactions between different and even conflictive urban and social situations?

Studio 2 I Do Like to Be Beside the Seaside The concept of ‘seasonality’ alongside the regeneration of the English coastal towns, using Margate as a case study, in collaboration with the New Economics Foundation (NEF).

Exploring, questioning and proposing new ideas for living, working and playing by the seaside.

Studio 3 Living Close How the design of collective dwellings can be adapted to the broad diversity of the contemporary urban lifestyles in ways that may encourage community building, whilst acknowledging the need for higher densities in a context such as Camden, London.

Studio 4 Radical Arts – Radical Living How architecture may contribute to challenging the cultural and residential status quo and form social and urban resilience of radical creative practices in areas, such as Hackney Wick, which are at the edge between regeneration and gentrification.

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BA (Hons) Architecture – Stage 3

The City as Dwelling

Project in Collaboration with Crisis

How Can Art Be Used As A Tool For Place-Making And Empowerment? K. Carroll, O. Murray, R. Lewis, S. Zhao, L. Ai, L. Nobilio

Recent statistics point to an exponential rise in homelessness in the UK, up by 36% since the financial crisis of 2008/09, with an alarming 100% increase of rough sleepers in London in the same period. This is an issue that is particularly concerning for single homeless people; an age/social group are unlikely to get any support, hence becoming particularly vulnerable.

This year we have collaborated with Crisis, a charity focussed in providing support to single homeless people, helping them rebuilding their lives.

Starting from the premise that one important aspect that characterises dwelling as a homely condition, expanded from the house to our work, to the city, is developing a sense of place, this project was proposed as an investigation on questions such as: Which could be the place-making strategies in a situation characterized by an unavoidable drifting through apparently non-places dispersed in the city?How can the city work as an expanded dwelling for a homeless?

Our students developed critical and experimental interrogations on what constitutes dwelling in an urban context, in situations where its traditional provision is challenged, producing comprehensive design proposals for a Crisis’ centre at Croydon while also exploring potential place-making strategies that would engage with the homeless population in the area.

THE EPICENTRE _ BILLBOARD DESIGN Activists such as Kevin Zuchowski-Morrisson conduct a collaborative workshop at Croydon Crisis Skylights.

Crisis members are engaged in a Billboard Studio design workshop., held in the epicentre.

The studios will ultimately contain space and allow members (who have been reintegrated into society), to have a place to work.

THE FACTORY_ CONSTRUCTION BRIEF Each billboard studio is strategically placed around the city, and is designed in response to it’s immediate context.

When the Billboard’s design is complete, another workshop follows the former. This is held near Fairfield Halls, where the Factory has been constructed for the production of billboards and other secondary public activities.

Prior to the contrsuction of the Billboards, a briefing is held outside the workshop (see left).

THE FACTORY_ BILLBOARD CONTRUCTION The Billboard contruction process itself raised spirits and teaches member useful skills that equip them with employability. The activity, commands the attention of the public, raising curiosity and a general interest in what is occurring.

BILLBOARD DESIGN AND BUILD PROCESS CRISIS MEMBER AND COMMUNITY ENGAGEMENT

Croydon Festival J. Howard, T. Anand, M. Glousnyte, C. James, C.M. Lin, J. Tu

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BA (Hons) Architecture – Stage 3

Studio 1

Utopia, Dystopia and Beyond

Tutor Oscar Brito Students Alistair Napier (1) Tiana Plotnikova (2) Sindi Skilta (3) Connor Beckett James (4) Kit Yi Sung (5) Bilkis Abdullah (6) Yana Shulga (7) Mandy Kwok (8) Annamaria Keresztes (9) Mateo Bazataqui Garnelo (10) Lou Ben Kelemen (11) Khulan Altangerel (12) Abel Asmah (13) The general approach of Studio 1 is based on an understanding of the built environment as a consequence of a complex interactions and superposition of multiple actors, agents, systems, networks and processes related to a context (material/immaterial) and the, mainly contingent, situations it contain.

Thamesmead, initially nicknamed as “the new town in town”, in SouthEast London, was designed at the end of 1960’s to house 100,000 inhabitants.

Despite the initial good intentions, issues such as the failure to provide with appropriate transport links with central London, the lack of shopping facilities and the disjointed multi-layered design of the public space triggered problems such as isolation, lack of maintenance and services and, perhaps consequently, stagnation and anti-social behaviour.

The combination of these issues and

the specific architectural design have somehow stigmatised the area in films and other media. Currently, the different urban, architectural and cultural features of this area compose a complex, yet very disjointed scenario.

In the recent years Thamesmead has become the object of an ambitious redevelopment, including an improved connection with Central London through the forthcoming Crossrail and the construction of 2800 new homes from a new masterplan by Peabody.

Studio 1 has focussed in exploring potential connections and frictions between the new masterplan and the existing urban and social conditions in the area, and how these would become agents of site-specific regeneration.

One of the main questions Studio 1 has investigated is the role of urban dwelling, and particularly housing, in the

regeneration of the area. Thamesmead’s history shows that housing provision alone is not enough to create a successful urban environment; therefore we have focussed on either mixed uses or on the provision of economic, social and cultural facilities that would contribute to enable a better sense of community and place making through a careful articulation of existing and forthcoming conditions, attempting to review some of Thamesmead’s unfulfilled promises.

Opposite page: Utopia: top left: Poster by Popular / This Brutal House; middle left: Photo by Tony Ray-Jones (1970) Dystopia: bottom left: Stanley Kubrick, A Clockwork Orange Beyond: bottom right: Thamesmead (2015) top right: Thamesmead Peabody’s new masterplan

by Allies and Morrison (2014) numbers indicating sites of Studio 1 projects

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10 4 11 9 7

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9 8

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1 3 2

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BA (Hons) Architecture – Stage 3

The Southmere Collective Alistair Napier With Thamesmead undergoing much needed regeneration from housing association Peabody, plans to demolish large parts of the iconic Southmere Estate threaten existing community groups without a say in their changing landscape. The Southmere Collective brings current disparate communities together through the Thamesmead Film Festival, focusing on films filmed in the area to generate debate about what living in Thamesmead is actually like.

The resulting public assembly allows the existing residents to be central to Peabody’s plans in regenerating Thamesmead, reinstating its initial Utopian community ideology.

Clockwise from left: Exterior Isometric, Views, Assembly Manual, Posters, Perspective Section

Central Saint Martins

DEMOLISHING SINK ESTATES WILL NOT ERASE COMMUNITY MEMORIES

COLLECTIVE LIVING IS NOT UTOPIAN IDEALISM

REDUCING OUR WELFARE STATE DOES NOT CREATE A BIG SOCIETY

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BA (Hons) Architecture – Stage 3

Kate taking pictures of the lake from the rooftop garden

E/STATES OF MIND Tiana Plotnikova This project aims to address social and urban segregation in South Thamesmead. It challenges the traditional set up of public and private spaces and incorporates 3 different programs in one site: Youth Centre & Library and a public space equipped for ball games, which are prohibited in majority of neighbourhoods of Thamesmead.This project creates an Internal view showing the implementation of the expected agencies information-rich environment for people to come, stay and interact with each other. Its purpose is to engage youth from different backgrounds in sports, cultural and educational activities to raise the social capital of the area and reduce the crime rate among teenagers.

Above: Proposal as an active agent Right: Spatial moments

A group of teens gathered to have lunch on the rooftop of the Youth Centre on Sunday afternoon

Jake establishing visual contact with his parents who came to take him home after day at work

Liza showing Kate the view from the rooftop garden

Central Saint Martins

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Exposing views of the existing architectural typologies - ‘celebrating Thamesmead’

Liza and Sasha making research for their group project at school

Internal view showing the implementation of the expected agencies

Mike revising text before going to school

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BA (Hons) Architecture – Stage 3

Thamesmead – Garden City Suburb Sindi Skilta This project reforms Thamesmead Stage 1 Estate by constructing a constant, dynamic relationship between public and private spaces, allowing the essence of dwelling to be called out and put on exhibition by creating intersection points and designing green link as a synoptic sequence of the void spaces: by combining urban with a self sustaining naturalised edge whiles shaping a new meaning of nature in the city. Small scale public spaces (markets, allotments gardening, parks), urban facades (extensions), roof terraces/ gardens, act as a landscape intersection in architecture, as a part of South Thamesmead regeneration framework.

Clockwise from left: Section, Elevation, Exterior isometrics, Spatial view, Constructin Strategy

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BA (Hons) Architecture – Stage 3

Exitus Connor James Each individuals perception of perfection is singular and conflicting, so utopia fails.

The current condition in Thamesmead resembles Limbo where the visual environment is neither what it was or what it will be, creating a void in local identity, resulting in multiple social issues . “Exitus” has a conceptual strategy of Escapism implementing spatially an opportunity of social retreat, through the structures physical assimilation with Southmere, and physical separation from urban density. The facility provides an educational environment where the user can transcend accepted reality, becoming immersed within the spatial experience.

From left to right: Conceptual collage, 3D Print Series, Exploded Axo, Spatial interior moments

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The Link (Phase 2) Cultural Crossing Kit Yi Sung This project establishes cultural landscape axis which span from the New Square in Southmere Village to the green space on the other side.

This reinforces the connection of cultural services in Thamesmead by incorporating them into the wider network of green urban fabric: the proposal consists of the functional bridge, which establishes cultural and landscape connection between the neighbourhoods.

Clockwise: Spatial moment, External ramp collage, Urban strategies

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BA (Hons) Architecture – Stage 3

Thamesmead Cook and Sew Bilkis Abdullah The proposal is a multifunctional community centre. It provides facilities to gain skills in cooking and sewing, as well as spaces to socialise (library).

Residential spaces are located on the terrace, creating a small-elevated neighbourhood for some Pop-in-Parlour members to live and work in. The proposal tackles the problems of visual and physical permeability by opening up a part of the neighbourhood to become a common space for pedestrians use.

Clockwise: Section, Spatial moment, Users and activities diagram, Cross-section

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Thamesmead Community Centre Yana Shulga This project is based on a careful analysis of the past and regeneration proposals developed byPeabody. The aim of this project is to provide new way from High Mannor Way to the local park and create connections between Thamesmead’s local community centres, schools and residents. The project provides an inclusive community centre with 4 different programs: library, study spaces, sport activites and a theatre.

Clockwise from top: Exploded Axo, Bird eye view final render, Spatial moments

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BA (Hons) Architecture – Stage 3

Mixed Use Mum and Children Centre in Thamesmead Mandy Kwok The proposal creates a safe space for the local community by engaging mums and their children in various activities.

The architecture of this project increases permeability of the area and provides a ground for children to gather after school and for their mothers to go through the job training workshop, rest in the cafe or exercise in the gym.

Hey! Don’t just walk it, make it!

Annamária Keresztes The project questions the masterplan of Peabody and then engages with its gaps by creating quality public spaces for its community. It provides a strategic response to the urban and social fragmentation of Thamesmead, by shaping a stable community and commercial infrastructure. The strategy is based on a system of temporary itinerant interventions which act as catalysts for social programmes. They become forms of empowerment for the residents: something new and different: maybe even a litle provocative.

The Beacon Mateo Bazataquí Garnelo The proposal has the intent to “open the doors” to new communities and people coming from Central London. The site works as a connecting agent by tackling the fragmentality of the area. This design represents the connection of green areas, the highstreet & the lake. The building is placed in the water to promote the use of the lake. It provides a ground for the boating club, library and a cafe.

Central Saint Martins

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BA (Hons) Architecture – Stage 3

Thamesmead X – Termination of Context Lou Hua Ben Kelemen (Khoo) To consider the theoretical emphasis of the condition of the place, the aim is to coalesce and convene a series of events that condense and celebrate the past, present and future capabilities for Thamesmead. The project includes the manipulation of events, a spatial condition preserving and reinventing reality through representation, towards the background of new types of spatial speculation against forms of gentrification invading the areas. The project is an inflitration of the existing estate, and aims to be mobilized through a series of actors and episodes.

Clockwise from left: Iso tactic A, Collage X YZ dna, Iso tactic C

Central Saint Martins

The Folkways Khulan Altangerel The Folkways is a new public place for gathering and leisure which aims to revive the community and create a safe place for Thamesmead’s youth. The project, collaborating with Peabody’s masterplan, intends to exploit Southmere Lake embankment and a neighbouring compound site. Here, the proposal superimposes a public square with an inserted football pitch. The square is then embraced by four structures that comprise of a public library, dance school, community centre. The project creates an opportunity for Thamesmead to redefine its communal identity, and forges a safe zone for the youth.

Axonometric view of the library and community centre units

The Thamesmead Trinity Abel Asmah

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{3D} Copy 1 SCALE ( @A2 )

By focusing on the social activities and interactions of the mothers in the Thamesmead area, the agenda is to create a diverse culturally sustained community through the process of social interactions with a juxtaposition of programs, which would be permeable and transparent enough to bleed into each other. With the market as the epicentre and other social programs like restaurant, cooking classes and two cultural performance spaces gravitating around it. The circulation and visual permeability of the building enhances the observer to see and interact with other programs.

Clockwise from top: Exploded Axo, Spatial moment, Sketch of the spatial moment

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BA (Hons) Architecture – Stage 3

Studio 2

I Do Like to Be Beside the Seaside

Tutor David Chambers Students Awais Ali Ben Bradford Kane Carroll Mona Gluosnyte Jandre Grobler Jonathon Howard Helena Jordan Ryan Lewis Oscar Murray Anna Piotrowicz Nathan Quainoo Lewis Shannon Ayesha Silburn Dominik Twarog The United Kingdom is an island nation.

An important yet neglected non-urban condition has shaped and supported British culture for centuries, and it is undergoing massive change: particularly on the coast. This year, using the town of Margate as our case study and in collaboration with the New Economics Foundation (NEF), Studio 2 explored new ideas for living, working as well as playing by the seaside.

When Dreamland, Britain’s oldest amusement park, reopened in Margate following a £10 million renovation, it could be read as symbolic of the Kentish town’s rollercoaster journey. Margate was the archetypal English seaside town: a heritage plaque proudly claims the very first donkey rides, deckchairs and boarding houses. What began as a much-loved beach resort had, by the 1990s, become a run-down town with

polarised communities, high levels of unemployment, deprivation and pockets of anti-social behaviour; more recently, arts-led investment has started to alter specific parts of the townscape.

Our projects pose simple questions in relation to the key issues of Housing, Local Economies, and Tourism and Leisure. The proposals celebrate the distinct cultural values and realities of Margate, suggesting possibilities for sustainable development and civic pride.

Margate’s housing issues are very particular: Kane, Ryan, Ayesha and Helena identified social cohesion and integration as primary concerns – whether newcomers are ‘down from the city’ or resettled migrant communities, seeking a place to belong. Thoughtful insertions into the town’s existing fabric seek to revitalise iconic buildings, while new skillsets from diverse communities

are mobilised towards regeneration.

Oscar, Lewis, Anna and Awais have investigated local economies that lack dynamism, often fostering higher than average levels of lowwage, low-skill, seasonal and part-time employment. Their responses propose, through architectural interventions, increased resilience to economic and environmental shocks.

Seaside towns have suffered from the loss of traditional industries – such as boat-building, fishing and decreased tourism – and now face socio-economic challenges. Jonathan, Jandre, Mona, Dominik, Nathan and Ben suggest strategies for existing buildings and new proposals to give new direction and identity to Margate.

Learn more about Studio 2 stories by visiting www.bluenewdeal.org

Central Saint Martins Turn it into a Hotel, make this the proud tourist attraction it should be!

Save the Fort Road Hotel!

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I have a vision for this place...

It is part of Margate’s proud heritage! Don’t tear it down!

Turn it into a Hotel, make this the proud tourist attraction it should be!

Save the Fort Road Hotel!

This building is in a terrible state, lets do it up!

I have a vision for this place...

It is part of Margate’s proud heritage! Don’t tear it down!

This building is in a terrible state, lets do it up!

speculation

Conceptual isometric drawing demonstrating restoration process by Jonathan Howard

speculation

A // Private Circulation

A // Private Circulation

I propose high-end luxury apartments on this site ...

The costs are just too high to renovate this building, it just cant be done ....

Let us rebuild this property and turn it into social housing ...

Let us rebuild this property and turn it into social housing ...

B // Private Living Quaters

B // Private Living Quaters

C // Kitchen Space & Guest Bedroom Space

C // Kitchen Space & Guest Bedroom Space

D // Bathroom Block

D // Bathroom Block

E // Central Circulation and Breakfast Block

E // Central Circulation and Breakfast Block

F // External Bathroom Block

F // External Bathroom Block

The costs are just too high to renovate this building, it just cant be done ....

// All blocks combined

// All blocks combined

I propose high-end luxury apartments on this site ...

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BA (Hons) Architecture – Stage 3

Northdown Network Helena Jordan What architectures could plug into our suburban neighbourhoods to facilitate play and exchange between communities?

This project questions the role of a neighbourhood in a fragmented society.

Focused on social regeneration through education and exchange, the Northdown Network allows for interaction and relationship-forming, through a mixed programme of residency and civic activities fostering a sense of belonging shared between different communities.

Clockwise from left: Exploded iso, Cross section, Sectional moments, Longitudinal section.

Overleaf: Proposed elevation, Interior moments, Northdown Network overall scheme.

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BA (Hons) Architecture – Stage 3

HAECKELS made of margate

MARGATE RNLI LIFEBOAT STATION, RENDEZVOUS

A CLIFF LINE, COMPRISING OF A COMBINATION OF REVETMENTS, BISECTS THE SOUTHERN BOUNDARY - THESE FEATURES RANGE IN HEIGHT FROM ABOUT 6-9M AND HAS A MAXIMUM DEPTH OF APPROXIMATELY 60M, SPANNING TWO LEVELS SURROUNDING THE RNLI LIFEBOAT STATION.

FOUNDED BY COASTAL ENTHUSIAST DOM BRIDGES. A BRAND THAT EXEMPLIFIES CRAFT, VALUE AND THE NATURAL WEALTH OF THE COAST.

+51.3918

PLAN 1:500

A STORE FRONT AND A HORTICULTURE LAB THAT HARVESTS BOTANICS, WHICH ARE INDIGENOUS TO ENGLAND – MAKING PRODUCTS, WHICH HELP TO HEAL, CARE AND SCENT THE BODY.

LAVENDER

lavandula angustifolia

SITE MAP THE PROPOSED SITE

THE HAECKELS SHOP IS LOCATED IN CLIFTONVILLE, ON THE NORTH COAST OF THE ISLE OF THANET, THE SITE SITS ON CLIFF TERRACE, ADJACENT TO LIDO AND THE MARGATE ‘OLD TOWN’ CONSERVATION AREA.

+51.3916

PLAN 1:500

HAECKELS SHOP

PERSPECTIVE SITE DRAWING

HAECKELS SHOP, CLIFF TERRACE

THE NORTH SEA

RED ADMIRAL BUTTERFLY vanessa atalanta

THE SITE IS BOUND TO THE SOUTH BY FORT HILL DUAL CARRIAGEWAY, TO THE WEST BY MARGATE HARBOUR, TO THE EAST BY FORT GREEN, FORT LOWER PROMENADE AND THE WINTER GARDENS, AND TO THE NORTH BY FULSAM ROCK AND THE NORTH SEA.

EAU DE PARFUM / GPS 23' 34" N SOURCED FROM A LOCATION OF RAW NATURAL BEAUTY. AN ICONIC REMINDER OF BATHING POOLS – A PAST POPULARITY, A LINK BETWEEN SEA AND LAND.

SEA-BATHING MACHINE AXO 1:50

A MOBILE SAUNA SHOWCASING THE HEALTH-GIVING PROPERTIES OF THE COASTAL FORESHORE. DESIGNED TO HOUSE “MADE OF MARGATE” PRODUCTS, THE OUTER SHELL IS STYLED TO THAT OF A VICTORIAN BATHING MACHINE.

THE AROMA IS A CLEAN, INTENSE GREEN SWEETNESS AND BITTER RESINOUS MUSK. 51 23' 34" N / 1 24' 9" E

eau de parfum 100ml

51 23' 34" N / 1 24' 9" E

THE HEAT IS SUPPLIED BY A LOG BURNING STOVE, GIVING USERS A TRULY NORDIC FEEL, WHILST PROVIDING A SANCTUARY – A CONDUIT BETWEEN SAUNA AND SEA.

eau de parfum 100ml

51 23' 34" N / 1 24' 9" E

eau de parfum 100ml

INGREDIENTS INCLUDE; LAVANDULA, ANGUSTIFOLIA OIL, EUCALYPTUS GLOBULUS LEAF OIL, FARFUM

ADJACENT TO THE NORTH SEA THE SITE LIES PARTIALLY WITHIN A COASTAL FLOOD PLAIN. THE ENVIRONMENTAL SENSITIVITY OF THE SITE IS THEREFORE CONSIDERED TO BE HIGH. AS A RESULT THE NORTHERN BOUNDARY OF THE SITE COMPRISES OF A SEA WALL WHICH IS TOPPED WITH STEEL RAILINGS.

ROSEMARY

rosmarinus officinalis

THE RENDEZVOUS

SAGE

THE RENDEZVOUS SITE, ORIGINALLY A BEACH AT THE BASE OF THE CHALK CLIFFS THAT FORM ‘FORT POINT’. A STORM DEVASTATED THE AREA IN 1897, AND ANY ORIGINAL BUILDINGS WHERE DEMOLISHED LEAVING THE RENDEZVOUS SITE VACANT. UNTIL THE RNLI LIFEBOAT STATION WAS CONSTRUCTED IN 1954.

MARGATE TO THE CITY

salvia officinalis

MARGATE RNLI LIFEBOAT STATION PERSPECTIVE SITE DRAWING

FORT HILL DUAL CARRIAGEWAY

THERMOMETER

THE BRAND HAS EXPANDED, WITH THE OPENING OF A POPUP STORE IN SHOREDITCH, LONDON. AS WELL AS LAUNCHING A CONTRACT WITH SELFRIDGES.

WATER OUTLET

VOLUMETRIC FLASK

RETORT STAND

PEACOCK BUTTERFLY algosi io

DOM BRIDGES

PROJECT OWNER / CLIENT

LIEBIG CONDENSER MARGATE RNLI LIFEBOAT STATION, IS SITUATED IN A MIXED USE AREA CHARACTERISED BY RESIDENTIAL, LEISURE AND EMPLOYMENT RELATED PROPERTIES, WHICH INCLUDES THE TURNER CONTEMPORARY AND THE MARGATE YACHT CLUB BOATYARD.

DISTILLING FLASK

DISTILLATION PROCESS PLANT MATERIAL IS PLACED IN BOILING WATER. THE STEAM AND OILS ARE CAPTURED AND THEN SEPARATED. PRODUCING THE ESSENTIAL OIL EXTRACT.

DOG ROSE rosa canina

WATER INLET MIXTURE

PRODUCT SHELF MARGATE COASTAL SHORE, THANET PLAN 1:12400

WIRE GAUZE TEA TREE

melaleuca alternifolia

TEST TUBE

NARROW NECK FLASK

BUNSEN BURNER

RETORT STAND

BLADDERWRACK SEAWEED

NETTLE

fucus vesiculosus

urtica dioica

DOG ROSE BATH OIL

HAECKELS

HAECKELS

seaweed body cleanser /

low-foaming formulation with botanical extracts

HAECKELS

seaweed body cleanser /

low-foaming formulation with botanical extracts

seaweed body cleanser /

low-foaming formulation with botanical extracts

HAECKELS

seaweed body cleanser /

low-foaming formulation with botanical extracts

HAECKELS BOOKS

seaweed / stinging nettle hair oil

HAECKELS

seaweed / stinging nettle hair oil

seaweed / stinging nettle hair oil

seaweed / stinging nettle hair oil

seaweed / stinging nettle hair oil

HAECKELS

HAECKELS

HAECKELS

HAECKELS

seaweed / stinging nettle hair oil

HAECKELS

A NOURISHING HAIR OIL TREATMENT FOR THE SCALP THAT ALSO REPAIRS AND HYDRATES ALL HAIR TYPES. A BLEND OF ENGLISH NETTLE AND TEA TREE OIL INVIGORATES THE SCALP FOR BETTER HAIR GROWTH AND REPAIR.

CAFFEINE FREE SEAWEED TEA

INGREDIENTS INCLUDE; MELALEACA ALTERNIFOLIA OIL, ASCOPHYLLUM EXTRACT, URTICA DIOICA OIL AND OTHER BOTANICS

Haeckels House Jandre Grobler How could we maximise the potential of the ocean’s natural and plentiful resources to reinvigorate Margate’s tourism and leisure industry?

The project aims to capitalise on Margate’s rich coastal ingredients as a vital and unique asset. Identifying a niche industry in health treatments and therapy, Haeckels House makes the most of natural resources for a year-round economy – resources with the potential to revitalise, educate and benefit the seaside community.

Above: Exterior visualisation Centre: Research drawing Right: Facade material testing

a low-foaming gel cleanser for sensitive to natural

seaweed facial cleanser /

seaweed facial cleanser /

seaweed facial cleanser /

a low-foaming gel cleanser for sensitive to natural

HAECKELS cedar wood / natural incense sticks

a low-foaming gel cleanser for sensitive to natural

HAECKELS cedar wood / natural incense sticks

HAECKELS

HAECKELS cedar wood / natural incense sticks

HAECKELS

HAECKELS cedar wood / natural incense sticks

HAECKELS

INGREDIENTS INCLUDE; CUT CEDAR WOOD INFUSED WITH CEDAR LEAF OIL

INGREDIENTS INCLUDE; BLADDERWRACK SEAWEED, PARSLEY SEED OIL AND OTHER BOTANICS

herbal infuser with hints of elderflower & fennel

caffeine free seaweed tea /

HAECKELS

herbal infuser with hints of elderflower & fennel

caffeine free seaweed tea /

herbal infuser with hints of elderflower & fennel

caffeine free seaweed tea /

HAECKELS

HAECKELS

THIS RICH FORMULA OFFERS EXCEPTIONAL CLEANSING WITHOUT DISTURBING OR REMOVING THE SKINS NATURAL TONAL BALANCE.

herbal infuser with hints of elderflower & fennel

SEABUCKTHORN SOOTHES DAMAGED PATHCHES AND PROVIDES NUTRIENTS READY FOR HEALING AND REPLENISHING.

natural incense sticks

caffeine free seaweed tea /

HAECKELS cedar wood /

natural incense sticks

herbal infuser with hints of elderflower & fennel

HAECKELS cedar wood /

natural incense sticks

caffeine free seaweed tea /

HAECKELS cedar wood /

natural incense sticks

HAECKELS

HAECKELS cedar wood /

HAECKELS

HERBAL TEA, WITH A MILD VEGETAL FLAVOUR, UMAMI AND A HINT OF SALTINESS – THAT COMPLIMENTS THE ELDERFLOWER, CITRUS AND FENNEL NOTES.

SEABUCKTHORN FACIAL THE AROMA IS A NATURAL BLEND OF WOODY NOTES WITH GREEN UNDERTONES. CEDAR WOOD/OIL IS USED IN MEDICINE AND AROMA THERAPY. PROPERTIES INCLUDE BEING ANTISEPTIC, ASTRINGENT AND STIMULATING FOR BODY CIRCULATION.

AN AROMA THAT WILL UPLIFT AND REFRESH YOUR SENSES AS WELL AS YOUR SKIN. INGREDIENTS INCLUDE; FUCUS VESICULOSIS, OLEA EUROPAEA, MELALEACA ALTERNIFOLIA AND OTHER BOTANICS

SEAWEED / NETTLE HAIR OIL

CEDAR WOOD INCENSE

A FORMULATION CONTAINING EXTRACTS OF INDIGENOUS PLANTS AND LOCALLY HARVESTED SEAWEED EXTRACT. SEABUCKTHORN, SEAWEED AND TEA TREE HELP REPAIR SKIN AND IMPROVE COMPLEXTION.

LABORATORY HAND LENS

INGREDIENTS INCLUDE; BEESWAX, HELIANTHUS SEED OIL, ASCOPHYLLUM OTHER BOTANICS

ENGLISH NATURE / COASTAL HERITAGE

seaweed body cleanser /

seaweed & sea lavender

A VITAMIN POTENT, NATURAL FORM OF HYDRATION TO SOOTHE DRY LIPS.

seaweed / stinging nettle hair oil

100% natural ingredients

seaweed & sea lavender

LAVENDER / LIP BALM

seaweed / stinging nettle hair oil

beeswax lip balm /

100% natural ingredients

seaweed & sea lavender

HAECKELS

beeswax lip balm /

100% natural ingredients

low-foaming formulation with botanical extracts

SEAWEED BODY CLEANSER

beeswax lip balm /

INGREDIENTS INCLUDE; SERRATED BLADDERWRACK, PELARGONIUM GRAVEOLENS AND OTHER BOTANICS

HAECKELS

wild rose and birch bath oil /

skin nourishing fragrant oil

INGREDIENTS INCLUDE; ROSA CANINA, BETULA ALBA OIL AND OTHER BOTANICS

wild rose and birch bath oil /

A HIGH POTENCY BATH OIL FORMULATION THAT CONDITIONS AND HYDRATES THE BODY WHILE SUBLIME LOCAL BOTANICALS FRAGRANT THE SKIN.

skin nourishing fragrant oil

THIS SOUGHT AFTER HAND BALM CONTAINS A CAREFUL BLEND OF FRAGRANT COASTAL FLOWERS. SEAWEED AND GERANIUM EXTRACTS PROVIDE ESSENTIAL VITAMINS FOR REPLENISHING DAMAGED SKIN CELLS.

HAECKELS

HAECKELS

HAECKELS

seaweed / geranium hand balm

vitamin rich, fast absorbing hydration

vitamin rich, fast absorbing hydration

seaweed / geranium hand balm

SEAWEED HAND BALM

HAECKELS

CONICAL FLASK TOOTHED WRACK fucus serratus

KITCHEN LAB

COMPONENTS OF BLADDERWRACK SUCH AS CAROTENE, IODINE AND MANNITOL OFFER VITAL NUTRIENTS TO KEEP A HEALTHY METABOLIC RATE. INGREDIENTS INCLUDE; FUCUS VESICLOSIS, SAMBUCUS NIGRA FLOWER, URTICA DIOICA OIL AND OTHER BOTANICS

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The Contemporary Guild of ‘The Knockers Through’ Jonathon Howard Can an alternative model of self-build restoration also become a communal and celebratory act?

The project follows a group of individuals called the ‘Knockers Through’. This tribe is named for a social classification of people who were known to literally ‘knock through’ walls, renovating properties that were perceived to be low in value. Follow the modern-day knockers-through as they travel to Margate looking for an opportunity to renovate its urban fabric.

Clockwise from top: Proposal section, Interior moment, Axonometric proposal studies, Exploded axonometric volumes, Interior moment.

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Producing Margate Oscar Murray Can a community-led alternative civic centre open up a new urban commons, shared by local activists and tourist populations alike?

Complementing and building resilience alongside new and future development, this project repurposes and reimagines the existing urban fabric. Establishing a new civic space in Margate secures a platform for the burgeoning number of active community members contributing towards positive actions for the town.

Clockwise from left: Communal workspace, Cafe terrace, Elevation drawing.

Overleaf: Forum space, Restaurant & Stair well, Internal street and Reading Room.

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A Neighbourhood Space for Cliftonville Ryan Lewis Can an outdoor living room be mobilised to shape emerging attitudes, patterns of living, working, and public amenity in Margate?

A new civic space for Cliftonville, on the fringes of Margate, could place the arts and artists at the centre of its public realm – extending the establishment of new arts institutions in the town centre.

This space would allow independence from prevalent arts funding models, thereby enabling a long-term presence in the community.

Clockwise from left: Plan series, Strategy drawings, Perspectival section, Portico elevation.

Clockwise from left: Proposed elevation, Interior moments, Perspectival section.

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The Margate High Rise Kane Carroll What social effects could be produced by carefully retrofitting and interfering with the architecture of Margate’s singular, brutalist tower?

A series of interventions penetrate Margate’s lone concrete high-rise, bringing the benefits of the town into the tower, while potentially opening new perspectives on to the building itself. In doing so, the proposal seeks to capitalise on and draw out existing transient social interactions that take place among residents and citizens.

Clockwise from top: Perspective plan and section, Drawing exploring existing conditions, Proposal isometric drawing, Conceptual elevation diagram, Interior moment, Exterior moment.

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The C lif tonv i l le C ol le c t ive The Re v ival of a Neglec ted S ea side Tow n

T he C l i f tonv i l l e C ol l e c t ive

The Cliftonville Collective Ayesha Silburn In what ways can we mobilise the skills and abilities of incoming communities to aid integration and regeneration of the built environment?

Newly arrived communities of Cliftonville are involved in the process of constructing a multi functional, residential and neighbourhood building.

The resulting proposal and the processes behind its creation become a social platform, enabling exchange and casual collaborations between different communities in the area.

Clockwise from top: Proposed building network, Project storyboard, Proposed section, Exterior moments.

T he Re v ival of a Neglec ted S easide Tow n

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Pala Lewis Shannon How can we facilitate the dwelling of alternate cultures and ways of inhabiting the coastal landscape, alongside the dominant forces of regeneration?

Critiquing the hegemonic nature of current development efforts, Pala is a new cultural park along the shore of central Margate. The proposal draws on the work and ideas of Ranciere, Huxley, McLuhan and Eliot, attempting to draw alternative and under-represented voices into a broader socio-cultural narrative.

Clockwise from top: Sea-side shelter network map, Isonometric of proposal, Sea-side shelter time line drawing.

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Performance Centre: Margate Mona Gluosnyte Could an architectural intervention aid in fostering artistic talent in Margate, feeding back into its historic leisure and entertainment industry?

This proposal draws the currently disparate network of Margate’s existing dance and performance spaces into a bespoke and designated promenade.

Revitalising the seaside resort’s once prominent entertainment industry, the Performance Centre establishes a new performance arts hub, which may aid in Margate’s regeneration.

Right: View of rooftop urban landscape.

(See)Weed Margate Anna Piotrowicz Can the relationship between landscape, natural resources and leisure be synthesised into an renewable energy infrastructure of public benefit?

The proposal aims to reconnect citizens with nature, using part of Margate’s ambiguously urban fabric to establish an infrastructure that draws upon one of its most plentiful natural resources; seaweed. It aims to reorient the way we engage with energy consumption, landscape and natural resources.

Left: View of proposed exterior.

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Fort Hill Hotel Dominik Twarog Could emerging socially-orientated technologies be harnessed to enhance the ubiquitous seaside hotel, catering to a new type of seaside tourist?

The renovation of the Fort Road hotel integrates a continuous route of mixed use and experience within its site, partly internalising the high street. In doing so, it aims to establish and promote new interactions, fostering social and economic exchanges between and among seasonal tourists as well as among local inhabitants.

Right: Unfolded plan drawing.

The Lido Redux Nathan Quainoo How might a decaying seaside icon be revived to protect local heritage while generating cross-cultural relationships?

The Lido Redux is a cross-cultural venue integrated into the existing fabric of the leisure complex. The building serves as a cultural condenser for both British and minority heritages. The lido’s uses are informed by the history of the site as a haven for Margate residents, where elements of local cultures are practiced and passed on to future generations.

Left: Strategic proposal drawing.

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Harbour Arm Awais Ali How could the trading and dwelling history of the harbour be reimagined as a centre for a newly productive shoreline?

The proposal aims to reinterpret the role of Margate’s iconic harbour-arm through the introduction of smallscale fishing huts, which serve a newly established fish market. Reactivating the harbour and giving it a new interest to both tourists and locals, the proposal lessens dependence on Margate’s current seasonal economy.

Right: Exterior moment and Proposal sketches

Margate Promenade Ben Bradford Could a reinvention of the pier typology stabilise maritime economy whilst establishing a dialogue between youth cultures and the wider public?

The project attempts to re-establish productive relationships between disenfranchised youth and the broader population of Margate. Four new spaces interrupt the promenade: a radio station, a performance venue, a restaurant-bar and a pier. These spaces overlay the social patterns of varied groups, thereby creating a discourse.

Left Above: Exterior pier moment Left Below: Pier concept collage

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Studio 3

Living Close

Tutor Orestes Chouchoulas Students Lisha Ai Jessica Apps Yaqoob Al Khaja Hilary Chan Songkai Chen Risa Kawanishi Juan Rojas Simon Lai Chiao-Ming Lin Yi Liu Peijing Lu Athitaya Tiraposin Jamieson Tu Yu-Cheng Yang Da Zhang With an increasing percentage of the global population living in cities, it has become necessary to build in higher density typologies. In London, building high-density residential developments has mitigated the immediate demand for more residential accommodation by creating new problems.

Expedient development disrupts existing communities and displaces longtime residents with deep connections to their neighbourhoods and their histories.

At the same time, the economics of mass housing provision in an ever-appreciating property market are pushing house prices up and house sizes down.

Typical new residential developments consist of either unattainably expensive luxurious apartments or basic and generic “affordable� flats with tiny rooms, minimal amenity space, and little consideration given to community

formation. New homes built as financial assets, rather than as places to live, fail to address the vast diversity of ways to dwell in a city: flatshares, family homes with lodgers, communes, serviced apartments, bedsits with shared facilities.

For some, their home is just where they sleep, for others it is also place of work, for others a social community hub, and some hardly venture outside it. For Camden Town, an area with a distinct culture and rich history, popular with visitors and tourists, and in high demand due to its proximity to central London, these issues have particular urgency. As regeneration is starting to claim large parts of Camden Town, its lively markets and alternative culture are under threat.

The Camden Lock market has already been lost to a 50,000 square metre mixed-use development that includes 170 new homes.

Against this backdrop, this studio investigated alternative ways of structuring the provision of high-density residential accommodation in Camden Town.

How can the housing capacity of the area be increased without forcing it to go through sterilising gentrification? How can the unique culture of Camden Town be preserved under the overwhelming pressure for regeneration? How can the design of new homes address the needs of real lifestyles? How can we design homes that encourage the formation of new communities and engagement with established social groups?

To explore these questions, the proposed projects novel research-led strategies to challenge conventional methodologies for the provision of homes, thereby advocating inclusive attitudes towards value generation.

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1. Living Density in Camden

8. Expanding House

2. Camden Academy Of Music

9. Gentrification and Infill

3. Young & Old

10. Multi-Connection

4. Balcony House

11. The Craftsmen Alternative Living Collective

5. Infill House

12. The Camden Market Conservation

6. Bridging Arlington

13. Canalside Maker Community

7. Camden Street Art Residency

14. Transformable Apartment

Top: Camden area 3D map by Yaqoob Al Khaja Photo: Lifestyle observation by Peijing Lu and Yi Liu

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Living Density in Camden Chiao-Ming Lin Camden Town is undergoing gentrification apace, leaving local residents facing increasing housing costs. This project is informed by a thorough analysis of a typical apartment in Camden Town. The agenda is to provide housing at reduced cost while improving quality of life, which is often neglected in urban developments. The proposal aims to achieve this by minimising private spaces and maximising the variety and quality of communal amenities. This engenders an greater sense of community between residents and allows an increase in the number of households that can be accommodated within the same volume as a conventional terrace typology.

Clockwise from left: Section/activity; Exploded ISO with context; Elevation south

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Camden Academy Of Music Jamieson Tu Commercialisation and gentrification are byproducts of the concern for profit over local culture. Local artists, responsible for the enduring popularity of Camden Town, now find themselves forced out of the neighbourhood by unaffordable living costs. The Academy of Music provides a centre for musicians to exchange knowledge and skills, blurring the boundaries between students and teachers. It is proposed as a substitute for lost music venues and an extension of the vibrant Stable Markets, offering teaching positions and living accommodation to local artists. At night it becomes a hotspot to rejuvenate Camden’s music scene.

Clockwise from left: Axo/overview; Spatial moment; Interior spatial; Activity; Elevation

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Elavation drawing of Final Proposal on the Arlington Street in 1:100

Young & Old Simon Lai This project improves the provision of housing for the elderly in Camden Town while at the same time creating opportunities for shared social activities between younger and older users of the site. The aim is to alleviate the sense of isolation often experienced by the elderly, while enabling them to contribute meaningfully to the community. The proposal replaces the existing cinema and bingo hall with a new landscape of smaller community buildings and allotments on the ground level, including a nursery and open air cinema. Houses for the elderly are raised on pilotis and connected by an aerial walkway.

Clockwise from left: Elevation/overview; Spatial moment; Spatial moment2; Key space; Axo/activity

Axonometric drawing of Final Proposal in 1:100

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Moment - Looking above from the nursery

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Balcony House Yi Liu This project aims to increase the ratio of outdoor amenity to indoor space in flats, thereby maximising the proportion of leisure in residents’ daily lives, and implicitly enabling them to partake in Camden Town’s lively and active character. The proposal is sited in a Grade II listed building, the façade of which is preserved. A void between the building and the street acts as a buffer zone, housing leisure activities behind a steel mesh. The residential units are placed at the two ends of the original terrace, allowing the space in between to become a shared “balcony” to encourage social interaction among residents.

Clockwise from left : Axo/activity; Flat types; Elevation ; Axo/concept Right top: Section/lifestyle

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Infill House Athitaya Tiraposin This project proposes a novel solution to tackle the high demand for centrallylocated housing for young professionals.

As one-size-fits all residential developments do not always suit the needs of people with incredibly varied lifestyles, there is an opportunity to use unconventional infill sites that previously could not be considered. Infill House aims to rededicate unused gaps in the Camden Town area to provide new individual houses in this central location, ideally suited as first homes for young professionals. The system can be adapted for use in other urban locations with gaps between existing buildings.

Bottom: Elevation/overview Right: Axo/spatial relationship

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Bridging Arlington Da Zhang Arlington House is a homeless hostel the residents of which are often isolated from each other and Camden at large.

The aim of the proposal is to improve living conditions in the high-density building by bridging the space across its three wings. The bridges provide new public spaces to bring people together and create positive social connections.

At an urban scale, it is proposed to make Arlington more visible and more accessible by opening a new entrance at the back connecting to Camden High Street. The proposal would impart a sense of belonging to make residents feel stable, calm, and reconnected to the community around them.

Above: Spatial moment1; Spatial moment 2; Section/structure

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Camden Street Art Residency Hilary Chan The proposal is located directly opposite Camden Lock Market. It consists of 22 residential units, one of which is dedicated to a resident street artist.

Public spaces provide opportunities for congregation among different users, while generating funding for the programme. In collaboration with the Real Art of Street Art, street artists from around the globe will be invited to live here for three months. During their residency they will paint on the faรงade of the structure and create street art in the area. The proposal will promote street art culture and display artwork reflecting the diversity, and richness of the street art scene in Camden Town.

Clockwise from left: Exploded Axo; Visualisation; Gallery view; Section

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Expanding House Peijing Lu The Expanding House is a residential complex accommodating residents with diverse lifestyles and backgrounds and encouraging them to interact in shared communal spaces. The aim of the Expanding House is to catalyse the voluntary expansion from private homes into shared domains. The design offers six flat typologies with increasing levels of communal participation, from conventional flats to student units which consist of private bedroom spaces only.

Activity platforms are scattered between the residential units along complex circulation routes, activating the shared spaces through an increased possibility of interaction between the residents.

Clockwise from left: Axo/activity; Project agenda; Section/flat; Section/lifestyle

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Gentrification and Infill Yu Cheng Yang The project attempts to contribute a solution to gentrification in Camden Town. The focus is on preserving the craft culture generated by Camden’s markets by allowing craftspeople to live and work in an area that would otherwise be unaffordable to them.

A further aim is to reinvigorate the market culture in Camden, which is currently under threat by commercial developments. This proposal consists of a raised public route, punctuated by vertically arranged infill buildings in Stables market. The buildings include living accommodation alongside open workshops that expose the public to the making process.

From Top: Axo/overview; Elevation/block and bridge; Section/activity

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Multi-Connection Songkai Chen The aim of this project is to establish a centre for innovative experimentation strongly connected to local cultural production. The building offers various opportunities for both art and design practitioners to network, to present their work, and generate relationships among regional and local groups. The proposal enables use of studios and workshops for graphic designers, fashion designers, and bicycle builders. A showroom and shop attracts members of the public who are invited to use the workshops and receive instruction on the skills demonstrated in the final products. The upper floors provide residential accommodation for the makers and designers.

From left to right: Section/sptial Arrangement; Axo/activity; Interior spatial moment

Ground Floor Spacial Arrangement Proposal Ground Floor Public Arena explained

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The Craftsmen Alternative Living Collective Juan Rojas The proposal’s spatial interventions provide cheap and alternative, temporary accommodation for those in areas which are currently affected by large building schemes. The proposal creates social platforms where makers can cohabit in order to create support communities as well as to stimulate local production.

Tradesmen, students, and local residents will come together in both social and economic networks, thereby forming close-knit communities around small– scale enterprises. The final stage will show how temporary structures can preserve and expand public spaces in a multi–user environment in order to enhance social ties, preserve local traditions, and stabilise the local economy by an alternative form of living.

Clockwise from left: Axo/overview; Facade structure; Exploded Axo; Temporary extended studio

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The Camden Market Conservation Yaqoob Al Khaja

External View N

The Camden market, made up of six smaller markets, has acted as a backbone to Camden’s rich culture, tying into all the trends in music and fashion that have shaped the character for which the area is known. Due to recent redevelopment plans, some of these major markets are due to close, which will result in the loss of some of that heritage and, more importantly, the loss of jobs. This proposal aims to provide room for the markets to thrive, and also provide essential residential and workshop space for those making and selling goods.

Clockwise from left: Perspective section detail; Exterior view; Perspective long section; Perspective cross section

1:25 Perspective Section Detail Long Section

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1:00 Perspective Long Section N

Idea for the area

Canalside Maker Community Risa Kawanishi

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Idea for the area

This project aims to accommodate the artists, designers, workers, and visitors of the Camden Lock market, now displaced due to a large redevelopment scheme. Three main programmes are brought together: workshops for makers and the public; residential units for makers; as well as a hostel. The further functions act as attractions for the public: a small open market occupies the ground floor, and a cafĂŠ is positioned along the canal. The generous atrium creates further opportunities for the different users to engage with each other and promote local arts and crafts.

Right: Interior spatial moment

Transformable Apartment Lisha Ai The project aims to optimise land use through combining multi-functional commercial spaces and residential accommodation into a single building situated at the confluence of multiple transport networks in Camden Town.

The strategy proposes the utilisation of the spare capacity of residential units that are empty during working hours and of offices that are unused for two-thirds of the day. The residential units feature mobile walls that transform dwellings into offices. The public areas in the ground floor provide buffer spaces for residents and office workers to enable the transition of use, while connecting to public transport networks.

Clockwise from left:Long section/activity; Elevation; Exterior view; Elevation drawing on site

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Studio 4

Radical Arts – Radical Living

Tutor Ursula Dimitrou Students Tanya Anand Nilab Follad Aditi Gurung Adolfs Kristapsons Sarah Kim Gaoqi Lou Jacky Ma Alkisti Mikelatou Linda Nobilio YK Park Tanishk Saha Summer Zhao Liyuan Zhou The studio asked the students to envisage spaces, tactics and new types of living related to radical creative practices. The students were invited to look at specificities of local and international artistic groups which challenge social conventions. We have questioned the production of culture, the boundaries between producing art and living inside art, the future of dwelling, live-work units, creative live-in spaces, art residencies and cultural institutions.

Hackney Wick is an exciting, diverse and multifaceted area of London. Once a largely industrial area on the periphery of the city it is nowadays one of the centres of East London’s property development and gentrification. The stock of disused warehouses and factories, the industrial ambience and the affordable rents have initially made the area attractive for numerous creative practitioners and

nowadays the area has ‘one of the highest densities of fine artists, designers and artisans in Europe. Hackney Wick is also an important natural habitat, with numerous parks and brownfields parallel to Lea River and the canal. Yet, the area’s generous space and its proximity to the Olympic Park have turned it into a prime development opportunity that threatens the local creative communities and practices with segregation, increased rents and dislocation.

Yet is gentrification really unavoidable? Can art build resilience?

How to connect instead of segregate?

Can we imagine self-managed, non hierarchical common spaces of living and cultural production?

The studio brief asked students to design spaces that will enable artists to live, work, perform, share resources, ideas, form collectives, engage with the

community and the context, engage with audiences, experiment, challenge the cultural and residential status quo and form resilience, proposing hybrids of residential and cultural spaces.

Students were encouraged to look at art practices of social character, engagement and communities of artists, identify practices that question or require different forms of living and inhabitation than the standard market solutions and conceptualize innovation through different social relations and realities.

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Trout Works Adolfs Kristapsons Trout Works provides affordable housing options for local creatives in order to prevent their diaspora and build resilience through art. Fish Island and Hackney Wick have one of the highest densities of artists, creatives, craftsmen and designers in Europe. The recent development of the Olympic Fringe resulted in an influx of development projects, encouraging gentrification by putting the artistic community under threat. The proposal contains interconnected affordable art studios, live-work units and community spaces built around generous public spaces, communal gardens and allotments.

Trout Works runs as a self-managed, bottom up, non-hierarchical cooperative.

This approach ensures the affordability of the residential units, maintains the character of Fish Island and provides a meeting point for the community.

Top left, per row: Long section with elevation of residential units, Elevation of canalside walkway, View of the community garden and public park, View of the canalside walkway, Rooftop plan.

Opposite: South-East isometric drawing.

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BA (Hons) Architecture – Stage 3 East Section

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01. Roof Garden 02. Learning Zone 03. Reception 04. Main Library 05. Ramp 06. Terrace 07. Kids Reading Zone 08. Gallery Space 09. Public Path 10. Hackney Wick Overground Station

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Modern Art Library Hackney Jacky Ma Hackney Wick’s main issues include the lack of public spaces, public infrastructure and weak transport links, which has resulted in the area’s disconnection from its surrounding districts. A library located next to the Overground station solves these issues by providing a civic space and a space for communication between artists and the wider community. The design also includes a generous public space, a café, a bookbinding workshop, and live-work units for the local community of artists.

Clockwise from left: Axonometric drawing, Section with Axonometric view, Interior view, The Modern Art Library Hackney

Roof Standard Studio “Live-work-units” Laundry Room Share Kitchen Terrace Roof Garden Public Path “Toward Station and Library” Public Gallery Roof Garden “Access to main building” Common Room “Residents only” Learning Zone Workshop “LCBA” Kids Reading Space Reception Cafe “Fast Coffee Shop” Main Library

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H is for Hackney Sarah Kim This project tries to break boundaries between domestic and professional life and between institutional education and play. The purpose is to engage children in the creative culture of the area, since there is an insufficient amount of schools, but a multitude of Live-Work Units.

Doubling up as a circulation path the playground draws the children from the public realm to the classrooms, which then gives a view into the ‘Work’ counterpart of the ‘Live Work’ unit.

Exposing the artists’ work routine to the children, the typical sequestered studio design is challenged. Resulting in studios to compliment the project’s educational focus.

Clockwise from left: Isonometric, Manifesto, Section, Ground Floor Plan, Canalside Moment

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Community Honey Confectionary Gaoqi Lou Hackney Wick is an ex-industrial area which is currently inhabited by artists and creatives who took advantage of large and flexible spaces within the area’s disused warehouses. Yet this community is threatened with exodus as the area gets increasingly gentrified.

Attempting to encourage the creative process and boost the local economy, this project reintroduces light industry in the old Clarnico Sweet Factory. The Community Honey Confectionary includes a market, workshops, workers’ residencies, and roof gardens where bees are kept. Bee keeping preserves the threatened ecosystem, contributing to the worker’s income, and providing a ingredient for the sweets.

Clockwise from top: Long section ,Conceptual programmatic 3D collage, Interior view of hexagon staircase

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The Rider Club Summer Zhao The Rider Club is designed for local and commuting urban cyclists who repair and customise their own bike with unique Hackney Wick features.

This proposal aims to use typical biking activities and artistic production to attract a variety of users. It provides an opportunity of interaction between the public, cyclists and artists, whilst showcasing the work of artist residents, promoting the unique creative character of Hackney Wick and providing an economic residential solution for a number of local artists. The proposal includes a bike repair workshop, a bike shop, cafe, residencies and a number of publicly accessible terraces.

From left to right: Colour section, Storyline cuts, Programmatic poster - Design Proposal East Cut Pespective Section

(1:50)

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4.

- The Rider Club -

While he was using bike ramp to go to bike general workshop in 1st floor, he passed by the frame making workshop.

Program Story Line

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When main charactor Lee passing by The Rider Club.

He entered the space,there is a bike cafe beside bike shop,a samll changing room and locker for cyclists beside mian entrance.

RIDER RIDER RIDER CLUB CLUB CLUB

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ordered a coffee in central cafe.

9. They

5. Lee

was having his consulation with his bike in 1st floor general workshop.

passed by dewlling unit on 3rd floor.

10. Artists

living in 3rd floor all enjoy the life here.

EY WICK

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He went to the public terrace in 1st floor,he saw a lot cyclists with cool bike. Lee made friend with them.

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Lee went to personal order workshop.The graphic artist Lina was introducing him the Rider Club.

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Lina lead Lee to the lift,which could take them to rooftop garden.

11. People

(artists,cyclists,inhabitants) was chilling at rooftop garden.

Lee totally enjoy the Rider Club,He was thinking become a menber here!

Fish Island Sculpture Park Liyuan Zhou Fish Island Sculpture Park offers a generous public space, an open-air exhibition space, a canal promenade and pavilions for artist residencies and temporary events. The five permanent pavilions host a workshop, exhibition room, cafe, public lavatory and sculptor house. Located on intersections of a diamond–shape web, connecting the canal and the more residential Hackney.

Clockwise from left: Initial Proposal, Sculptor House Elevation, View of the Sculpture Park

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Modular Music Shop Linda Nobilio This proposal focuses on the community of musicians in Hackney Wick. During the day the building functions as a music shop, performance venue and recording studio where musicians can promote as well as produce modular music. During the night, it converts to a club, which provides artists an alternative platform to promote themselves, and connect with the community. The upper floor consists of artist residencies bound with production spaces so that living amongst music is at the heart of the proposal.

Clockwise from right: Long section, View of the music shop, View of the performance stage, Conceptual programme collage

Hackney Centre of Puppetry Aditi Gurung This project aims to activate interactions among different groups within the area of Hackney Wick (artists, new residents, estate residents) through the creation of a centre of puppetry. Building on a variety of scales, audience relationships and performative aspects of Puppetry while also housing resident artists who live/work in the centre, makes this a hub for artists, children, and local residents.

Above to below: Section, Front elevation

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Hackney Wick Living Inside Art YK Park Hackney Wick currently has an issue of olympic developers threatening artists by increasing rents and by redeveloping towns, artists are certainly losing their spaces. This project was challenging social conventions while considering the boundaries between producing art and living inside art. The place is for artists dwelling/hotel, hackney artists operates hotel while it gives opportunities for public exhibitions to whomever and welcoming strangers to experience what it feels like to be in Art World.

Clockwise from right: Materiality section, Poster, Elevation

The Wick Film School Nilab Follad The project is a film school where film artists and yoga adults of hackney wick can attend to learn filming skills. The lessons are taught by artist in residents in exchange for reduced rent price. The program consists of learning to work with cameras, to produce sets, CGI images, edit sound and interact with the artist community of Hackney Wick.

Clockwise from right: Canal Side Outdoor Cinema, Long and Short Sections representing building inhabitation and activity

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BA (Hons) Architecture – Stage 3

Final Drawings, Visualisations and Views

Long Section (scale 1:100)

The Rhythm Factory Alkisti Mikelatou Rhythm Factory is Hackney Wick’s new music destination: a rhythmical crafting experience by day and a music celebration by night. This multifunctional building, is aiming to resist social segmentation and resist gentrification. The program provides public facilities (music hall, restaurant and open yards), living units for musicians of Hackney Wick and a light industrial unit. Rhythm factory produces hand-made audio pedals and synthesizers while resident musicians act as consultants during the process. Music production merged with the rhythm of music makes this proposal so unique.

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From top: Conceptual model, Rhythm, Long section, Sectonal model 1:50 scale,Poster, Experimental models

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A Stroll Through the Wick Tanya Anand “Of course there is a housing crisis, but there is also an employment space crisis.

It includes highly professional artists and creative businesses, the self-employed and sole-traders that are the future of employment.” (Anna Harding, Space Studios.) The proposal consists of a semi-private facility for performance accessed through a public promenade, wirth a set of stages interwoven to the site. This provides a space belonging to the local artists to practice within a contextually rich historic site, which is regularly pursued by developers. The opportuinity for all to be engaged in the performing arts, the site will transform into a collaborative platform between spectators and artists, in hope of giving the site a value that is not merely fiscal.

From top: Conceptual model of promenade, Conceptual context model, Long section of theatre, Programmatic collage

Well known for its non- conventional living arrangement, many post-industrial factories and warehouses occupying a lot of the Hackney Wick conservation area, have been converted into live-work spaces.

Nearby the site at Swan Wharf is Pearcy Dalton’s ex-peanut factory, now transformed into dwelling units for residents consisting mostly of artists and young professionals.

Another popular conversion for the creative hub is SHAPES venue and events space, a former printing factory.

RICHARD BROWN, a

resident of Hackney Wick and an architect in training, did a research study on some of the creative livework, clusters and documented interviews with some of the people living within them. From comic book illustrators to web designers training to be stuntmen, the document exposes the experience of residing in such dwellings and the formation of micro communities made up of people from all sorts of practices.

Sketch of live-work space by Brown

Commonly found within, are trusses and mesanine floors, the former being structurally relevant to the buiding’s earlier use, and the latter more intune with temporality of structure trends today.

TENSION BETWEEN THE OLD AND THE NEW. The Wick - Dispatches from the Isle of Wonder.

Tom Metcalfe and John Rowley, two film-makers arrive in the post industrial wasteland known as Hackney Wick to document this ‘Isle of Wonder’ as it falls under the shadow of the Olympic bebe hemoth. The documentary highlights lonliness inherent in film making where these two lose touch with the outside world on a quest to make a film. A lowbudget film about low-budget filmakfilmak ing. The struggles of being an artist in the city, particularly capturing the atmospheric qualities of a reclusive life in Hackney Wick.

Compagnie Marie Chouinard.

The international reputation of the Compagnie Marie Chouinard is the result of twenty-eight years of work by Montreal artist Marie Chouinard. Each new piece is an odyssey through the history of humanity, while avoiding the chro chronology or linearity of a narrative. In work stripped to its bare essence, a theatrical, quasi-operatic effect is achieved, the elements of “living art” brought to the fore through various techniques of composi composition and staging. The dancer is presented as a singular entity, a being constructed before our eyes, whose rhythmic configurations are broken down into micro-divisions,

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BA (Hons) Architecture – Stage 3

Second Floor 8.4m Residences, Gym, Play room

First Floor 4.9m Workshops, Studios, Residences, Canteen FLoor

Ground Floor 0m Docks, Canteen, Residences, Factory Floor, Workshops, Reception

The Omega Collective Tanishk Saha A collective intended to reintroduce the industrial past once attributed to Hackney Wick, whilst merging with a reinterpretation of craftsmanship.

The proposal stands as an amalgamate of light industry, live-work studios for workers and artists, workshops and public spaces intended to expose the work of the professionals to the wider community. The bricks and ceramics will be produced in the factory by the workers and designed by artists – both living on site – while the public can learn and contribute to the process through the workshops. The intention here is to challenge the idea of innovation in industrial production, whilst also building a relationship between the entire community and its workers.

Central Saint Martins

Opposite, clockwise: Full exploded axo of building with floor plans, View of street, View of restaurant/canalside deck, View of residents balcony, South west axo of proposal. This page: Partial exploded axo of residential section showing structural arrangement, Manifesto posters

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BA (Hons) Architecture – Stage 3

Adrian Robinson Technical Studies Co–ordinator

Oscar Murray

By the third year, students have acquired a confidence in technical studies that allows them to explore and experiment with concepts that are integrated with their programme. A lecture series during the first term provokes them to challenge accepted norms on technology and each student is asked in their third year to adopt a critical position on the role of technology in their main project proposals. As the detailed proposals take shape a dialogue between architectural brief and the technical design emerges.

Adopting a more singular approach to the technical resolution of their projects, each student is encouraged to express the individuality of their proposals through the physical performance of the material and environmental qualities. The building form, the use of light, noise and air movement are synthesised with their spatial proposals to create an integrated building form that expresses the poetic qualities of the tectonic design.

Kane Carroll

Technical Studies

Adolfs Kristapsons

Flat 01

Flat 02

Central Saint Martins

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BA (Hons) Architecture – Stage 3

Contextual Studies

The final year of undergraduate studies sees each student crystallise an aspect of theoretical and critical research, in the form of a substantial dissertation. Self-selected by the individual students, topics vary across a range of spatial concerns, looking at various global, socio-economic, political, cultural and aesthetic contexts of architectural production.

Key to the success of each dissertation is the identification of an astute and compelling question, which would lead to the production of useful research; these are neither exhaustive narratives nor indulgent polemics, rather they aspire to be academically rigorous contributions to contemporary and forward-looking architectural discourse.

From largely intuitive and impassioned beginnings, students progress through the development of theoretical frameworks, historical studies, and the selection of visual and supporting materials, to articulate their arguments and present them in a formatted and academically rigorous piece of writing.

As the end point in undergraduate studies in architecture, it is the most pleasing thing to see an architectural dissertation which is the emergence of highly individualised, confident new voices and positions, across a future generation of spatial practitioners, makers and thinkers. The questions they raise and explore are, at their best, thoughtful, provocative, sincere and exciting contributions to the architectural discourse.

Shumi Bose Contextual Studies Co–ordinator

Gunter Gassner

Orestes Chouchoulas

Regeneration and the Local People Bilkis Abdullah

Jessica Apps Community led solution to housing provision in the UK

The Development In The Design Of Council Housing Abel Asmah Can we loose it?

Ben Bradford Liberated the lived Kane Carroll Global Cities: Hong Kong Hilary Chan From Speakers’ Corners’ Battleground to The Right to the City Lou Kelemen Making Sense of the Socialist Past Annamaria Keresztes How does the cooperation of the government and developers affect the public spaces in Hong Kong Sai Lai Lung An Investigation Into Neoliberal London Anna Piotrowicz State Aesthetic?

Nathan Quainoo Commoning Isonomy Lewis Shannon Social Estate regeneration in the UK Yana Shulga A quest for national identity amongst the decline for ‘authentic’ urbanism Ayesha Silburn

Concrete, Spirit And Architecture Zhixiang Chen Alternative Practice Alternative Education Nilab Follad Monumentality And Authenticity Connor James Our Right to Architecture Linda Nobilio Case study on measuring development of Korea Contemporary Architecture YuKyung Park How Is The Body Intertwined With Space?

Mert Pozan Zen and Tadao Ando Da Zhang The Subconscious Relationship between Consumers and Their Architectural Environment Xiaowen Zhao

Central Saint Martins

Costandis Kizis

Tom Keeley

Francesco Zudddas

House Regeneration and Urban Development Lisha Ai

The Misuse of Political Power Awais Ali

The Ethical Agenda Yaqoob Alkhaja

Non Identity In The City Khulan Altangerel

How Dreamy Is The American Dream Mona Gluosnyte

Bankog’s Political structure, urban planning and traffic infrastructure Chanakann Charoenchokethavee

Lost Imaginary Tanya Anand

Dissecting the Orient Aditi Gurung

Don’t See Walls, See Opportunity Jandre Grobler

Protection and Reparation?

Mistranslations of the Chinese Adaptation of the Charter of Venice Songkai Chen

The Post Industrial Condition Jonathon Howard

A Future Decision Mandy Kwok

The Life and Death of Great British Cities Helena Jordan

Forming Communities, Reclaiming Spaces Juan Carlos Rojas Cabrera

From the Margin to the Centre; Spatial Tectonics in Manchester, England (1976-2015) Ryan Lewis

(In)Formality Tanishk Saha

In Other Words (A Development Strategy Playbook) Sarah Kim Should we (architects) be developers?

Adolfs Kristapsons The paradox of the Metabolism architecture Chiao-Ming Lin Social housing and the future: the problematic alternatives of regeneration and demolition Gaoqi Lou Are High-Rise Towers The Solution?

Athitaya Tiraposin

The Relationship Between Railway And City Development In Hong Kong And London Cheuk Ki Ma A Pragmatist Utopia Alistair Napier Architectural expression of equality: Socialist wonderland in the city of Magnitogorsk Tatiana Plotnikova Living with Sexism in Architecture Liyuan Zhou

Temporal Architecture-Tool Of Urban Regeneration Sindija Skilta Understanding Architecture From Office Design To Corporate Culture Kit Yi Sung Life after the Game Dominik Twarog

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Professional Practice

In the third year of the BA, the Professional Practice curriculum shifts emphasis towards the future of practice and our graduating students potential role in the profession and society as whole.

We look at current projections in the future of practice and explore working practices which are currently blurring disciplinary boundaries, thus encouraging students to consider wider potential futures than those traditionally attributed to the architect’s professional role. At the same time, through workshops and lectures and the CSM/ RIBA London Mentoring Scheme, a key feature of their third year, we aim to assist and prepare students for a coming year out in an architectural and design related practice.

The mentoring scheme provides students with the opportunity to ‘shadow’ a leading member of a practice; discovering the role of an architect in a variety of different contexts. Live projects such as Making Week are integrated into the professional practice curriculum enabling students to engage with, reflect upon, and develop collaborative working practices in the studio, the workshop or, in the case of our extra curricular live projects, outside of the College.

It is our hope, that students who graduate, having studied architecture at Central Saint Martins, enter the profession prepared not only to work within it, but also to challenge and redefine it in the future.

Mentors 2015/2016 3D Reid Joveria Baig

Robin Partington & Partners Mark Williams-Jones

Aukett Swanke Gordon McQuade

Stride Treglown Dominic Eaton

Bennetts Associates Ben Hopkins

van Heyningen and Haward Architects Josh McCosh

Farrells Libby Makinson Gensler Jon Tollitt Haverstock Claire Dale-Lace McAslan and Partners James Dixon Rogers Stirk Harbour + Partners Andrew Partridge, Andy Bryce RTKL Michael Dillon Stantec Christina Cattelan Woods Bagot Jonathan Leah Architype Ian Hayton Child Graddon Lewis Arita Morris Conran and Partners Nick Edler EMRYS Matt Blackden Hawkins\Brown Mohieldin Gamal Manalo & White Harry Molyneux Michaelis Boyd Associates Amber Lush

Gregory Ross Professional Practice Co–ordinator

Rick Mather Architects Mandy Franz

Amin Taha Architects Amin Taha Appleton Weiner Ltd David Appleton Architecture Workshop Simon Astridge Geraghty Taylor Architects Karl Taylor Mustard Architects Joanna Coleman Sanya Polescuk Architects Sanya Polescuk Surface to Air Heidi Moxon Vine Architecture Studio Rory Pennant-Rea

Central Saint Martins

Acknowledgements

Dean of Academic Programmes Anne Smith Programme Director Dr. Melanie Dodd Stage 3 Leader Oscar Brito Stage 2 Leader Greg Ross Stage 1 Co-Leaders Amanda Hopkins Ruth Lang Media Practice Co–ordinator Andrew Sides Contextual Studies Co–ordinator Shumi Bose Technical Studies Co–ordinator Adrian Robinson Professional Practice Co–ordinator Greg Ross Stage 3 Studio Leaders Oscar Brito David Chambers Orestes Chouchoulas Orsalia Dimitriou Stage 3 Techical Studies Tutors Giles Bruce Ciaran Malik Grace Richardson Stage 3 Contextual Studies Tutors Gunter Gassner Orestes Chouchoulas Costandis Kizis Tom Keeley Francesco Zuddas

Guest Reviewers Serhan Ahmet (Hawkins/Brown), Sherief Al Rifa’I (Haverstock) Luiz Conceicao (Woods Bagot) Jordan Cottage (Ben Adams) Mahsa Damigah (Grimshaw) Howard Davies (Atelier Big City – Montreal) Richard Goodwind Kevin Haley (Aberrant Architetcure) Steven Kennedy (Grimshaw) James Lai (CallisonRTKL) Christoph Lueder (Kingston University) Connor Maguire ((Hawkins/Brown), Bridget Munro (Grimshaw) Paula Murray (Crisis) Lallu Nykopp Lewis Paine Alastair Parvin (00) Lynton Pepper (00) Sabrina Puddu (urbanarchitettura) Tom Raymont (Arboreal Architecture) Lara Rettondini (Studio X, University of Westminster) David Shanks (University of Greenwich) Carles Sala (Welsh School of Architecture, AA) Duarte Santos (University of Westminster) Gareth Stokes (Haverstock) Luis Treviño (LT Architects) Alex Warnock Smith (Urban Project Bureau) Lucy Webb (Peabody) Chih-Wie Weng (0/l Studio) Francesco Zuddas (urbanarchitettura) Graphic Designer Lallu Nykopp Degree Show Assistance Dominik Olszewski Programme Lead Administrator Karina Lee

Students Bilkis Abdullah Lisha Ai Awais Ali Yaqoob Alkhaja Khulan Altangerel Tanya Anand Jessica Apps Abel Asmah Tamara Bayramukova Mateo Bazataqui Garnelo Ben Bradford Kane Carroll Hilary Wei Yu Chan Chanakan Charoenchokethavee Songkai Chen Zhixiang Chen Nilab Follad Mona Gluosnyte Jandre Grobler Aditi Gurung Jonathon Howard Connor James Helena Jordan Risa Kawanishi Lou Kelemen Annamaria Keresztes Sarah Kim Adolfs Kristapsons Mandy Kwok Sai Lung Lai Ryan Lewis Chiao-Ming Lin Yi Liu Gaoqi Lou Peijing Lu Cheuk Ki Ma Oscar Murray Alistair Napier Linda Nobilio YuKyung Park Anna Piotrowicz Tatiana Plotnikova Mert Pozan Nathan Quainoo Juan Carlos Rojas Cabrera Tanishk Saha Lewis Shannon Yana Shulga Ayesha Silburn Sindija Skilta Kit Yi Sung Athitaya Tiraposin Alkisti-Anastasia Tselenti-Mikelatou Kung-Ke Tu Dominik Twarog Yu-Cheng Yang Da Zhang Xiaowen Zhao Liyuan Zhou

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How to Apply

BA (Hons) Architecture at Central Saint Martins

Entry to BA (Hons) Architecture

Student Selection Criteria

Portfolio and Interview Advice

Entry to BA (Hons) Architecture is highly competitive.

Selection is determined by the quality of the application, indicated primarily in your portfolio of work and written statements. Applicants are normally expected to have achieved, or be expected to achieve, the course entry requirements:

We do not just look out for a passion for architecture. We are seeking people who are open to new ideas, informed risk–taking and challenges, and who are willing to get involved in the different disciplines and practices of architectural design during their degree.

We select degree applicants according to your potential and current ability to:

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•

Your work should demonstrate creative development, whether for a college project or in your personal work. By creative development, we mean ideas that have originated in your own experience and research and progressed towards potential visualisation. Ideas, visual research and experimentation are more important than finished design solutions and can be shown in 2D work, or through 3D objects and maquettes. It is important that the creative work you include reflects your thinking, initiative and personal commitment to a particular project, theme or idea.

Both through your work and in talking to you at a portfolio review, we are interested in you as an individual.

Our focus is on your personal interests, your creativity and your initiative in finding out about your proposed area of study. We would like to know about your favourite designers and artists, where you have gathered more information about the work that interests you.

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Passes at GCSE level in 5 subjects (grade C or above) including English Language, Mathematics and a double award at science, or a separate science such as Physics or Chemistry, and one other subject (Art & Design or Design Technology are recommended).

In addition to the requirement above, applicants must have achieved 320 UCAS tariff points (or equivalent).

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Work imaginatively and creatively in architecture and design Engage with experimentation and invention Show imagination and ambition in proposals for your work Demonstrate a range of skills and technical abilities Demonstrate an engagement with 3D and architecture/spatial design Demonstrate a basic ability to draw and model objects and spaces Demonstrate a basic ability to discuss ideas verbally and through written work Demonstrate cultural awareness and/or contextual framework of your work Articulate and communicate intentions clearly

Find out more at: arts.ac.uk/csm/courses/ undegraduate/ba-architecturespaces-and-objects

With thanks to our degree show and catalogue main sponsor:

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