BA/MA (Hons) Architecture Catalogue 2021/22

BA/MA [HONS]

2021 / 2022

ARCHITECTURE

ESALA

ESALA Graduate Show 2022 Lauriston Campus, Edinburgh College of Art Photograph : Calum Rennie

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DELAN ARIBIGBOLA • JAMES ARMSTRONG • EMMA ASTLEY BIRTWISTLE • HAGAR BADAWY • KSENIA BOBYLEVA • ABIGAIL BOWENS STEPHEN BROWN • HAOYUE CHEN • KAIWEN CHEN • KEVIN CHEN • CHARLOTTE COLE • SIMONA D’SA • LAURA DEW

OGHENETEGA EJOVWO-DIGBA • THOMAS EVERETT • SHAH JEHAN FAHEEM • PEIYAO FENG • SABRINA FINDLAY • CARL FLOHR

XIAOXUAN FU • CONNOR FYFFE • ALICIA GERHARDSTEIN • AMY GRAHAM • ANTONIA GRAHAM • EMILY GRILLS • MORGAN HADEED • JINGZHI HE

ISLA HIBBERD • JESSICA HINDLE • LUCY HOBMAN • JAEYEON HWANG • MONTAHA IDRIS • GEORGINA INCHBALD • HARVEY JAMES-BULL MINGRUI JIAN • MICHAEL KAN • ECE KANTEMIR • ALLEGRA KEYS • ALEXANDRE LANGLOIS • TANYA LEE • SIYING LI VASILISA LITVINENKO • JIAYI LIU • MEIHAN LIU • JIAYU LU • SOFIE MCCLURE • HOLLY MCINTYRE RAJNI NESSA • ELLIE JANE NICHOLLS • EUNCHONG PARK • YUCHEN PENG • DANIEL PRATT • KARINA KINGA RAC ISABELLA RICE • NATALIA RUTKOWSKA • CAMILA SANCHEZ RODRIGUEZ • ALON SHAHAR KELLY TANIM • GRACE THORNHAM • BARTU TORT • TIN WO TSA • TZE CHING TSUI

ELLIS SHIELS • WING SO • EMILY SPRACKLING • DEVON TABATA • RUOXIN TAN BAOXUAN WANG • XIAOJUN WANG • XIAOWEN WANG • XINYUE WANG • CHARLOTTE WAYMENT CAMERON WHITELAW • ROBERT WITCHELL • HARRY WOOD • AMBER WOODWARD • YANGBIXI WU

YICHEN XIA • YITING XU • DANIEL YANEZ-CUNNINGHAM • CHANG YANG • JIAMING YANG • YULIN YANG • ZEYNEP YILDIRIM

YIYANG ZHA • SHUYAN ZHANG • YANYAN ZHANG • YUXI ZHANG • JIAHUI ZHAO • KAIYIN ZHAO • YUNLONG ZHU • SONGZHI ZOU

ELLA AISHER • AAMNA AL ALI • ABDULRAHMAN ALSURAYA • LIBBY ANDERSON • SERENA ARYA • HARRY BALDWIN • EVIE BARTER • HANNAH BENDON • RONA BISSET

IMANI BOOTH • FINN BROWN • ALEX CALDER • GORDON CHEN • YUYANG CHEN • MALANIE CHEN • YUDIAN CHEN • QIUYI CHEN • EVA CHENG • ANKU CHEUNG

PACO CHOW • LOUIS CLARKSON • ANDREEA COLBEANU • SAOIRSE COTTER • ZARA COULTER • DOUGLAS CRAMMOND • TOM CRENIAN • ALICE CROSS • HANNAH DALGLEISH

SALLY DAWSON • ZIHENG DING • JAKUB DOBES • MAX EDWARDS • HEBA ELAYOUTY • DENIZ EROGLU • XIAOYANG FAN • BELLA FANE • ANNA FLOTO

ENA GAVRANOVIC • EMILY GEENS • LUCAS GJESSING • CALLUM GRANT • MARCUS HALL • HARITH HASHIM • BELINDA HAYNES • CHENTOWE HE • WILLA HODSON

ITSKE HOOFTMAN • BRONWEN HORLER • UNA HU • WENJING HUANG • MEGAN HUNTER • MAYU ISHIMOTO • LEWIS JEFFERSON • BEINI JIANG • YIYUAN JIAO

CALLUM JOHNSON • ANFISA KARNEEVA • ANNA KERR • THAMES KLINCHAN • SHU KOK • WIKTOR KRZYSTOLIK • JUSTIN LAI • JAMES LANGHAM

ARYA LI • ROSE LI • RACHEL LI • RITVIK LOGANATHAN • SHUDUO LU • YUANXIN LU • SERENE LU • LUCY LUCAS • EMMA MACDONALD • HANNAH MAES

SUMAITA MAHNUR • RAE MARINO • ALISSA MARTINELLI • SAM MCKEOWN • MIRA MEKKI • SHAY MILLER • DANISH MOHAMMAD RAZWI • ISLA MURPHY

PHOEBE MURRAY • CAMPBELL MURRAY • SIMON MYDLIAR • JEEVAN NAIR • NATALIE NG • HARRIET NIXON • OSCAR NOLAN • QUINTHIA NSEMA BAYEKELUA

PECULIAR OGUNBAYO • OREOFE OGUNKOYA • RIANNA ONZIVU • LOUISE PATERSON • SOURYA PATNAIK • LUKE PEARCE • ELIF PEHLIVANOGLU • JENNA PENMAN

DANIEL PRITCHARD • ANASTASIA REDMOND • FREDDIE REID • XIAOYE REN • LUCIA RIEGE • ED ROSSON-JONES • DIANA SAAB • FARAH SAIFUL BAHRIN

JOANNA SALDONIDO • ROSIE SHACKELL • ROSHNI SHAH • ANANYA SHARMA • AMY SONG • LARA STURGEON • XINDI SU • KUNYI SUN • CHARLENE SUN • MENGYANG TANG

HOLLY TAYLOR • JOSHUA TEH • MATTHEW TSEGAY • JULIA TWARDZISZ • FERGUS TYLER • ED VARLOW • PHOEBE VENDIL • YUSEN WANG • JUNYI WANG

YUXUAN WANG • CAMERON WEBSTER • LEIA WILSON • ASTRID WINSTANLEY • JOOHEE WON • LUCY WRIGHT • JI WU • FANXUAN WU • JIAYI WU • ALICE XIA • YUHANG XUE

YUXIAO XUE • YILING YANG • FEIHE YANG • TIANMING YIN • YAO YU • AARUSHA ZAHIA • JESSICA ZHAN • XU ZHANG • NANDY ZHANG • TOM ZHENG • MINGYU ZHOUW

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REEM AL-KALBANI • CHRISTY ALLEN • OLIVIA BAYLIS • EMILY BRIERLEY • SKYE BROWNLOW PIERS BURKE • TAN CALIN • GUY ALEXANDER CARTER • CIARAN CASSIDY • EPHRA CHARLTON HUTCHINSON JIACONG CHEN • SHUOQING CHEN • ZIKUN CHEN • ELLEN CLAYTON • ELEANOR COLLIN ANTHONY COUSENS • CAMERON COWIE • COLL DRURY • KRZYSZTOF DRYFIK • INKA EISMAR • JIAN FAN ISOBEL SIMONE FRASER • JEANITA BLESS GAMBIER • YUHE GE • ANNA GEORGE XUANQI GONG • LOTTIE GREENWOOD • HAIDAH HAIDI • TAYYIBAH HAQ • JOHANNA HEDENSKOG • TIMOUR IVAN HIEL JODIE HORSBURGH • LI JIANG • LUCY JONES • ORIANA JOPLING • AMANZHOL KELLETT

SOFIA KING DE REGOYOS • OLGA KOVALEVA • YAN WING KWONG • LAUREN LAROCHE • OMAR LATIF • SAMUEL LEAHY • KA HO LEUNG XINGYU LI • LEE HAN LIANG • SHIYING LIN • KE LIU • QINGYU LIU • SICHEN LIU • ARCHIE MACLEAN KANTO MAEDA • OLEKSANDRA MARIICHAK • HELENA MARRERO MORALES • TIDINGS MAZOMBA-FELIX

EILIDH MCKENNA • JENNA MCMAHON • JAMES MELVILLE • UWAIS MOHD HAFIZAL • KATHLEEN O’LOAN • PRIYANKA PEREIRA

EMILY RODGERS • TADE ROTIBI • FRANCESCA ZARIA SCOTT • RICHARD SCOTT • MURRAY SHORT • JOSEPH SIMMS • MOLLY SINCLAIR

CIARA STENHOUSE • FINLAY STEWART • JORDAN STULICH • MICHAEL SYME • OLIVER VINER • RHIANNON WALTERS • XINRAN WANG • FREDDIE WILKINS

FELIX WILSON • HAOWEN XUE • MIHARU YAMAGUCHI • YU YU • NAIYUE ZHANG • RUIYU ZHANG • SHIYU ZHANG • YUEHAN ZHANG • KEFU ZHU

TALLULAH BANNERMAN • MICHAEL BECKER • ORLA BELL • LUCY BOYD • CHARLOTTE BROOKS • YUCHEN CAI GIANLUCA CAU TAIT • FREYA CHARLTON • ARADA CHITMEESILP • PUI HONG CHIU • SARA CINCA • ALEXANDER DALTON MOLLY DEAZLEY • MHAIRI DICKIE • EILIDH DUFFY • VICKI DUNNET • SAMANTHA ELLIOTT ZHEN FANG • OLIVIA FAUEL • TIAN RUI FENG • JONATHAN GREEN • YELDAR GUL • MELISA HAMZAOGLU JEMIMA HARRISON • JAMES HAYNES • HOI CHING HO • WEI HSIA • NIALL JACOB • TAHLOR JARRETT MATTHEW JOHNSON • JAAZIEL KAJOBA • RIAD KHAWAM • GEON YEONG KIM • ATHINA KOTROZOU • HOI CHING LEE

BINGZHI LI • SHAN LIANG • CHING-EN LIN • CHENGKE LIU • RUOMING LIU • RUNQIAN LU • YIFEI LUO • HANNAH BETH MACAULAY YASMINE MACCALLUM • SEBASTIAN MACCHIO • ANTONIOS MAVROTAS • ASTRID JADE MCINTYRE • YUFEI MIN REGINA MINNAKHMETOVA • HOI YAN NG • CAOILIN O’MEARA • HANNAH ORD • MINA PABUCCUOGLU • SHUYUE PAN

XINYI PENG • EVE PENNINGTON • IOANNA PEPONI • MIKELE PEREZ-JAMIESON • CHRISTOPHER PIRRIE • SA-ANG-ONG RODLOYTUK • LOUIS ROSS

DIVYA SUNIL SHAH • LUHANG SHEN • TANYA SNELL • MEI HANG SOU • TEREZA STASKOVA • SAMUEL SYMES • KOON TAI • ELEANOR TREW • CHLOE WENDY TUNNELL

THOMAS VAN DER WIELEN • VALERIE WAN • YIDI WANG • YUNAN WANG • YUTONG WANG • ZHE WANG • LEWIS WATSON • ZHENYU WEI MHAIRI WELSH • COSMO WEZENBEEK • ELEANOR ALICE WILKES • FRASER DUNCAN WINFIELD • TUBOHAO YANG

HECHEN YUAN • FINAL YEAR • FARAH EBRAHIM • DANA HASAN • AMIN HASHEMI • MARI KRISTINE HELLAND • PO-YEN HUANG NAZLY TAREK KHALIL • RUOYU LUO • LAILA NABULSI • YASMINE SADEK • SAMIN SHAHID • HYUN YANG • JIAMO ZHANG

LAURA HARTY EDITOR CALUM RENNIE CATALOGUE DESIGN JUNE 2022 ISBN 978-1-912669-29-5

BA/MA [HONS]

2021 / 2022

ARCHITECTURE

ESALA

ESALA Graduate Show 2022 Lauriston Campus, Edinburgh College of Art Photograph : Calum Rennie

Welcome to the third edition of our annual BA | MA (Hons) in Architecture catalogue. This edition curates the range of courses which comprise our programme delivery in 2021 - 2022.

Considering together what it means to learn, to teach, to live - in fact within this fragile warming world has been the focus and challenge of past academic year. Set within a School of Architecture and Landscape Architecture we benefit from a strong grounding in, and engagement with, issues of context, community, and collaboration across scales and between stakeholders. Academically rigorous, ecologically conscious, and civically responsible, the range of courses illustrated in this comprehensive catalogue delivers a convincing weave of themes and insights centring the Climate Emergency, renewing the discipline, informing the future.

The basic taxonomy of our pre-honours programme is threefold, based around history, technology, and design. These combine to form core competencies which are iterative and cumulative in nature. As students’ progress through the programme the demands for synthesis increases, strategically informed by the kinds of learning and teaching which occurs in the lower years. The framework offered amplifies and celebrates the various facets of the school community, engaging with and promoting the integration of knowledge across and between courses. The warp and weft of this pedagogical model provides a range of opportunities for students to stretch and challenge innate capacities in different modes, increasing FOREWORD

in autonomy and critical self-reflection as the programme advances. A

JUNE 2022

sustained emphasis on deep, cumulative learning forms a structural spine through the learning, motivating students to tailor their agenda accordingly,

LAURA HARTY

engaging with research led initiatives and staff specialisms as appropriate.

PROGRAMME DIRECTOR BA/MA [HONS] ARCHITECTURE

Aligned with this core trajectory, and shuttling between the discrete courses, we have developed a range of cross year initiatives in 2022 to foster a sense of community and interaction between year groups. These events, such as the Simpson Professor and Geddes Fellow workshops, Open Studios, Alumni lectures, and Model Masterclasses, supplement the parallel activities of EUSAS and ESALA Climate Action to offer moments of collegiate critical reflection and synthesis in terms of knowledge exchange, pedagogy, research, and practice - reinforcing the sense of the programme as part of an open, vibrant, and diverse school culture.

I cannot introduce this volume without mention of the graduating cohort.

These students entered the school in a Pre-Pandemic world, keen to pursue their studies along well-trodden paths. While the parameters of pedagogy shake all around us, the means of delivery, the manner of communication, the direction of the briefs themselves have necessarily morphed. However, the capacity of the programme structure itself to adapt, while retaining its reflective emphasis, has resulted in powerful, positive, and resilient work which stands its ground and shows us the way.

It is as exemplary role models that our graduates leave the programme today. I trust that this trio of catalogues will stand as an aide memoire, a record of the enthusiasm and determination which have steered our studies.

As a co-produced document, voiced by staff, students and welcome guests, this catalogue is a testament to the range of understandings, abilities, skills and competencies developed during this time, a gift for the advances made, a prompt to future endeavours within and beyond the discipline. Thank you and Good Luck!

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ARCHITECTURAL DESIGN

ARCHITECTURAL DESIGN

ELEMENTS

IN PLACE

p 6

p 38

-

TECHNOLOGY & ENVIRONMENT

ART & DESIGN

BUILDING ENVIRONMENT

p 14

p 46

ARCHITECTURAL HISTORY

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INTRODUCTION TO WORLD ARCHITECTURE

DESIGN THINKING & DIGITAL CRAFTING

p 20

p 50

ARCHITECTURAL DESIGN

ARCHITECTURAL DESIGN

ASSEMBLY

ANY PLACE

p 22

p 54

TECHNOLOGY & ENVIRONMENT

TECHNOLOGY & ENVIRONMENT

PRINCIPLES

BUILDING FABRIC

p 30

p 62

ARCHITECTURAL HISTORY

ARCHITECTURAL HISTORY

REVIVALISM TO MODERNISM

URBANISM & THE CITY

p 34

p 66

A LIBRARY OF AVAILABLE RECLAIMED MATERIALS

REDUNDANCE TO ABUNDANCE

ROTOR

DE VYLDER VINCK

GEDDES VISITING FELLOWS

SIMPSON VISITING PROFESSOR

p 158

p 160

ARCHITECTURAL DESIGN

-

EXPLORATIONS

DISSERTATION

p 70

p 106

-

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ARCHITECTURAL THEORY

ELECTIVES

p 96

p 114

ARCHITECTURAL PRACTICE

ARCHITECTURAL DESIGN

WORKING LEARNING

TECTONICS

p 98

p 122

ARCHITECTURAL PRACTICE

ARCHITECTURAL DESIGN

REFLECTION

LOGISTICS

p 100

p 148

-

-

PROFESSIONAL STUDIES

ACADEMIC PORTFOLIO

p 102

p 152

-

-

ESALA CLIMATE ACTION

ESALA PUBLIC PROGRAMME

NOW!

FRICTIONS / ALUMNI / CLIMASCORES

p 162

p 164

BA/MA [HONS] CONTENTS

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2

3—0

1—1

ARCHITECTURAL DESIGN ELEMENTS

1—2

ART & DESIGN

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ARCHITECTURAL HISTORY INTRODUCTION TO WORLD ARCHITECTURE

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ARCHITECTURAL DESIGN A S S E M B LY

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TECHNOLOGY & ENVIRONMENT PRINCIPLES

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ARCHITECTURAL HISTORY REVIVALISM TO MODERNISM

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1—0 BA/MA [HONS]

BA/MA [HONS]

REVIEW CRITICS Michael Collins Malcolm Cullen Gary Cunningham Chris Dobson Sean Douglas Calum Duncan Jack Green Laura Harty Eilidh Izat Akiko Kobayashi GUEST LECTURERS Clive Albert Michael Collins Sean Douglas Laura Harty Josep Maria Garcia Fuentes Ivan J. Marquez Munoz Rosie Milne Tolulope Onabolu Rachael Scott

ELEMENTS

1—1 ARCHITECTURAL DESIGN ELEMENTS

COURSE ORGANISER SUSANA DO POMBAL FERREIRA

The Architectural Design Elements course was delivered through hybrid teaching and learning this year, developing a working methodology in which studio practices were recalibrated and combined with the digital experience gained last year. Embodied learning was again at the core of the course, which acquired a

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new meaning on this occasion as students met, worked together

Clive Albert

and inhabited the same studio space for the first time since the

Graham Currie Michael Davidson Naomi De Barr Kieran Hawkins

beginning of the pandemic. The course was attended by students from the BA/MA Architecture programme as well as from the BEng/MEng Structural Engineering with Architecture programme,

1—1

TUTORS

working alongside in productive collaborations.

Jamie Henry Shoko Kijima Joanne McClelland Derek McDonald Claire Metivier

During the first few weeks of the course, students embarked on a series of short exploratory tasks to learn about scale, the basic architectural elements and the making of space. A playful activity about body dimensions was followed by pre-determined walks

Rosie Milne

across Edinburgh’s Old Town, where students saw and experienced

Darren Park

first-hand the dramatic topography and building fabric of the city.

Rachael Scott Irem Serefoglu

During these walks, students practiced their observation skills and spatial understanding, producing a rich set of analytical records of the city. Students continued their exploration in studio

MANUAL CRAFT

through iterative representation, using a variety of media and

& DIGITAL DEMOS

techniques. To conclude the work of the semester, students

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were invited to draw from their own personal experiences of

Paul Charlton Malcolm Cruickshank Tolu Onabolu

the pandemic, to design a (class)Room. This project challenged students to build upon the concepts of the open-air schools movement from the last century to propose a design which not only reacted to the current global health crisis, but also reflected on the role of design as a means to sustain and improve people’s lives, carefully considering environmental conditions, scale, function, user requirements and construction.

6

Opposite Joanna Saldonido (class)Room Interior perspective -

BA/MA [HONS]

BODY SCALE & ELEMENTS

1

7

ELEMENTS 1—1

1 Tom Zheng Body Scale Photographic & drawn studies 2 Simon Mydliar Elements: Ground Model study Inhabited stamp Sectional drawing -

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2

BA/MA [HONS]

3 Wenjing Huang (class)Room Section 4 Una Hu (class)Room Site plan 5 Thames Klinchan (class)Room Model study -

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(CLASS)ROOM 4 9

10

5 1—1

ELEMENTS

BA/MA [HONS]

6 Arya Li (class)Room Interior perspective Model study Collage plan study 7 Yuanxin Lu (class)Room Stuctural model studies Collage plan study 8 Ed Varlow (class)Room Section -

(CLASS)ROOM 6 11

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7

8 1—1

ELEMENTS

BA/MA [HONS]

GUESTS Richard Coyne Tolulope Onabolu David Sorfa Lecturers Sofia Lycouris Performance Drawing Sofia Lycouris Cinematics

ART & DESIGN

1—2 ART & DESIGN

Opposite Performance Drawing workshop -

Non-human agents such as plants, bacteria and fungi also present an artistry and impose their designs on the world. From the defensive designs of the seeds to the porous ornamentation of pods. Plants as life forms apply robust forms of design to propagate themselves, survive, protect and nurture their progeny. Plants respond to the ecosystems within which they exist, much like humans, and in order to remain viable devise their own machinery.

1—2

TUTORS Rosemary Black Ivan Chan Michael Davidson Cath Keay Nikolia Kartalou Asad Khan Yulia Kovanova Hazel Mei Tolulope Onabolu Pilar Perez Rachael Scott Milja Tuomivaara Norman Villeroux Rhys Williams

The practices of artists and designers brings their history, culture, skill, experience, taste, vulnerabilities, psychosis, desires, etc. into the objects which they create, and through this, they share a part of themselves with the world. Each object created by an artist or designer emerges from a series of repeated movements from their bodies, and a desire to bend their tools and mediums to their whims. But nor is design simply an aesthetic gesture as we can identify in the forms of weapons, dress, and industry.

As we develop technologies in response to the demands for food, medicine, cosmetics, pharmaceuticals, communications, entertainment, extraction, and war, etc., human and non-human agents begin to interface and actively manipulate each other in a form of accelerated evolution. Synthetic Biology, NanoTechnologies, and Genetic Engineering all affect and actively manipulate the natural world, to the point where the natural and the man-made are indecipherable from each other. This too is design, and with it, its own artistry.

In all of the above, design evolves by trial and error and in response to an ecology. Traces of this emergence are recorded on bodies, on external surfaces such as paper and petri-dishes, and in nature.

Some of these traces however are latent and are only revealed through magnification, narration and notation.

In this course, we will be visiting the designs and artistry of human, non-human and post-human agents. In particular, we will be interrogating the similarity in objectives from defence and militancy, to charm and seduction, to nurture and care in humans, plants, and in the technologies we create for their manipulation. We will also visit some of their points of intersection in literature and culture. You are invited to engage with, respond to, or resist, through your own art and design.

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COURSE ORGANISER TOLULOPE ONABOLU

BA/MA [HONS]

1

–

15

ART & DESIGN 1—2

1 Astrid Winstanley Cinematics Mixed media collage 2, 3 Douglas Crammond Onobrakpeya / Moore Paint

2

16

3

BA/MA [HONS]

4 Zara Coulter Human object Bamboo heels Paint 5 Joanna Saldonido Botanical object Past & future lichen cluster Mixed media -

– 4

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18

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ART & DESIGN

BA/MA [HONS]

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INTRODUCTION TO WORLD ARCHITECTURE

1—3 ARCHITECTURAL HISTORY INTRODUCTION TO WORLD ARCHITECTURE

COURSE ORGANISER

This course is a compulsory part of the MA (Hons) Architecture

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programme, but also serves other degrees, including the MA

JOHN LOWREY

(Hons) Architectural History and Heritage. In addition, it is a popular elective course taken by students from across ECA and

SENIOR TUTOR

the wider University.

Anne Galastro

The course offers an introduction to architecture in a range of global contexts, beginning in ancient Egypt and concluding in Europe in the 1750s. The course takes in topics including

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classical Greek and Roman architecture, the architecture of the

Jake Bransgrove

Middle Ages, Islam, Pre-Columbian America, and the first great

Alborz Dianat

re-evaluation of Antiquity in the Italian Renaissance. It goes on

Grace Etherington Lucia Juarez Rory Lamb Scarlett Lee Mohona Reza

1—3

TUTORS

to survey the Renaissance in Britain, Northern Europe and the Iberian peninsula and the subsequent influence of the Italian Baroque in these areas. Other significant cultural traditions in the history of architecture are introduced, such as those of India, China, and Japan.

Dimitrij Zadorin The course provides students with an overview of the ways in -

which architectural history can be understood. It looks in detail at prominent buildings and styles, and the work of important

Alex Bremner

designers, but also is concerned with ‘anonymous’ buildings. It

Kirsten Carter McKee

emphasises the importance of placing architecture in its wider

John Lowery

social and political contexts. The course encourages a reflective

Tolu Onabolu

approach to architecture which students can apply elsewhere in

Elizabeth Petcu Margaret Stewart Opposite Atlas Catalan, 1375 Cartographer : Abraham Cresques -

their degree programme, providing a vocabulary and analytical/ investigative frameworks which can be applied in the present.

In 2021, the course was modified for online delivery, with pre-recorded lectures, interactive online seminars, and the traditional exam replaced by a new programme of assessed coursework intended to encourage a breadth of knowledge whilst also fostering research/analytical skills needed for success at university level.

The course is followed in semester 2 by Architectural History 1B: Revivalism to Modernism.

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LECTURERS

BA/MA [HONS]

REVIEW CRITICS Coll Drury Shirley Hottier Sigi Whittle Julie Wilson ALUMNI LECTURES Will Guthrie Composite Construction Hugh Strange Architecture at the Building Site Donald Matheso n Use what is there Jessam Al-Jawad Material and Intention William Knight In Progress SPECIAL THANKS Balerno Village Trust: Emma Galloway Val Reid

Portobello Wash House: Elaine Armstrong Elaine Briggs Dave Cooper Ross Douglas Gica Loening Barbara Middleton Claire Roden Portobello Library: Paul Hudson Cllr. Neil Gardiner Wester Hailes Growing Communities: Alan Gordon Calder Residents Association Wester Hailes Community Trust: Eoghan Howard

ASSEMBLY

1—4 ARCHITECTURAL DESIGN A S S E M B LY

Portobello Graham Currie Michael Davidson Susana Do Pombal Ferreira Rachael Scott The Calders Clive Albert Darren Park Naomi de Barr Jamie Henry WORKSHOPS Dr. Sam Illingworth Rhyme your Research MASTERCLASSES Ellen Clayton Inka Eismar Amanzhol Kellett Kanto Maeda Uwais Mohd Hafizal Felix Wilson Opposite Assembly Model Exhibition Sighthill -

In this initiation into architectural design, the first-year design studio collaborates with Wester Hailes Growing Communities, Calder Residents Association, Wester Hailes Community Trust, Balerno Village Trust, Portobello Wash House, and Portobello Library to reimagine three community centre sites at a critical moment of transition, suitably amplifying the known through attentive recordings, careful abstractions, and sensitive propositions.

1—4

TUTORS Balerno Jack Green Shoko Kijima Derek MacDonald Joanne McClelland

Central to this semesters work was the place of gathering, of Assembly. We assemble for work, for play, for interaction, for exchange. The capacity of architecture, in its social and technical guises, to provide for and respond to these gatherings is the aim and objective of the semesters work.

To begin, the course introduced the concept of the ‘survey’ as a tool for recording and a mode for projecting, underlining the potential of ‘measure’ as an agent and instrument of the imagination. This exercise was conducted as a group, with information in various media shared, rehearsed, and reconfigured for later individual projects. At issue in the second stage was the transfer of this web of information to the studio, a task which unfolded and developed across the semester, into ideas for architectural proposals at each of the three sites. As Gio Ponti states ‘Architecture is the concrete result of the human activities that it both interprets and expresses. In Assembly, much depends on whether the transfer between interpretation and expression occurs plausibly, meaningfully, and productively.

In the third stage, students prepared a final exhibition quality model at 1:100 and returned with these to be shown and discussed at the original sites. Exhibiting a selection of generative work in the original sites, we aimed to spark conversation and discursive possibility for the future of these places. As a pedagogical moment, this ‘Thirdspace’ of the project was most valuable. Here the measured and the imagined collapsed back into one another and students saw for themselves the merits and oversights of their proposed schemes. Returning to studio, the models, were showcased during an Open Studio event in conjunction with our 2nd year colleagues and in conversation with the wider 2022 ECA (Edinburgh College of Art) Graduate show.

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COURSE ORGANISER LAURA HARTY

BA/MA [HONS]

1 Henry Ding High Street analysis 2, 3 Callum Grant, Mayu Ishimoto, Arya Li, Ed Varlow, Mingyu Zhou HIgh street survey Site model 4, 5, 6 Douglas Crammond Film stills Exploded element study Site model 7 Ed Varlow Proposal model -

BALERNO 1

2

3 23

6

24

4 5

7 1—4

ASSEMBLY

BA/MA [HONS]

PORTOBELLO

10

9

11

25

ASSEMBLY 1—4

9, 10 Una Hu Study models 11 Qiuyi Chen, Una Hu Wahroom model survey 12 Jessica Zahn Axonometric space studies 13 Una Hu Proposal model -

13 26

12

BA/MA [HONS]

14, 15 James Langham Structural frame studies Composite model and drawing 16 Tom Crenian Proposal model 17 Joanna Saldonido Proposed contextual collage -

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THE CALDERS 15

16 27

28

17 1—4

ASSEMBLY

BA/MA [HONS]

Assignment 1 Precedent Study.

Right, below Shuduo Lu, Yao Yu Scottish National Portrait Gallery, Edinburgh Structural Analysis

PRINCIPLES

1—5 TECHNOLOGY & ENVIRONMENT PRINCIPLES

COURSE ORGANISER PILAR PEREZ DEL REAL

This course introduces students to critical structural, technological and environmental principles that underpin architectural design. It seeks to shape an understanding of how buildings need to work functionally to keep their occupants safe,

TUTORS -

sheltered and comfortable, and how such considerations can produce deeper, more meaningful architecture.

Jane Robertson

The course is constructed around three themes; Structure,

Peter Robinson

Materials and Environment. The principles of sustainability is a

Irem Sereflogu

key topic that runs through all three subject areas. Participants

1—5

Derek McDonald

learn how buildings can be interacting systems and that GUEST LECTURERS

structural, material and environmental strategies are interlinked.

Julio Bros-Williamson David Byrne Marcelo Dias

The Structures theme explores how architectural structure not only provides stable and safe enclosures for us, but also how an understanding of structure is vital in the generation of architectural form. Students explore how architectural shape and form are achievable with different materials. They are then able to understand and predict the behaviours of key structural configurations.

The Materials theme examines the materials used in architecture.

Starting from what we can mine and harvest. Then the creation of building components is explored and how these can be assembled to make parts of buildings. The key principles and techniques in connecting and ordering parts of a building to make good architecture are considered in detail, with hands on tutorials involving real construction material samples.

The Environment theme investigates the fundamentals of sustainable development and its relationship to architecture.

It examines how, at a strategic level, architecture can respond proactively to sustainable agendas. Students learn about the principles of passive solar design and applying a fabric first approach in order to make buildings comfortable whilst working with the external environment. The topic engages with energy conservation issues and carbon reduction strategies.

30

Opposite Assignment 1 (samples) -

BA/MA [HONS]

Assignment 1 Precedent Study.

Right Marcus Hall, Douglas Crammond The Chapel of St Albert the Great, Edinburgh Structural Analysis Shu Kok and Natalie Ng The Chapel of St Albert the Great, Edinburgh Structural Analysis

Opposite Una Hu, Yuxuan Wang Grassmarket Centre, Edinburgh Structural Analysis

– 31

32

1—5

PRINCIPLES

BA/MA [HONS]

-

-

-

REVIVALISM TO MODERNISM

1—6 ARCHITECTURAL HISTORY R E V I VA L I S M TO M O D E R N I S M

COURSE ORGANISER ALISTAIR FAIR

This course is a compulsory part of the MA(Hons) Architecture programme, but also serves other degrees, including the MA(Hons) Architectural History and Heritage. In addition, it is a popular elective course taken by students from across ECA and the wider

SENIOR TUTOR

University.

Anne Galastro

Architectural History 1B explores how designers and patrons between c. 1750 and 2000. It begins with the stylistic revivals

-

of the nineteenth century before turning to the advent of new

Jake Bransgrove Alborz Dianat

materials and structural techniques. As the course moves into the twentieth century, the development of new architectural forms and

Grace Etherington

approaches to space are discussed. The course includes focused

Rory Lamb

discussion of the work of key designers such as Le Corbusier and

Scarlett Lee

1—6

responded to the idea of modernity in a series of global contexts TUTORS

Alvar Aalto but also stresses the contribution of others to the built

Mohona Reza

environment – from the first qualified women architects of the

Dimitrij Zadorin

early twentieth century to the commercial house-builders who constructed suburbia. The course concludes with an investigation

LECTURERS Richard Anderson Alex Bremner

of the globalisation of modernist practice, and the reactions against Modernism of the late twentieth century. The coursework engages with the city of Edinburgh, which provides a rich series of examples for study.

Kirsten Carter McKee Peter Clericuzio

As with Architectural History 1A, the course aims not only to

Alistair Fair

provide a foundational knowledge of recent architectural history

John Lowrey

but also to encourage an independent, reflective approach which

Angus Macdonald

sets architecture in wider contexts.

Margaret Stewart The course is followed in second year by Urbanism and the City: Past to Present.

34

Opposite Cables Wynd House Leith, Edinburgh -

2—1

ARCHITECTURAL DESIGN IN PLACE

2—2

TECHNOLOGY & ENVIRONMENT BUILDING ENVIRONMENT

2—3

D E S I G N T H I N K I N G & D I G I TA L C R A F T I N G

2—4

ARCHITECTURAL DESIGN ANY PLACE

2—5

TECHNOLOGY & ENVIRONMENT B U I L D I N G FA B R I C

2—6

ARCHITECTURAL HISTORY URBANISM & THE CITY

36

2—0

2—0 BA/MA [HONS]

BA/MA [HONS]

REVIEW CRITICS Mary Arnold-Forster Moa Carlsson Suzanne Ewing Chris French Jack Green GUEST LECTURERS Mary Arnold-Forster Meredith Bowles Patrick Elliot Adrian Hawker Tim Ingold Will Knight Jennifer Sturgeon

IN PLACE

2—1 ARCHITECTURAL DESIGN IN PLACE

COURSE ORGANISER ANDREA FAED

The course takes the concept of site and situation as its focus.

This theme is supplemented by those of public and private, place and identity. These themes collectively inform a set of architectural design exercises that have greater complexity than

TUTORS

those tackled at Year 1.

Mark Bingham David Byrne Mark Cousins Fiona Lumsden

The thematic scope of the course serves as a context to introduce critical and reflexive dimensions of architectural design, and the development of skills in design inquiry. The course addresses digital media and explores their consequences for the

2—1

Georgina Allison

representation and fabrication in architecture.

Pilar Perez Andy Summers

‘In Place’ introduces students to a concern for buildings’

Nicky Thomson

immediate location. The city is primarily shaped by social,

Rebecca Wober

economic, and political processes; the city’s processes leave their

Thomas Woodcock

mark on the building. Instead of encouraging architecture to resist such interference in its own territory, In Place suggests studying

DIGITAL TUTORS -

the city as a means of devising an architectural response to the urban condition.

Yorgos Berdos Ana Miret Garcia

The course begins with research and analysis of precedents, followed by the analysis of the site and its environment. The findings of these two assignments forms the basis for the design of an Architecture School within the context of Edinburgh.

Students work in small teams on the design of the Architecture School. Working as a team on this project it is designed to make this step-up in scale more manageable. Digital workshops are provided to supplement and support the studio project and benefit from the sharing of competencies within the group context.

The Architecture School project progresses through a series of exercises that aim to improve student’s technical competence and understanding of architectural conventions as well as addressing the broader themes of the studio. The proposals are developed by teams to a reasonable level of resolution and clearly presented through a range of two and three-dimensional media.

38

Opposite Alon Shahar Precedent Study Greenwich School of Architecture model -

BA/MA [HONS]

1, 2, 3, 4 Alon Shahar Precedent Study Greenwich School of Architecture -

PRECEDENT STUDY 1

2

3 39

40

4 2—1

IN PLACE

BA/MA [HONS]

5

ARCHITECTURE SCHOOL

6

7

41

IN PLACE

5, 7 Kevin Chen, Yulin Yang, Kelly Tanim Model collage, section 6 Georgie Inchbald, Alaxandre Langlois, Vasilisa Litvinenko, Charlotte Cole Sectional model collage 8 Audrey Zhang, Jiayu Lu, Ruoxin Tan, Jingzhi He, Jiayi Liu Model 9 Daniel Yanez-Cunningham, Devon Tabata, Yunlong Zhu, Nelly Greig Plan 10 Kaiyin Zhao, Eloise Zha, Meihan Liu Visualisation -

9 2—1

8

42

10

BA/MA [HONS]

11 Kevin Chen, Yulin Yang, Kelly Tanim Site model 12 Thomas Everett, Laura Dew, Alon Shahar, Shahjehan Faheem Plan 13 Tom Peng, Cassandra Yang, Maggie Zhang, Kaiwen Chen Model -

ARCHITECTURE SCHOOL

11

12 43

44

2—1

13

IN PLACE

BA/MA [HONS]

Project 1 Environmental analysis and climate change adaptations of a design precedent .

Emma Astley-Birtwistle, Gracie Thornham Pallant House Gallery Chichester, UK

Right Solar analysis of an exposed southwest facing facade using sun-path diagrams: - overheated (orange) - underheated (blue) - overshadowing from site features (green & grey)

Below Study of direct sunlight penetration through a large south-west facing window showing solar altitude angles

BUILDING ENVIRONMENT

2—2 TECHNOLOGY & ENVIRONMENT BUILDING ENVIRONMENT

COURSE ORGANISER W. VICTORIA LEE

Building on first year courses Technology and Environment:

Principles and Architectural Design: Assembly , TE2A: Building Environment further develops students’ understanding, analysis, and integration of environmental design in architecture. The

Pilar Perez del Real Elaine Pieczonka

course examines the roles of energy, light, heat, ventilation, and sound in building design. The course also introduces sustainable technologies, buildings performance assessments, building services and their implications for design.

David Seel This course focuses on passive design strategies, but introduces

2—2

TUTORS

mechanical (active) systems as a supplement. An emphasis is placed on the bioclimatic approach to architectural design, which advocates for designs that cater to the biology and psychology of humans whilst being responsive to the natural environment; with appropriate and thoughtful use of technology. The course covers a

Above Victor Olgay The four interlocking and interacting components of bioclimatic design from Design with Climate: bioclimatic approach to architectural regionalism (1963, 2015) Opposite Project Report (Samples) -

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Macro- and micro-climates

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Solar geometry, daylighting, and artificial lighting

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Passive heating and cooling strategies

-

Wellbeing, comfort, and other occupant needs

-

Building heat and energy balances

-

Natural and mechanical ventilation systems

-

Building services and water conservation

-

Acoustic fundamentals

46

wide range of environmental design topics, including the following:

BA/MA [HONS]

Project 1 Environmental analysis and climate change adaptations of a design precedent .

Esther Park, Ruoxin Tan Central Beheer Apeldoorn, Netherlands

Right Sunbeam analysis of the overshadowing impact of trees for a south-west unit of the building

Opposite The process of designing a shading strategy for a large southwest facing window: first determining the lowest solar altitude from which direct sunlight should be avoided; then determine the depth of a single overhang; reduce the depth and weight of the single overhang by using multiple smaller overhangs Designed overhang shadow angles overlaid on the sun-path diagram to evaluate its performance – Spring / Autumn Equinox

Overheated Period

Underheated Period

47

BUILDING ENVIRONMENT

Before shading

After shading

Single shading device

x = 3000 / Tan(51) = 2429mm

2—2

Tan(51) = 3000 / x

Wall depth = 480mm Overhang width = 1949mm

Overhang length = 3250mm

Reduced overhang

Multiple shading devices Tan(51) = 1000 / x x = 1000 / Tan(51) = 810mm Wall depth = 480mm Overhang width = 330mm

48

Overhang length = 3250mm

BA/MA [HONS]

REVIEW CRITICS Asterios Agkathides Simon Prokop Jirka Vele

DESIGN THINKING & DIGITAL CRAFTING

2—3 D E S I G N T H I N K I N G & D I G I TA L C R A F T I N G

COURSE ORGANISER YORGOS BERDOS

This course represents an introduction to computational design, with a focus on generative design tools and digital fabrication across scales. The students explore how these fields interact and complement each other. The technological possibilities to

Yorgos Berdos Cesar Cheng

transform the digital into the physical by a variety of means is also explored. The focus is set on parametric/algorithmic design approaches and the related digital crafting techniques. The participants get introduced to the digital work flow, managing data sets related to design and fabrication.

GUEST LECTURERS Simon Prokop Jirka Vele

2—3

TUTORS

The course engages with digital computation and digital fabrication techniques and strategies on two levels of discourse: a theoretical and an applied one. The methodology of the digital work flow is introduced. Furthermore, the participants are educated in developing a critical and analytical approach to computational design and digital fabrication by getting introduced to basic strategies in terms of digital computation and fabrication and offering an insight to the current theoretical debate regarding the ‘Digital Turn’ in architecture.

The first four weeks comprise an introduction to the theoretical approaches behind the Digital Turn. The participants complete individual analysis of a given case studies, critically reflecting on particular design and compositional aspects and present the reached conclusions. In parallel to this stage the students are offered a set of tutorial hours for the dedicated software packages, and an introduction to a diverse range of digital fabrication techniques. The participants are required to apply the newly gained knowledge in terms of form generation and to make extensive use of the designated online and offline learning recourses throughout the semester. They are also expected to read key literature and to maintain their reading throughout the study period.

50

Opposite Meihan Liu Exquisite Towers -

BA/MA [HONS]

–

4

3

2 1

51

DESIGN THINKING & DIGITAL CRAFTING

1, 2 Meihan Liu Exquisite Towers Generative Urbanism 3 Cameron Whitelaw Exquisite Towers 4 Jiayi Liu 3-D printing with clay 5, 6 Meihan Liu, Esther Park, Jiayi Liu, Eloise Zha Abstracting the Patterns -

2—3

5

52

6

BA/MA [HONS]

REVIEW CRITICS Sam Boyle Natasha Huq Akiko Kobayashi Alex Liddell Charlie Porter Nicolas Ziesel GUEST LECTURERS Richard Anderson Peter Clericuzio John Lowrey Mark Cousins David Seel PARIS VIRTUAL FIELD EXPERIENCE SPEAKERS Luis Burriel Bielza

ENSA Paris-Belleville Gilles Delalex

MUOTO Édouard François

MEF Stéphane Maupin

SMAC Lydéric Veauvy

TANK Nicolas Ziesel

KOZ

ANY PLACE

2—4 ARCHITECTURAL DESIGN ANY PLACE

COURSE ORGANISER ANA MIRET

This course is thematically focused on circumstances and conditions beyond the local. It moves away from preconceived local knowledge to consider issues of unfamiliarity within a foreign context. This thematic focus is supplemented by a broader

TUTORS Georgina Allison

interest in the city as a condition for architecture. Students investigate a range of everyday practices that constitute the experience of the contemporary city.

David Byrne Mark Cousins Nikolia Kartalou Michael Lewis

This year Any Place deals with the design of a residential building in the city of Paris, France. Working through five studio exercises and complemented with weekly digital workshops, students explore programmatic, spatial and tectonic aspects of

Fiona Lumsden

architecture, including their integration within broader socio-

Andy Summers

cultural contexts and environmental dynamics. The context is

Rebecca Wober

first approached through film, by exploring specific ways of living

Thomas Woodcock

2—4

Mark Bingham

and dwelling in the city of Paris. This is followed by research and structured analysis of selected precedents of residential

DIGITAL TUTOR Yorgos Berdos Ana Miret

buildings. The combination of the previous material provides the basis for initial spatial strategies through the design of an apartment for a chosen film character with a specific lifestyle. The output of this process converges into the design of a residential building for multiple occupants located on a selected site in Paris.

SUSTAINABILITY TUTOR -

A virtual field experience introduces gradually the context of Paris

David Seel

by three different media. First, urban dwelling is explored through selected French films. Then, a knowledge exchange allows to share sites and contextual information with the School of Architecture ENSA Paris-Belleville led by associate professor Luis Burriel Bielza. Finally, five French offices of architecture are invited to a series of online talks.

The process is informed by a critical design methodology based on iteration, aimed to both identify and implement architectural strategies by working through a wide range of media including architectural drawings, physical and digital models and video making.

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Opposite Jingzhi He Film Study ‘Belle de jour’ by Luis Buñuel -

BA/MA [HONS]

1, 2, 3 Meihan Liu Block Generation Visualisation Axonometric 4, 5 Eurus Feng Site analysis of Belleville, Paris Visualisation -

RESIDENTIAL BUILDING IN BELLEVILLE

2

1

3 55

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2—4

4

5 ANY PLACE

BA/MA [HONS]

RESIDENTIAL BUILDING IN BELLEVILLE

6

57

ANY PLACE 2—4

6 Alicia Gerhardstein Apartment for Theo Sectional model 7 Emily Grills Film Study ‘The Dreamers’ by B. Bertolucci 8, 9 Kelly Tanim Axonometric Inner courtyard visualisation -

7

8

58

9

BA/MA [HONS]

10 Alicia Gerhardstein Theo in Belleville, Paris Collage 11 Jiayi Liu Visualisation 12 Ellie Nicholls Model Façade 13 Alon Shahar Section 14 Reece Tsa Hand drawing 15 Jingzhi He Model -

10

RESIDENTIAL BUILDING IN BELLEVILLE 11

12

13 59

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2—4

14

15 ANY PLACE

BA/MA [HONS]

Project 1 Timber Shelter.

Right Jiayi Liu, Eurus Feng, Xiaowen Wang, Jingzhi He 1 The development of the modular system 2 The connection between the primary frame and the joists of flooring

Design around structural performance is explored in the first Project: precise sizing and detailing of light timber shelters in St Marks Park, Edinburgh to protect users from weather but also enhance their appreciation of the park by giving a structure and framing routes and visuals. Modular construction was a suitable design process and one group (15) explored a structure that was easy to understand, vary and then detail in intricate and expressive connections. Together with extensive calculations for the sizing of the timber beams and columns, the Embodied Carbon Content was evaluated alongside a steel frame alternative, making us realise the professional targets and the surprising incidence of steel connections.

Columns

Primary Beams

Secondary Beams

Roof

BUILDING FABRIC

2—5 TECHNOLOGY & ENVIRONMENT B U I L D I N G FA B R I C

COURSE ORGANISER DIMITRIS THEODOSSOPOULOS

The course explores how building structures (timber, steel, concrete, masonry) are shaped around their response to loads and the need for environmental protection. The learning experience is formed by observation of good practice and assessment of

TUTORS Georgina Allison

performance through numerical study of a small structure, and the design of a building informed by the assembly of the envelope and roof and their tectonic expression.

Jane Robertson

The course constantly aims to empower student participation and inverting the classroom. Lectures were pre-recorded and the

GUEST LECTURERS

class worked in large discussion groups. The discussion moved

-

around key concepts, good practice or case studies, allowing the

Mary Arnold-Forster

students to explore aspects like structural loads; manufacturing

Ana Bertol-Gro Bill Black Ana Bonet-Miro

2—5

Nikolas Ringas

and properties of materials; shaping frames around load-paths, bending moments and stiffness; assembly and performance of building envelopes etc.

Allan Haines The students responded regularly to the taught material through illustrated essays that nourished observation and reflection skills, empowered by a site visit in the Haymarket project or records from earlier ones (St James, CALA homes).

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Above Dimitris Theodossopoulos Site visit to the Haymarket Project February 2022 Opposite Project 1 (Sample) -

BA/MA [HONS]

Project 2 Building Envelope.

Right & opposite Charlotte Wayment, Conor Fyffe, Dan Pratt, Ellis Shiels 1 Insight into the facade technology variations around timber (1), red brick (2), polycarbonate (3) and frosted glass (4) 2 The primary elevation detail and

1

build-up of the larch vertical board cladding

–

The second Project explored a

2

building’s envelope as a means to communicate its architecture and values, engaging users with the design and construction processes.

The design of a community centre in Paris aimed to an architectural experience that can communicate the missions of the centre and aligned with Design: Any Place in the use of the same sites for their housing project but also the scale (1/100) recommended for a design inquiry that can be effectively informed by technical resolution.

Many designs followed a holistic

3

exploration of the social, architectural and environmental conditions of their sites, and studied tectonic themes like solid/ light; sustainability; process and hierarchy; continuity and fluidity. The spectrum from solid to light for example was studied by group 4 in their elevations as the main vehicle to communicate the centre’s design, opting for a timber cladding system (option 1) that expressed the verticality of the main structure’s frame. This system allowed them furthermore to express clearly the performance objectives of its constituent elements as seen in the details of the elevation.

4

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2—5

BUILDING FABRIC

BA/MA [HONS]

-

-

-

URBANISM & THE CITY

2—6 ARCHITECTURAL HISTORY URBANISM & THE CITY

COURSE ORGANISER JOHN LOWREY

This undergraduate course investigates the global history of city design and urbanism from ancient times to the contemporary period. Through an interdisciplinary course bibliography and readings in key historical texts on urbanism, students will grasp

TUTORS -

the major historical trends and philosophies of urban emergence and development.

Jake Bransgrove

Anne Galastro

Tutorials centred on Edinburgh site visits and training in research and writing will prepare students to perform first-hand research and compose original scholarship on the built environment.

2—6

Alborz Dianat Grace Etherington Lucia Juarez Rory Lamb

The goal of this course is to give students a critical acumen for

Scarlett Lee

evaluating the architectural transformation of the urban realm

Mohona Reza

across disparate cultures and far-flung geographies over time,

Dimitrij Zadorin

from Antiquity to the present day.

LECTURERS Alex Bremner Peter Clericuzio Alistair Fair John Lowrey Kirsten Carter McKee Elizabeth Petcu Margaret Stewart

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Opposite Edinburgh Pride Bristo Square, 2019 Photograph : Edinburgh Evening News -

3—1

ARCHITECTURAL DESIGN E X P L O R AT I O N S

3—2

ARCHITECTURAL THEORY

3—3

ARCHITECTURAL PRACTICE WORKING LEARNING

3—4

ARCHITECTURAL PRACTICE REFLECTION

3—5

PROFESSIONAL STUDIES

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3—0

3—0 BA/MA [HONS]

BA/MA [HONS]

REVIEW CRITICS Kevin Adams Neil Bancroft Sandra Bartoli Luke Bisby Theo Dounas Andrew Friend Martha Halliday Sepideh Karami Akiko Kobayashi Kanto Maeda Brett Mommersteeg Filippo Nanni Provides Ng Sonakshi Pandit Luciano Parodi Tommy Perman Marcella Wenger-Di Gabrielle Stefanie Wettstein Sigi Whittle Gabrielle Wood Lucia Zamponi Stamatis Zografos Konstantinos Zves

EXPLORATIONS

3—1 ARCHITECTURAL DESIGN

UNIT 1 UNIT 2 UNIT 3 UNIT 4 UNIT 5 UNIT 6 TECHNIQUES TUTORS Lewis Evans Sigi Whittle GUEST LECTURERS Carlos Arroyo Rachel Duckhouse David Lemm Chris Speed Opposite Panagiota Mousa, Be Yang, Leo Chiu Trust-portation -

Explorations extends Stage 2 level architectural design and communication skills by foregrounding experimentation.

The course focuses on developing familiarity with a range of approaches to architectural design research, and with the relevant protocols and techniques. Students are asked to undertake a rigorous and creative exploration that investigates specific design themes based on the identification of key problems, opportunities, sources, methodologies and strategies. Seeking a more nuanced understanding of the design process, the course turns the studio into a laboratory for creative exploration, and a site for experimentation and discovery—not only for finding answers and solutions, but for designing and pursuing questions.

The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims while investigating a broad spectrum of distinctive subthemes, preoccupations and methods. During the 2021-2022 academic year, units explored a range of different topics: Unit 1 investigated the role of colour in architectural design, and the retrofit of a building in Edinburgh; Unit 2 interrogated the reactivation and reuse of discarded and de-valued objects, prototyping new materials and assemblies; Unit 3 developed competition proposals as a way to reclaim architectural practice as a fundamental mode of operation for architects; Unit 4 explored the notion of trust in the context of blockchain and distributed ledger technologies; Unit 5 considered the material relationships that can be rediscovered and foregrounded by paying attention to the physical world around us; Unit 6 investigated the Grenfell Tower fire as a way to consider alternative approaches to fire safety and the retrofitting of tall buildings.

2020 / 2021 Awards & Accolades - Unit 3: The Competition Studio (Miguel Paredes, Ana Bonet Miró) International Residential Architecture Conceptual Design Competition 2021, Taiwan Architectural Magazine Special Mention (Top five): Inka Eismar, Coll Drury, Jenna McMahon - Unit 5: Normal Now (Michael Lewis, Andrew Friend) Architecture Film Festival London 2021 Winners, Best New Media category: Uwais Mohd Hafizal, Kanto Maeda

70

COURSE ORGANISER SIMONE FERRACINA

3—1

E X P L O R AT I O N S

BA/MA [HONS]

CHROMATIC INTERVENTIONS

This unit provided an opportunity to explore colour design for architecture. Colour is a complex, ethereal and contingent

STUDIO LEADERS -

phenomenon. It is an essential factor in the perception of material

Fiona McLachlan

surface and our experience of space. The study of colour infiltrates

Rachael Scott

almost every discipline: psychology, biology, neurology, physics, CHROMATIC INTERVENTIONS

chemistry, fashion, art, literature, film, music, philosophy... and

UNIT 1

yet it has been somewhat neglected in contemporary architectural

UNIT 2

education. Through this unit, the students developed a basic

UNIT 3

understanding of the principles of colour theory, learnt a series of

UNIT 4

design methodologies and then tested and applied them through

UNIT 5

an architectural retrofit project. They began by establishing

UNIT 6

an intellectual framework through reading, discussion, and a series of practical enquiries. They then developed an abstracted palette derived from a secondary source, which was subsequently developed and applied to a 1965 tower block at the Royal Edinburgh Hospital. The palettes for the seven projects retain the characteristics of their sources but evolved through a series of investigations. Students considered how the palettes could inform a strategic use of colour for their brief ‘Mind and Body’ including a community kitchen, productive garden, market place, art therapy, up-cycling and physical exercise spaces.

1 Matthew Johnson, Caoilin O’Meara, Chris Pirrie The Palette of Escapism 2 Gianluca Cau Tait, Mina Pabuccuoglu, Chloe Tunnell In-between 3 Coraline Fang, Ivy Liu In Isolation -

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1 3—1

EXPLORATIONS

BA/MA [HONS]

Solar Noon

Sunset

Night CHROMATIC INTERVENTIONS

Sunrise

2

73

EXPLORATIONS

Morning Sun, Painting

3—1

Morning Sun, Movie

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3

BA/MA [HONS]

RADICAL HARVEST

Unit 2 aims to expand the notion and practice of architectural authorship. If design depends on the exertion of control over matter from the top down, and on the orientation of materials through technical chains that progressively transform them

STUDIO LEADERS Simone Ferracina Asad Khan

towards a specific fit or communication protocol, the unit

RADICAL HARVEST

investigates an alternative ethos and methodological approach

UNIT 1

whereby designers relinquish some control and embrace

UNIT 2

human and nonhuman others (including discarded/devalued

UNIT 3

objects) as co-designers. We proposed an alternative model

UNIT 4

for architectural practice, one where materials precede

UNIT 5

ideas, ecologies are given priority over intents, and creativity

UNIT 6

is understood as partial, distributed and collaborative.

Our work interrogated lowly industrial objects, material discards and hybrid compounds as generators of new architectural assemblages. We learnt to shift our attention from the mere design of outputs (the beautiful object as desirable project outcome) to the design of the tools, material flows, labour practices and implicit biases that promote and deploy them.

We questioned not how to address the climate crisis through technical means, but what it means to reconfigure architecture (its understandings, practices, values) and ourselves as architects (our aims, habits, and evaluation criteria) to respond to the environmental and social challenges of our times.

1 Nazly Khalil, Yasmine MacCallum, Fah Rodloytuk Bi(o)cycle 2 Eilidh Duffy, Molly Deazley, Tallulah Bannerman Barricades of Evidence 3 Paula Halder, Eve Pennington, Bruce Shen Bibliotecture -

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EXPLORATIONS

BA/MA [HONS]

RADICAL HARVEST

2

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3 3—1

EXPLORATIONS

BA/MA [HONS]

THE COM PETITION STUDIO

This unit gave students the opportunity to work on two international architectural ideas competitions, one dealing with the adaptive reuse of a derelict missile base in the outskirts of Bratislava and the other soliciting novel models of affordable

STUDIO LEADERS Miguel Paredes Maldonado Nick Mols

housing for the city of Berlin. Each competition posited a very THE COMPETITION STUDIO

specific set of conceptual challenges and demanded responses

UNIT 1

at radically different scales. Unit 3 strategically approached

UNIT 2

both competitions as one single ‘body of work’ spanning a full

UNIT 3

semester and allowing for cross-pollination between the projects.

UNIT 4 UNIT 5

By building the brief around these contemporary competitions,

UNIT 6

Unit 3 aimed to offer a platform for students to circulate their work among audiences beyond academia, and to situate their ideas intellectually within a critical international context. Even more importantly, Unit 3 expressed a commitment to re-position the role of professional practice as a fundamental mode of operation for architects – one that is exploratory and speculative, but also firmly engaged with existing organisations, communities and stakeholders to respond to pressing issues across the globe.

2021 / 2022 Awards & Accolades Competition 1 - Devínska Kobyla missile base, Bratislava Honourable Mention: Michael Becker, Jaaziel Kajoba, Terry Feng Honourable Mention: Ching En Lin, Po Yen Huang, Geon Yeong Kim Special Award from the mayor of Devínska Nová Ves: Bingzhi Li, Hechen Yuan, Tubohao Yang Competition 2 - Berlin Affordable Housing Challenge Shortlisted Project: Sophie Ho, Mhairi Dickie, Runqian Lu Shortlisted Project: Tereza Staskova, Ioanna Peponi, Athina Kotrozou Shortlisted Project: Ching En Lin, Po Yen Huang, Geon Yeong Kim

1 Michael Becker, Terry Feng, Jaaziel Kajoba Lignum Vitae Missile Base in Devínska Kobyla Competition entry - Honourable Mention 2 Sophie Ho, Mhairi Dickie, Runqian Lu Re-Activating the Plattenbau Berlin Affordable Housing Competition entry - Shortlisted 3 Ioanna Peponi, Tereza Staskova, Athina Kotrozou Adaptive Commoning Berlin Affordable Housing Competition entry - Shortlisted -

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EXPLORATIONS

BA/MA [HONS]

THE COMPETITION STUDIO

2

81

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EXPLORATIONS

BA/MA [HONS]

CRYPTO-ARCHITECTURE: BUILDING ON TRUST

Unit 4 explored frameworks for decentralised design problem solving methodologies as well as decentralised production systems in the context of the fourth industrial revolution.

STUDIO LEADERS Yorgos Berdos Rosie Milne

We investigated Blockchain infrastructure as a means for CRYPTO-ARCHITECTURE

creating new operational models for architectural design,

UNIT 1

through project governance, scaling collaboration, and shifting

UNIT 2

trust to the infrastructure rather than the different actors

UNIT 3

involved. CryptoArchitecture explored the ways in which

UNIT 4

architectural design and thinking are not limited to their

UNIT 5

prescribed roles. CryptoArchitecture navigated creatively

UNIT 6

into the booming field of DLTs using architectural tools.

Blockchain and Distributed Ledger Technologies (DLTs) are seen as alternative, technologically powered systems of trust, which could provide the technological backbone needed to combine aspects of the Circular Economy, Internet of Things (IoT), Smart Cities, and Building Information Modelling (BIM) by adding a new layer on top of the existing networks’ infrastructure for tamper-proof exchange of value and information.

1 Panagiota Mousa, Be Yang, Leo Chiu Trust-portation 2 Lucy Boyd, Sam Elliott, Yunan Wang GreenCoin 3 Ice Chitmeesilp, Ciel Peng, Zhe Wang Signless City -

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EXPLORATIONS

BA/MA [HONS]

CRYPTO-ARCHITECTURE

2

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EXPLORATIONS

BA/MA [HONS]

IFT T [MAT TER/MAN NER/METHOD]

Everywhere we look, the world is defined by complex relationships and interactions. In Unit 5, we used ecology as a gateway to think about how relationships between agents constitute the world around us and determine the health of a system. The natural

STUDIO LEADERS Michael Lewis David Lemm

world, like architecture, is reliant on countless interwoven

IFTT

relationships that coalesce into a perceivable system - or an

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array of systems. In a healthy ecosystem, these relationships

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are generally symbiotic, and the removal of any specific piece

UNIT 3

has the potential to damage or destroy the whole. Similarly,

UNIT 4

if we remove a stone from an arch or a length of pipe from a

UNIT 5

plumbing system, we threaten the effective operation and

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safety of the whole. The fundamental success of a project might then be determined by an analysis of the very particular conditions of how one thing or being relates to another.

If This Then That (IFTTT) is a term taken from programming language, which refers to a basic description of causality – if this thing happens, something specific will follow. This causality describes a basic tenant of reciprocity, that is, things are affected by one another and the relationships give meaning to the whole. Through reciprocity, each element benefits from another and, in turn, provides. It is this unit’s position that we should be invested in helping understand and design better reciprocal systems. Thus, we began with a survey of highly particular material conditions as a way to understand place and as catalysts to tell stories. These stories eventually developed into sophisticated and broad critiques, but always through the lens of the tactile, spatial, and reciprocal.

2021 / 2022 Awards & Accolades Yale Student Film Festival 2022 Selected (results pending): Cosmo Wezenbeek, Tahlor Jarrett, Dana Hasan

The Space Between

1 Dana Hasan, Tahlor Jarrett, Cosmo Wezenbeek The Space Between 2 Jono Green, Hannah Ord, Ellie Wilkes Ebb + Flow 3 Charlotte Brooks, Nita Pan, Tanya Snel Translations -

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TOWER/FLAME: ON CONSTRUCTION & COMBUSTION

The Grenfell Tower fire might be seen as a literal example

STUDIO LEADERS

of Greta Thunberg’s maxim ‘Our House is on Fire’. The high

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energy consumption of the building, and the high embodied energy of its fabric are both facets of what Stephen Pyne

Liam Ross Tolulope Onabolu

refers to as the ‘Pyroscene’. Like the fires that threaten

TOWER/FLAME

urban-wilderness interfaces, CO2 emissions, and rising

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global temperatures, the increased consumption of energy

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in the construction and maintence of the built environment

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are characteristics of that period of rapid extraction and

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combustion of fossil fuels that we are currently living through.

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This studio invited students to think about buildings through this thermos-dynamic lens; it asked them to think of building components as ‘flames frozen by different time-scales’. It did so to prompt speculation as to how we might burn our houses, and our planet, more slowly; how we might reduce the energy embodied in the construction and maintenance of buildings, and consumed in their servicing, while still ensuring their fire-safety. It used the Grenfell Tower as a case study for that speculation. It asked students to make use of the ongoing Grenfell Inquiry as a source of detailed information about the thermal performance and firesafety failings of that building, but also used the 2016 renovation brief as a design challenge through which students imagined alternative futures for other post-war high-rise buildings.

1 James Haynes, Mari Helland The Timber Jacket 2 Jemima Harrison, Antonios Mavrotas Expressing Ventilation 3 Fly Luo, Fraser Winfield Tracing Grenfell’s Carbon Transect -

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Tallulah Bannerman Filling the emptiness: How does the human desire to develop damage the ‘shared’ nature of space with non-human beings?

Whilst a growing proportion of the human population live in urban environments, Thom van Dooren’s article called ‘Storied-places in a multispecies city’, caused me to reflect on the recognition I have for human and non-human inhabitants of the urban realm. 1 Struck by animals forced to adapt to the metropolis, I questioned why the human need to expand into unclaimed land was necessary, if there was a recognised “massive loss of habitat” for non-humans. 2 I feel a reassessment of the ‘emptiness’ we perceive undeveloped space to have is needed, for future relationships of space. 3 Van Doreen speaks of the “spatial fact of shared turf” and defines place as “not a mere patch of ground, a bare stretch of earth.” 4 Reflecting on my own practice, especially surrounding COP26 conversations on construction’s environmental impact, 5 I acknowledge a disregard for the “shared” nature of space as animals deemed “out-of-place” 6 in cities are thus discouraged. I always think about sustainability of my designs, in materiality and energy consumption, yet I rarely recognise that even building at all is destroying habitats. Surely this is a harmful mentality if we continue to view empty-land as something for human occupation, leaving little space for other beings. 7 It is no wonder that to create “functional ecosystems (for both) human and nature to thrive, we need to look at the bigger picture” of development. 8 Y.Harari writes in Homo Deus that “humans completely dominate the planet” through the imperialistic desire to control “flexibly in large numbers” 9 - exaggerating differences between what is useful to nature (sunlight, water, earth etc.) versus what is useful to humans, with money and development permitting socialisation and overpopulation. I understand the human desire to ‘dominate’, yet this ignores Watts’ theory on “colonization” 10 of space as non-humans also “possess agency’ whilst ‘direct(ly) influencing how humans organize themselves into...society.” 11 Consideration of non-human habitats can only enhance our own architecture.

Destructing this “anthropocentrism” 12 is seen as we seek natural inspiration for our own architectural needs. Architects like I.Gsgruppen or P.Hefer create ‘nests’ for human inhabitation, interested in materials and structures frequented by birds. Yet perhaps more successfully, Gitta Gschwendtner’s Animal Wall encourages non-human residents in the urban space, matching the 1000 new human inhabitants of neighbouring apartments. 13 Having reflected on the equality between humans and non-humans, I will apply this to my own practice more as I will look to promote connections between cities and nature.

Seeking inspiration from nature to inform my own designs is only sufficient if a similar consideration is also given to the effect on the non-human habitats. Only through accepting the ‘shared’ inhabitation of space can a truly sustainable society be constructed.

Thom van Doreen et al., “Storied-places in a multispecies city,” Humanalia 3, no.2 (Spring 2021): 01-27, https://doi.org/10.52537/humanimalia.10046.

2 Ibid., 12. | 3 “Defining emptiness,” Future Architects, accessed November, 26, 2021, https://futurearchitectureplatform.org/projects/929b4c3f-aac2-4e14-a704-4c423e5dae77/.

4 Thom van Doreen, “Storied-places in a multispecies city,” 02.

5 Maria Smith, “We’re not going to profiteer our way out of climate change,” Dezeen , November 22, 2021, https://www.dezeen.com/2021/11/22/climate-change-profiteering-cop26-maria-smith-opinion/.

6 Vanessa Watts, “Indigenous place, thought & agency amongst humans and non-humans,” Decolonization: Indigeneity, Education & Society 2 , no.1 (2013): 20-34, https://jps.library.utoronto.ca/index.php/des/article/view/19145.

7 Oliver Wainwright, “Britain has enough land,” The Guardian , January 31, 2017, https://www.theguardian.com/cities/2017/jan/31/britain-land-housing-crisis-developers-not-building-land-banking.

8 Nurmal K. Katiyar, et al., “Nature-inspired materials: Emerging trends and prospects,” NPG Asia Mater 13, 56 (July 2021): 01-16, https://doi.org/10.1038/s41427-021-00322-y.

9 Yuval N. Harari, Homo Deus: a brief history of tomorrow (London: Harvill Secker, 2016): 08. | 10 Watts, “Indigenous people,” 22.

11 Ibid., 23. | 12 Ibid., 02. | 13 Rebecca Roke, Nanotecture: Tiny Built Things (London: Phaidon Press, 2016): 71.

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ARCHITECTURAL THEORY

3—2 ARCHITECTURAL THEORY

COURSE ORGANISER BRETT MOMMERSTEEG

Architectural Theory is a third-year core course for BA/MA architecture students. It introduces students to theory and its role within architecture for the first time, while also developing their writing and critical thinking skills. The course foregrounds

Maritina Iliadi Nikolia Kartalou Hafsa Olcay

the importance of questioning preconceived assumptions about architecture and an exploration of new ways of approaching issues within architecture. By reading selected texts from philosophy, architectural and urban theory alongside exemplary case studies or projects, students are also asked to test the relationship between theory and practice, develop critical perspectives, while

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TUTORS

also engaging with a variety of contemporary issues that beset architecture and architectural production today.

In 2021-2022, the course took place both online and in-person.

Online, the students participated in weekly lectures and ‘Meet the Author’ sessions, where an author from one of the weekly readings joined us to develop a conversation around their article. These were supplemented by in-person tutorials led by experienced tutors with backgrounds in architecture, design, and theory. This year the course took shape through contemporary topics about housing and the commons, the pandemic and the climate crisis, and architectural perspectives on racial inequalities and ways in which architecture is political.

Through their assessed work, students developed skills in reading challenging texts and writing critical and personal responses to them. The reflective journal assignment encouraged students to use the course materials to question their own assumptions about particular topics, and reflect on their studio projects, architectural precedents, and/or wider social and cultural understandings. The essay, in contrast, was an opportunity to develop these reflections into more sustained explorations of a particular issue. As a whole, the course is an opportunity to develop both an understanding of the role of theory in architecture and reflect on critical perspectives on contemporary issues through reading and writing practices.

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Above Gitta Gschwendtner Animal Wall Cardiff Bay, Wales (2009) Opposite Tallulah Bannerman Critical Reflections Journal Entry -

BA/MA [HONS]

Mikele Perez-Jamieson The Lack of Female Representation in the Architectural Profession As a student who identifies as Cis Female, I am acutely aware of the challenges that women face in practicing architecture. The profession remains stubbornly male-dominated and in this reflective essay I hope to offer some insight into the discrimination women continue to face in architecture and the built environment .

At university, for example, architectural history courses should incorporate pertinent research and design tutors should support a conscious diversification of the content which students absorb.

Issues of gender in design are currently not built into students’ design briefs, crits or conversations. I have yet to participate in a design project which encourages focused exploration and discussion in creating inclusive spaces for women and other marginalised groups. Kathryn H. Anthony suggests that social challenges concerning diversity should be integrated into design courses where project briefs require students to challenge issues relating to gender and race.

Despite numerous challenges, a higher proportion of female students commenced their architectural studies in 2021 compared to men. Although recent figures from the Architects Registration Board (ARB) indicate that only 29% of registered architects are women, Certainly most practices claim to be ‘an equal opportunities employer’, but inequalities remain and “at least two-thirds of the highest earners were men” . The idea of the architect as a solitary (male) genius is often assumed, but architecture is essentially a collaborative process with women’s contribution often overlooked.

The issue of childcare remains an issue and it seems only fair that responsibility should be shared between the parents, but women are often pushed out of the profession due to the lack of support systems which in turn affects the next generation of female architects.

In the article ‘Diversity or the lack of it in the architectural profession’, Ann De GraftJohnson and Sandra Manley argue that the failure to increase diversity within the construction professions will result in a poor understanding of our diverse population and consequently produce unsuitable built environments. Collaborative approaches need to be promoted as models of good practice and all marginalised groups need to become architects if our built environment is to be truly inclusive.

Undoubtedly an increase in female representation within education and practice would be beneficial but I am also aware that there are other marginalised groups discriminated against because of race, gender and/or sexual orientation. The importance of role models cannot be underestimated - so we must reclaim women’s achievements from the archives and include case studies where women have successfully challenged the norm in order to give inspiration and continuity to aspiring students and future generations of female architects.

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WORKING LEARNING

3—3 ARCHITECTURAL PRACTICE WORKING LEARNING

MARK COUSINS

This course introduces the business of architecture in terms of its professional, ethical, procedural and corporate fundamentals.

It also provides a framework to support students during their Practice Experience period in the second semester and facilitate an active reflection on their workplace activities.

The course compliments Architectural Practice: Reflection (APR) and addresses a range of pertinent topics (such as the architect/ client relationship, the role of professional bodies, legislative framework and modes of procurement) in order to offer students a grounding in professional knowledge, preparing them for future employment.

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COURSE ORGANISER

A series of lectures offered at the start of the course examines key issues including the social and technical drivers impacting the profession today. We examine modes of professional accreditation, the sequencing of work, regulatory requirements and building contracts. We explain core competencies that will be required by students seeking employment, such as preparing a CV, collating a comprehensive portfolio, interview skills, working with on-line research databases, and recording professional experience.

Knowledge gained through the lecture series (and whilst on Practice Experience) is then tested through a series of distancelearning assignments. These set tasks are intended as work-based learning exercises and afford students an opportunity to analyse and reflect upon their work experience.

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Above Portrait of Lady Elizabeth Wilbraham Painter : Sir Peter Lely Opposite Mikele Perez-Jamieson Reflective Journal Entry Collage

We have a sizeable database of international practices who have employed ESALA students in the past but students are encouraged to approach their preferred practices. We liaise closely with the Edinburgh Architectural Association as well as professional bodies including the RIAS and RIBA. The availability of job opportunities depends upon market forces and, therefore, we recognise the benefits of other forms of experience such as construction work, architectural journalism, voluntary work, and other design spheres such as graphics, product design, interior design, acoustics, etc. Alternatively students might get involved in architectural competitions, speculative design proposals, private commissions, or independent research projects in order to extend their knowledge of the profession.

BA/MA [HONS]

Caoilin O’Meara Reviving Regional Identities Through Colour Cultures Many aspects of the built environment can be attributed to increasing globalisation.

Cultures start to blend and become homogenous - this essay will focus specifically on the role colour culture can play in re-establishing regional identities.

Rationalising the building sector became a priority during 20th century and works sensitive to their surroundings became increasingly scarce. It is now widely understood that the treatment of facades, especially through the use of colour, adds character and appeal. Denis Steinmetz states; ‘...whether they are multicoloured, monochromatic, white, or the colour of their natural materials, the facades suggest at the very outset that the built environment where you happen to be claims an individual identity.’

My Practice Experience period with Haus der Farbe instilled the notion that you must ‘...design the landscape of tomorrow while respecting the landscape of yesterday.’ They believe that regional identities have been lost or tarnished due to globalisation and the indifference of planning bodies. Standardised colour palettes and an insensitive approach to colour design has contributed to such loss.

Haus der Farbe’s approach requires careful research of a regions’ unique material and colour identity, they develop tailored colour culture tools which provide local colour context and aims to harmonise the overall city palette. When presented with graphic visualisations of their locality’s chromatic character, communities take pride in nurturing their own identities. During my site visits to Yverdon and Fribourg it became clear how no two regional palettes are ever the same – the difference is characterised by subtle variations in local stone, tiles, pigments and plasters.

Detail magazine outlines how ‘colour means the sensory appearance... It creates spatial atmospheres and typifies townscapes and buildings in the landscape, creating identity.’

This places colour in architecture at the core of the globalisation debate. Site analysis and design drivers need to become increasingly informed by local traditions, materials and palettes. With renewed attention and reverence for such values, we can help to recalibrate our approach to the built environment and re-establish regional identities.

Our landscape has diversified and expanded throughout time, however, the task of architects now is to selectively and intelligently analyse, interpret and design in accordance with local rather than global considerations, thus helping to secure the identities of buildings themselves and the regions they constitute.

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REFLECTION

3—4 ARCHITECTURAL PRACTICE REFLECTION

COURSE ORGANISER MARK COUSINS

This course invites critical reflection on the architectural profession whilst students are undertaking a period of Practice Experience. Students are encouraged to use their initiative to seek employment opportunities either in Scotland or across the globe.

During this period a range of topics are examined through five succinct journal entries. Each entry focuses on a particular students to investigate the complexities of the profession outwith the confines of ESALA. The journal entries engage, provoke and/or

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aspect of architectural practice (or a related activity) and allows

ruminate on specific issues related to architecture and provide an opportunity for students to reflect, appraise, analyse and present their newfound knowledge. Much of the research is self-directed and students are asked to reflect in an active way on the profession.

The Journal is intended as an academic companion to their workplace activities, however, given the vagaries of the job market, students are not penalised if they are unable to secure employment.

The Journal is a vehicle for critical appraisal - informed by relevant readings (books, journals, periodicals, Codes of Practice, contract documents, competition briefs, etc). It provides a vehicle to use (and/or develop) academic research and referencing protocols. Students are expected to reflect on their experience and evidence how the Practice Experience period acts as an extension of their architectural education. Usually this is addressed by ‘working in the field’ but it can also be an opportunity to expand their understanding of architectural research and/or attaining new skills.

This course compliments Architectural Practice: Working Learning (APWL) and forms an essential component of the MA programme as part of the vocational qualification.

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Above Client Meeting, Zug Opposite Caoilin O’Meara Reflective Essay (abridged) Material Archive, Haus der Farbe

BA/MA [HONS]

Dana Hasan Office Structure When starting a new firm, one of the most critical decisions is what type of business model best suits the practice. It is arguable that in architecture, this decision carries even more weight because of the direct implications on day-to-day operations, legal and financial commitments, and the associated impression regarding the practice’s identity. The common business types are sole traders, partnerships, limited companies, and most recently, employee owned businesses (EOB).

The traditional sole trader is a simple setup in which the business and its single owner are indistinguishable entities; however, this entails sizable personal financial risks. The same goes for partnerships who can share the burden amongst two or more owners.

Limited companies separate business from personal finances, limiting their liabilities.

EOBs are an indirect way of assigning ownership to employees by placing their shares into a trust represented by a board of trustees. The board is a balanced mix, composed of founders/managing directors, employees, and an independent trustee. The business runs the same way, except that the trustees now oversee the management group, meaning more transparency, accountability, a flatter hierarchy, and deeper knowledge of the inner-workings of running a business. Scottish companies such as Page/Park, Collective Architecture and Bennetts Associates agree that this structure heralds higher employee engagement, as they have more say in the business, and unites them in a common aspiration for the company’s success, leading to better performance. Additionally, several architecture firms have noted the model’s financial incentives, such as tax exemptions from salary bonuses of shareholders, have cemented employee investment.

Moreover, setting up an EOB alleviates succession pressures by allowing the trust to keep retiree’s shares so committed employees can run the business rather than external members. Companies such as BPR have expressed discomfort that the ability to buy controlling shares can qualify people to manage the business. With an EOB, the shares can be paid off over longer periods whilst still enjoying full shareholding benefits, avoiding financial barriers and power grabs during selling-out periods and creating a more stable work environment .

These benefits clearly surpass traditional outdated models, so it is not surprising that young architects seek out work in employee-owned practices, especially as the ethos clearly communicates the business structure. With ongoing financial pressures and economic issues the next generation of architecture graduates favour the EOB structure as the preferred business model.

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PROFESSIONAL STUDIES

3—5 PROFESSIONAL STUDIES

COURSE ORGANISER MARK COUSINS

This BA course introduces students to architecture as a

professional practice. It explores the key issues of practice including the architect/client relationship, role of professional bodies, current legislation and methods of procurement.

A series of lectures in the first semester presents a comprehensive overview of practice and highlights a variety of business management strategies and the statutory frameworks within which projects are delivered. Students learn about the

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topics shaping the profession. These include an introduction to

interdisciplinary relationships in the costing, procurement and realisation of architectural projects. The scope of these illustrated talks encompasses the role of the architect in society and the attendant challenges of being a responsible professional today.

Guest speakers include a variety of academics and leading practitioners who talk about the organisation of their individual offices (from sole trader to employee-owned business) reflecting on how their legal constitution affects matters such as liability, profit-sharing and the ethos of the practice. We outline a range of building contracts commonly used in contemporary practice, offering a comparison of their relative benefits and why things are changing from ‘traditional’ to ‘modern’ modes of procurement. We also consider the key individuals within the construction team and how architects charge for their services depending on the different fee mechanisms employed for different kinds of work. We examine common cost control mechanisms and the sequencing of work (based on the RIBA Plan of Work), as well as the tribulations of a real project from its initial commission to final completion.

During the second semester, students submit six short essays testing the information gathered during the lecture series, and their ability to read around these issues. The Professional Studies course encourages students to develop informed opinions on professional matters.

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Above Bennetts Associates Opposite Dana Hasan Short Essay Make Architects

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D I S S E R TAT I O N

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ELECTIVES

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ARCHITECTURAL DESIGN TECTONICS

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ARCHITECTURAL DESIGN LOGISTICS

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ACADEMIC PORTFOLIO

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4—0 BA/MA [HONS]

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DISSERTATION

4—1 D I S S E R TAT I O N

COURSE ORGANISER LIAM ROSS

The dissertation course is unique in ESALA’s undergraduate curriculum, offering students a wholly research-based course. It provides an opportunity to investigate a chosen topic at length, in written form. The course supports that investigation through workshops, introducing students to methodological questions concerning issues from archival studies, and working with online sources, to selecting research paradigms, conducting qualitative research, and working with researcher bias. The principle mode of contribute to the course, this year engaging over 50 supervisors.

As such, it calls upon a diverse range of expertise drawn from

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tuition, though, is individual supervision. ESALA’s full staff cohort

architecture and landscape architecture, history and theory, professional practice, building conservation and technology, urban and cultural studies, design research, computation and the environmental humanities.

The topics chosen by our students demonstrate the breadth of architecture as a discipline, as well as a snapshot of timely and significant issues that it faces. This year they include an analysis of the limitations of housing data included in Scotland’s Index of Multiple Deprivation, digital documentation contributing to proposals for experimental conservation, reflections on queerness and colour, a study on 3D printing with dirt, mappings of the traces of conflict in Belfast, reflections on ‘resolution’ as a materiality of the digital, and a study of the life and work of Georgie Wolton, to name just a few.

The aim of the course is to support students in developing a detailed understanding of their chosen topic with reference to relevant cultural, historical and philosophical themes. The best dissertations make an original contributions to that topic, through clearly articulated and supported arguments. A hallmark of the dissertation course at ESALA is the way that our students bring their design training to bear upon their research. Students are asked to see the dissertation itself as an object of design, and to handle visual material sensitively and creatively, and some dissertations engage in original analysis by-design. The following three excerpts offer a glimpse of the originality and insight offered by some of those studies.

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Opposite Ellen Clayton 34 Belsize Lane Architect : Georgie Wolton Supervisor : Laura Harty -

BA/MA [HONS]

Coll Drury

Supervisor : Simone Ferracina

Frictions and Translations: An interrogation of the value attributed by different stakeholders to St Margaret’s House

FRICTIONS AND TRANSLATIONS

There is a vital argument for the preservation of Edinburgh’s St Margaret’s House in its current state; it lies in the wide variety of spaces and individuals inhabiting the building. The building opened as an administration office for the NHS, but the building’s primary tenant today is Edinburgh Palette , who sub-lease the space to artists. This dissertation began by conducting a series of interviews with several of the building’s subtenants. But the quality of these spaces are difficult to fully describe and capture with words. In parallel to interviews, this research project included a photographic survey of the tenant’s studio spaces, as well as 3D LIDAR scans to develop a richer documentation of these intimate and un-curated spaces and the collections of objects they house, that traditional discussions of architectural value may not consider. These photos and scans offer an alternative archive, and featured as inserts that punctuate the dissertation and act as a backdrop and visual supplement to the wider discussion on value at St Margaret’s House. Parallel to this, these images also gather evidence and contribute, visually, their own argument to the discussion.

“Experimental preservation is contemporary, but it is rooted in earlier attempts to put new cultural and historic objects into our collective consciousness.”

Michael Laird Architects, Public Consultation

of Planning Application 09/01793/PPP, August 2014. 114.

Opposite LIDAR Scan, Edinburgh Pallette studio, 2021.

Coll Drury.

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Inka Eismar

Supervisor : Richard Coyne

Re-mapping Housing Deprivation in Edinburgh: A critical review of small-area deprivation measures and their application in urban planning

RE-MAPPING HOUSING DEPRIVATION IN EDINBURGH

Indices of deprivation are becoming increasingly sophisticated tools for identifying and targeting policies to deprived areas. Their area-based nature is inherently suitable for situating urban developments. The Scottish Index of Multiple Deprivation (SIMD) is one of the most refined indices of its kind, serving as a primary tool to help local authorities identify spatial and thematic areas of development . Much scholarly attention has been dedicated to examining the SIMD’s capacity to include incomedeprived individuals in the most deprived areas. However, little research is available on how effective the SIMD is at capturing dimensions of deprivation, which directly pertain to urban planning. To this end, this dissertation analyses the SIMD’s “Housing” and “Access to Services” domains using a complementary theoretical and practical approach: first , the assumptions and technical constraints underlying the domain construction are examined. Next , a secondary data analysis using Python code investigates the spatial patterns of deprivation produced by the domains mentioned above, using the City of Edinburgh Council as a case study. Researching the SIMD’s theoretical framework shows that particularly its assets most useful to urban planners – the area-based measures and the weighted summary indicator – are the greatest challenge to an accurate representation of deprivation. Results of the data analysis indicate that the spatial distribution of deprivation in the lower weighted “Housing” and “Access to Services” domains does not correlate to the patterns of multiple deprivation. A considerable number of the most deprived zones in these domains are situated in some of the least deprived SIMD percentiles overall. These findings demonstrate the drawbacks of an uncritical use of the SIMD’s most deprived zones to target urban developments. They highlight the potential of a dashboard approach - breaking down domain performances alongside aggregate scores - to contextualise the summary indicator.

“Deprivation takes many different forms in every known society.

People can be said to be deprived if they lack the types of diet , clothing, housing, household facilities and fuel and environmental, educational, working and social conditions, activities and facilities which are customary, or at least widely encouraged and approved, in the societies to which they belong. They fall below standards of living which can be demonstrated to be attained by a majority of the national population or which are socially accepted or institutionalised.”

Peter Townsend quoted from “Deprivation,”

Journal of social policy 16, no. 2 (April 1987): 125-126.

Opposite Original mapping based on data from Scottish Index of Multiple Deprivation 2020, v2.

Inka Eismar.

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DISSERTATION

BA/MA [HONS]

Johanna Hedenskog Supervisor : Fiona McLachlan

The Queer Architect : A tinted affair Contemporary British architecture suffers from a lack of diversity, which has inherent detrimental effects on the ability of architects to achieve their full potential, and subsequently for the built environment to become a truly representative and enjoyable space for all. Important to this discussion is the systematic power perpetuated by a heteronormative culture reeling from the effects of modernism, a lack of diverse aesthetics, and the parallel erasure of colour from architecture in favour of the white wall. The phenomenon of chromophobia has been one of the most prolonged legacies of modernist architecture, and for a queer aesthetic to gain acceptance, this heritage must be questioned through historical reference.

THE QUEER ARCHITECT

Using cultural and theoretical examples to frame the existence of a queer use of colour, this dissertation argues that within a contemporary architectural context , colour is paradoxically both disadvantaging and empowering as a tool for queer architects and designers. Further, through highlighting the prominence of heteronormativity, chromophobia, and homonormativity as barriers to a truly queer architecture, this essay ultimately finds that , to enable an aesthetic diversity and the implied benefits, a comprehensive review of all levels of the architectural system in Britain is required from education to practice and planning.

“The idea of anything being neutral, or universal, is a very dangerous idea. Anything being defined as universal relegates everything else to being particular or circumstantial. It’s a completely absurd idea that white is a universal background.”

Adam Nathaniel Furman, interview by author,

Edinburgh and London, November 11, 2021.

Opposite

Gateways by Adam Nathaniel Furman, 2017, allowed visitors to create a composition of their own by framing differently coloured and patterned arches.

Photograph by Gareth Gardner.

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DISSERTATION

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ELECTIVES

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MA (Hons) students progressing to YEAR 4 are required to

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choose an elective course in Semester 1. This Level 10, 20-credit,

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course can be selected from a wide variety across the university.

This is a key moment to tailor the programme - we suggest

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that it be deployed to challenge, complement or supplement

ELEC 2

the core teaching. Students use this opportunity to identify

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individual learning needs and to take personal responsibility

The elective choice features in the final academic portfolio,

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for future educational and professional opportunities.

and as such is mapped against ARB criteria as appropriate.

We ask that students think strategically about their choice here, reaching out to peers, alumni, relevant Course Organisers and tutors for advice as required. The onus, however, is on the student to explore the range of courses available, and to determine their best fit. This catalogue contains a summary of ESALA-based elective courses. However, students may check other alternative options on the University Degree Regulations and Programmes of Study (DRPS) website. www.drps.ed.ac.uk/22-23/dpt/drpsindex.htm

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Opposite Elec. 2 reference image Alluvial fan in southern Iran, 2014 Photograph : NASA -

BA/MA [HONS]

CAD AFTER 1960

Computer-Aided Design After 1960 is a reading and discussion seminar. It aims to enable students to think critically about, and develop a set of arguments on, the place of computers, digital

COURSE ORGANISER Moa Carlsson

media and information technology in the making and functioning of lived, urban and virtual environments.

ELEC 1 ELEC 2

CAD AFTER 1960

Taught during autumn of 2021, weekly lectures and seminars

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introduced students to fundamental debates around particular aspects of design and computation, and the histories of their entanglements. The readings sampled developments in the Global North and South, and paid attention to processes of automation

GUEST LECTURERS Andrés Burbano

in design and manufacturing, the technological construction of

Universidad de los Andes

expert knowledge and gender roles. These topics and questions

Daniel Cardoso Llach

concerning possible relationships between humans, machines and design were discussed weekly in reflective journals and in an online blog setting.

Carnegie Mellon University Jacob Gaboury

University of California, Berkeley Theodora Vardouli

McGill University Opposite Sample essay mini abstracts Joe Simms Photo of jaquard loom shown in the National Museum of Scotland -

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ELECTIVES

Anna George Where are the women in histories of Computer-Aided Design (CAD)? The essay traces women’s contributions and success in published computer histories.

Felix Wilson What happened to the human hand as design became increasingly digitised, and what are some implications thereof for architecture?

Tan Calin With focus on the Sinotype III, the first Chinese computer, the essay examines computation in countries that do not utilize the Latin or Roman alphabet .

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Joe Simms Tracing developments from the Jaquard loom to today, the essay exposes how increased efficiency due to digital technolog y in textile production has contributed to environmental breakdown.

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BA/MA [HONS]

LANDSCAPES OF ABANDONMENT AND INHABITATION

Landscapes of Abandonment and Inhabitation is an open elective LANDSCAPES OF ABANDONMENT AND INHABITATION

attracting a diverse group of students across ESALA and beyond.

COURSE ORGANISER Francisca Lima

The course explores the concept of landscape through the perspective of population expansion and contraction in different

ELEC 1

historical periods of human history, including contemporaneity.

ELEC 2

Here students focus on the understanding of fundamental

ELEC 3

theoretical and historical concepts related to the discipline of landscape architecture and related fields, besides exploring the interplay between humans and the environment towards a richer comprehension of contemporary realities.

Faraway and everyday landscape typologies shape human inhabitations, as well as cosmogonies, cosmologies, myths and folklore of different cultures. These spaces are sometimes the place of conquests, other times the place of retreat; sometimes regarded with fear, other times with fascination. The same landscape typologies can be the archetypical images of inhabitation, and the archetypical images of abandonment.

This course unfolds some of the meanings of landscape through the lenses of abandonment and inhabitation, shedding light over the pertinence of some concepts in particular historical periods and the cause of their oblivion in others; for example, concepts of nature and environment; wilderness and sublime; or landscape urbanism, social urbanism or informal urbanism.

The course is structured in weekly lectures and seminars where these topics are explored and discussed. Students present one week’s readings in the class and develop a log report of each week’s topic/readings, and then finally, choose a theme related to the course to develop into an extended essay. As an example, this academic year, one of our BA/MA Arch. students – Ephra Charlton Hutchinson – has chosen to explore the presence of Kashmiri goats in Wales and how they can open avenues to better understand our cultural perceptions of natural environments.

TUTOR Hafsa Olcay Opposite Ephra Charlton Hutchinson Sample essay abstract The Idealised Landscape Warsaw, Poland, November 1946 Photographer : Michael Nash -

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Ephra Charlton Hutchinson Kashmiri goats in Wales: What do contemporary depictions of “nature is healing” tell us about how humans perceive the “natural” landscape and characterise its “preservation”?

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This essay has explored how the “nature is healing” meme revealed “nature” and “humans” as culturally constructed, and it has suggested the ways in which these constructions have an invariably inconsistent understanding of “nature”. This can heavily influence the how it is interacted with and how a landscape is “conserved” or “protected”. The example use here the goats in Llandudno - questions how “nature” can both be viewed as “healing”, through its presence over the urban landscape, and equally be perceived as “natural” within a landscape in which it is “non-native”. Our perception of “natural” may depend on when we encounter a landscape and how that becomes embedded in the psyche as the “natural” baseline.

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BA/MA [HONS]

TECHNOLOGY & ENVIRONMENT: BUILDING SYSTEMS

The course is concerned with contemporary building technology and the construction and design of steel and concrete framed structures.

COURSE ORGANISER Remo Pedreschi

TECHNOLOGY & ENVIRONMENT

The manner in which buildings are constructed is continually

ELEC 1

changing, responding to cultural, social, and technological

ELEC 2

conditions. During the next forty years, the means available to

ELEC 3

construct buildings will change radically. Traditional construction methods and techniques are being replaced by increased industrialistion and prefabrication. New disciplines and roles are evolving for the design teams. Each new project raises new issues

TUTOR(S) Jane Robertson

for the design team and their builders. Change is an inherent

Irem Serefoglu

characteristic of the construction industry. Designers need to

Dimitris Theodossopoulos

approach the use of technology with this in mind, in an informed rather than an empirical manner. It is not possible to provide a truly comprehensive review of the technology used in contemporary buildings, which by definition is constantly changing. Instead, key issues concerning contemporary technology are raised by focusing on a series of relevant topics. Case studies are used throughout.

The topics include: Concrete and steel framed buildings

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The building envelope

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Opposite Technical Review Report Samples -

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Piers Burke, Ciara Stenhouse Architectural Concrete: Innovation in Concrete Formwork It is through the developed integration and relationship between the designer and the construction where the real potential of concrete can be realised. We discuss standard traditional formworks followed by various developments in rigid formwork, 3D printed formwork and flexible formwork, with reference to The Concrete House, DFAB House smart slab and House 75.9, we discover how the role of the designer in the design and construction can maximise the potential for concrete to improve structures aesthetically but also in terms of environmental, economic and structural benefits.

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Through a comparison of traditional construction methods, this report aims to explore the benefits of modular design to elaborate on its appropriateness to a society facing the urgencies of the pandemic.

When regarding modular construction and the pandemic, this report will particularly focus on the technolog y’s ability to adapt to an immediate change in the current urban environment and the possibilities of a modular design to adapt to varying occupant and societal needs.

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Murray Short , Jordan Stulich On-Site vs Off-Site: How the Benefits of Prefabricated Modular Design can Respond to a Pandemic

The first few years of the 21st century witnessed a rebirth of interest in the creation of tall timber structures spurred by the liberating influence of performance-based building codes. The appropriate structural use of timber has only become coherent due to recent technological and scientific exchanges and the hybrid deployment of the material with steel and concrete. Coupled with climate change pressures, and the low carbon impact of engineered timber, the strengthening of engineering capabilities has led to the beginning of a “timber age”.

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Christy Allen, Omar Latif Industrialised Timber Construction: Cross-Laminated Timber as an Environmentally Sustainable High-Rise Building Material

BA/MA [HONS]

REVIEW CRITICS Joanne McClelland EALA Impacts Lasse Kilvaer Resirqel Arne Vande Capelle Gaspard Geerts Rotor Ang Li Northeastern University G raeme Brooker RCA Katherine Gunderson Grand Bequest, Friends of the Cambusnethan Priory Frank Ross Lord Provost of Edinburgh David Seel SEDA Nathan Ozga KPF London Sayan Skandarajah University of Reading Vsevolod Kondratiev-Popov Fletcher Priest Architect Iain Tinsdale Bennetts Associates Lucy Tinsdale WT Architecture Paul Rodgers 10 Design Sebastian Multerer Multerer Architekten Nick Mills Mills + McCullough Akiko Kobayashi Akiko Kobayashi Architect Robin Livingstone FLA Calum Duncan Calum Duncan Architects

TECTONICS

4—3 ARCHITECTURAL DESIGN TECTONICS

COURSE ORGANISER IAIN SCOTT

Architectural Design: Tectonics is the culmination studio of the BA & MA Architecture degrees in ESALA. These curricula are designed to allow students an increased understanding of the contextual, programmatic and tectonic complexities embedded in

UNIT 1

architectural design propositions. AD Tectonics extends the design

UNIT 2

skills of students through the incorporation of a tectonic agenda,

UNIT 3

formulated by careful research and developed by an iterative

UNIT 4

creative process.

UNIT 6

With around 100 students the course is delivered through six parallel units, each unit brief underpinned by a particular theme

TECHNICAL TUTORS -

4—3

UNIT 5

or architectural issue and a specific approach to the role played by tectonics in architectural design.

Remo Pedreschi Victoria Lee Irem Serefoglu David Seel Rosie Milne

Students initially conduct research into themes, site, programme, materials and sustainable approaches. This analytical work is then synthesized in students individual design projects and presented through analogic and digital methods of drawing and model-making.

ESALA REVIEW CRITICS Fiona McLachlan

As a result of the pandemic in 2021-22 AD: Tectonics was delivered in a hybrid format.

Liam Ross Susanne Ewing Remo Pedreschi Victoria Lee Chris French Kate Carter Remo Pedreschi John Brennan Laura Harty

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Opposite Yuhe Ge Gleaning for the Common The working system of Mossmorran new monetary structure -

BA/MA [HONS]

GET TING (UN)STUCK: (DE)SIGNS AND STORIES BEYOND PETROLEUM

This unit aims to expand architecture as a support structure for acting in troubled sites at the intersection of environmental, political, and social crises. We focused on sites and situations that suffer from the impacts of the petroleum industry in the ecologies

STUDIO LEADERS Sepideh Karami Rosie Milne

around Mossmorran Chemical Plant in Fife and examined GETTING (UN)STUCK

what architecture can do in preparing the ground towards

UNIT 1

a post-petroleum world. The preparation of ground involves

UNIT 2

combining the questions of topos, typos, and tectonics with the

UNIT 3

issues of temporality and performativity, to better understand

UNIT 4

architecture as a work in process and acts of preparation, repair,

UNIT 5

transformation and maintenance.

UNIT 6

Experimenting with a variety of methods such as Fictions, Characterisations, Thick Sections, and Construction of Tables, students sought to thicken the description of the site and imagined post-petroleum scenarios. The design of support structures brought precision to such scenarios and made them realisable. The projects collectively invite us to pay attention to the complexity of constructing a world that is uncertain and vulnerable and that requires constant maintenance, support, and care.

1 Cameron Cowie, Alex Mariichak, Ollie Viner Ecologies of Mines 2 Cameron Cowie From the Ground 3 Yuhe Ge Gleaning for the Common 4 Ephra Charlton Hutchinson Travelling Theater -

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GETTING (UN)STUCK

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LOOKING NORTH: SALT & HONEY

Located between urban and rural, in Duddingston village, and referencing the Northern people’s bond with place, the programme

STUDIO LEADERS -

is for a School of Rural Studies - a place for academic study,

Andrea Faed

exploring the social, economic and political systems used to

Jack Green

manage the coutryside and support rural businessess and

LOOKING NORTH

communities, or a place to learn practical, agricultural skills –

UNIT 1

growing crops or looking after livestock.

UNIT 2 UNIT 3

The focus is on using materials from the ground – sculpting clay

UNIT 4

and joining timber – stereotomic and tectonic – materials of

UNIT 5

differing permanence; materials dissolving into, or left as ruins;

UNIT 6

addressing environmental and sustainable concerns in how we build and live using locally sourced materials especially in relation to the particular demands of a Northern climate.

These investigations of the relationship between people and landscape call for architectural responses that resonate, amplify and build on nature. Using the ideas of George Monbiot, could people live allowing nature to find its own way, restoring our damaged ecosystems on land and at sea.

1 Murray Short Duddingston Wetland Centre 2 Murray Short & Lottie Greenwood School of Rural Studies 3 Olivia Baylis Sloe Town Farm 4 Olivia Baylis, Mari Helland, Christy Allen School of Rural Studies 5 Mari Helland School of Surveying 6 Shiyu Zhang 4 Worlds Useful Folly -

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4 LOOKING NORTH

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BA/MA [HONS]

NO BLANK SLATE: ARCHITECTURES OF REUSE

In Unit 3 we reconsidered architecture’s relationship with

STUDIO LEADERS

existing structures, embodied materials and waste. Working

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directly with Scottish buildings at risk of demolition and the

Moa Carlsson

associated stakeholders, our studio aims to catalyse a transition

Simone Ferracina

from the wrecking ball of “blank slate-thinking”—in Scotland,

NO BLANK SLATE

approximately 50% of total waste comes from construction and

UNIT 1

demolition—to the care and attention of building deconstruction,

UNIT 2

disassembly, and reuse.

UNIT 3 UNIT 4

Working across and peeling back the “shearing layers” (Brand

UNIT 5

1994) that make up buildings at risk of demolition or collapse,

UNIT 6

students developed methods for surveying, researching, salvaging, classifying and evaluating the structure, components and materials of three sites: (1) The Cambusnethan Priory, North Lanarkshire, (2) The Madelvic Car Factory, Granton and (3) the former Tynecastle High School, Gorgie.

Students prototyped new architectures that sprang directly from the opportunities identified on the sites, from local and regional material flows, and from the latent potentials discovered and activated in existing buildings and components. The work on display demonstrates their scenarios for the preservation, adaption and radical repair of existing buildings at risk, challenging the assumption that renewal requires razing buildings to the ground.

1 Johanna Hedenskog Tynecastle Reclamation 2, 4 Joe Simms A Species of Scaffold The Fruit Basket Distillery 3 Joe Simms, Lauren Laroche, Richard Scott, Beverly Lin, Xuanqi Gong Cambusnethan Priory 5 Ryan Liu Unbox the Heritage -

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TIMBER STUDIO

Unit 4 considers contemporary material histories with a focus on

STUDIO LEADERS

the timber industry in Scotland. Through research and drawings,

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students have investigated material selection as a holistic process that takes into consideration not only timber’s embodied

Rachael Scott Jamie Henry

energy but understands the effect that farming timber has on its particular ecosystem, the people involved in its processing, etc.

UNIT 1

TIMBER STUDIO

UNIT 2 The project is sited in the ruinous backland of a block that

UNIT 3

connects the body of Leith to the Links. Working with two local

UNIT 4

charities as clients, students developed briefs that focused on

UNIT 5

the occupation of common land for growing food and the reuse of

UNIT 6

surplus food to benefit those who struggle with food insecurity.

The projects that have developed aim to consolidate and support the existing ruined buildings, the neighbourhood and community.

There was a particular interest in investigating threshold spaces and degrees of conditioned space, allowing for communal gathering in a covid/post covid setting.

1 Felix Wilson A Scarcity of Attention 2 Uwais Hafizal Earth in Common 3 Dana Hasan Leith Commoning -

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BA/MA [HONS]

TIMBER STUDIO

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BA/MA [HONS]

CONSTRUCTING ATMOSPHERE: THE GATHERING PLACE

Constructing Atmosphere: The Gathering Place allowed us to rethink the high street of our traditional towns to meet the needs of tomorrow. In selecting Dalkeith, historically a town which had a very strong social, spatial, and tectonic relationship between

STUDIO LEADERS Mark Bingham Iain Scott

high street and surrounding landscape, we invited students to CONSTRUCTING ATMOSPHERE

reimagine this vital co-dependency.

UNIT 1 UNIT 2

Initially working in groups within distinct land armatures, students

UNIT 3

undertook fieldwork research before individually synthesising

UNIT 4

group and individual investigation to locate, programme and

UNIT 5

tectonically develop a pavilion in the landscape. The pavilions as

UNIT 6

constructed become a conceptual catalyst and tectonic fragment for the development of a co-dependant Gathering Place on the high street. These larger and more conventionally complex propositions serve what each student perceives as a vital societal need around which people will gather.

In the development of their bespoke narrative, the students sited, programmed, and designed architectural and urban responses to a level of formal resolution - spatially, materially, and tectonically which enabled a clear built atmosphere to be established.

1 Kanto Maeda An Ear to Ambience 2 Whole studio Land Armature model 3, 4 Amanzhol Kellett A catch, a bridge and place to hide 5 Emily Brierley The Learning Landscape 6 Piers Burke The Threshold of Sound

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CIVIC STRUCTURES: TIME & THE TECTONICS OF PUBLIC SPACE

Unit 6 are fascinated by the civic potential of architecture; how it can embody and encourage the common ground of living together in

STUDIO LEADERS -

a city. How might our built environment offer resistance to the toxic

Kieran Hawkins

polarization of contemporary public life, defining places to gather,

Nicky Thomson

talk, play, work and enact the rituals that bind communities?

UNIT 1 CIVIC STRUCTURES

We also explored load-bearing structure as the most enduring of a

UNIT 2

building’s layers. How can we make this construction re-configurable

UNIT 3

and primed for future re-use, while maintaining a strong figurative

UNIT 4

character? If we can do this well, we will drastically reduce the

UNIT 5

carbon cost of demolition and destructive adaptation.

UNIT 6

We drew these strands together in Leith, with proposals for civic architecture that explicitly recognises the differing rates of change of a building’s layers. The public places that we designed have characteristics that are robust in space and in time. We see the ruin latent within the new construction and welcome that too into a future city more supportive of civic values than where we stand today.

1 Li Jiang Leith Ping Pong Club 2 Inka Eismar Leith Town Hall 3 Oriana Jopling , Kitty Oloan Logia tectonic -

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CIVIC STRUCTURES

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LOGISTICS

4—4 ARCHITECTURAL DESIGN LOGISTICS

COURSE ORGANISER FIONA MCLACHLAN

The course bridges between architectural practice experience and the design studio. It asks students to engage with an aspect of building design and procurement relevant to the workflows experienced in the design and construction sector. Students select

TUTORS -

a logistical theme and re-contextualise it within the framework of their own parallel design studio work in AD: Tectonics.

Alex MacLaren

Just like life, real life architectural practice is unpredictable,

James Mason

sometimes messy, sometimes frantically busy and complex.

Jim Grimley Andy Summers

This course provides an opportunity to learn from practice and practitioners. Students write an analytical report on a recent

4—4

Robin Livingstone

Scottish building, speaking with the project architect and visiting GUEST LECTURERS

the building where possible. The learning is subject to practice

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circumstances and not all students have the same experience.

Kevin Cooper

Students learn to be professional, agile and responsive.

NORR Nicky Thomson

Architectural Design: Logistics is taught in 3 stages:

Studio Niro Graeme Acheson

Smith Scott Mullan

Fundamentals A short series of orientation classes, providing knowledge and skills to the student in relation to specific themes; procurement and programme, sustainability, assemblage, and legislation.

Reflection Students work in small groups to research the challenges and processes at work through a typological case study, drawn from a list of suggested Scottish contemporary architectural projects.

This work is developed into an illustrated report.

Application students use their acquired knowledge of a particular theme to consider and apply an analytical lens to enrich their own design work through an individual drawing.

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Opposite Inka Eismar Time & Tectonics of Public Space Assembly & disassembly of layers across the building lifespan -

BA/MA [HONS]

Material Assembly of a Sound Pavillion.

Kanto Maeda Project background The proposal is a pavilion structure located in the woodland of Dalkeith,

Material Assembly of a SOUND PAVILION

MATERIAL LIST

Logistical Theme: Theme A - ‘Assemblage’ Kanto Ohara Maeda, s1762668

Scotland, and is motivated by the idea of capturing sound, specifically the sound of the running River Esk. Its tectonic form is guided by the one simple purpose to harness the sound via a giant 6m tall cone, in which a person can stand, and experience contemplative listening, while being suspended over the water.

The proposal is a response to the disconnect between the town and the land of Dalkeith, and is sited over a former bridge (where two stubs remain), but aims not to rebuild a route but rather to provide a new place to stop and dwell in the land.

The pavilion forms half of a 2-part APPLICATION

design proposal, where the other is a community music centre on the edge of the high street (highlighted in site plan opposite). Together they aim to operate as the nodes between town and land, creating intimate spaces of gathering through sound.

Logistical analysis theme These drawings aim to investigate the logistical challenges the proposal faces, to materialise a highly ‘sense driven’ design, accommodating for the two primary drivers of acoustic geometry, and highly specific environmental conditions of the site.

In attempting to draw a realistically build-able proposal, these drawings focus on specifying the necessary and appropriate materials, and how they will be manufactured, as well as the sequence of assembly.

PROJECT BACKGROUND

The proposal is a pavilion structure located in the woodland of Dalkeith, Scotland, and is motivated by the idea of capturing sound, specifically the sound of the running River Esk. Its tectonic form is guided by the one simple purpose to harness the sound via a giant 6m tall cone, in which a person can stand, and experience contemplative listening, while being suspended over the water.

The proposal is a response to the disconnect between the town and the land of Dalkeith, and is sited over a former bridge (where two stubs remain), but aims not to rebuild a route but rather to provide a new place to stop and dwell in the land.

The pavilion forms half of a 2-part design proposal, where the other is a community music centre on the edge of the high street (highlighted in site plan opposite). Together they aim to operate as the nodes between town and land, creating intimate spaces of gathering through sound.

LOGISTICAL ANALYSIS THEME

These drawings aim to investigate the logistical challenges the proposal faces, to materialise a highly ‘sense-driven’ design, accommodating for the two primary drivers of acoustic geometry, and highly specific environmental conditions of the site. In attempting to draw a realistically build-able proposal, these drawings focus on specifying the necessary and appropriate materials, and how they will be manufactured, as well as the sequence of assembly.

SOUND AND MATERIALS

The form of a cone was chosen due to its geometry being mathematically efficient at amplifying sound.

Smoother surfaces transfer sound best, hence why aluminium was chosen for the main cone surface, and also for its durability and lightness. The steel structure enables the cone to be cantilevered, to minimise the impact on the surroundings and decrease risk of damage from flooding. The structure also holds up the ‘journey’ of the walkway into the cone.

1. 150x300x13,360mm steel I beam, 2. 200mm diameter, circular steel with screw piles, x2 3. 100mm diameter, steel cantilever a pin joint, x2 4. 100x100x3000mm timber column 5. 50x150x2100mm timber beams, x 6. 50x50x1840mm timber batons, x3 7. 140x25x1800mm planks, x73 8. 50x100x1500mm timber beams, x 9. 200x200x2000mm timber block, x 10. 100x50mm glulam ring beams, diameters, x7 11. 50x150x6975mm glulam colum and x2 with shorter lengths.

12. Steel structural tie bars with dou tion for cone structure, x140 13. 33x66x30mm metal grate, x1 14. Aluminium panels, 950mm x var mensions, while accounting for ove riveting.* 15. Aluminium panels for top piece, 16. Aluminium panels for doorway, x 17. Aluminium panels for rear cover I-beams, x2.

18. 1500 wide railing modules, x14 19.Pre-fabricated walk-way panel unique perforations, x14. See disasse 20. 50x150x175mm aluminium caps, 21. 20x20x70mm pins for metal grat 22. Bolts, washers, screws, rivets 23. Tie bars for panels bottom, lengths, x14 24. Tie bars panels top, varying lengt

LOGISTICAL CHALLENGES

The logistical challenges are governed by the geological limitations and concerns for impacting the chosen site. Although a lightweight timber structure was initially proposed, the riverside soil required deeper foundations, so eventually two steel screw pile foundations were specified, as this would be stronger in the ground, and would actually have a lighter impact than if timber columns were to be reinforced to match the ground conditions and flooding from the river.

Logistically, however, transporting and inserting the foundations and two primary I-beams on the forest site will be the trickiest stage of construction, but there is a wide enough route to the site and open clearing to the river, for these components to be transported.

The rest of the proposal is broken down into smaller, more easily managed components, with some elements like the aluminium panels, and the walkway panels able to be prefabricated, easing assembly.

1. Existing bridge re SEQUENCE OF ASSEMBLY

1. The existing remains of the bridge ‘feet’ are assumed to have large concrete foundations. The closer foot will become the anchor to the proposal and help transfer loads into the ground.

2. Steel screw-pile foundations are driven into the ground about 3.5m deep. This is necessary in the wet, sandy site, to dig into firmer ground as the upper layer is susceptible to movement from the river. The foundations meet two columns which hold up the two primary I beams. This stage will likely require a tractor mounted drilling rig.

3. A system of timber bays are fixed to the primary steel beams. Decking boards are screwed into a substructure of timber batons. The entire timber structure acts like one beam.

4. Glulam is used to create the curved ring beams of the cone structure. They form an exoskeleton for the aluminium to be installed from the inside. Temporary scaffolding, with a cofferdam in the river, will be necessary at this stage when installing the cone. A metal grate forms the floor of the cone, so one can see through.

5. The pre-formed aluminium panels are brought in, riveted together and screwed to the cone structure. Metal caps protect the wood from rain and a walkway railing is put in.

6. Finally, pre-fabricated panels made of a timber frame and perforated copper sheets, are installed between the bays, while everything is secured with structural tie bars.

4. Glulam cone structure assem

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KIT OF PARTS

4—4

*Some of the aluminium will be upcycled from the facade of the existing motorcycle shop building, on the site of the proposed community music centre.

emains

2. Steel foundations and primary structure set

3. Timber sub-structure built

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6. Prefabricated panels installed

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BA/MA [HONS]

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ACADEMIC PORTFOLIO

4—5 ACADEMIC PORTFOLIO

COURSE ORGANISER LAURA HARTY

The final step in the BA and MA(Hons) course sequences, Academic Portfolio: Part 1 requires students to curate the work produced during their degree and present it in the form of a single, integrated reflective document. This document – a digital

Moa Carlsson Andrea Faed Simone Ferracina Rachael Hallett

portfolio – is defined by the Architects’ Registration Board as: ‘a comprehensive chronological record of student’s design project work together with all coursework, including reports, dissertations, sketch books and any other evidence of work, (with project briefs and examination papers), that have been assessed as part of the degree leading to an award of Part 1’.

4—5

TUTORS

Laura Harty Fiona McLachlan Iain Scott

The act of curating and configuring the work produced across the programme rehearses and synthesises the cumulative, iterative nature of the coursework. Distinct from the courses themselves, the Academic Portfolio is an act of conscious co-ordination and reflection, emphasising the design and conceptualisation skills required to present diverse knowledge and media. It is introduced during years 1, 2 and 3 to ensure that students document their work as part of a personal development plan.

Ultimately, the goal of the reflective exercise carried out in Academic Portfolio: Part 1 is to demonstrate full student coverage of all ARB/RIBA criteria corresponding to Part 1 level, in accordance to the professional accreditation of the BA and MA (Hons) degrees. It stands as a record of the learning journey across the programme, a fitting testament to time at ESALA.

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Opposite Felix Wilson Academic Portfolio Page excerpt 1 Inka Eismar Academic Portfolio Sample portfolio page 2 Johanna Hedenskog Academic Portfolio Graduate Attributes / General Criteria course mapping -

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REFLECTION As the first larger, slightly more complex project, this proposal allowed me to integrate a multitude of design strands which I had previously only considered in isolation: material choice, integration into site and organisational strategy.

Particularly the insights gained through resolving programmatic requirements tailored to a specific real-world client were invaluable. [GC 1,5,7] As the project was to be sited at the location of an existing garden, I decided to focus on incorporating this small slice of landscaping as an extension of the building - an experience which I enjoyed very much and is further explored in my later works. [GC 5][GA 1] Considering the context and qualities of the selected materials through an iterative design development, I was able to effectively refine the material strategy. As a result, the final 1:100 model conveyed the strategy much clearer and convincingly than the initial 1:200 model.

However, even in a material such as concrete, which affords greater freedom with asymmetric geometries, this proposal would be rather difficult to realise due to a lack of consistent supports and internal shear walls between floors.

[GC 8] [GA 2,3] Floor plan axonometric Landscaping site plan Ground floor plan 1:100 final model

BA/MA [HONS]

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The competitions were a way to expand my portfolio during my placement period. Due to the limited scope, time and guidance, I was able to be more free in the aesthetic choices I made in my drawings. Therefore I was able to develop a new sense of style which I enjoyed [GC.01].

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Y2

1.4

S1

Y3

1.5

S2

Y3

1.6

S1

Y4

S2

Y4

S2

Y4

&

&

YEAR SEMESTER

YEAR SEMESTER

ARB/RIBA

GRADUATE ATTRIBUTES

1 Competitions

AND

The designs in themselves were reflective of the fast paced nature, but they were carefully considered and balanced [GC.05, GC.08], according to our collective way of designing as a group.

Both competitions gave me an opportunity to work with peers, and we developed a way of expanding on each others’ input without imposing any hierarchy on the group dynamics.

The designs were developed together, around a dinner table, and the models, drawings and visualisations were divided and produced individually [GC.07]. For us, and for these fast paced projects, this structure worked really well.

ACADEMIC PORTFOLIO

11

4—5

10 AND

09

&

S1

Y3

08

AND

1 Architectural Design: Tectonics 2 Architectural Design: Logistics 3 Academic Portfolio: Part I

S2

Y2

10

S2

S1

Y2

09

Y4

07

08

154

S1

Y1

06

07

132

The two competitions we entered were Volume Zero’s ‘Tiny Library’ and A131’s ‘Sailing at the East Sands’. We ended up winning the latter competition, which made the experience even more rewarding.

Due to difficulties securing employment during our placement period, me and some friends from the course decided to enter architectural competitions. The intention was to keep up the momentum of designing so that software and design skills would not be lost due to inactivity.

Description

1 Tiny Library 2 Sailing at the East Sands

& COMPETITIONS

AND 2021

S2

06

Reflect on personal development with reference to the attainmentt of the ARB/RIBA Part I Graduate Attributes through an introductory summative statement, and understand the relationship of the General Criteria to the student’s work, as demonstrated through a referencing system in the portfolio.

Integrate knowledge in architectural design, technology and environment, histories and theories of architecture and the related arts, professionalism and regulatory frameworks as evidenced through the content of the portfolio.

05

LO3

LO2

04

05

Looking back there will always be things I wish I had done different, or that I had spent more time on the essential things, but I was surprised to find myself looking back at my early work with a sense of pride and achievement. Overall, I can genuinely say that I’m happy with the effort I put into my work and with the outcome.

Y1 S1

04

I have enjoyed assembling and consolidating the puzzle pieces from my four years at ESALA, and uncovering the almost exponential trajectory of my skill development, enabled by the fast paced and collaborative learning environment at the school.

Y1

03

Compose a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities, and that synthesizes and presents work produced using diverse media (sketch books, written work, computer work, drawings and models, etc).

114

02

LO1

01

Learning outcomes

GENERAL CRITERIA

03

The academic portfolio has been a pivotal piece of work for me, as it marks the end of my Part 1 education. What has been most valuable to me throughout this process has been the ability to trace back to the specific moments I learned a new skill or theory, and understanding the implications this had on my later work.

ARB/RIBA

02

Reflection

GRADUATE ATTRIBUTES

ARB/RIBA

YEAR

SEMESTER

11

01

“This course requires students to curate the academic work produced during their BA/MA degree and present it in the form of an integrated academic portfolio—defined by the Architects’ Registration Board as: ‘a comprehensive chronological record of student’s design project work together with all coursework, including reports, dissertations, sketch books and any other evidence of work, (with project briefs and examination papers), that have been assessed as part of the degree leading to an award of Part 1’. The work to curate and present the portfolio is independent of the work from the courses themselves. The course emphasizes the design and conceptualisation skills required to integrate and present diverse knowledges and media.

It is introduced during Years 1 & 2 to ensure that students document their work as part of a personal development plan.”

& AND

Demonstrate skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions.

Research, analyse, synthesize and integrate with design an appropriate technological approach.

GENERAL CRITERIA

Tutor: Iain Scott

1.6

S2

Y4

It is this rich framework of theoretical knowledge that I found most valuable in this course. The theories on reuse of buildings and materials underpinning the unit will be influential to the development of my career as an architect. ‘No Blank Slate,’ in conjunction with the previous work in the ‘Radical Co-Authorship’ studio have given me core values relating to the retention of discarded materials and spaces.

LO3

ARB/RIBA

Course organiser: Laura Harty

1.5

S1

Y4

The goal is to create buildings that are made of sustainable, traditional, innovative, reused or upcycled building components and materials.

Working with buildings and sites at risk or ones scheduled for demolition by The City of Edinburgh Council, the task is to reuse, adapt and repurpose existing structures and components into high-quality buildings that are not only functional but also sustainable, comfortable and serving community interests and needs.”

Working on the old Tynecastle High School site, I developed an original approach to using reclaimed windows in the construction of panel facades, conservatories and greenhouses. The wider scheme was a reclamation yard and a garden centre, capturing all aspects of the life cycle of windows from the repair and reuse of windows to the repurposing of unwanted windows and the cultivation of the window garden [GC.05]. A masterplan for the area was also proposed, to increase the community’s accessibility to public transport [GC.04]. The scheme developed alongside rigorous research and prototyping [GC.02, GC.10], and this gave the project a sense of depth which could be expanded upon.

11

Course aims

S2 PART I

Y4 ACADEMIC PORTFOLIO

1.4

S2

Y3

10

1.3

S1

Y3

09

1.2

S2

Y2

1 Architectural Design: Tectonics 2 Architectural Design: Logistics 3 Academic Portfolio: Part I

ARB/RIBA

GRADUATE ATTRIBUTES

10

1.1

S1

Y2

08

09

S2

Y1

07

08

S1

Y1

1 Computer-Aided Design After 1960 2 Architecture Dissertation

1.6

07

In summary, this course taught me how much you can enjoy working when you’re doing something you love!

06

Although I am a highly self-motivated person, the encouragement and confidence I received from my supervisor Fiona McLachan was crucial to the quality of writing. We worked on the structure together to find the best way to present the argument, which helped to clarify the separate pieces. We also brought in different perspectives and experiences, and sometimes disagreed, and this contributed to my understanding of colour in relation to queerness.

This continuous feedback and collaboration was, and continues to be, important to me.

05

Demonstrate ability to produce a substantial piece of academic writing, coherent, attractive, illustrated, well-written, using correct referencing conventions and the acknowledgement of sources.

Demonstrate an understanding of tectonics, structural, constructional, environmental and contextual matters.

1.5

06

1. Develop research methods relevant to writing a dissertation.

2. Develop an intellectual curiosity relating to the dissertation topic.

3. Gain knowledge of a specific aspect of architecture, history and theory, technology, environment, architectural design or related disciplines of arts, cultural studies and landscape and its application in critical debate.

4. Develop skills in the use of library and research sources inclusing the use of websites and electronic methods of deriving information.

5. Develop skills in correct writing style, grammar and syntax and the correct use and acknowledgement of sources.

LO3

LO2

LO1

Learning outcomes

1.4

05

During the course, the student will:

Writing about the work of Adam Nathaniel Furman and the context in which they operate gave me a new perspective on architecture [GC.06]. Crucially I learned that architecture can be used both as a tool of oppression and as a tool of empowerment [GA1.5, GC.05].

04

Demonstrate ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions.

A chose to work in the ‘No Blank Slate’ studio because I wished to expand upon the vocabulary of AD: Explorations ‘Radical Co-Authorship’.

I was excited by the prospect of working with existing buildings at risk, again attempting to engender the inherent value of disregarded places [GC.01, GC.06, GC.07].

Reflection

Tutors: Moa Carlsson Simone Ferracina

1.3

04

First, preparation and research for the course is undertaken. This provides the student with the opportunity to plan and organise the study materials and research methods required in the writing of the dissertation. Second, the dissertation is developed and written.

LO2

“In the NO BLANK SLATE studio, you are tasked with repairing, retrofitting, and adapting all manner of existing structures and objects, turning them into high-quality buildings that are comfortable, functional, sustainable, and designed for deconstruction, reuse, and material recovery at the end of their life. We will consider the entire life cycle of a building, and design architectural schemes that exemplify how reuse and circularity of components can revolutionise Edinburgh’s built environment and shape a sustainable future.

Course aims

Course organiser: Iain Scott

1.2

03

Demonstrate detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes.

1 Site Survey 2 Technical Brief 3 Design Development

S2 TECTONICS

Y4 ARCHITECTURAL DESIGN

1.1

02

LO1

ARB/RIBA

GRADUATE ATTRIBUTES

03

Learning outcomes

1.6

01

02

My dissertation experience has been the most formative in my academic career so far. By allowing me to fully immerse myself in topic of my own choosing—the two worlds of queer theory and colour theory—I gained a sense of independent competency [GC.02, GC.03]. It was an ambitious venture and a challenge but I believe this is what motivated me so much while researching and writing [GA1.6].

Reflection

1.5

01

This course provides the student with an opportunity to investigate an architectural topic negotiated with a member of academic staff. The student will undertake sustained and in-depth research and present a coherently argued, fully referenced and appropriately illustrated piece of academic writing.

Course aims

Tutors: Fiona McLachlan

1.4 GENERAL CRITERIA

Course organiser: Liam Ross

1.3 ARB/RIBA

1 Research 2 Dissertation 3 Publication

1.2

GENERAL CRITERIA

106

S1

Y4 ARCHITECTURE DISSERTATION

1.1

ARB/RIBA

11

A LIBRARY OF AVAILABLE RECLAIMED MATERIALS —

ROTOR GEDDES VISITING FELLOWS

REDUNDANCE TO ABUNDANCE —

DE VYLDER VINCK SIMPSON VISITING PROFESSORS

—

E S A L A C L I M AT E A C T I O N NOW!

—

ESALA PUBLIC PROGRAMME FRICTIONS / ALUMNI / CLIMASCORES

156

—

— BA/MA [HONS]

BA/MA [HONS]

GEDDES VISITING FELLOWS

A LIBRARY OF AVAILABLE RECLAIMED MATERIALS ROTOR

CO-ORDINATOR MOA CARLSSON SIMONE FERRACINA

The workshop with Arne Vande Capelle and Gaspard Geerts (Rotor) was centred on reuse and deconstruction—practices that aim to reduce architecture’s reliance on raw materials and on carbonintensive processes of extraction and primary production.

STUDENT PARTICIPANTS BA/MA(Hons) Michael Becker Coll Drury Jeanita Gambier Anna George Alicia Gerhardstein Nelly Greig Xuanqi Gong

Over the course of three days, 28 students explored the reclamation market in Glasgow. The visits both informed a deeper understanding of reusability in the context of processes of deconstruction (market value, disassembly procedures, performance and standards) and offered an opportunity to operate ‘in reverse’, starting designs from available materials rather than (only) from ideas and intentions. During the workshop, students surveyed the reclamation yards visited; studied reconditioning processes, tools, and methods; investigated storage practices and technologies; and inventoried material stocks (types, dimensions, quantities), developing a library of nongeneric CAD blocks, material protocols, samples, and histories, which culminated in a public presentation and exhibition.

“I really enjoyed participating in the Rotor workshop, and I was able to incorporate some of the findings into my Tectonics project. The workshop made me aware of the current sector of salvage yards within the building industry, and of how architects can incorporate reclaimed materials into their practice. I was also interested in the organisation and storage systems used, which were specific to each site and very efficient, even if quite low-tech.”

Jeanita Gambier, MA(Hons) Architecture

Rotor www.rotordb.org 158

Johanna Hedenskog Ephra Charlton Hutchinson Lauren Laroche Beverly Lin Ke Liu Rosalie Luo Helena Marrero Morales Ioanna Peponi Emmi Rodgers Richard Scott Joe Simms Molly Sinclair Fin Stewart Devon Tabata Daniel Yanez-Cunningham MArch Hannah Davis Ruth Hamilton Hamish Jackson Katie Munro Sigi Whittle Landscape Arch Michael Watts

—

GEDDES VISITING FELLOWS

BA/MA [HONS]

SIMPSON VISITING PROFESSORS

REDUNDANCE TO ABUNDANCE DE VYLDER VINCK SIMPSON VISITING PROFESSORS

Opposite De Vylder Inge Vinck Instagram grid Website screenshot -

In the time of eulogies, ecologies and economies, we look for the possible when nothing is possible. We observe different meaning.

We look to moments of pure form. We tease logics from them. We look to the very small to unlock the very big. We resits the urge and follow form. We find a way. It is always a matter of observation.

It is about our other ideas FORM. LIFE. URGE. where we frame the ode that however life is central and urge comes first form is always around.

—

STUDENT PARTICIPANTS BA/MA(Hons) Michael Becker Jeanita Gambier Yasmine Sadek Xinran Wang Felix Wilson

From coincidence to ornaments. From abstraction to complexity.

In the frame of this workshop and taking in account your interest we would like to study the idea of pure form as a way of escaping the urge. From ‘Zufall’ to ‘Ornament’ as at first catalogued not relevant in time of ‘urge’. We insist on the urge by form.

“It was a pleasure to listen to Jan & Inge and see the world the way they did for a short while. To participate in observation over analysis and find some big ideas when looking closely at the smaller things around us.”

Michael Becker, MA(Hons) Architecture “The Vylder Vinck workshop was an excellent exercise in looking at our built environment and thinking not just about what it means for something to be redundant / abundant, but also how to represent such a concept. The group tutorials/gatherings provided a lovely opportunity to hear from colleagues across the school and hear about how the workshops provocations were influencing their work.”

Felix Wilson, MA(Hons) Architecture

Architecten Jan De Vylder Inge Vinck www.architectenjdviv.com 160

CO-ORDINATOR LAURA HARTY

BA/MA [HONS]

ESALA CLIMATE ACTION

E S A L A C L I M AT E A C T I O N NOW!

To take action now, the Edinburgh School of Architecture and Landscape Architecture (ESALA) founded ESALA Climate Action, a student and staff group aiming to tackle the Climate Emergency in our pedagogy, research, and community practices. Released to coincide with the 2021 United Nations Climate Change Conference

—

The Intergovernmental Panel on Climate Change (IPCC) repeatedly warns that ‘large, immediate and unprecedented global efforts to mitigate greenhouse gases’ are urgently needed to curb the destructive effects of global warming.1 The built environment is a large contributor to these emissions, being responsible for about 40% of the UK’s total carbon footprint. 2 In addition, the social and ecological costs of materials, as well as the role of the built environment in environmental degradation and injustice, can no longer be ignored.

(COP26) in Glasgow, and with funding from the Economic and Social Research Council (ESRC) and the Festival of Social Science, this website, alongside a printed folded poster, highlights some of the research and teaching that pertains to the impacts of the built environment on climate change happening at ESALA. It also identifies the key areas for action we are committed to addressing as a School. This is a celebration of ongoing efforts as well as a call to action for the work that lies ahead.

Research and education have a fundamental role to play in imagining a more socially and environmentally just future for all. As a School and community, we aim to contribute to ongoing discussions and to nurture ambitious and innovative responses to these challenges in the context of the climate emergency and the associated socio-ecological crises.

1 IPCC, “Chapter 3: Impacts of 1.5° of Global Warming on Natural and Human Systems”, in Special Report: Global Warming of 1.5°, 2020, 177.

2 “Climate Change. UKGBC’s vision for a sustainable built environment is one that mitigates and adapts to climate change”, UKGBC, accessed September 24, 2021, https://www.ukgbc.org/climate-change/

Further information at: www.esalaclimateaction.eca.ed.ac.uk

162

-

ESALA

public LECTURE SERIES 21/22

BA/MA [HONS] 10.00 – 11.00 Tuesday 01 February

Edinburgh school of architecture & landscape architecture

Will Guthrie

10.00 – 11.00 Tuesday 08 February

Hugh Strange 10.00 – 11.00 Tuesday 01 March

Donald Matheson 10.00 – 11.00 Tuesday 08 March

Jessam Al-Jawad C L I M A S C O RE 1 Climate-related recipes for material revaluing and community making

Edinburgh school of architecture & landscape architecture

ESALA

Climascores is a programme of workshops designed and organised by ESALA Climate Action, and cofunded by ESALA and by a University of Edinburgh Student Experience Grant. The project’s core objective is to increase awareness of the social and ecological cost of materials by promoting reuse, repurposing and rehabilitation strategies to reduce waste— understanding that what constitutes a material always depends on regimes of attention and care, on situated knowledges, and on contingent opportunities.

WORKSHOP SERIES 22/23

Transforming locally produced waste into valuable outputs, the workshops provide an opportunity to take action, to foster a community of makers and thinkers, and to build a collective knowledge bank.

F RO M PA P E R TO PULP (AND BACK AGAI N) 23 & 24 May 2022, 13:00-17:00 Hunter Building Climascore 1 explores the transformation of ESALA’s waste paper into handmade drawing and printing paper. Over the course of two afternoons students will collect and shred unwanted and waste paper from ESALA’s studios and offices, experiment with pulps, then cast new paper to be dried and Riso printed. The workshop will be facilitated by Larry Huo, a graduating student of the Masters in Landscape Architecture programme and Anna Rhodes (ESALA).

Seminar Series

Book your place here: https://forms.office.com/r/iFxNhZCsNj

SCHEDULE

13:30 – 17:00 Riso printing

Book Zoom online at Eventbrite https://www.eventbrite.co.uk/o/esala-public-lecture-series-2021-22-frictions-31482099799

19.00

13 October

19.00

20 October

19.00

27 October

17.00

03 November

19.00

17 November

19.00

24 November

19.00

01 December

public LECTURE SERIES 21/22

14:00 – 17:00 Collecting and shreding paper, making and casting pulp.

ESALA

Shahed Saleem

Edinburgh school of architecture & landscape architecture

Hannah Le Roux Daniel Barber Ursula Biemann

public LECTURE SERIES 21/22

13:00 – 13:30 Paper finishing

13:30 – 14:00 Talk: Le papier vivant

18.00 / 03 February

Jan De Vylder & Inge Vinck

ESALA

24 May

13:00 – 13:30 Workshop Introduction

Simpson Visiting Professors 18.00 / 09 February

Edinburgh school of architecture & landscape architecture

23 May

21/22

Alumni: Assembly

All students from ESALA are welcome to register. Please only register if you intend to participate, as the number of places available will be limited, and will be allocated on a firstcome first-served basis.

Brady Burroughs 18.00 / 09 March

Annmarie Adams 18.00 / 16 March

Public Practice: Anke Boehme

Joseph Grima

18.00 / 23 March

Rotor: Gaspard Geerts & Arne Vande Capelle

Anupamu Kundoo

Geddes Visiting Fellows

Bellastock

Frictions, the ESALA Public Lecture Series 2021–22, situates architecture, landscape architecture, and related fields at the intersection of environmental, political, and social crises. Frictions highlights ESALA’s ethos of critical and creative engagement with the social and ecological urgencies of our time.

18.00 / 30 March

21/22

Alison Killing, Killing Architects 17.30 / 06 April

Teresa Moller

This programme of events contributes to ongoing debates in research, practice, and pedagogy by celebrating a diversity of voices and a multiplicity of approaches.

David Skinner Lecture Frictions, the ESALA Public Lecture Series 2021-22, situates architecture, landscape architecture and related fields at the intersection of environmental, political, and social crises. Focusing on two interconnected themes of Community and Climate Crisis, the series responds to climate crisis as intersectional, interconnecting environmental pollution to the issues of colonisation, segregation, racism, forced migration and systems of injustice.

Frictions highlights ESALA’s ethos of critical engagement with the social and ecological urgencies of our time.

21/22

This programme of events contributes to ongoing debates in research, practice and pedagogy by celebrating a diversity of voices and a multiplicity of approaches.

Book Zoom online at Eventbrite https://www.eventbrite.co.uk/o/esala-public-lecture-series-2021-22-frictions-31482099799

Book Zoom online at Eventbrite https://www.eventbrite.co.uk/o/esala-public-lecture-series-2021-22-frictions-31482099799

ESALA PUBLIC PROGRAMME

ESALA PUBLIC PROGRAMME FRICTIONS / ALUMNI / CLIMASCORES

FRICTIONS CHAIR SEPIDEH KARAMI

Frictions , the ESALA Public Lecture Series 2021–22, invited architects, landscape architects, scholars, and creative practitioners from around the world to engage with our school.

The series situated our disciplines at the intersection of

Richard Anderson Ana Bonet Georgios Berdos Moa Carlsson Killian Doherty Simone Ferracina

environmental, political, and social crises, highlighting ESALA’s ethos of critical and creative engagement with the social and ecological urgencies of our time. Students and staff participated in nominating invited guests. ‘Frictions’ has contributed to ongoing debates in research, practice, and pedagogy by celebrating a diversity of voices and a multiplicity of approaches, thereby

—

COMMITTEE

providing thematic focus for the intellectual life of our school.

Richard Anderson

Laura Harty Francisca Lima

Our Alumni: Assembly Series was initiated this year as a partner

Ross McLean

to the public lecture programme. The shared identity of Edinburgh

Aidan Mosselson

as Alma Mater was the springing point for this project, which aims

Penny Travlou

to build a sense of community beyond graduation. This pilot aims to nurture and build active conversations between alumni and

ASSEMBLY CHAIR -

current students – welcoming voices back to the school.

Laura Harty

LAURA HARTY

Climascores is a programme of workshops designed and CLIMASCORES CHAIRS ANNA RHODES SIMONE FERRACINA

organised by ESALA Climate Action, and co-funded by ESALA and by a University of Edinburgh Student Experience Grant. The project’s core objective is to increase awareness of the social and ecological cost of materials by promoting reuse, repurposing and rehabilitation strategies to reduce waste—understanding

STUDENTS

that what constitutes a material always depends on regimes of

-

attention and care, on situated knowledges, and on contingent

Efra Charlton Hutchinson Lewis Evans Thomas Everett Eurus Feng Terry Feng Harry Hughes Lauren Laroche

opportunities. Transforming locally produced waste into valuable outputs, the workshops provide an opportunity to take action, to foster a community of makers and thinkers, and to build a collective knowledge bank. Contributions were made by Malcolm Cruickshank, Marcello Dias, Larry Huo, Derek McDonald, Hazel Mei, Brian Park, Alan Ramsay and Milja Tuomivaara.

Anna Rhodes, Simone Ferracina

Zeliang Lyu

164

Joe Simms

—

AWARDS & ACCOLADES -

166

—

— BA/MA [HONS]

1—0

2—0

-

-

ANDREW GRANT BEQUEST

ANDREW GRANT BEQUEST

ON SUBMISSION OF

ON SUBMISSION OF

A PROPOSAL FOR A SUMMER STUDY PROJECT

A PROPOSAL FOR A SUMMER STUDY PROJECT

OREOFE OGUNKOYA

KAIWEN CHEN

-

-

ROGERS STIRK HARBOUR SCHOLARSHIP

ROGERS STIRK HARBOUR SCHOLARSHIP

ON SUBMISSION OF

ON SUBMISSION OF

A PROJECT AND TWO STATEMENTS

A PROJECT AND TWO STATEMENTS

ED VARLOW

ELLIE HINDLE

-

-

ALEXANDER DOWELL PRIZE

WALTER ALLAN YUILL MEMORIAL PRIZE

BEST PERFORMANCE IN YEAR 1

BEST PERFORMING YEAR 2 STUDENT

ARCHITECTURAL DESIGN AT ESALA

STUDYING ARCHITECTURE AT ESALA

JOANNA SALDONIDO

ALEXANDRE LANGLOIS

-

-

DAVID GARDINER HARDIE TECHNOLOGY PRIZE

NANCY ROSEMARY HENDERSON

BEST PERFORMANCE IN YEAR 1

DESIGN PRIZE

TECHNOLOGY & ENVIRONMENT AT ESALA

BEST PERFORMANCE IN YEAR 2

WENJING HUANG

ARCHITECTURAL DESIGN AT ESALA MEIHAN LIU

DAVID GARDINER HARDIE DESIGN PRIZE

-

BEST PERFORMANCE IN YEAR 1

NANCY ROSEMARY HENDERSON

ART & DESIGN AT ESALA

TECHNOLOGY PRIZE

DOUGLAS CRAMMOND

BEST PERFORMANCE IN YEAR 2 TECHNOLOGY & ENVIRONMENT AT ESALA

-

CHARLOTTE WAYMENT

ESALA | YEAR 1 ARCHITECTURE BURSARY BEST PERFORMING YEAR 1 STUDENT

-

STUDYING ARCHITECTURE AT ESALA

ESALA | TECHNOLOGY PRIZE

JOANNA SALDONIDO

BEST TECHNOLOGY PROJECT IN ARCHITECTURE

-

CONNOR FYFFE

ESALA | YEAR 1 ARCHITECTURE BURSARY

MICHAEL H KAN

BEST PERFORMANCE IN

JIAMING YANG

AT ESALA

ARCHITECTURAL DESIGN: ASSEMBLY AT ESALA JAMES ROBERT LANGHAM

4—0

-

-

ESALA | BA ARCHITECTURE PRIZE

ESALA | MA ARCHITECTURE PRIZE

BEST PERFORMING STUDENT

BEST PERFORMING STUDENT

IN BA ARCHITECTURE AT ESALA

IN MA ARCHITECTURE AT ESALA

DANA HASAN

INKA EISMAR

-

-

HELEN A. ROSE PRIZE

HELEN A. ROSE PRIZE

GRADUATING STUDENT

GRADUATING STUDENT

BA ARCHITECTURE

MA ARCHITECTURE

MARI KRISTINE HELLAND

JOHANNA HEDENSKOG

-

-

UG ARCHITECTURE

ESALA | ARCHITECTURE DISSERTATION PRIZE

PROFESSIONAL STUDIES PRIZE

BEST HONOURS DISSERTATION

BEST PLACEMENT REPORT OF THE YEAR AT

IN ARCHITECTURE AT ESALA

ESALA

COLL DRURY

BA/MA [HONS]

3—0

CAITLIN ALLISON ESALA | TECTONICS PRIZE

ESALA | MA ARCHITECTURE PRIZE (YEAR OUT)

BEST INTEGRATION OF

BEST PERFORMING STUDENT

TECHNOLOGY AND ENVIRONMENT

IN MA ARCHITECTURE (YEAR OUT) AT ESALA

IN AN UG STUDIO PROJECT AT ESALA

ICE CHITMEESLIP

JOSEPH SIMMS

-

-

ANDREW GRANT BEQUEST

THE EDINBURGH ARCHITECTURAL

ON SUBMISSION OF

ASSOCIATION (EAA) MCKAY MEDAL

A PROPOSAL FOR A SUMMER STUDY PROJECT

BEST PERFORMING GRADUATING STUDENT

GEONYEONG KIM

IN BA/MA ARCHITECTURE AT ESALA

AWARDS & ACCOLADES

-

INKA EISMAR CLASON HARVIE BURSARY FOR PURCHASE OF MATERIALS OR TO STUDY ABROAD JAMES EDWARD HAYNES ESALA | YEAR 3 ARCHITECTURE BURSARY BEST PERFORMANCE IN YEAR 3 IN MA ARCHITECTURE AT ESALA TALLULAH BANNERMAN ALEXANDER FLYNN BEQUEST BEST ESSAY ON SOME ASPECT OF ART AND DESIGN OUTSIDE THE CURRICULUM IN YEAR 1, 2 OR 3 ARCHITECTURE AT ESALA

168

CRUMBLE MAGAZINE

ESALA Graduate Show 2022 Lauriston Campus, Edinburgh College of Art Photograph : Calum Rennie