University of Greenwich School of Design: Book 2022

BO OK 22 School of Design University of Greenwich

Animation / Architecture / Design / Landscape Architecture & Urbanism / Media & Communication

School of Design University of Greenwich

BO OK 22 School of Design University of Greenwich

Animation / Architecture / Design / Landscape Architecture & Urbanism / Media & Communication

Contents

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The Book 2022 Message from the Head of School of Design Critical Reflections Design Anthropology: Designing with and for Others Anastasios Maragiannis

6 9

A post-landscape Handbook Ed Wall

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Mediafutures Maria Korolkova

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School of Design Research 2021—2022 Exhibiting our Research Excellence Dr Benz Kotzen

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Design Anthropology BA (Hons) Graphic + Digital Design BA (Hons) Animation

24 27 99

Architecture BA (Hons) Architecture MArch Architecture PDAP (Postgraduate Diploma in Architectural Practice)

116 119 235 317

Landscape Architecture + Urbanism BA (Hons) Landscape Architecture Masters Landscape Architecture + Urbanism BA (Hons) Urban Design Graduate + Student Employment

318 321 353 391 394

Media BA (Hons) Media + Communications Advanced Projects BA (Hons) Sound Design Dissertations MA Media and Creative Cultures MA Digital Arts

398 400 401 423 425 430 431

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The Book 2022 Message from the Head of School of Design Dear reader, we are Shifting Thinking!

If you read this, you have received a copy of the School of Design's annual publication celebrating student and staff work for 2022. This edition also includes a few critical essays to reflect on our vision.

The School of Design is part of the highly successful and vibrant faculty of Liberal Arts and Sciences. Frequently commended for our partnership working across the design and creative industries sector, the School delivers highquality research with funding reaching £ 4M. Our four main subject portfolios include a range of undergraduate and postgraduate programmes: #Architecture, #Animation, #DigitalArts, #FilmTV, #GraphicDesign, #InclusiveDesign, #LandscapeArchitecture, #MediaCommunications, #Urbanism, and more.

Enshrined in the 2030 agenda is the principle that every person should reap the benefits of prosperity and enjoy minimum well-being standards. This is captured in the United Nations 17 Sustainable Development Goals that are aimed at freeing all nations and people and all segments of society from poverty and hunger and to ensure, among other things, healthy lives and access to education, modern energy, and information and design can do that. Therefore, the School of Design is expanding to the future. We put EDI, entrepreneurship, and innovation at the centre of our pedagogic practices in response to the increasing demand for creative thinkers in the ever-growing creative industries and rapidly expanding circular economy.

The University of Greenwich's brand new strategy recognises that these goals are challenging unless we make creative industries work for all. This year's degree show's emphasis is social inclusion. This term is defined as improving the terms of participation in society for disadvantaged people based on marginalised communities or economic status through enhanced opportunities, access to resources, voice, and respect for rights.

To design inclusively means that our students engage deeply with the end-users needs from the beginning of and 6

throughout the whole creative process, sharing practices and amalgamating potential solutions into what becomes a unique knowledge exchange. In addition, this holistic approach to design practice enables inclusivity irrespectively of disability, gender, ethnicity, vulnerability, language, or age.

The UK is one of the world's most influential and dynamic markets for creative industries. The highly skilled sector thrives with talented, well-prepared graduates, and the university experience and qualifications are essential to many creative careers. The School of Design is shifting thinking and responds to this by leading on sustainable, diverse, and inclusive design across all disciplines, empowering our students to future success with the 2022 Showcase putting our graduates at the centre of creative practice.

The 2022 Graduates Determination and creative energy distinguish this year's graduates from the rest of the pack. An incredibly talented, culturally diverse group of designers and artists have been a joy and inspiration to work with. The students have worked on a broad body of projects, from print to screen, AR and VR, to conceptual explorations.

Their work forges new lines of inquiry, engages established modes of thought, and develops innovative concepts with the potential to improve how we live as individuals, cities, societies, cultures, and as one planet. In these challenging times, this year's degree show embraces broad targets aimed at social inclusion and those who are the most vulnerable. It has never been more critical for our staff to endorse and our students to recognise creative practices for their positive impact on a multidisciplinary society: through inquiry, tradition & innovation, and the 2022 Showcase responds to this just perfect: in space, online and in print.

Professor Anastasios Maragiannis Head of School of Design & Professor of Inclusive Design

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Critical Reflections

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Design Anthropology: Designing with and for Others Anastasios Maragiannis In creating the space for social inclusion, improvements in ongoing interdisciplinary collaboration are essential in considering “the other”1 in creative practices [1]. Since ancient times most disciplines focused on problem-solving for human needs; for example, architecture interacts with physical space as well as with digital; our daily engagement with media technology becomes more and more essential; not only it is empowering our communications, but in addition, is stipulating for those most vulnerable or in need; whereas visual communication satisfies aesthetics and the desire for the “beautiful”, and it creates unadorned but sophisticated ways of seeing and understanding complexity. In a way, “the other” is becoming a vehicle to inform and often liberate obscured information critical to our lives [2].

This introductory writing briefly discusses the amalgamation of design (+) anthropology concerning the ‘other’. However, it only scratches the surface between the two terms and defines how designing “with and for others” could empower participatory methods2 in every creative and non-creative practice [3].

This association is, from the beginning, hesitation about the relationship between the Designer and the end-user and everything surrounding both.

As a discipline itself, anthropology focuses on studying what makes us human.

Colomina and Wigley will argue that questioning if we are humans? “Is both urgent and old” is embedded in our lives through interaction with the self, human sciences, and technology [4]. In a broad spectrum, Anthropology takes a comprehensive approach to understanding the many different aspects of our experiences, with a focus on holistic theory. Anthropologists traditionally will consider the past {time} through an archaeological perspective to see how “human societies” lived in previous times ages ago and what was the most important to them at each period of {time}. Aristotle once mused, “{Time} is irrelevant” in the measure of change. It does not exist as a container to put things into; rather, it depends on shifting, reshaping, and what remains the same, always from an inclusive philosophical perspective (Aristotle 384–322 BC).

We all have our philosophies, whether or not we are aware of this fact, and our philosophies are not worth very much. But the impact of our philosophies upon our actions and our lives is often devastating. This makes it necessary to try to improve our philosophies by criticism. This is the only apology for the continued existence of air which I am able to offer (Popper, 1974: 33) [5].

As Popper describes in the above quote, the philosophical approach is associated with actions. Design Philosophy arises in this debate. The relatively adolescent field of design practice and research is briefly presented by asking what the “Philosophy of Design” is about and what its use may be [6]. In almost every discipline, philosophies and routes are questionable based on personal knowledge, experiences and understanding.

When focusing on the place of design aesthetics, designs related to peculiar 9

manifestations; the meaning and translation of function; and consumerism, the Designer’s social responsibility is shifting, and the impact of creative practice concentrates on humans. Although this appears as a tangible and ethical cognitive perspective, understanding design can often create misapprehensions. For example, few would argue that design is not just about making things pretty, at least not just for its sake.

In the 21st century, philosophies classify “design” as an elegant sounding world, and there appears to be a certain number of misconceptions surrounding it.

However, the reality is far from it. The focus goes beyond the aesthetics and the idea of enhancing ornaments to a product; instead, it is about making the end user’s interaction with the environment further natural, supplementary inclusive, and complete.

It is then when Design (+) Anthropology comes together to form a {new time}, as the Aristotelian quote mentioned above. The {time} could shape the Designer’s role, especially in a post-pandemic era. Design Anthropology3 focuses on how design practice and design research could translate human values into unique tangible experiences. Combining the unique characteristics of each is a way to reveal social aspects of user experience and focus on philosophical and practical ideas oriented towards the world of transformation, innovation, and knowledge exchange. Design Anthropology attempts to combine observation and interpretation to intervention, participation, co-design, and co-creation as an emergent discipline. The design practitioner collaborates in multidisciplinary teams, working towards tangible results for unique problem solutions to evoke methodological processes and empathic assessments used in co-design approaches, and evaluates them in the context of inclusive studies [7].

Can we propose the evolution of deeper co-evaluation processes and practices between the Designer and the Anthropos (human)?

The short answer is. Yes, we can. Niedderer has argued that creative practices have been used as a means of crafting implicit knowledge available to any cross-disciplinarity research, as it includes the empirical part of knowledge about “the other”, which equivocates conventional communication by unwritten or written methods, and which is otherwise neglected by research because of the prioritisation of propositional knowledge [8].

Shifting our thinking in the pandemic can be an excellent example to showcase as a measure of change. With the massive and “unexpected” rise of the pandemic, designers everywhere have been hanging on the research and outputs of the scientific communities, especially the epidemiologists, and building on healthy best practices to date. But the sheer volume of research and data and the professional responsibility we bear can be overwhelming for a designer, so co-evaluation is essential.

Throughout the {times}, anthropologists, among others, have argued that pandemics (e.g. Influenza 1918, COVID-19) have introduced innovation in almost everything, including science, design, arts, technology, and public health and service design. Each pandemic forges us to rethink our preconceptions and explore innovative methodologies, encouraging us to review “the other” beyond the difficult times of any disease instigated and improve our way of living in a non-stop challenging society. The way we address the pandemics can be inclusively connected to what we believe at the time caused the disease. The focus is mainly on processes usually used in professional and creative practice to 10

produce work for any purpose other than the cautious acquisition of knowledge.

Therefore, co-evaluation practices and methodologies could act as problemsolving processes that drive innovation, build business success, and lead to a better quality of life through services, products, and experiences. The focus for humans has always been on finding the best ways to improve quality of life; consequently, when design focuses on the end-users and the environment we live in, it could provide a new and innovative perspective that design could re-design the human.

We live in times where everything surrounding us is designed based on our diverse experiences, targeting individual characteristics. From our inclusive looks to our digital personas to new materials systems and data. To design inclusively could decode methodological approaches where the Designer engages deeply with the end-users needs, from the beginning of and throughout the whole design process, sharing practices and amalgamating potential solutions into what becomes a unique knowledge exchange. This holistic approach to designpractice research enables human inclusivity irrespectively of disability, gender, ethnicity, vulnerability, language, or age. This could occur but is not limited: to the use of makeup, grinding coffee beans, buying a ticket, taking a bus, making a call, having an operation, having sex, praying to Gods or even getting in touch with outer space entities.

Anthropos (human) has been designing the earth for many years now; it is also extended to outer earth space, which has now been surrounded by our designed rubbish, under the lower orbit [9]. As technology is now in everybody’s hands, we can decide if to send waste to space or contribute to recycling it before it gets there. There is no longer an earth-based design. Design has become the universe, and considering what the next 30 years of growth activities in space will bring.

The most certain thing is that humans will be in the centre of every anthropological aspect, capable of designing to solving problems that transcend time and space for life on earth [10].

Notes 1 The “Other”, as another, is not only my alter-ego. He is what I am not (Levinas, 1995). Levinas will argue that “an-other” is the one who is not me, he is the one I am not and at the same time he is the same as me (he belongs to the human condition).

2 Sometimes referenced as Participatory design (or Co-design) (Simonsen, Robertson 2013), this is a considered act of directly creating, or designing with people for people, explicitly embedded in the design development process, to ensure that results truly meet the end users’ needs [3].

3 Design Anthropology as a new field is broadly used by designers, sociologies, anthropologists and more. For example, Gunn, Otto, Smith, in their (2013) publication, “comprising both cutting-edge explorations and theoretical reflections, their book provides a muchneeded introduction to the concepts, methods, practices and challenges of the new field” Routledge.

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References [1] (Online) Britannica https://www.britannica.com/ biography/Emmanuel-Levinas [accessed May 1, 2022].

[2] McCandless, David (2022), Beautiful News: Positive Trends, Uplifting Stats, Creative Solutions [3] Simonsen, Jesper, Robertson, Toni Routledge, (2013), Routledge International Handbook of Participatory Design. (Ed) Routledge [4] Colomina Beatriz, Wigley, Mark (2017), Are We Human? Notes on an Archaeology of Design, Lars Müller Publishers [5] Popper, K. R. (1974), Objective Knowledge. An Evolutionary Approach. London: Oxford University Press.

[6] Parsons, Glenn, (2017), The philosophy of design, Malden (Mass.) Polity Press [7] Bakker, Laurens, Nooteboom, Gerben, (2017) Anthropology and Inclusive Development, http://dx.doi. org/10.1016/j.cosust.2017.02.007 [8] Niedderer, Kraft. (2005). How much theory do we need to ride a bicycle: or how useful is research for practice?

In P. Rogers, L. Brodhurst and D. Hepburn (eds.), Crossing Design Boundaries. (914). London: Francis & Taylor [9] (Online) BBC The quest to tackle the rubbish dump in orbit. Available from: https://www.bbc.com/future/ article/20180228-the-quest-to-beat-the-rubbish-dumpin-orbit [accessed May 2, 2022].

[10] (Online) International Space Station and World Design Organisation (2021) https://wdo.org/wpcontent/uploads/Design_in_Space_for_Life_on_Earth_ ReportSummary_vf.pdf [accessed April 21, 2022].

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A post-landscape Handbook Ed Wall

Post-landscapes are about seeking out ‘other landscapes’.1 They are a reminder to enquire beyond the places that we have been conditioned to construct, a prompt to question landscapes constructed for us, and an urgency to invent new relationships with worlds. Prevailing and dominant approaches to landscapes, including those experienced and produced in most places on the planet, represent a continued trajectory of centuries old, Western European priorities of imaging and commodifying land for the benefit of powerful individuals, organisations, and states. At a moment of intersecting environmental, health, and economic crises, this 16th Century conception of landscape that was conceived and has developed along with practices of capitalism and colonial expansion should be challenged.

This post-landscape handbook is a call to make radical change, not just to redesign physical environments but to simultaneously challenge the technologies, disrupt the ideologies, upend the politics, and reinvent the governance structures that inform daily life. On their own, physical designs of landscapes are too easily appropriated to exacerbate inequities of land ownership, distract from ecological destruction, or conceal social inequities. It is necessary, therefore, to expand our roles into areas otherwise left to engineers and economists, activists and politicians—to prioritise other landscapes and establish more just relations. To work with landscapes is not only to engage with the material specifications of places. Instead, it is necessary to radically reconstitute relations that make worlds in order to realise ecologically just and spatially equitable lives.

To build other landscapes, we must contest prevailing practices: first, the dominance of visual imagery and pictorial representations as mediators of landscape practices; second, the ego-centered positions from which landscapes are viewed and transformed; and third, the controlling frames that enclose and restrict access and relationships.2 In ‘Landscape’s Agency’, the geographer Don Mitchell states: ‘So we need to talk (a lot) about what these post-commodities and post-landscapes might actually look like (literally)’.3 The twelve points of this post-landscape handbook aim to respond to Mitchell’s call, ‘toward a new kind of post-landscape order, one being worked out on the ground’.4 1 Question vision To maintain pictorial images as the primary relations that we have with people, things, and worlds around us privileges particular ways of seeing that can tend towards the illusory. Histories of landscape representations that can be celebrated for their technical invention need to be questioned for their fixation with painterly compositions over lived realities. Landscapes need to be studied for what is concealed from view and what is excluded from the frame—revealing other landscapes that have the capacity for more productive relations. Visual images have critical roles, but they are more powerful when they expose the complex and often contradictory constructions of landscapes and avoid the tropes of architectural competitions, travel guides and marketing brochures.

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2 Make things visible Landscapes need to reveal otherwise untold human and more-than-human accounts of places. Landscape practices need to work with young people excluded from planning processes, residents displaced through gentrification, marginalised cultural practices, and unaccounted non-human labour.

Simultaneously, landscapes need to make visible the agendas of commissioning bodies, decisions of government agencies, uneven distributions of land and resources, and species and habitats destroyed—while not overlooking commercial interests who may have the most to gain. Landscape practices need to look more closely and represent with more care while working with the cultural, ecological, and technological forces that inform the constructions of other landscapes.

3 Deny masterplans, get closer Views from above, the recognisable forms of masterplans, render invisible lived experiences of neighbourhoods and undermine citizen concerns by focusing on spatial forms. Challenging masterplans is not to ignore the potential of visionary designs and the importance of urban strategies, but it is to give voice to the situated lives, histories, and aspirations that can inform more spectacular futures. Proposals at the scale of neighbourhoods have the capacity to mediate between lived experiences and government policies. But imbalances of power, compounded by the distance between where decisions are made and the places impacted by these decisions, tends to undermine more local concerns.

4 Situate Situate knowledge. Situate actions. Situate yourself. Listen to residents displaced, consider traders put out of business, and recognise children forced to change schools—these are frequent upheavals caused by renewal, redevelopment, and regeneration. Situating requires pause, care, listening, study. It necessitates reflection on our positionality, the biases we carry, conflicting ethics, and partial knowledge that informs our worlds. Practices of landscape make claims to being situated. But in contrast to ethnographic fieldwork and generational struggles over land, landscape architecture—and architecture and urban design—must stay longer, invest more, and have more at stake if it is to truly engage.

5 Draw together Make composite images. Form collective visions. Challenging ego-centred approaches to landscapes suggests shared concerns, collaborative designs, and inclusive processes of making. Western histories of landscape reveal the positions of individuals—almost entirely men—overseeing the enclosure, distribution, and transformation of land. Working with human and more-than-human others requires negotiating disagreements and reconciling divergent priorities. Talking about places, collaging experiences, and making drawings together can work with and across contrasting landscapes—effectively combining scientific knowledge with subjective experience—even while these landscapes remain in tension.

6 Write more manifestos Make demands. Post-landscapes need to be written5—forcefully combining both vision and precision. As we reinvent visual images we must also look to other languages. From building specifications to house rules and from visionary 14

declarations to traffic regulations, crafted words can make change. Combine ambiguity (to open up questions) with specificity (to make explicit) as we write post-landscape manifestos. Don’t wait to be commissioned, write declarations, take action, and draw lines in the sand.

7 Accept partial knowledge Recognising that knowledge is always partial can be the basis for determined inquiry and listening more. This incompleteness is the basis for open conversations and asking questions, seeking knowledge rather than presenting solutions.

8 Make thick edges that can bring people together. Frames that regulate landscapes range from garden fences to picture mounts, from police patrols to designed layouts, from poor doors to national borders. The urge to control landscapes through enclosures precedes only the desire to commodify common lands and claim individual ownership. Frames are the basis for putting things in their place and claiming others out of place. Thickening edges, blurring boundaries, opening access, reimagining borders is only the beginning of reconceiving landscape relations otherwise controlled by frames.

9 Overthrow Contest power. Post-landscapes are not enduring passive entities handed from one generation to another, but exist in tension, contradiction, and struggle.

Whether common lands, civic squares, or private gardens, landscapes are political, and they need to be fought over. Reposition. Occupy. Topple.

10 Decentre In the context of the unfolding climate crisis and the need for more ecological thinking, questioning the singularity of human agency and recognising the capacity of non-human entities to make and remake landscapes is fundamental.

Tensions between engineering solutions to flooding and less predictable storm patterns, conflicts between industrial pollution and the legal rights of rivers, and the impact of the Covid-19 pandemic on the way individuals and communities relate to their neighbourhoods, all highlight the role of more-than-human entities.

Landscape thinking has long recognised the presence of climatic weathering, patterns of tree growth, and even the capacity of diverse ecosystems. But landscape thinking has also maintained humans at the centre of these relations.

Decentre landscape practices if you want to research, design, and act ecologically.

11 Move The static nature of adopting (and often defending) positions from which to view and frame landscapes ignores that they are always on the move and that knowledge is never fixed. The desire to settle and belong—within the flux of worlds that tend towards unsettling—requires designers to protect the vulnerable from displacement while simultaneously working across multiple positions and adopting perspectives on the move. Movement is inherent in landscapes, but the resources to settle and the freedom of mobility must be within reach of everyone.

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12 Never stop All landscapes are open-ended. Frames that allude to permanence must be challenged by open-ended processes as well as overlapping and discontinuous temporalities. The open-endedness of landscapes requires that they are never finished, therefore, landscape practices need to persevere. Finally, if landscapes are never finished, maybe their drawings should never be complete. Let them live through many hands, from historic accounts to construction documents and from presentation drawings to maintenance schedules. Post-landscapes are always to be continued…

Notes 1 See Barbara Bender’s description of ‘other landscapes’ in: Bender, B. (1993) Landscape: Politics and Perspectives.

Ann Arbor, MI: University of Michigan. p.2.

2 For an introduction and background to the conception of post-landscapes as described by Ed Wall, see: Wall, E. (2017) Post-landscape or the potential of other relations with the land. In: Wall, E. and Waterman, T. (eds.)

Landscape and Agency: Critical Essays. Oxon: Routledge. pp.144-163.

3 See more in: Mitchell, D. (2018) ‘Landscape’s Agency’. In: Wall, Ed and Waterman, Tim, (2018) Landscape and Agency: Critical Essays. Oxon: Routledge. p.192.

4 Ibid. p.192.

5 This manifesto, ‘A post-landscape handbook’, was commissioned by Sean Geygan for publication in Lunch (Issue 16: Descent), a student-run design journal at the University of Virginia School of Architecture (forthcoming). The text was first published as part of Other Spaces Exhibition during the Melbourne Design Week 2022.

References Barrell, J. (1983) The Dark Side of Landscape.

Cambridge: Cambridge University Press.

Bender, B. (1993) Landscape: Politics and Perspectives.

Ann Arbor, MI: University of Michigan Press.

Corner, J. (ed.) (1999) Recovering Landscape: Essays in Contemporary Landscape Architecture. New York, NY: Princeton Architectural Press.

Cosgrove, D. (1999) Mappings. London: Reaktion.

Haraway, D. (1988) Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. In: Feminist Studies, Vol. 14, No. 3 (Autumn, 1988), pp. 575-599.

Mitchell, D. (2003) Right to the City: Social Justice and the Fight for Public Space. New York, NY: The Guilford Press.

Sorkin, M. (1993) Local Code: The Constitution of a City at 42° N Latitude. New York, NY: Princeton Architectural Press.

Tagg, J. (2009) The Disciplinary Frame: Photographic Truths and the Capture of Meaning. Minneapolis, MN: University of Minnesota Press.

Wall, E. and Waterman, T. (eds.) (2017) Landscape and Agency: Critical Essays. Oxon: Routledge.

Wall, E. (2017) ‘Incomplete Cartographies: A Methodology for Unfinished Landscapes’, in OASE #98 Narrating Urban Landscapes. New York: NAi Publishers.

Wall, E. (2022) Contesting Public Spaces: Social Lives of Urban Redevelopment in London. Oxon: Routledge.

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Mediafutures Maria Korolkova

Media has always had an ability to shape the future. Marshal McLuhan ([1964] 2001) famously predicted that we all would live in a global village back in 1960s, Lev Manovich called new media “theory of the present” (2001: 6) meaning that this present will inform the century ahead, and even media archaeologies dig deep in the underlayers of media technologies of the past in order to better understand what await us ahead (Zielinski 2006; Sobchak 2022). What can then speculations on mediafutures tell us about today, about the challenges we are all facing in 2022—and the ways to deal with them?

Simple Future: Web 3.0 Metaverse, blockchains, NFTs, decentralised technology and token-based economics.

—Web 3.0 promises to be a paradise of freedom, acceptance, diversity and shared knowledge. Yet, only at the first glance. As Ben Tarnoff argues in the forthcoming The Fight for our Digital Future (2022), the modern internet is broken because it is owned privately and run for the purposes of profit maximisation within the flameworks of global capitalism. Johnny Golding, Martin Reinhart and Mattia Paganelli (2021) echo Tarnoff in their take on modern approaches to data and new system of knowledge. They too, like us, believed in “a fruitful explosion of knowledge from the world wide web”, in knowledge that after decades of Cold War “would be available to all at any time in the future, unrestricted and free of charge” (Golding, Reinhart and Paganelli 2021: 8). Yet, at best, event with the modern technologies, there seems to be “an endless undermining of established knowledge-structure-production sites, including universities, art schools, science labs” (ibid.), which often fail to defend themselves. The solutions to this is still in the future—and seems simple enough: to deprivatise the internet, to democratise professionalism, to diversify the knowledge production systems. Otherwise, a small number of executives and investors will continue to make choices on everyone’s behalf, and these choices will remain tightly bound by the demands of the market. It’s time to demand an internet by, and for, the people now, and that is a simple future of Web 3.0.

Future Continuous: Medianatures Media is hardly just about capitalism and its technologies—furthermore, “media is hardly just about media” (Parikka 2019: 251). The continuous future of understanding media in 2022 cannot be separated from the systems of nature, and the way "nature is embedded in the cultural understanding of life" (ibid.). A longstanding binary opposition of culture and nature is thus united through media and mediated through continuous exchange. Any talk of the environment today immediately transferers in a network of social, political, ethical and aesthetical dimensions (Parkikka 2019; Guattari 2000; Braidotti 2006). This paradigm has its roots in Donna Haraway’s notion of Naturecultures, which 17

challenges the separation of nature and culture on many different levels, including animal-human relationships of co-becoming, of mediating "livable politics and ontologies in current life worlds” (Harraway 2003: 4). This notion of continuous ‘becoming’ is key here, and it unites our new understanding of both nature and media as two systems of existence. In this paradigm, media technologies are not just communication systems, but materials, which are composed of a variety of elements and forces, and hence become part of a “massive global networks of energy and supply chains that themselves are linked to the geographies of media materials” (Parikka 2019: 252-253), which could be from African, Chinese or Russian origins, and other diverse loci of global ecological operations.

Future Perfect: Miscommunications Once media are conceptualised as material, they become prone to natural processes of decay, erosion and corruption. The two past decades increasingly see media in its fluid, unstable nature and, more importantly, as a spontaneous force of mistakes, accidents, and miscommunications (see Korolkova and Barker 2021). For media, and technologies, are already and always programmed with accidents—accidents will always have happened by the time the new forms of media are introduced. As Paul Virilio (2007) points out in The Original Accident, the invention of new technology is always already designed with the possibility of failure. Just as the locomotive is pre-designed with the derailment, and the car with the failing breaks, any kind of communications method has a potential for mistake—verbal, digital, or visual. Importantly, this potential of miscommunication suggests new systems and alternative ways to operate beyond dominant structures of communication, which embraces the possibilities of going astray.

Post-future: Post-media Talking about the future of cultural categories, it is always tempting to add a post- prefix to it. Yet, to talk about the future of media would be as paradoxical as to talk about the future of the future. Media do determine the future in the same way as media are in and of future—any message that needs to be transmitted takes time—and this time is in the future. While we can easily imagine ourselves in the post-digital, i.e. a future where we will be more concerned with being human, than with being digital, a category of post-media is yet to be invented—whether as a form of Web 3.0, a part of nature or a mistake.

References Braidotti, R. (2006) Transpositions: On Nomadic Ethics.

Cambridge: Polity Press.

Golding, J., M. Reinhart and M. Paganelli (eds) (2021) Data Loam: Sometimes Hard, Usually Soft: the Future of Knowledge Systems. Berlin: De Gruyter.

Guattari, F, ([1989] 2000/2008), The Three Ecologies.

London and New Brunswick: The Athlone Press; London: Continuum.

Haraway, D. (2003), The Companion Species Manifesto: Dogs, People, and Significant Otherness, Chicago: Prickly Paradigm Press.

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Manovich, L. (2001) The Language of New Media Cambridge: MIT Press.

McLuhan, M. ([1964] 2001) Understanding Media: The Extensions of Man. London: Routledge.

Korolkova, M. and T. Barker (2021) Miscommunications: Errors, Mistakes, Media. New York: Bloomsbury.

Parikka, J. (2018) ‘Medianatures’, in R. Braidotti and M. Hlavajova (eds) Posthuman Glossary. London and New York: Bloomsbury, pp. 251-253.

Zielinski, S. (2006). Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means.

Cambridge, MA: MIT Press.

Sobchak, V. (2011). 'Afterword: Media Archaeology and Re-presencing the Past', in E. Huhtamo and J. Parikka (eds) Media Archaeology. Berkeley: University of California Press, pp. 323–334.

Tarnoff, B. (2022) The Fight for our Digital Future. New York: Verso.

Virilio, P. (2007) The Original Accident. Cambridge: Polity Press.

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School of Design Research 2021—2022

Exhibiting our Research Excellence Benz Kotzen

The School of Design Annual Exhibition celebrates the high quality and wide scope of design work that is undertaken across our programmes. This display is largely visual, with stunning and evocative graphic and illustrative pieces that culminate from weeks, sometimes months and in some cases years of keen and creative thinking that unravels sets of problems that are enthusiastically conquered by the students. In Film and TV and Animation, the skilful and creatively produced work integrates sound, image and word bringing together practical and avant-garde productions that challenge the intellect and can evoke strong emotions. And whilst words are often used across the board, particularly in graphic design, the word is king across the disciplines, in the writing of essays on theory, context and history and particularly in students’ dissertations which acquire increased intellectual rigour and writing proficiency as they progress through their undergraduate programmes and into post graduate taught programmes. These works in words, accompanied by supporting images, (some of which are showcased at the 2022 exhibition) are extremely important “outputs” as they confirm both the writing and design abilities of prospective employees at job interviews as most creative jobs require their employees to be able to write all sorts of documents from simple letters to complex reports.

The term “output” is extremely current, particularly in the context of the REF. The Research Excellence Framework ‘is an internationally recognised system for assessing the quality of research in the UK’s Higher Education Institutions’. This submission identifies the highest quality outputs that have been produced by academic staff during the REF period which was from 2014 until the end of 2020. The outcome of the submission to the REF by the University as a whole, is used to calculate the funding that is allocated to institutions for the next REF cycle. The submission is not only important in terms of funding, but it also indicates the strength of research across the staff in the School of Design and particularly as a means of calculating the growth in quantity and quality of research from 2014 to the end of 2020, calculated from the outputs themselves (60%), Impact Case Studies (5%) and the Research Environment (15%).

Submissions to the REF are organised according to 34 separate Units of Assessment (UoAs) devised to cover the full range of research activity areas.

The philosophy of the School of Design was to submit as many staff as possible, i.e. those who are undertaking research under Unit of Assessment 32, Art and Design: History, Practice & Theory. This resulted in 33 (30.5 FTE) staff submitting outputs at an average of 2.5 outputs per person (as required by the REF) with a total number of 75 high quality outputs, (books, book chapters, edited books, refereed journal articles and Multi Component Submissions [MCSs]) most of them at 3* and 4*, i.e. of quality that is ‘internationally’ and ‘world leading’ and our impact was also predominantly 3* and 4*. The 17 MCSs were an outstanding new addition to the submission 21

portfolio. These focus on practice based research and combine the outputs of the researcher practitioner over a period of time in text and images which describes the research outputs, discusses the research question(s) and highlights the rigour, significance and impact of the research. 3 Impact Case Studies were produced and these combined with the Outputs and the Environment Statement provided a coherent and robust submission which raised our research quality and power way above where we were in 2022. For this, everyone involved should be congratulated as follows: George Ayekum Mensah, Michael Aling, Ghislaine Boddington, Rosamund Davies, Konstantinos Evangelinos, Somaiyeh Falahat, Lionel Feugere, Ivan Garcia Kerdan, Duncan Goodwin, Jim Hobbs, Anne Hultzsch, Ikpe Ibanga, Lindsay Keith, Stephen Kennedy, Andrew Knight-Hill, Maria Korolkova, Benz Kotzen, Hannah Lammin, Catherine Maffioletti, Anastasios Maragiannis, Sarah Milliken, Effiness Mpakati-Gama, Shaun Murray, Elena Papadaki, Caroline Rabourdin, Mohammad Sakikhalis, Miriam Sorrentino, Walter Stabb, Ian Thompson, Ed Wall, David Waterworth, Julie Watkins and Jonathan Wroot.

The number of Post Graduate Research (PGR) students, those who are undertaking and completing PhD research is on the rise and so are our staff who are starting their PhD studies here in the School of Design. More opportunities are being given to ECRs (Early Career Researchers) to bid for research and participate in research projects and the supervision of PhD students. This is very important for our development of PGRs and ECRs, so that we can grow research in the School. Indeed, we want every academic staff member to be undertaking research and with this goal in mind, every staff member, where required will be mentored. We have been successful in numerous internal and external funding bids and we have either completed these or are currently working on these with UK and EU partners. All of these projects in themselves create new knowledge, but also provide a means for KE (Knowledge Exchange) which is a key strategic objective of the University, where our research makes a real difference in terms of society, economy and the environment Covid was an awful time and whilst we are not totally immune to its impacts, we can now look forward and approach our research with renewed vigour and purpose. Our engagement with the REF has driven home the fact that research has to have impact and that it needs to benefit people, profit and planet. These are the 3 foundation pillars of sustainable development.

Going forward we are embracing the University’s strategy of our research engaging with the United Nation’s (UN’s) 17 Sustainable Development Goals (https://sdgs.un.org/goals), such as ‘no poverty, zero hunger, gender equality, sustainable cities and communities, life on the land’ etc. and we are already preparing for the next REF which will be towards the latter part of the 2020’s.

Our transformation from 2014 to 2021 was remarkable and now we are looking forward to doing even better based on our commitment going forward and on the knowledge and experience gained.

Dr Benz Kotzen Associate Professor, Research and Enterprise Lead School of Design

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SH OW 22 School of Design University of Greenwich

Animation / Architecture / Design / Landscape Architecture & Urbanism / Media & Communication

Design Anthropology

DE SI GN

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The Design Anthropology Portfolio at the School of Design focuses on how design research translates human values into tangible experiences. Here, the ideas are oriented toward the world of digital transformation and innovation through undergraduate and postgraduate programmes, including BA H Graphic and Digital Design, BA H Animation, MA in Spatial Design, MA in Design Diplomacy, and MA in Web Design and Content Planning.

This year’s show features the work of designers engaged in active research practice to examine the questions and perspectives that connect to their individual passions/concerns/areas of interest—working through experimental thinking, writing and making our students have developed unique approaches to exploring society, culture and technology through design. The showcase of work demonstrates the hard work and achievement of contemporary design talent.

In addition, the animation projects focus on an exciting area of research with a plethora of expressions and art directions. A flexible and supportive set of interconnected subject areas allows students to work in their specialist areas and develop their creative approach and academic skills through their 'Animation research project'. The student works explore a wide range of animation practices (both practical and theoretical), such as 2D and 3D animation, concept art, digital sculpting and immersive environment design.

The 2022 graduates are distinguished from the rest of the pack. All graduates have worked on a wide-ranging body of creative concepts and used their skills to produce works that fit within the broader context of design and communication, making portfolios that will allow them to get their dream job in the creative industries.

An incredibly talented, culturally and socially diverse group of designers and animators who have been a joy and inspiration to work with.

Professor Anastasios Maragiannis Academic Portfolio Lead, Design Anthropology

BA (Hons) Graphic + Digital Design OUR GRAPHIC AND DIGITAL DESIGN programmes balance active research investigation, practical experimentation and critical thinking to prepare students for careers in the creative industries. Students develop excellent communication skills, control of creative practices within Graphic Design, as well as in fields close to their discipline — spatial design, fine arts, animation.

Guided by our expert teams of academic researchers, practitioners and makers, students explore areas such as typography, visual grammar, data visualisation, narrative, branding, advertising, fine art practices, photography, motion graphics and moving image. Through a blend of lectures, studio-based workshops, technical tutorials and industry events we invite students to develop their knowledge and experience of design theory and practice.

Popular career options for our Graphic and Digital Design graduates include roles in creative teams and agencies, particularly those specialising in print, publishing, packaging, branding and interaction design, as well as those focused on animation and moving image.

During their time with us, students develop an appreciation of design as an area of intellectual investigation, critical thinking, creative visualisation and making — explored through active engagement and professional practice.

Fatima Alzaabi Visualizing Déjà vu fatimaalzaabi23@gmail.com

In my studies I worked towards attempting to visualise the experience of 'déjà vu'. Despite all of the research and theories developed for déjà vu, it remains difficult to comprehend. However, by attempting to visualise the causes, reasons, and feelings associated with déjà vu through the use of symbols, objects and photography, it is possible to gain a better understanding. This subject has always piqued my attention, since it is a phenomenon, an experience, that we all have at least once in our lives. But it is always unlikely for the individual to recount what they saw, what they heard, and how they felt when these few seconds of déjà vu happened.

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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My passion as a multidisciplinary designer lies with the projects that address topics revolving around present, existing or imminent potential issues, with possible lifethreatening impact. What does humanity’s future look like?

We jeopardise the existence of the entire planet due to the wasteful, destructive, toxic behavioural attitudes of humans.

What if a wall wasn’t simply just a wall, the roads were not there just for traffic? What if everything had a purpose beyond the obvious and became part of our eco-system by absorbing, containing, generating and transforming energy?

Design has the power to drive change. As such, us designers should think about the responsibility and meanings our designs carry and above all ask ourselves: ‘What good is my work or product going to serve?'

Designing just for aesthetics is a luxury that we cannot afford in a world of scarcity of resources and a severely damaged planet.

My practice takes design from analog to digital — to 3D — to analog repeating this cycle each time with added tweaks and enhancements to understand how to achieve maximum impact and socio–economical impact in each state of an artwork.

Andreas Arany Toth / Goldentoth Design Functional Design in the Age of Climate Emergency goldentoth@icloud.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Bakhtawar Essa Ayub The Significance of Kinetic Typography in the Digital Era Bakhtawaressa@outlook.com

From clay tablets, to pen and paper, to computers and the internet, my research purpose is to trace the development of animated typography. The early stages reinforce the introduction of title sequences to the expressive power and influence of moving type in design, print and on-screen media today. It proposes and explores the typographic landscape and environment we engage ourselves with rather than reading simple text on paper.

These experiments show that designers can create qualified, specific, and controlled kinetic effects that would be programmed to be applicable to the type and text, conveying either an emotional, spiritual, psychological, or a simply creative feeling.

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Does data dress us or do we dress ourselves? We are under the illusion that we have control over our own sense of ‘individuality' and fashion choices, but our identity is impacted by external factors more than we think. Data is all around us and information is simultaneously collected about us and ‘fed’ to us daily. Whether we like it or not data seeps into our subconscious and can be powerful enough to manipulate us and alter our perceptions.

Throughout my project I evaluated various forms of influential data examining their significance in fashion choices. In my outcome I took a personal approach, inspecting my own cultural data, heritage and experiences to show how data has swayed my fashion choices.

Sameena Bhangle ‘Masked’ and ‘Blinded’ by Data sambhangle@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Handcrafted artefacts have piqued my interest since I was a small child. Looking back through history, it is apparent that all that has been produced and generated in the name of mankind has originated from man's clever and hardworking hands, and handwriting has always played a key part in humanity's growth. When I researched the topic, I discovered that handwriting and photography had a close link. When I write anything by hand, I capture a moment in time and place, in the same way that a photographer does when he / she presses the shutter button on a camera. A visual depiction of a thought or a moment captured by the human eye is like a handwritten piece of paper. By gradually replacing this natural and human function with something unhuman, we are ripping away a piece of our authenticity and individuality. We should examine the amazing heritage that our hands link and activate our brain; we should reclaim our history and incorporate it into the technological process; let us utilise technology rather than be used by it.

Emma Bobarnac Hand-marking-made Communication emmadotsdesign@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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The focus of my project has been to investigate how political design challenges the public’s understanding of the biases they may encounter when engaging with media. The purpose has been to construct designs that will enable the viewers to question and challenge these biases. Controversial propaganda pieces and zines have been constructed to illustrate the oversimplification of war in the media—into good and bad—neglecting the complexity of acts of war. Within my practice, experimentation enabled greater understanding and gathered experience of the processes that political artists may go through when creating political / social statements in their work. This artwork aims to grab the public’s attention to get them to question the narrative that the mainstream media promotes as opposed to them taking the media at face value.

Is it hoped the artworks will encourage the public to dig deeper and do their own research before making up their minds using only a limited range of resources.

Thomas Callaghan How can political design challenge the public’s perceptions of partiality in the media and newspapers? thomasacallaghan@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Nostalgia is a feeling we all experience at certain moments through our lives, whether that's when we are gathered with our friends and having conversations about the past or when we are alone and reminiscing about something we cannot relive again. With nostalgia, we think about the people we have shared moments with, the places we've been, the objects we have held onto throughout our lives or even specific smells. There are many factors that contribute to our past but specifically throughout my research and testing, I have found our concept of memory to be the main factor.

Memory is hard to be described or recalled and is a personal feeling which is hard to be visualised. Therefore, I have explored how memory can be visualised though the practice of a free, loose and unpredictable illustration style.

Designers often focus on using nostalgia as a tool to create a nostalgic user experience through certain games, packaging etc, that most of us can relate to. But how can we focus on our personal recollections and create something that is memorable for ourselves?

Miroluba Chakma The Importance of Memory in Nostalgia mirochakma@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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From a sacral symbol of fertility and Earth, to sin and a dirty vessel, women’s representation started the evolution as the primary tool for prosperity. She was a Goddess and led many rituals.

The Venus Candle Holders concept is to recreate some of our ancestors' rituals. With that, I hope to bring back the magic reunion. Recreating the Venus cult into our modern life may help us regain some of the feminine energy needed for balance and harmony. The Venus Candle Holder can be a Ritual itself. It is smooth to the touch, so those in need can exchange energy when touching and lighting the candle, admiring it while burning.

Anastasia Coban Venus Candle Holder anastasia.coban@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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By removing form from fashion through the use of external materials, you begin to see how form can be found through unconventional means. The use of objects to portray form within fashion allows us to see things from a different perspective, and whilst relating this to gender fluidity within fashion, allows me to understand that form comes in all shapes and sizes rather than other traditional styles with clothing. My work is a collection of collages created through using found objects and cut out pieces from catalogues and magazines to create an album of fashion collages. Whilst removing features such as faces and easy to define silhouettes, allowed for the collages to be difficult to identify and categorise them to a specific gender.

Jonathan D'Arcy-Smith How the gender neutrality movement has influenced fashion & form jonathandarcysmith@yahoo.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Freedom is the most topical theme starting from the World history, to current events. This term has many interpretations and for the research paper development I used Freedom of Choice aspect, in which I separated into three categories: freedom of existence, which talks about the people’s daily experiences related to this topic and investigates the reasons and understanding; freedom of art—analyses the power of creative industry and artists as being the subliminal messages carriers that spreads the word to the world in the most creative ways; paradox of digital freedom—this statement is quite radical and explores the fields of the internet, investigating the reasons, perspectives and the true meaning of freedom in this digital space.

Sandra Direikaite Freedom of Choice: mixture of utopian illusion & dystopian reality sandra.direikaite@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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The 'Hallyu' wave has taken the world by storm through integrating the unique talents of South Korea’s music and drama scene into the mainstream. But how did this originally niche genre capture the hearts and minds of fans globally?

Throughout this project I will be dissecting the appeal of K-POP and the practices used to attract and retain fans, with particular focus on design.

K-POP remains unique in how it markets itself, putting access to the idols at the forefront of the agenda. This access to otherwise untouchable idols through the mastery of frequent social media posts gives the illusion that these artists are within touching distance. This in tandem with a range of other factors including the no-dating rules heavily enforced by entertainment companies creates the image these artists are within reach and available, leading fans to form communities blindly devoted to these groups spurred on by a 'collective crush on steroids'.

This baseline obsession, coupled with the design and release of 'photo-cards' and exclusive content when purchasing albums has launched K-POP to the masses, with each 'selca', post and TikTok only further adding to the addictive cocktail of dopamine, oxytocin and instant gratification that keeps fans on tenterhooks.

Noor Afshan Fazal The K-POP KULT: How K-POP unified the world in a collective obsession of love, lust and adoration noorafazal28@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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In a fast-paced society where everything is carried out in a repetitive routine every day, people fail to observe and look over the things that cannot be immediately seen, yet contribute to the air we breathe, and the emotions we feel walking outside. The plants and trees we keep around us may have a systematic way of survival than just water and oxygen.

The earth and its inhabitants function on balanced gravity but also frequency. A slight change in frequency could alter a person’s energy, emotion or even physical self. So, if plant frequency were visible to all in some form where humans could understand their plant besides looking for physical signs of damage, it could help the process of identifying eco solutions towards a better world.

Exploring the world of bees, I have been fascinated by the bees' navigational route towards flowers, and their odd tendencies to consume fungi mycelium. Everything is regulated through the magnetic field of frequency. Humans and every other living being is affected by frequency of some kind. Through research, I discovered out of all the plants, the mycelium is the most unpredictable in frequency – so much so that it vocalises to the sound like a language of some sort.

If Fungi frequency communication were to be visualised, what would it look like?

Simin Fazli Visualising the Language of Fungi siminfaz@hotmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Despite the evidence provided to us by many scientists, researchers, designers and artists, we prefer to believe that our lives will continue to get better. We choose to believe that humans can endlessly produce and consume limitlessly and without consequence.

The postmodern world is an age where the 'old certainties' are gone; we must learn and accept that we cannot take our comfortable and convenient present for granted. We are now at the transition point, designing our destiny and impacting the future.

My field is an environment, and as a designer I am investigating how art and design can influence and help to change a viewpoint. Creating a disturbance encompasses action, in which design can be used to shape and develop new forms for a better understanding of sustainable outcomes.

In my research, I attempt to find the nexus between colossal industrial progress and the lack of responsibility for the natural world. Innovative design strategies we devour nowadays are still lacking versatile and adaptable structures.

The flux of materials proposes a variety of components, and it is up to our environmental psychology and social behaviour if we use theem in harmony with nature.

Inna Halasyova innihal@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Doodling is so much more than just weird drawings on a page.

I found myself falling in love with doodling during the COVID lockdowns. What started as a pass time to pick up a style of illustration I once did as a child, soon became a practice I carried out day-to-day to escape from reality to enjoy a funny and creative world I’d rather be in. With more doodling, I found myself taking advantages of which doodling creates and with research, found that I had been doodling without even realising at times throughout my life. The modern-day definition of the doodle is outdated and irrelevant to the true nature of doodling and needs to be redefined. It plays an important role in becoming part of the extended mind in which we can rely on the practice to better ourselves with cognitive thinking and retaining information, as well as being a meditative practice. The temporal attribute of the doodle is one that can be shown, to visualize the time passing as doodlers make one mark to another and over time, the attachment to that doodle is lost – suspended in its time for that brief period of that spontaneous subconscious thought.

Adam Hall Doodling: Beyond the Art Style adam.hall1225@talktalk.net

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Within my design practice, I have explored different techniques. This includes mixed media and discarded materials as means to convey and tackle the issue linked with Climate Change. The project allowed me to understand the word ‘economy’ not in terms of market or market values but in terms of the cost of the planet and understand how materials could be implemented within my work that aims to show the impacts of discarded materials on the environment.

Focusing on how we humans are being consumed by plastic and surrounded by these man-made materials around us.

I have created visual outcomes that have translated the problems the news and scientists are discussing. Using discarded materials as means of translating these issues into visual art that depicts all my research findings and explores the use of material physicality to merge into a visual illustrative painting that explores how plastic waste is creating a toxic and harmful environment to marine life and the impacts of man-made material to the natural environment. My intention is to construct outcomes that aim for people who might ask me questions about this and interact with my work, to discuss with me the issues of climate change.

Hamad Hayat How can we use material and visual art to confront, and address issues caused by the climate crisis? hamadhayat10@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Louie Hendy The Possibility of Emptiness louiehendy@gmail.com

Emptiness' and the idea of 'being empty' is defined as the state of ‘containing nothing’. Emptiness can instead be viewed as possibility. The empty bowl and empty cup can help to explain the idea, it is empty at this point where it is being described but the main function of the object is that more to be added to it. It is awaiting but it is not seen as likely anything will happen, just that it might. Emptiness is a state allowing for more and perhaps most importantly, when viewed at in a certain way can bring you into a space of thinking. There is not just one definition of what emptiness is or what it can be and there are multiple different concepts that work with similar ideas so trying to define what emptiness is definitively, as the dictionary attempts to do, simplifies the possibility of what emptiness can be.

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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The West End has always fascinated me as a place of performance being around every corner; every time you visit there is something new to explore. The theatres, the street art and entertainers, but also how the place is brought to life by the people who visit it. Exploring how places are documented and how items can hold memories, as well as the atmosphere of an event, I found my collection of tickets from the shows I have seen over 10 years, inspiring my solution. The tickets I designed are an invitation to explore the West End through a performance lens, to seek out the hidden details that you usually miss and find excitement for the place again.

This set of tickets allow you to document the place for yourself while also capturing the memories made. By holding onto them, you will be able to share your stories with others in the future, documenting the West End from all different perspectives for the next generation.

Lucy Hogger Documenting the West End lucyhjane@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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In this project I engage in the study of my process as an artist and designer to strengthen the foundation of my craft and enhance my ability to deal with complexity in my working to aid future research projects. In my efforts to tackle myself as subject I consider the creators faith and myth of the hero artist, what the connection of the artist and designer is to their work as 'Thought-Objects', and the changing place of analog design in the modern world. The results of this project were achieved by thinking through the making of mixed media experimentation and led to the acceptance of my chosen method of combining collage with my notebook process. As such the final exhibition works on display are the culmination of my research findings, design thinking, critical analysis and academic writing realised in the form of a final book object that represents the journey of this project and the possibility going forward to develop this investigation further and push the concept of 'Research Art'.

Robbie Hunt Being. Analog.

RudeBwoiDesign@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Craft and its industries are often overlooked in nature and underrepresented in the art and design world. In today’s view, it falls into a sector that is regarded as costly and unnecessary compared to its contemporary business rivals.

Trailblazers in the craft community are unknown to many but have paved the way for countless designers and artists today.

The UK, especially, is under a craft crisis, with many crafts in danger of becoming extinct.

Not until recently did I realise the contribution my own family has had on my journey to becoming a designer.

After a short conversation with my mother, I found that my grandfather was a blacksmith who worked at a small, familyowned forge. With a focus on my family, I am attempting to discover the personality and journey that comes with craft and the influence this has on the industry.

Sarah Johnson A Personal Journey with the Original Craftsperson: the decline of traditional craft & the rise of digital craft smj.visual@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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The project shows the exploration of experiences within LGBTQ+ culture, recording and documenting people’s lives in ‘queer spaces’. Looking deeply into the idea of queerness in all forms of expressions, identities, sexualities, and political connotations that have shaped the community for what we see today. Showing this through the lens of my life and experiences with the people around me, capturing these moments through photographic design solutions.

Exploring places where the community and culture lives and breathes, focusing on London and places like Heaven gay nightclub, gains a new perception and understanding of all different aspects of queer life. Being exposed to seeing and being around queer life allows you to express yourself, a place with no judgement to become who you are. Showing this form of expression through photography to expand a larger audience’s perspective of queer life.

Sam King Queer Nightlife and Culture sam_king_a4@hotmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Each city has its own unique identity, made up of many layers, which need to be explored one by one. A successful city is dynamic, constantly changing and influenced by time. This means that to fully understand it, both its past and its present must be taken into account. In my work, I deal with the definition of a city's identity and its exploration in relation to the capital of Poland, Warsaw, which I have chosen because of my strong connection with this city. I want to reach deeper and feel the real sense of this place. To discover layer by layer this city, its identity and space. Then in the next stage challenge it as a designer and design a solution that will be the first step towards changing it.

Oliwia Knez Layers of division and unification oliwiaknez@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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The System Is Finite' seeks to explore the initiation, expectations, and limitations of finite and infinite digital life forms. It is driven to uncover the astrophysical, quantum mechanical, and logical applications of design. Through technological application, we can define and break down each component of our universe to view its cosmological evolution as a network. Within this, the focal point arises: the presence, absence, and existence of infinite states.

When we begin to understand the characteristics of a state being infinite, only then can we discuss if infinite states exist within the physical world.

To inform my approach, programming languages JavaScript and Python have been used to determine each design computation. These code-led pieces aid me in reinforcing the belief that our universe is systematically designed. To ultimately encourage a re-evaluation of the nature of the universe we are placed within, and how what seems random, is wholly organised, and well within our subjective interpretation and understanding.

Eden Malik The System Is Finite eden.malik@outlook.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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My project explores the concept of love and the feelings that a colour can trigger, matching the information of the two subjects and transposing these into a spectrum of colours representing the feelings of love. Putting in the same picture the feelings of the types of love with the feelings that a colour can trigger, selecting, matching the colours according to the types of love studied and presented can create a different perception for each colour that is composing The Colour Spectrum of Love. In the same time, the project is aiming to reveal a different perception for the colours that are not included in the spectrum and for the use and understanding the meaning of each colour. The main subject, ‘love’, was based on my willing to explore the meaning of own experiences and answer personal questions, while the colour was my chosen way to express my discoveries.

Elena Stefania Manghiuc Exploring The Types of Love and overlap the collected data with The Feelings by Colours: The Colour Spectrum of Love m.helena.stephanie@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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What happens to plastic after it can no longer be recycled anymore? The focus of this project are the companies that manufacture plastic products. In total, there are 5200 of these factories in the UK alone that produce everyday waste, at least 10% of their production. Quite a lot of industrial plastic! My concern is how to re-use this material—strong as a stone. The solution I found is to use the plastic waste in building / construction. For this I created a brick with 30% plastic waste.

Mihaela-Ionela Mare Plastic Waste mihaelamarei@yahoo.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Nostalgia is something we feel throughout our lives which usually links to discomfort, but for this project, I have taken a positive take on it using gaming. Retro video gaming is a topic that has a wide capacity to evoke a range of emotions due to its nostalgic design and tactile nature, making a huge impact on pop culture in turn making us want to re-live the games that we don’t want to forget about.

Retro gaming is the one thing that I loved and grew up with mostly cause of how it was designed and how simple and fun it was, hence why my concept for this project is around feeling nostalgia towards retro pixelated gaming through the eyes of pop art and street art techniques. I went on to researching about street art and the messages that it portrayed and how it crossed over into vandalism. I also looked at how pop art has been influenced within design and how I would be able to use this as an approach to create a design piece. Throughout my observation of films, artists, and articles I have come across I managed to understand why there is nostalgia within retro gaming as whole and how this observation can be shown through design.

Manshi Mehta Video game Nostalgia manshimehta14@gmail.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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While the way we experience gender could initially be thought of as an internal experience, our surroundings and actions are likely to affect it to some degree. From that arises the question of how different things might affect how we experience gender. Specifically, how does visual language and linguistics influence us, and how can we challenge it? By looking both at the language we use and are surrounded with, both in terms of the words we choose and the structure of the language we speak, the project explores the impact this has on how we experience gender.

Johanna Modin Hey Guys! johannamodin.design@gmail.com

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Inspired by the book ‘An Attempt at Exhausting a Place in Paris’ written by Georges Perec, I set out on my own mission, to find out what 'place' means and why being observant is important. I also wanted to train myself to become more observant and alert in my everyday life and to develop these skills towards becoming a better designer. Throughout this project I have been experimenting with different ways of observation and with different materials to gain a better understanding of place, focusing on a small part of Greenwich, specifically the area between the Cutty Sark and the design school.

I wanted to capture the atmosphere, feel and presence within a place, using multiple videos overlaying each other helped me to do this, each video is different and shows the different people and ways of moving through the place.

Catherine Anne Morrison An Attempt at Exhausting a Place in Greenwich tatiekatie@2000@icloud.com

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BA (HONS) GRAPHIC + DIGITAL DESIGN

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Appropriation—as using pre-existing objects or images with little transformation of the original—has influenced the practical artwork accompanying this writing, igniting an idea around the modern day ‘meme’. Taking classical paintings from the years 1520 to 1850, the idea of creating satirical value against serious pieces of artwork will appeal to digital and critical audiences, such as that of Instagram and Pinterest.

This has inspired the accompanying practical work to be designed, which acts as a game for the audience to match classical art pieces with comedic statements indicating new meaning and notions as commonly defined by a meme. By using classical artwork and removing the intended meaning, the dramatics, tragedy, and passion as displayed in the artwork, can be reappropriated and decontextualised to a modern day feeling exhibited in everyday life.

Samar Nizam Appropriation seen through Classical Paintings contact.here@gmail.com

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The intention of my project is to find a way to represent re-connection through food within a design space. The way I did this is incorporating design methods and practices that have a synergy to the theme of reconnection and unity through kinship. I collected a few memories which all have a central point of food. The stories included are ones which have some sense of longing, linking the stories together through this feeling of familiarity. I represented them physically through using methods such as loom weaving, embroidery, book binding, fabric printing and sewing within a range of mixed media in order to expose the unity of different experiences.

Fabrics are used throughout the project to further link to the aspect of comfort through reconnection, representing ways of bonding, such as quilting.

Crystal Patterson Representing reconnection through food within a design space crystalpatterson65@gmail.com

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My Final Major Project consists of 100 paintings that I made to communicate the challenging experiences I have had in my life. The first 50 images in black and white express my struggles with trauma, grief and depression, and culminate in selected colour images that express hope, love and joy. I was able to express these struggles in paint after encountering new genres of music which profoundly affected and motivated me. Through this narrative sequence of images, I want to demonstrate that you can confront your inner struggles and to encourage others to find the same release and hope.

David A. Rieckhof Hardship and Hope drieckhof@hotmail.co.uk

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I have always been mesmerised by the way humans perceive and experience the world. What is seeing and what forms our experience of seeing? Is our world a reflection or is our reflection our world? Where do we stand in all this? Uta Barth was a starting point of this exploring momentum, guiding me on, questioning and redefining terms such as perception, reality, space, light, presence, and time.

Through observation, I aim to understand and become more aware of my own perceptual process of seeing. I am interested more in how I see than what I see. Photography and writing have been the tools that assisted me throughout this process and taught me the beauty of seeing.

My main focus has been my house as my most intimate space. I wanted to understand in this phase the nature of this daily dialogue and teachings. There are many layers and levels in the process of seeing. For the purpose of understanding better what you see, I would suggest a pause for a moment and prolonged seeing by excluding any possible thought processes.

Stergiani Siourtou The Beauty of Seeing stergianisiourtou@gmail.com

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Sherif Soldatov Concrete to fight gentrification info.ssoldatov@gmail.com

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The concept of this project is bringing awareness to loss and the most heart-breaking experience for a parent—losing a baby.

My practice is aiming to shatter the silence that surrounds the loss of a baby and functioning as a platform for people to open and share their stories online, connecting through such a personal traumatic experience.

Following an abortion or miscarriage, disenfranchisement and grieving can be especially difficult. While society may reject this misery, the individual who is experiencing it may consider their own suffering to be invalid because it is the result of a decision they made, or simply because it was not a real born human being yet as such.

Technology's impact on society's response to bereavement has been thoroughly documented. Some people who want to express their condolences and support may be unsure how to react to grief over something that isn't commonly discussed, such as a cognitive impairment, major mental illness sterility death by suicide, overdo abortion miscarriage, the loss of a baby, or still birth.

Gergana Vasileva Silent Grief Installation gerulina1988@gmail.com

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What is the perspective of East London? Growing up in the East End, I have come to my own conclusions of how I view the area, but from the current affairs taking place such as the obvious gentrification, maybe I do not know the full picture after all these years living here. My project aimed to explore how multiple people view east London and find the core perspective that east London holds. By the end, it was clear to see that the perspective is consistently changing and evolving. Some hold many cultural significance, while some are being lost to the new idealised world.

Having a love for illustrations, I wanted to convey the perspectives through a series of drawings. Illustrations projects an idea of a subject rather than presenting a real moment such as using photography. This emphasises my project's communication that perspectives can never be something solid and still.

Aisha Vesamia The Perspective of East London aishavesamia1@gmail.com

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My work explores the notion that day-to-day activities and tasks leave traces in the form of marks on our bodies. These marks can come from leaning on the edge of a table, or from wearing a ring for an extended period of time, and usually taking around 45 minutes to disappear. I look at these types of marks, instead of more permanent ones such as scars or blemishes, to investigate how simple tasks that we overlook, which our bodies can adapt to in order for us to complete them.

My curiosity for this subject emerged from exploring why people get tattoos and how they represent stories and histories on our skin. This exploration further developed into the idea of how we can distinguish these semi-permanent marks to discover what an individual has experienced throughout their lives, in this case, a 'normal' day.

Talia Walby Patiño How does everyday life leave marks on our bodies when completing day-to-day activities? aishavesamia1@gmail.com

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BA (Hons) Animation OUR ANIMATION DEGREE provides a flexible and expressive programme of study that encompasses Animation in many varied forms. Students start the degree by exploring animation (both practical and theoretical) as well as more technical areas which are highly sought after in industry. This includes understanding how assets move through the animation pipeline, from sketches to final product. The student then moves on to explore more detailed animation practice, including digital sculpting, industry standard renderings, character animation and immersive environments design in order to finesse their approach to the field. Optional modules help students develop specific skills for work in games, VFX, film and television.

The degree develops in the final year into a flexible and supportive set of interconnected subject areas, where students are free to work on their specialist areas as well as developing their academic skills through their final year 'final major project' work as part of their research.

It's a guardian's duty to exact the wills of their lords, thus protecting their ideologies. The Guardian of Life is tasked with the heavy-duty of protecting all living things. This story is a fantasy that revolves around 12-year-old Maluma, an upcoming Guardian of Life in training, and the challenge she must face in order to meet the expectations of the gods and a very strict father—an expectation regarding duty and responsibility. My animation aims to display action and dynamic 2D animation while telling a relatable narrative of a child undertaking the tests set by her parent. I hope to showcase their relationship in a compelling manner.

Daniel Jacobs Ajayi Guardian of Life daniel.ajayi14@gmail.com www.instagram.com/danndraws_

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This animation is a metaphorical representation of the transformation of capitalism from the XIX century until today.

Works and workers' structures are an edge that remains unaltered, instead of evolving and adapting itself to the new materials and cultural conditions of late capitalism. There are new ways of domination, less enforcement but also complementarians to the traditional ways of exploitation according to the industrial logic. I will try to translate this theme graphically on three key periods (1880, 1960, 2020).

Glitter Cage is a term said by Eudal Espluga in his book "Don't be yourself" by which it means that we live under cages made of glitter, fragmentary and unstable; The material that defines the world of work is crystallised aluminium in fragments, copolymerised plastic and tinted with bright colours. It does not seek to fix or improve our appearance. It exists to be exhibited, to sparkle under the spotlight, and is hyperconscious and post-ironic. Its artificiality is manifest; It is an ambiguous symbol, a hopeless promise, inevitably broken.

Elena Martinez Barreto Glitter Cage: Be Yourself artelena179@gmail.com https://emartb.wix.com/portfolio www.instagram.com/artbygelens

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Hannah Baxter The Crimson Cloak hannahbaxter@me.com

The narrative of this work, is an exploration of myths, fairy tales, legends and folklore; there are many cultures around the world with a rich history of storytelling which would not only be an interesting subject for research but would also translate well into the medium of animation. I encountered a collection of retellings of Asian myths and legends “A Thousand Beginnings and Endings”, and “The Red Cloak” caught my attention. The story is a reimagining of the ancient Chinese folk tale “The Cowherd and the Weaver Girl" from the point of view of Zhinü the weaver girl, as the Author Cindy Pon explains, “In all the versions of this tale I came across, even Ox spoke more than the fairy weaver girl ever did. I wanted to give her voice in this retelling”.

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Focusing on the association of crypto technology and the ancient Japanese Shiba Inu dog breed and its popularity in the crypto world, I have begun my journey into making my own NFT(Non fungible token), using what I have learned over the past couple of years. The animation will consist of a depiction of a Shiba Inu dog interacting within an enclosed space that is accompanied by a floating ethereal feel with elements of wind effects as well as featuring cherry blossom petals floating through the air giving a sense of tranquility by the warm tones that will be reflected through a rising sun effect.

Stephanie Lopez Cuaican Crypto junaste1096@hotmail.com

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What civilization could look like if humanity crosses the interplanetary barrier and find a home beyond Earth? Major leaps in technology, mobility, and sustainability can help humanity achieve its dreams of colonising the stars. This short film will show potential ideas and concepts of what life on Mars could look like.

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Siddhay Java Mars: Home of The Future sidjava1910@gmail.com

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“Will” is a project that combines character design and animation. The story follows the adventure of three different characters, with apparently nothing in common. A story about how an unusual trio composed of a pirate, a magician and a god, ended up together. My aim is to tease the viewer's curiosity through interesting concepts and detailed characters, as well as offering through action scenes and dynamic animation an idea of how the characters would move, behave and interact with each other. perspectives for the next generation.

Alek-Rakib Mahamud Will alekdigitalartist@gmail.com www.artstation.com/alek_ewe www.instagram.com/alek_ewe

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“The Simplicity of Our Complex Emotions” began as a desire to visualise unspoken emotions and developed into using characters to personify said emotions. This project is a combination of my Indonesian culture, dark romanticism and Lorca’s concept of the “duende.” The story follows Djoko, a duende* who deviated from his darker path and now wishes to help those most effected by his kind. Along the way he picks up an “apprentice”, Panji, an Orang Bunian** child who wishes to explore the world alongside him. The other characters I aimed to create and develop are: Lenora, Neah, Surya and Ndari. Whilst some characters I’d already created, all new characters had an Indonesian twist to them, which made them more personal to me.

Cliodhna Meyke O'Loingsigh The Simplicity of Our Complex Emotions cliodhnaoloingsigh01@gmail.com

Duende: “Goblin or Ghost” Orang Bunian: Indonesian myth, “hidden people” in English.

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Exploring the relationship between music and image paired with the use of varying styles in animation, this project is a study on how the combination can amplify a narrative. With a great appreciation for stylistic music videos, I have created a series of animated shorts, composed of pre-existing music, utilising a variety of different styles. I enjoy using metaphorical imagery to create a deeper, psychological meaning behind my art. With this in mind, I aim to evoke a feeling in the viewer, allowing them to relate or be moved by the piece. I also encourage the viewer to interpret the project in their own personal way.

Gabrielle Scott Denial gabrielleascott10@gmail.com

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This project shows a different version of hell, which is just an empty dark room instead of a place filled with fire. In the animation, the main character is stuck in a never-ending loop, and has to re-live the same moment over and over again. This project shows the idea of hell being an infinite loop of a torturous memory.

The animation will be created frame by frame and will show character designs inspired by Nepali culture as well as extreme camera perspectives.

BA (HONS) ANIMATION

Aryan Shrestha A Bit of Hell aranihs18@gmail.com

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This project focuses on bringing the knowledge that Richard has collected on the planet of Glacies Ara. In the fictional story, Richard is a zoology researcher working at a museum in London. While working at a remote location in Siberia, he gets transported through a portal to an unknown planet on the other side of the galaxy. He was unable to return home, so he dedicated the rest of his life to documenting the strange animals that inhabit that world. The characters have been designed using professional creature design techniques such as the application of biological and physical science. As a work of conceptual design, the art produced is intended to be used in entertainment products like films and video games.

Sorin-George Vladan The Creatures of "Glacies Ara": as documented by Richard Wise sorinvladan@yahoo.com

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The viewers are invited to a town abandoned by its citizens and harbouring a dark secret. Traverse through the city and discover the horrors that sealed the town's fate. My project explores the themes of environmental storytelling and creating a journey through the use of design. Each asset is meticulously placed to help further push the story without the need for narration or context. Its style was heavily inspired and hopes to replicate the concepts shown through gothic horror as a genre, as well as the idea of Macabre and rebirth.

BA (HONS) ANIMATION

Kian Winyard What Remains of This Town kianwinyard@gmail.com

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This catalogue presents a cross-sectional journey through our professionally accredited Architectural programmes within the School of Design at the University of Greenwich. It is a companion to, and record of, the summer exhibition of student work, guiding the reader vertically through our programmes, across the interconnected modules of Design, Technology, Histories and Theories. Our architecture programmes are presented as a unified whole, collectively seen through a single pedagogical lens from year one, through MArch, to the Postgraduate Diploma in Architectural Practice (PDAP).

Design practice is placed firmly at the centre of everything we do.

Technology, Histories and Theories are parallel strands of creative designbased critical thinking. The subject of Architecture is in the first instance a discipline that gathers together these complex trajectories of thought, which are then put into practice.

Programme structures should have inherent simplicity, they need to provide contingency and opportunity for invention and surprise. Curriculums should be invisible at the point of delivery—that is to say, imbedded seamlessly within an intuitive teaching interface. A supportive studio-based culture is at the centre of the School of Design, where students are taught within the unit-based design studio system. We ask our students to be speculative, and we therefore have a parallel obligation to provide an environment that encourages, supports, and enables this to take place and evolve. Within this constructed model, Architecture has the potential to develop powerful contingencies for addressing the unknown, unlocking new uses, new meanings and new possibilities for yet-to-be discovered futures.

Simon Herron Academic Portfolio Lead, Architecture

BA (Hons) Architecture BA (Hons) Architecture is the first step in a professional career in architecture. The programme offers students a range of approaches to architectural design through studio-based tutorial groups, called Design Units. Each Unit explores a different aspect of architectural design, ranging from new technologies, emerging social conditions and contemporary cultural contexts, to more abstract aesthetic and theoretical concerns. Within each year of the programme, design accounts for 50% of the marks with a central emphasis on developing high level design skills and the ability to create and communicate complex architectural ideas. Students explore the visual and tactile world, learning drawing and computer skills throughout. Design projects are supported by studies in the history of architecture, sustainability, architectural practice, contemporary theory and technology.

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YEAR 1

SUSANNE ISA + JEN WAN + ERIC WONG

To do is to know and to know is to do.

Architecture is both transdisciplinary and interdisciplinary. Being alert is an imperative for thinking and perceiving. The act of acute observation is necessary as is the need for reflection and recognition. Work is investigated through empirical methods and experiments to create constructs.

Students are required to have an adventurous spirit and, like true explorers, know when they have found something, then return to it, charting the journeys, approaches and potential dead ends to share, so that others can also know it.

Our gratitude and thanks goes out to all the generous support given throughout the year in crits and lectures by friends and fellow travellers.

Susanne Isa

→ Making a 1:1 Fragment (Year 1 group projects) Parc de la Villette Follies in Cardboard

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Y1 Unit 1 Pleasure Palace MARTIN ABERSON + ERIC WONG Students Sneha Bapodra, Ginevra Buric, Adriana Dogaru, Xhesika Gosturani, Michael Iacobas, Minhah Lasharie, Lea Malinovskaya, Rattan Saggu, Iraj Syeda, Jay Turner, Pobitra Ullah, Hamzah Zuber.

With thanks to Susanne Isa, Jen Wan, Sophie Holt, Gus Richards, Mille Klovning.

All creativity involves purposeful play.

— Abraham Maslow Y1 Unit 1 looked at creating moments of enjoyment and play.

Each individual student developed critical thinking to address architectures of celebration, creativity and festivity.

Whether it was learning how to bake, to play the piano, bind books, mend broken bowls or tend to bees, the building proposal offered students the chance to re-imagine these discoveries as a bakeries, museums, craft-makers guilds, honey-making factories and kite-fixing shops.

Each individual speculated on aspects of work, live and play and addressed both public (openly expressed, front stage) and private (domestic, backstage) characteristics. The exploration of their interest provided a basis and springboard to design a multi-functional building with unique spatial requirements and opportunities.

→ Sneha Bapodra Incense Flower Forest

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1 + 2 +4 Genevra Buric Honey Spa 3 + 6 Xhesica Gosturani Ballet Craft Theatre 5 Sneha Bapodra Incense Flower Forest

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Y1 Unit 2 Re-Cast; Re-Create IRIS ARGYROPOULOU + ELLIOT NASH Students Keziah Biendarra, Luke Buckman, Luna De Rosa, Bilal Farooqui, Paulina Golska, Raneem Graoui, Argjent Haziri, Shakirah Kamal, John Olowe, Clara Romero, Anthony Siu, Hafsa Uddin, Jamie Walker.

With thanks to Susanne Isa, Simon Herron, Jen Wan, Stephanie Poynts, Yip Siu, Anastasia Glover, Siraaj Mitha, Riccardo Belà, Anja Kempa, Eva Vatzeva, Ian Pollard.

When Walter Benjamin wrote that ‘to live means to leave traces’, he described the acts of everyday life that leave their physical marks on the spaces that we spend our days. This year, Y1 Unit 2 sought to uncover the traces that have been left by previous generations of the city and to create our own traces — those of the architect. Our cities have changed and so they will continue to change.

In the design studio, students worked towards proposals for small buildings on the industrial flatlands of the Charlton Riverside Conservation Area, caught between the very different urban scales of Historic Greenwich and regenerated Woolwich.

Borrowing a term from Flores i Prats, we considered the site as ‘broken’ and sought architectural interventions that might re-animate and contribute to the urban fabric. Y1 Unit 2 invited students to ruminate on the sites histories and physicalities, both visually and otherwise, in order to identify patterns and scales to respond to.

Operating between collective ambition and individual pursuit, Y1 Unit 2 made fragment plaster casts of textures and grounds at the edge of the Thames, and stitched them together with cardboard to arrive at a site on which to test buildings, ideas and inventions. Together, we used workshops to employ the tools of the architect to tease out our imaginations; greyboard and masking tape, scale plans and sections, sketches, florist’s foam, collage and photography. The resultant collective model, displayed opposite, posits an alternative future with a new townscape of small but carefully crafted public buildings for an area at the fringes of a growing city.

Each building has a humble scale, uses materials which learn from its site, and hosts events that mobilise existing social conditions.

→ Collective Model Re-Cast; Re-Create

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1 Raneem Graoui Lacquer Workshop and Noodle Bar 2 Keziah Susanne Biendarra The Mudlark Pit 3 Hafsa Uddin Charlton Dawat 4 Paulina Golska Boat Workshop

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8 5 Jamie Walker The Skin and Blister 6 John Olowe Garden Classrooms 7 Anthony Siu Duke of Wellington's Crows's Nest 8 Clara Romero Community Workshop and Tool Exchange

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Y1 Unit 3 The Escape House EVELINA VATZEVA + IAN POLLARD Students Omran Alabdo, Leena Bennani, Luca Clark Narbona, James Cockburn, Lauryn KeiftWilshere, Rayan Khan, Goodness Marcelino, Hayden Martin, James Ng, Ria Rafiqul, Maisha Rahman, Leon Raznatovski, Sanah Rohullah, Oliwia Siemion, Nayana Wright, Dominic Youpa-Ryan.

With thanks to Susanne Isa, Simon Herron, Iris Argyropoulou and Elliot Nash and Hyder Moshin.

With cities, it is as with dreams: everything imaginable can be dreamed, but even the most unexpected dream is a rebus that conceals a desire or, its reverse, a fear.

Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.

— Invisible Cities, Italo Calvino The Escape House brief prompted Y1 Unit 3 to progress an architectural proposal based on the work and life of a selected personality; contemporary and historical artists, filmakers, and other public figures including Anthony Gormley, Werner Herzog and Bridget Riley.

In focusing on their life and work using collage, exploratory drawing and analysis we discovered their motivitations, achievements and individual requirements for a 'house' in the widest sense: a space within the city that would provide for their private, working and public lives.

We commenced with a visit to our site — Panther House, Gray's Inn Road, a live, complex urban infill project in the early stages of reinvention. Within the site we selected four sub-sites for further exploration.

Each proposal provides the opportunity for the 'escapee' to live and work within the environment of the site, whilst also providing spaces for reflection, creativity and performance.

→ Luca Clark Narbone The Acoustic Tide

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Y1 Unit 4 House of Transactions MARTIN SAGAR + XUHONG ZHENG Students Mariyam Al-Sallah, Curtis Campbell, Camille Dru, Anabel Gjoka, Hector Hewson, Adelina Lenghel, Iratze Lopez Temino, Dora Michaelides, Erik Nunez Sanchez, Alicja Pikula, Shamil A. Shamil, Adam Strauch, Mihle Tekile, Sofia Villace Carballo.

With thanks to Susanne Isa, Martin Aberson, Eric Wong, Kenzaf Chung and Rayan Elnayal for their input as guest critics.

A transaction is 'an occasion when someone buys or sells something'. A social transaction is 'an interaction between two actors (a back-and-forth interaction) that results in a change of state or relationship between these actors'.

Over the past two years, the house has become a less easily defined object and a less easily defined place. Very few white-collar workers have escaped the comfort/agony of working from home and found that the decision to convert their house into an open plan parody of a warehouse apartment was not without its drawbacks. The house has become an office and a home, and thanks to the Gods of Google, Amazon, Ocado, Uber and Deliveroo, it also acts as prime retail and restaurant, lecture theatre, concert hall, meeting room and cinema.

The house itself has through all of this stubbornly remained the same.

So what might the house look like now? We have called our project the House of Transactions because the house now contains all the social and commercial transactions that used to be spread across cities and streets. At the same time, the nature of public spaces both indoor and outdoor have changed.

This year, we have explored ideas of transaction, interaction and co-operation, and investigated the role that architecture can play in facilitating and encouraging people to come together.

→ Sofia Villace Carballo Deptford Art Exchange

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1 Shamil A. Shamil The Lords and Peers Building 2 Hector Hewson The Bric-à-Brac House 3 Adelina Lenghel Roast Coffee Garden 4 Mariyam Al-Sallah Light Café and House 5 Iratze Lopez Temino The Golden Spice 6 Camille Dru Repaired String Music House

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Y1 Unit 5 Dusk to Dawn: A Playful, Nocturnal Architecture NAOMI GIBSON + ALEX MIZUI Students Charles Boobar, David Ghale, Ammarah Ismath, Saya Itemgenova, Mihaela Iuriciuc, Koren Kwok, Idris Mooradun, Afruza Nazmin, Stephen Oaks, Kevin Perez Perez, Adriana Porteros Rubio, Oliwia Potrzeba, Amani Rahman.

With thanks to Susanne Isa, Anja Kempa, Riccardo Bela, Martin Aberson and Eric Wong.

This year, following our investigation of Bernard Tschumi's Parc de la Villette in the first term, we wanted to continue thinking about architecture as a space of play and recreation. To do so, we worked with the leisure and pleasure of the city at night.

Through this project, Y1 Unit 5 considered the cultural and societal differences in the perception of the night and night life. The night city can be a space and time for opulence, gluttony, friends and lovers; for sleep and rest; for hobbies and taking care of body and mind. It can be a temptation, a space to be yourself, a means for letting go; it can also be perceived as a place of fear, danger, sin and threat.

In the parts of the city fast asleep, we enter the world of dreams.

At night, how we see the world changes, not least through the creeping of the night sky and artificial illumination of the spaces around us. But what of our other senses? What of the sounds of the night, the tastes, smells and tactile qualities? Do these senses become heightened as our eyes in the dark betray us? As with last year, students were asked to design with the position and sensations of the body in mind.

All projects were situated in one of three sites in and around London Bridge. Students designed buildings for the passage of time from dusk to dawn, that looks, and feels its best and comes fully to life as the sun sets and dark descends. They drew from a range of immersive, experiential building programmes which were a cultural fit for this nocturnal condition, including arcades, nightclubs and nightlife, tattoo parlours, breweries, restaurants and festivals of carnivalesque reverie. → Adriana Porteros Rubio Paintball Playground

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1 + 3 Charles Boobar Take Me Back to Saturnalia 2 Amani Rahman Retro Game Arcade 4 Stephen Oaks Vinegar Yard Brewery 5 Mihaela Alexandra Luriciuc The Degrading Vessel 1

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Y1 Unit 6 The Hidden World of 'Renaissance': Rediscovery, Reconfiguration, Recreation KENZAF CHUNG + RAYAN ELNAYAL Students Yasmin Akkus, Irfan Ali, Nadim Ali-Kozai, Saif Bashir, Radhiyyah Begum, Joel Davies-Brenchley, Akhter Hoque, Leona Krizanac, Oliwia Nowakowska, Katrina Saposnikova, Tania Suman, Iman Waheed, Siman Zaman.

With thanks to Susanne Isa, Xuhong Zheng, Jen Wan, Martin Sagar, Ka Man Leung and Sean Allen for their input as guest critics.

The first object, then in the Fine Arts is to represent man, and through his material form to represent man’s feelings, passions, thoughts…In these sublime arts the dexterity of the hand is of little avail unless it is animated and guided by the most correct taste and observation.

— Robert Knox, A Manual of Artistic Anatomy for the Use of Sculptors, Painters and Amateurs (1852)

physical, intellectual and social participation between visitors and the collection.

Following the students research into Bernard Tschumi's Parc de la Villette in Project 1, Y1 Unit 6 adopted Tschumi's practice of reconfiguration, recreation, and rediscovery.

This year Y1 Unit 6 voyaged into the hidden world of ‘Renaissance’. The students became Anatomists/Alchemists that exposed the beauty of nature by creating an intellectual discipline through observation, drawing and making, to recreate and rediscover speculative interventions for their projects. These became spatial experiences that turned hidden worlds inside out.

The unit's site location was Camden — one of the most diverse communities of creatives and traders for the music, fashion, food, antiques and art scenes.The unit explored Camden market, the regents canal and its surrounding areas where they were encouraged to tap into the rich social and cultural fabric of Camden Town.

[The Reading Room] celebrates the tradition of exhibition, visiting of looking, talking and sharing and that of the library, of reading, touching, thinking, writing, and creating.

— Henry Wellcome

Renaissance — noun — the revival of European art and literature under the influence of classical models in the 14th–16th centuries.

— the culture and style of art and architecture developed during the Renaissance.

— a revival of or renewed interest in something.

Y1 Unit 6 visited the Reading Room at the wellcome collection, a hybrid of public spaces that encourages → Katrina Saposnikova Lee Bul’s Theatre

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1 + 2 Katrina Saposnikova Lee Bul’s Theatre 3 + 4 Saif Bashir Hakim Abu’l-Fath Gilani’s Shisha Lounge

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Y1 Unit 7 Short Stories of Play and Recreation from the English Botanical Garden SEAN ALLEN + KA MAN LEUNG Students Wahida Akther, Ebrar Arslan, Hiten Chauhan, Starlet Fernandes, Alejandro Villalpando, Julekha Jahan, Demi Lai, Emmanouil Louvaris, Tarique Madigan, Rithym Mondal, Kimberly Flores, Mo Rifai, Lizbeth Rodriguez, Eliza Rozentale.

With thanks to Pascal Bronner and Oliver Ansell who so generously gave up their time, knowledge and expertise and to Kenzaf Chung, Rayan Elnayal, Susanne Isa, Joanne Chen, Gareth Marriott and Demi Oyeyinka for their input as guest critics.

This year Y1 Unit 7 explored the power of storytelling.

By extrapolating narrative into programmatic, tectonic and environmental agendas, the students became drawing board storytellers. Their portfolios address issues of play, recreation, narrative, fiction, sustainability and technology, and focused on resolving their ideas to an architectural conclusion.

Through the medium of drawing, collage and model making they have become the author of their own architectural story.

As a unit, we travelled west to the ‘Royal Botanic Gardens’ in Kew, a magical garden steeped in history and riddled with narrative. Behind a high brick fortification, a museum of trees awaited us — ready to share their decadent stories of kings and queens from an age gone by, earth shaking scientific discoveries and the wondrous collections of orchard hunters. Their senses tingled as they were transported through artificial environments and climates, sampled fine beverages from the local gin distillery, and studied the flora and fauna of the exquisitely manicured pleasure gardens.

Elected by the Royal Horticultural Society, the ‘Master Gardener at Kew’ commands an army of 1,100 staff who work tirelessly day and night to maintain the 330 acres of exotic gardens and the world’s largest and most diverse botanical and mycological collection. The Herbarium alone [one

of the largest in the world] holds a collection of 8.5 million preserved plant and fungal specimens supported by a cathedral of knowledge; a bustling library bursting at the seams with 75,000 volumes, the illustration collection alone exceeding 175,000 prints and drawings of plants along with a living collection of some 27,000 taxa. Protected as a UNESCO World heritage site, the Royal Botanic Gardens jealously guards its internationally significant botanic research and portfolio of Grade I and II listed buildings with ‘The Kew Constabulary’.

Established in 1847 as a specialist wing of the metropolitan police, the Royal Botanic Gardens employs the services of its own private law enforcement agency to keep in check the droves of tourists that flock to relax, engage and reconnect with nature each year as it remains one of London’s most popular tourist attractions. Enforcing a list of 11 rules that include ‘no running in the park’ and ‘strictly no ball games’, the Kew Constabulary are said to also keep in check the supernatural gaggle of ghosts that are said to regularly roam the grounds, haunting both visitors and staff alike.

The Thames is where our voyage extraordinaire began, tracking the journey of the famous 19th century tea clipper up the river from estuary to tidal beach. We walked the walls of the Botanical Gardens before washing up on the muddy banks of the beach that would be the setting for the next stage of our adventure. With map and sketchbook in hand we explored the winding pathways of the English walled garden, investigated the undergrowth and monitored the river tide. We then retired to the warmth of a fire in a traditional English pub, where we shared our adventures and plotted a route for our next excursion west.

→ Gustavo Alejandro Herrera Villalpando The House of Rayon

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1 + 2 Starlet Fernandes Kew Gin Distillery 3 Mohammad Rifai Ant Conservatory and Research Centre 4 Emmanouil Louvaris The Kew Botanical Spa 5 Gustavo Alejandro Herrera Villalpando The House of Rayon

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Y1 Unit 8 Immediate Consumerism RICCARDO BELÀ + ANJA KEMPA Students Lamesa Ahmed, Poppi Carey, Selena Garcia Gomez, Anna Guzewicz, Sintia Hossain, Aisha Hussain, Emma Libohova, Mahmoud Maghraby, Elena Nikola, Christopher Odhiambo-Swango, Oskar Pinkosz, Yara Silvestre Adao, Kevin Tang.

With thanks to Susanne Isa, Naomi Gibson, Alex Mizui, Elliot Nash, Iris Argyropoulou, Eva Vatzeva and Ian Pollard for their input as critics.

Technology has in recent years paved the way for our consumer culture to be one of immediate gratification. Global giants such as Amazon and Spotify feed this compulsion with same and next day delivery of just about anything you can think of, available the moment you think of it, at the click of a button. The recent pandemic fuelled the growth of these companies, with the pressure to indulge this consumerism from of our own homes. This has led to the death of the high street, an already declining model on the verge of extinction.

In the wake of Covid-19 many people find themselves reassessing their work-life balance and spending more time at home, working or otherwise.

Can the local high street seize this opportunity to cater to immediate consumerism on a local scale, in a way that the global industries cannot? If the high street is intended as a place to indulge, it also can be seen as a space for recreational activities, for socialising, for the community.

The intent of the brief was to stimulate a conversation around this matter, and for the students to design one or a series of proposals to join two local high streets: Broadway Market and Columbia Road Market. Their proposals were to reinforce the identity of the two neighbourhoods, Tower Hamlets and Hackney, as well as to create a vibrant, communitarian and lively environment where local people could enjoy their daily errands and, over the weekends, their recreational activities. The two centres are seen to become one great local high street, one long promenade for social and practical use.

→ Sintia Hossain Honey Exchange

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1 Elena Nikola Dog Walking Daycare 2 + 5 Kevin Tang Amazon Auction House 3 Selena Garcia Gomez Candy Making 4 Mahmoud Maghraby Canal (Club)House 2

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Unit 1 Vestige

PASCAL BRONNER + THOMAS HILLIER Year 3 Nadia Alim, Juno Baumgarten, Wiktoria Anna Cebulak de Matos, Ana-Maria Cirlan, Stephanie Durand, Berfin Gul, Tida Jabi.

Year 2 Umar Ahmad, Sarah Bennett, Anastasia Bucur, Marwa Fouad, Mateusz Kaminski, Emma McDonald, Aksa Mudassir, Zuzanna Szczerbak, Hanna Kloss.

With thanks to Jonathan Walker and Jake Moulson for their technical support, along with our guest critics who generously gave up their time, knowledge and expertise across the year.

Vestige (VES-tij) — noun — definition 1. A mark, trace, or visible remnant of something that is disappearing or no longer exists.

2. A part of an organism which has become reduced or functionless in the course of evolution.

In 2015, whilst tending to his flock, a Spanish shepherd came across a mysterious object that appeared to have fallen to earth from outer space.

No one knew, including the authorities and experts dressed in bright yellow safety suits, what this mysterious object was, but it wasn’t the first time such an item had fallen to earth…

We began the year by asking our students to find a trace of something, something strange and something wonderful — a remnant that triggered their imagination, that made them dream, wonder and ask, like the shepherd: ‘What is this curious looking thing, what was it before and how did it get to this peculiar state?’

Their vestige could be almost anything — a trace of a building, a landscape, an object, a ruin, a story or even a rumour about objects from outer space. Anything with a distant and curious past and a questionable future. Something that could be extrapolated from and built upon. Something that would become the nucleus of their architecture, the heart at the centre of their thoughts that pulled their ideas together like a magnet in a drawer of pins.

Second years searched for their remnant in London, a well known hotbed for vestiges of the

most magnificent kind, whilst third years had the entire (United) Kingdom to trawl through. Sites were unearthed alongside the remnant itself. Sometimes the remnant became the site, and other times their vestiges guided them back to its rightful home.

Once found, their objects of great promise and enchantment manifested themselves as a fragment or ‘limb’ of a future architecture. This could’ve been almost anything, a bespoke piece of furniture, a rain gutter, a hole-in-the-wall, a door-handle, or even a ghost in the attic — the fate of the design-gods decided! Once it had taken shape as the first slice of their future endeavors, it then grew, evolved and eventually became a fully-fledged, grown up and feathered building packed full of wonder, delight and eccentricity!

There could be a vestige of extra dimensions hidden in your kitchen cabinet.

— Lisa Randall

→ Ana-Maria Cirlan The Metatronic Garden

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1 Zuzanna Szczerbak The Angel of Silverdale 2 Aksa Mudassir The Alton Towers Recovery Gardens 3 Marwa Fouad The Outdoor Theatre of Lesnes Abbey 4 Sarah Bennett The Pilgrimage of St Herbert’s Island

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5 Berfin Gul The Limehouse Nuerophysilogical Clinic 6 Mateusz Kaminski The Avebury Jar 7 Nadia Alim Lost Shadows of Hackney Hick

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↑ Emma McDonald The Craftsman’ Booth of Euston

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↑ Anastasia Bucur Superstition Isle

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↑ Juno Baumgarten The Scriptuary of Rockall

→ Wiktoria Anna Cebulak de Matos The Light Cliffs of Kerry

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Unit 2 An Honest Mistake: Can we Rectify Building Design Mistakes of the Past?

SHAUN MURRAY + DANIEL WILKINSON Year 3 Mimi Franklin, Namrata Harshad, Gabriel Machado, Pritam Sarker.

Year 2 Amina Hamidi, Nazar Bohoslovets, Sophie Holt, Ayman Kara-Bernou, Namida (Mook) Narathasajan, Beryl Needham, Aisosa (Jess) Osazuwa, Melanie Thorpe, Derek Rhisa Valotto de Lima.

With thanks to Jonathan Walker and Jake Moulson, for everything.

This year, Unit 2 considered building as an opportunity to explore new ideas for city-making.

Our aim was to identify and investigate examples of historical building mistakes, with these becoming the starting point for our students’ projects. The resulting proposals ranged from an intricate rethinking of a library, and its relevance for the 21st century, and towards flooding and the home.

Students were free to choose their own sites in central London, with their initial research dealing with issues of gentrification, unseen histories and an engagement with public spaces and places. We considered how adaptive, flexible and responsive buildings might be better prepared for a more participatory future.

Students were asked to love what they do while developing a personal practice, with the personal and contemporary forms of their thinking then being used to establish a common ground for the unit. The technology of their buildings was fully integrated into the resolution of their designs, with a strong feedback loop being established between the art of representation and the art of assembling.

→ Gabriel Machado The Vault Desk, from The In-between: An Unconventional Library

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1 Gabriel Machdao The Vault Desk, from a The In-between: An Unconventional Library 2 Namida (Mook) Narathasajan The Soho Hinge 3 Mimi Franklin Paddington Pneumatic Blood Bank 4 Melanie Thorpe Final Destination 5 + 6 Sophie Holt Kabuki Workshop

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↓ Gabriel Machdao The Vault Desk, from The In-between: An Unconventional Library

BA (HONS) ARCHITECTURE YEARS 2 + 3

Unit 3 Out of Office ALEX BILTON + GEORGE KING Year 3 Mehmet Can Bingol, Halil Duzgun, Valeria Hapun, Mihai-Bogdan Ille, Devis Tako, Jennifer Weber.

Year 2 Ahash Ampikaibalan, Victoria-Emanuela (Ema) Gheorghe, Zeinab Lamah, Megan Katelyn Lloyd, Katarina Miljusevic, Izuchukwu (Izu) Odoemene, Ioana Olariu, Yan Naung (Alex) Saw. With thanks to Jonathan Walker, Jake Moulson and Vidhya Pushanathan for technical support. We would also like to thank guest critics: Yeena Yoon, Mike Aling and Susanne Isa.

After a trip to the countryside last year, this year Unit 3 returned to London to find a new world where our relationship to the city has been transformed. In a still uncertain future, we are rebuilding our routines and exploring new ways to live, work, collaborate and create. Despite being asked to return to work and the London Mayor telling us to “to make the most of what our city has to offer”, many Londoners want to work from home or a hybrid solution to split their hours. The increased flexibility of hybrid working patterns provides a challenge to traditional workspaces, to maintaining relationships and collaborations and allowing casual interactions and happy accidents which are crucial, especially within the creative industries. Traditional office spaces are still well below normal occupancy and the lack of commuters combined with a shift to online shopping has decimated many high streets. To survive, our cities must adapt, and we must see these challenges as an opportunity to re-imagine the status quo, challenge conventions, and re-imagine the way we work.

This year we investigated the impact that hybrid modes of working have on society, and designed new, more flexible ways of working, living, and interacting that allow hybrid co-working solutions for creating, collaborating, and engaging with our city. We focussed on designing spaces for creative professions that rely heavily on human engagement and the cross-pollination of ideas. We investigated productivity, sustainability, and infrastructure.

Research: We began our research into

existing creative co-working hubs with a trip to ‘Makerversity’, a co-working hub located in Somerset House, an iconic 300 year old cultural centre with a large and vibrant creative community on the banks of the river Thames. Makerversity’s mission is to provide affordable workspaces for professional ‘makers’ with an emphasis on innovation and sustainability. Students met with cutting edge designers, engineers, entrepreneurs, inventors, craftsmen and artists as inspiration to develop their own individual brief and area of focus.

Site: This year our site was located along the Low Line, a walking route that spans along the length of the Victorian rail viaducts between Bankside, London Bridge and Bermondsey. It connects the diverse neighbourhoods and communities in south London, linking existing hubs of creativity, entertainment and industry along its course.

Project 1: We began with a six week project to create an installation or intervention within one of the existing viaduct arches. The installation functioned as a device to engage the public with the chosen craft or creative industry from Makerversity or the students site research aimed to encourage footfall and use of the low line.

Project 2: The second project developed each student’s research and installation into a new hybrid co-working space for the creative industries, to act as a catalyst for enhancing the existing community of creative workers within the arches.

→ Devis Tako Flat Iron Theatre

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4 1 Zeinab Lamah The Lowline Potholing Centre 2 Devis Tako Flat Iron Theatre 3 Valeria Hapun The London Algae Biohub 4 Jennifer Weber Meteorological Data Visualisation and Research Centre

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5 Katarina Miljusevic The Chocolate Foundation 6 Mehmet Bingol A Glance Behind the Curtain 7 Valeria Hapun The London Algae Biohub

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1 Ioana Olariu Train Drivers' Lookout 2 Devis Tako Flat Iron Theatre 3 Megan Lloyd The Lowline Botanical Theatre 4 Katarina Miljusevic The Chocolate Foundation

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1 Jennifer Weber Meteorological Data Visualisation and Research Centre 2 Valeria Hapun The London Algae Biohub 3 Halil Duzgun Rethinking the Future (Regenerative Methodical Workspaces)

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Unit 4 F.E.N.S Lodge/ Agora ANDREW LAVELLE + JONATHAN WALKER Year 3 Hanna Gharres, Fahim Hossain, Shirin Naveed, Miriam Nedelcu, Rebecca Proctor, Nashwa Stitou.

Year 2 Mohammad Baig, Eca Bostan, Jasmine Legge, Qasim Malik, Martina Manoevska, Philipp Osmakov, Oliver Sawicki, Midhuna Venukumar.

With thanks to Critics and friends: Adam Bell, Andrew Ingham, Conor Maguire (practice Tutor, Piercy & Co.), Simon Herron, Susanne Isa.

It does not really matter where I begin, as the process itself gradually reveals and concretises the subject and its potential. The resistance of the beginning arises from the uncertainty of placing myself in relation to the task and having it internalised. The working process is similar to walking into a forest. Advancing through the spaces, terrain and vegetation gradually reveal their internal structures, meanings and possibilities.

The choice of the exact path is not important, as I keep moving back and forth, returning and going around, and eventually covering the entire terrain.

— Juhani Pallasmaa Unit 4 embarked on a journey into the spatial and territorial context of the Fens. A topography in balance with its natural and manufactured landscape. The Fenlands are a fertile landscape for the architectural imagination, its mercurial nature and unstable ground is unique in the British Isles but its story today is shared by a wider condition of climate change across the world.

Architecture can be considered a physical manifestation of societal values, ‘the epoch’ in which it’s made, or the spirit of the age. It was proposed that buildings today should be designed to last and change with a primary emphasis to serve for as long as possible. Our climate emergency is forcing us to think in a less ‘habitual’ way and students were asked to consider these questions at both a micro and macro scale.

Complex systems motivate and drive the

requirements for architecture. Our cities, towns and countryside are a synthesis of geographic and sociographic considerations. The Fens is a compelling example of this and architects have long been motivated by such concerns. To a journalist who asked him what features should a city have, Alvar Aalto said, “You should not go from home to work without having to cross a forest”. According to Aalto, architecture should replace neither the forest nor the farm, but rather act as a complement for both.

We began at the centre of the Fens, in parley with the Rothschild Bungalow, and then moved to the coastal town of Kings Lynn, the regions societal heart. A thriving port in the middle ages, it was for centuries part of a medieval European Union known as the Hanseatic League. Today it is a quiet coastal town with memories of other cultures and other places. Literature, film, history, and technology guided and framed the way students looked at the process of designing in this context. Students used drawings from 1:500 to 1:5, study models, and their eyes, hands and legs to explore.

Students were encouraged to discuss and think about how they can make architecture, and architectural ideas as an action rather than a reaction. Students found their own range in the belief that architecture can be both diverse and intelligent, and they can be freely creative while socially responsible.

→ Rebecca Proctor Peat Monitor

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1 Oliver Sawicki Fen Hide 2 + 4 Midhuna Venukumar Cartographer's Lodge 3 Jasmine Legge Lynn Spa

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5 Oliver Sawicki Fen Hide 6 Rebecca Proctor Peat Monitor 7 Jasmine Legge Lynn Spa 8 Philipp Osmakov Endless Opera House 5

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1 Oliver Sawicki Fen Hide 2 Mohammad Baig Horry's Diner 3 Hanna Gharres Ouse Jetty Museum 4 Miriam Nedelcu Kings Lynn Cookery School 5 Nashwa Stitou Astronomer's Lodge 6 Philipp Osmakov Endless Opera House

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↑ Shirin Naveed Agora → Eca Bostan Writer's Lodge

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Unit 5 Deception MARK DAVIES + MARK HATTER

Year 3 Bogna Bucko, Marius Dinu, Benafsha Gafari, Chiara Macdonald, Arin Mustafa, Karolina Szymanik.

Year 2 Falhad Abanur, Limor Joel, Sunmo Kwon, Endrit Maloku, Arlinda Prebiba, Ana Quiroga Villarroel, Karolina Saulyte, Livia Verejan, Fabiano (Fabi) Waters.

With thanks to Vidhya Pushanathan and Jake Moulson for their technical tutorage, to Fardokht SharifiYazdi, Mike Aling and Susanne Isa for acting as guest critics and to all other critics who offered their wit and wisdom.

This year, Unit 5 sank into the murky realms of truth and untruth. We explored the space between what a thing is, and what it appears to be.

To fabricate means to make, but also to make up.

We do not see ‘deceit’ - the practice of concealing or misrepresenting the truth, as an inherently negative act. Instead, it is a tool to be used in the design process, a strategy for communicating an idea, and an inherent quality that an object may possess. A deceit may be a delight, a surprise, a mechanism for allowing the impossible to happen.

As architects we create, we invent. We sell a story, the promise of a project yet unbuilt, to convince a client to part with millions on the strength of a few marks on a sheet of paper and a faked photograph of a finished product.

There are those who purport a pursue a truth through architecture. Honesty of materials, the primacy of the plan, the dogma of daylight. We do not begrudge them this path, but do not endorse it. The lies of modernism are white lies, but they are lies, nonetheless.

We are interested in the narratives and stories that arise around spaces. Of the mythologising of the ‘lost’. Of fame through erasure. Only the good die young; Hendrix and Cobain; the Barcelona Pavilion and The Crystal Palace. We are intrigued by architectural frauds and fictions, by Portmerion and Poundbury, by the Houses of Tomorrow that dream entire new worlds in which to be built.

We are empiricists rather than theorists, holding the value of architecture in the experiential quality of spaces as opposed to the ideas they embody. As such we encourage direct and physical methods of working: modelling, experimentation, and the documentation of visual experience. We will look to parallel disciplines for inspiration, to the work of artists, scientists and psychologists as other tricksters.

Projects were sited in Romney Marsh, home to generations of redundant experimental military technology. Here the Royal Military canal was built as a barrier to keep out the French and a linking chain of crumbling Martello towers still stand guard along the coastline. Modern firing ranges and artificial villages provide training environments for the army among the seaside arcade-ridden towns. Concrete sound mirrors are scattered about the gravel beds; an early precursor of radar, they listened to the sky in the hope of detecting the sound of approaching enemy aircraft but always heard too late. Presiding over the whole landscape, the Roman fort, occupying the old coastline, its fragmented walls now like broken teeth, slowly sliding down the hill towards the once submerged marshes. At its centre, the village of Dymchurch-under-the-Wall is home to Russell Thorndike’s 18th Century invention, Doctor Syn; by day the devout Vicar of Dymchurch and by night, The Scarecrow, the evanescent leader of a band of smugglers.

→ Benafsha Gafari Hythe Oyster Farm

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1 Falhad Abanur Centre for Cryptozoologists 2 Limor Joel Samphre Hoe Spa 3 Bogna Bucko The Martello Music Hall 4 Karolina Saulyte Dungeness Angling Centre 1

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5 Sunmo Kwon Chapel for Lost Seafarers 6 Livia Verejan Costal Kindergarten 7 Karolina Szymanik The Garden of Plenty 8 Arlinda Prebiba Artists Studio and Gallery 5

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1 Arin Mustafa Romney Marsh Racetrack 2 Karolina Saulyte Dungeness Angling Centre 3 Bogna Bucko The Martello Music Hall 4 Limor Joel Samphre Hoe Spa 5 Fabi Waters Fairview 6 Endrit Maloku Dungeness Gentemen's Club

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1 Marius Dinu Confectionary Cathedral 2 Bogna Bucko The Martello Music Hall 3 Livia Verejan Costal Kindergarten 4 Chiara Macdonald Dea Cliff Theatre

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BA (HONS) ARCHITECTURE YEARS 2 + 3

Unit 6 Great Outdoors MATT CHAN + EMILY YEUNG Year 3 Leila Berama, George Capstick, Thomas Chi-Leong Cheng, Claudia Gaspar, Lok Chi (Lucas) Lai. Year 2 Lamar Hamilton, Ana Maria Ilie, Sara Jaku, Zainab Mahmood, Malisa Mirdha, Ryan Rose, Michael Sahely, Ayesha Salam, Vietanh Thanh Trieu, Syeda Zahra.

With thanks to Benni Allen, Jake Moulson and Jonathan Walker for their technical input and support, and to Yeena Yoon, Pravin Ghosh and Susanne Isa as guest critics.

We often associate the outdoors with a romantic picture of flora and fauna, serene scenes, and an untamed wilderness. More so than ever since the pandemic, the outdoors is associated with an image of freedom, discovery, exploration, health, and well-being. But what exactly is this great outdoors? Is it as simple as the experiential transition in volume to open air or an unpredictable and fragile living organism we live with? Could nature be an archive preserved in recognisable urban nests of national parks and manicured gardens, and landscapes in and amongst the urban concrete blocks? Unit 6 sought to explore how architecture can respond to the boundary between the urban and access to the outdoors.

Our methodology promotes active testing and physical making on site, accompanied by precise architectural drawings that convey sensitivity and underlying narratives. We encourage test models, fragments, and installations in the design process to fully understand your designs’ physical, tactile, and spatial impact. The unit were asked to invent devices and testbeds that capture nature’s haptic qualities, and to map and record these ephemeral moments. We advocated using an atypical palette of materials in creative ways to capture specific personal sentiment and spatial qualities for the early investigations. Ellie Davies’ shelters from found objects, Shin Egashira’s Koshirakura landscape workshop, Kengo Kuma’s nail-less constructions, and Asif Khan’s cloud machine exemplify the aspired scale and complexity.

Urban and alpine areas are socio-economically

connected, whether through the exchange of goods and tourism, or other various cycles that inevitably form tangible and invisible boundaries.

Should access to nature be defined by strict boundaries of preservation, whereby everything is sealed and admired? Or do we consider cohabitation, or perhaps even harvesting nature and mimicking naturally occurring phenomena?

With urban populations more inclined to travel out of town and increase (over-)tourism to nature reserves, the unit investigated how architecture can bridge access to the great outdoors, inevitably questioning diversity, construction, and ownership through the built environment.

→ Lucas Lai Collecting Seasons

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1 Leila Berama Bonsai Centre 2 Thomas Cheng Constructed Trace 3 Claudia Gasper Algae Research Centre 4 Ayesha Salam Foldable Cocoon 5 Vietanh Trieu Artificial Journey 6 Ana Ilie Spatialising the Hollow

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1 Lucas Lai Seasonal Seafood Market 2 Claudia Gasper Algae Research Centre 3 Michael Sahely Urban Mudlarking

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1 Claudia Gasper Handmade Water 2 Lucas Lai Seasonal Seafood Market 3 Ana Ilie Spatialising the Hollow

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BA (HONS) ARCHITECTURE YEARS 2 + 3

Unit 7 Making/Unmaking/Remaking YORGOS LOIZOS + NED SCOTT Year 3 Mohamad Alhfar Alhbal, Emily Jade Dowding, Kayhan Kaya, Antonina Kharitonova, Divora Mereb Mahari, Shivaree Sookhoo, Magda Szeparowicz.

Year 2 Anna Budjakova, Sefora Cirdei, Jaewoo Kang, Todor Kosev, Alisa Krasniqi, Wiktor Kulinski, Leunora Muslika, Paulina Palacios Zuniga, Muhammed (Omer) Sultan.

With thanks to Our practice tutor Conor Maguire (Piercy & Co.), Jake Moulson and Jonathan Walker for their technical support, and our critics Mark Hatter, Andrew Lavelle, Alexander Wilford, Eric Wong and Emily Yeung.

Lots of the published architecture that we see online or in books and magazines present finished buildings through carefully staged photographs, alongside rough ‘back of a napkin’ sketches of the concept design. This common juxtaposition suggests a misleadingly effortless design process from conception to realisation which is a fallacy that the designers themselves are keen to maintain. All of the time and effort spent prototyping, testing, evaluating and redesigning is often hidden away by the time a building is complete. However, the amount of hard graft during the design process is often the critical factor in determining whether a building is ultimately successful. A thorough design process is iterative, non-linear and can involve lots of false starts and dead ends along the way to a well-considered and resolved end result. This year Unit 7 celebrated the false starts and dead ends to establish a critical and evolutionary design process based on the following perpetually repeating steps: Step 1: Making — An explosion of unbridled creativity.

— Working quickly and intuitively to test ideas.

— Not being precious or neat as long as the work communicates the ideas successfully.

— Not worrying about making mistakes.

— Unpicking, amalgamating, fragmenting, editing.

— Assessing the strengths and weaknesses of the design options against predetermined criteria.

Step 3: Remaking — Embarking on a new generation of design options that have learned from the previous set.

— Using more refined methods of model making and drawing.

— Working with a greater level of technical detail and sense of materiality.

As well as taking an evolutionary approach to the design process, students were also asked to design buildings that evolved over a specific time period in response to the particular qualities of their site context.

To celebrate the return to in-person teaching, Unit 7 began the year with an intensive model making workshop in which students were asked to make seven prototype models in seven days in the studio. These models, informed by their analysis of an unusual physical object that they had found in a London museum, closely followed a prescribed list of model making tasks. The interesting aspects that emerged from this exercise then informed the contents, character and materiality of one of the key internal spaces or objects contained within the final buildings. Having developed a prototype for an intimate internal space or object, the students transferred their attention to The Isle of Dogs, which was the site for this year’s building project. The students explored the site in consideration of their established design drivers and found a suitable home for their prototype. They gradually expanded their prototype in relation to the site surroundings and used iterative and evolutionary design methods to slowly develop a complex building project that retained the delicate qualities of their initial object investigations.

Step 2: Unmaking — Taking a step back to evaluate what you’vedone. → Magda Szeparowicz Millwall Self-Build Metropolis

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1 Sefora Cirdei Millwall Sanatorium 2 Kayhan Kaya Fabric Formed Model Village, Isle of Dogs 3 Antonina Kharitonova Metal Hand Attachment, Fashion Studio, Isle of Dogs 4 Leunora Muslika Clay Workshop, Isle of Dogs

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5 Shivaree Sookhoo Millwall Metal Workshop 6 Magda Szeparowicz Coffee Making Booth 7 Wiktor Kulinski The Bates Kotel, Millwall 8 Anna Budjakova Prototype for an Optometrist 5

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1 Wiktor Kulinski The Bates Kotel, Millwall 2 Mohamad Alhfar Alhbal Fabric Recycling Centre, Millwall 3 Divora Mereb Mahari Cosmic Montesorri School, Millwall Park 4 Jaewoo Kang Guildhall, Millwall 5 Leunora Muslika Clay Workshop, Isle of Dogs 6 Magda Szeparowicz Millwall Self-Build Metropolis

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↓ Magda Szeparowicz Millwall Self-Build Metropolis

→ Jaewoo Kang Guildhall, Millwall

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BA (HONS) ARCHITECTURE YEARS 2 + 3

Unit 8 Le Citta Invisibili JEN WAN + ERIC WONG Year 3 Silan Esen, Alessandro Islam, Gargee Naik, Christina Maria (Christel) Pretorius, Jagraj Rai, Cansu Onal.

Year 2 Collin Churchill, Mille Klovning, Joshua Peat, Gus Richards, Iasmin Troni Cabral, Melania Wilkin-Miralles, Darcie Willis.

With thanks to Benni Allen, Jake Moulson and Jonathan Walker for their technical input and support, and to Alex Bilton, Mark Davies, Simon Herron, Susanne Isa, CJ Lim, Yorgos Loizos, Rahesh Ram, Dan Wilkinson and Emily Yeung as guest critics.

2022 marks the 50th anniversary of Italo Calvino’s seminal novel Invisible Cities. To celebrate this, Unit 8 saught inspiration from the writings of Calvino.

Calvino describes thin cities, cities and the sky, continous cities and hidden cities among many more.

Yet he also questions cities of desire, death and memory. The book consists of a series of fictitous urban descriptions of 55 cities recounted by explorer Marco Polo to Emperor Kublai Kahn — all of which, unknowingly to Kahn, were descriptions of Polo’s hometown of Venice. Calvino in fact never travelled anywhere, and spent his life dreaming at home. He is arguably remembered as the travel writer of his time, demonstrating the power of his imagination and speculation. What if Invisible Cities was not a written description of Polo’s hometown, but an architectural recount of…?

This year, each student borrowed, learned from and re-imagined one of Calvino’s Invisible Cities as a springboard to develop unique architectural explorations and storytelling. They explored, mapped and extrapolated the wonders found in Calvino’s descriptions and re-imagined and proposed their very own ‘citta invisibile’ whether this was through the scale of a building or an urban masterplan. Through rigorous research and spatial speculations, each student developed their own brief, narrative and world, in order to deliver a cohesive architectural vision.

A) The ‘Post card’: Each student spatially extrapolated one of Calvino’s stories in to an explorative model/drawing/fragment/device —

an invitational postcard into the next project.

B) A ‘Citta Invisibile’: Each student established a unique brief and critical thinking from the initial project to develop a building proposal.

The work of the unit aims to embody wonder, intrigue and delight, whilst being equally as brave, speculative and ambitious as the stories used to inspire each individual’s proposals.

→ Gus Richards King Arthur's Invisible City

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1 Alessandro Islam Mausoleum of Forgotten Brands 2 Christel Pretorius Lunar Theatre 3 Cansu Onal Water Santuary 4 Jagraj Rai Catch a Falling Star

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1 Mille Klovning Plastic Palace 2 Gargee Naik Matrimony Chapel 3 Collin Churchill Trading City

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↑ Silan Esen From Fruits to Fabrics

→ Joshua Peat Creating a Kinder Politics in Miniature

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TECHNOLOGY RAHESH RAM (PROGRAMME LEADER FOR BA + MARCH TECHNOLOGY) + JAKE MOULSEN (YEAR 3 TECHNOLOGY CO-ORDINATOR) + JONATHAN WALKER (YEAR 2 TECHNOLOGY CO-ORDINATOR) + TONY CLELFORD (YEAR 2 TECHNOLOGY CO-ORDINATOR) + SHAUN MURRAY (YEAR 1 TECHNOLOGY CO-ORDINATOR) With thanks to Benni Allan (EBBA Architects), Mel Allwood (Arup), Tessa Baird (OEB architects), Tom Barton (Barr Gazetas), Adele Brooks (University of Greenwich), Stefan Busher (Grid Architects), David Eland (OEB architects), David Hemingway (David Hemingway Architects), Larissa Johnston (Larissa Johnston Architects), Tom Jordan (Barr Gazetas), Jennifer Juritz (David Morley Architects), Catherine Legg (Catherine Legg Architects), Conor Maguire (Piercy and Co.), Lucian Mocanu (Arch 4D), Vidhya Pushpanathan (Vila Architects), Erik Ramelow (Wilkinson Eyre), Luca Rendina (Hugh Broughton Architects), Emily Walport (Arup), David Warren (INGealtoir Structural Engineers), Andrew Waugh (Waugh Thistleton Architects).

In BA (Hons) Architecture we have a strong pedagogic ambition for the teaching of architectural technology. Behind the delivery of the modules there is a clear strategy of how the students’ knowledge of technology should evolve through their architectural education. We aim to install an ambitious attitude to technology with an eye on innovation and invention, whilst providing a solid grounding for students in the principles of environmental, material and structural design. We equip students with the relevant research methods and a critical approach to the design and making of buildings within an ever-changing trajectory of technologies. Underpinning all of the teaching of the knowledge and principles of architectural technology within the programme is an ethos of rigour, experimentation and play.

Architectural design is a complex process and requires a wide range of knowledge, experience and collaboration in order to develop an initial idea or concept into a reality. By definition, architectural students at undergraduate level are just starting this process and they are encouraged to grapple with a myriad of concepts and ideas that are largely alien to their previous experience. In essence, this is a process of working in abstraction, which is a huge challenge, considering the ‘real’ world where architects typically cement their understanding of building technology in an office environment. A key

aim is to make students aware of the complexities and ranges of technologies and building sciences required to produce good buildings, whilst teaching them the relevant methods and modes of how to implement technology into their designs and how best to communicate these ideas. Within the teaching of technology lies a profound learning tension between understanding and spectating. In Year 1, students undertake an environmental audit of a selected building and critically analyze environmental and structural strategies. In term 2 students apply their understanding to designing a component of a building - in this year’s case a stair.

Year 2 students are taught about the architectural profession, the role of the design team and the legislation context in which architects work in term 1. In the 2nd term students carry out a comprehensive technical study of a design project fragment. Ahead of undertaking their Technical Dissertation, Year 3 students attend a series of technology lectures given by invited speakers acknowledged as experts in their field. The Dissertation is tutored within the design units and aims to equip students with the research skills, aptitude and critical ability to assess the key technical aspects of their final design project.

Alongside Dissertation tutorials, the programme is taught through a series of seminars, crossunit reviews and technical workshops with external consultants.

This year we made more profound changes to the modules to ensure that we are on top of the sustainability agenda and post-Grenfell legislation. We endeavour to keep our students up to date with current issues that will impact on their architectural careers.

→ Magda Szeparowicz Unit 7, Year 3

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1 Mille Klovning Unit 8, Year 2 2 Lauryn Keift-Wilshere Unit 3, Year 1 3 Hector Hewson Unit 4, Year 1 4 Karolina Saulyte Unit 5, Year 2 5 Magda Szeparowicz Unit 7, Year 3 6 Gus Richards Unit 8, Year 2

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↓ → Nazar Bohoslovets Unit 2, Year 2

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HISTORY AND THEORY MARKO JOBST + CAROLINE RABOURDIN + EMMA COLTHURST Year 3 Dissertation Tutors Will Jennings, Marko Jobst, Caroline Rabourdin, Stamatis Zografos.

Year 2 Seminar Tutors Naomi Gibson, Will Jennings, Marko Jobst, Alessandro Toti, Caroline Rabourdin, Diana Salazar Morales, Stamatis Zografos.

Year 1 Seminar Tutors Riccardo Bela, Emma Colthurst, Elin Eyborg, Will Jennings, Marko Jobst, Diana Salazar Morales, Petra Seitz, Shukri Sultan, Maria Venegas Raba, Freya Wigzell.

With thanks to Graham Burn (Studio MUTT), Andrew Higgott, Simon Withers.

Teaching in history and theory of architecture is conceived as a complete journey over three years through the ideas, politics, art, buildings and landscapes of human civilisation. This journey brings students through a process of gaining skills and knowledge in research and writing, whilst building knowledge and context.

Cultural Contexts of Architecture The first term of Year 1 introduces students to London, Greenwich and the broad range of research undertaken by Greenwich staff. Site visits and workshops balance the content between research, lectures and first-hand experiences of architecture and landscape. The module examines the cultural contexts of the built environment and investigates the relationships between design and society, introducing the premise that architectural ideas are culturally constructed, allied to prevailing ideologies and value systems. It provides a general background for current issues in the built environment, from housing and education to infrastructure.

relation with nature. They offer a survey of major global architectural traditions and place special emphasis on those that contributed to the rise of modernity. We provide tools to analyse examples and recognise patterns in design solutions, stressing the social and technological contexts that define architectures and landscapes of the past, while highlighting their relevance today.

Contemporary Theories of Architecture In the second term of Year 2, students are introduced to a range of architectural theories that emerged in the 1960s and continue to form the basis of architectural discourse today. Bringing awareness to the relationship between architecture and other disciplines such as philosophy, art, sociology and anthropology, students are introduced to postmodernist theories, deconstructivism, feminist and post-colonial theories, posthumanism and relational ecologies. This enables students to critically engage with architectural design and articulate informed positions on their own work.

Undergraduate Dissertation In the Year 3 dissertation, each student develops research interests both as individuals and in small, tightly guided groups with a dedicated supervisor whose interests are complementary to the theme. A high level of research quality and critical evaluation is expected, and the students are encouraged to pursue themes that they are passionate about to forge connections with their design work. Many students undertake daring studies that are arresting in terms of their written and visual quality, as well as the connections made between sites, projects, and the cutting edge of architectural theory.

History of Architecture and Landscape 1 & 2 A broader overview of architecture, landscape and art history follows in the second term of Year 1 and first term of Year 2. Students develop skills in writing and research, beginning to frame interests that will inform their future studies. The modules address the history of architecture and landscape as the common human quest of designing and constructing a specific

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Gabriel Victor Machado If the Border was Never Owned Dissertation tutor: Will Jennings

This dissertation is a personal reflection upon the morals of what defines the social boundaries between places of belonging, recognising their ephemerality for those whose unknown place remains ever unknown. I focus my research on the intermediate zones beyond frontiers: the Borderland, questioning the ideologies that reinforce the subjugation of migrants whose right to belong is constrained by spatial and social constructs that undervalue the singularity of what forms one’s understanding of spaces — where geometry is transcended to become representations of the self (Bachelard, 1994). The architectural pieces I address along my reflection are informed by my personal experience in the Borderland, a perpetual odyssey of border crossing, from grounds of fear and dubiety to fleeting experiences in supposed places of belonging. In a juxtaposition of space and time, I analyse their characters to understand the consequences of the imposition of boundaries for its inhabitants.

Such is the relevance of the ties we create with the spaces we inhabit that our beings tend to become translations of the environments that surround us — scenarios in which one’s identity is acknowledged, recognised and celebrated by the intimacy materialised within the space, from nameless and unknown place to the build-up of understandings that dissolves memories into the shape of home. It is where the self bonds to the space that the unknown regains its entity and embodies the notion of place of belonging.

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Magda Szeparowicz Appropriating Heritage: The Case of The Palace of Culture and Science in Warsaw Dissertation tutor: Stamatis Zografos

Image: The Palace of Culture and Science (2014), Carlos Delgado

Considering that heritage is a new idea that primarily evolved in the second half of the twentieth century, its concept does not have a solid definition. The approach to what things or processes are considered heritage differs across nations and cultures. This dissertation explores how the symbolic meaning of heritage can be appropriated and reshaped. How it can be used in political discourse; how its symbolism can be reshaped according to one’s needs, and how it can actively participate in examples of civic mobility.

The Palace of Culture and Science in Warsaw has been politically charged since the beginning of its existence due to Soviet domination. The past associated with the regime resonates within its structure to this day. To some groups, this monumental landmark remains a symbol of communism. On the other hand, it appears that the Palace is also adapting to a more modernised typology. The imagery of the Soviet skyscraper becomes a contemporary symbol of Polish public resistance during anti-government protests.

This dissertation investigates the political context of anti-government demonstrations, far-right marches and administrative actions happening around the Palace of Culture and Science in Warsaw. It analyses the performative capabilities of the building to differentiate the processes exercised by the governing bodies from actions “from below”.

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Juno Baumgarten Silent Regard S Dissertation tutor: Caroline Rabourdin

When we design a space, we often experience it fully. It is almost as if we are already inhabiting it in our minds. We can see it, but we can also feel it, and smell it and walk around in it. A similar thing — an embodied experience — happens when we read a story about a space. Especially in novels, where we become the character in the narrative and experience a place through them in our imagination.

The dissertation Silent Regard S by Juno Baumgarten consists of three parts. When the book is opened, the first part unfolds: the novel. This is the story of Juno’s term 1 project Silent Regard S, where she made a model in a suitcase of the imaginary architecture from her favourite novella, the Slow Regard of Silent Things by Patrick Rothfuss, that she inhabits in her mind when reading and remembering this story. Next, the book unfolds into the map, and annotations to the novel give it another layer of meaning. This is the second part: the notes. The third part is found when the book is opened from the other side. A collection of thoughts, also annotated by the notes, on the research conducted to answer the question: can fantasy writing be a useful communication tool for architecture? The short answer is: yes. For the long answer you would have to read the full dissertation.

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Shirin Naveed The Battle for Brick Lane - A Critical Discussion about Spatial Justice, the Urban Commons and the Right to the City for British Bengalis on Brick Lane Dissertation tutor: Stamatis Zografos

The dissertation explores the notion of the 'Right to the City' as outlined by Marxist-urbanist theorists, situating the discussion around East London’s Brick Lane as an urban commons that I argue, is under threat. There has been much contestation and public protest against the proposed and recently greenlighted Truman Brewery development in the heart of Brick Lane, Spitalfields. This dissertation explores the relationship between the area and the Bengali community that inhabits Brick Lane and gives its distinct character. Specifically, I’m interested in defining the Save Brick Lane campaign as an act of ‘commoning’ against the development, rooting the ongoings in Marxist-urbanist theory of David Harvey, Edward Soja and Henri Lefebvre as an issue of spatial justice. I aim to lead a critical discussion on spatial justice by using the current Truman Brewery development on Brick Lane to gain insight into the future of Brick Lane’s Bengali community and to interrogate what the development, and the community’s resistance to it, means for their right to the city. From supporting the SAVE BRICK LANE protests online and in-person, to conversing with local activists, organisations and councillors on the matter, I have collated within this dissertation my own photography, mapping, and interviews in solidarity and as part of an effort to aid the counter reactive urban commons and offer a platform to the often-underrepresented voices of the Bangladeshi community on Brick Lane that are affected most by this development.

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Bogna Bućko ‘Alfa’ Shopping Centre: A critical discussion about the use of heritage in reviving the shopping centre and tackling platform urbanism.

Dissertation tutor: Stamatis Zografos

Heritage derives from centuries of progress and invention, quietly educating the younger generations while losing its own initial purpose. As technologies flourish and our social interactions with the landscapes around us are questioned by the rise of platform urbanism, heritage has become a polarising topic regarding its relevance and functionality in the modern world. While some are adamant to hold on to every fragment of our rich history, others believe that the idea of preserving relics is futile and that we must move forward with progress and efficiency. Focusing on the decline of shopping centres and the looming threat posed by digital platforms offering equivalent services with greater convenience, the dissertation considers the evolution of platform urbanism and its effect on the landscape of the metropolis around us.

Our phones fill up with colourful apps while our urban landscape loses another building, weakening our relationship with the town and its architecture.

The dissertation evaluates the way in which seemingly obsolete architecture can be transformed to serve a new purpose and thus be revived to contribute to its original community. Examining the case study of the ‘Alfa’ Shopping Centre in Białystok, Poland, this dissertation presents how a conscientious and meticulous fusion of an inactive factory, and a contemporary shopping centre, can successfully pay homage to notable local history while continuing to thrive. This showcases how revitalisation can justify the continual existence of heritage through its amelioration, which reflects the constantly changing world around us, using progress to its advantage rather than as its enemy.

Mohamad Alhfar Alhbal How can historic precedents for rebuilding after conflict inform the way Syrians might approach post-war reconstruction in their own country?

Dissertation tutor: Caroline Rabourdin

This dissertation investigates how historic precedents for rebuilding after conflict can inform the way that Syrians might approach post-war reconstruction in their country. Two case studies are analysed: Neues Museum in Berlin, Germany, and Beit Beirut Museum in Beirut, Lebanon. Both Germany and Lebanon had devasting experiences of conflict in World War II (1939—45) and the Lebanese Civil War (1975—1990) respectively.

The case studies are framed by an ongoing architectural debate about post-conflict reconstruction which asks how planners and architects should balance the opportunity to replace conflict damaged architecture with progressive new buildings, with the need to conserve the historical heritage that has survived.

David Chipperfield Architects reconstruction of the Neues Museum is presented as a model for the effective balancing of faithful historic conservation with modern innovation. Chipperfield’s strategy was to leave the pre-existing “ruins, bomb-holes and bullet-marks” in place in the building and to sensitively rebuild around them.

The Beit Beirut is a more problematic case study.

The architect and activist Mona Hallak successfully campaigned to avert the demolition of the building and to raise its cultural profile in Beirut, securing state funding for the renovation. However, Youssef Haidar’s renovation provides a warning about the way that modern interventions can disfigure the original structure of a building, and the ways that issues such as government dysfunction and an unresolved account of the conflict can hamper the effectiveness of reconstruction.

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Ana-Maria Cirlan Navigating the Invisible Dissertation tutor: Will Jennings

Image: Max Colson, London Knowledge — Scans (2019)

As the boundary between computers and cities is rapidly vanishing, technology plays an essential role in building the structure of the world as contemporary planners are galvanised by the desire for cleanness and order. In their obsession to conceive smart urban planning, technology is grafted into the environment for data collection and increased control, treating people as consumers.

In this case, cities are no longer designed according to the citizens’ requirements. Instead, they are developed based on mediations of power and privacy between town planners and people.

The problem is that the human mind has such a vast complexity that not even the most up-to-date technology can comprehend and create an urban infrastructure that responds to our requests.

Learning from Bruce Chatwick’s The Songlines (1987) and Shannon Mattern’s A City is Not a Computer: Other Urban Intelligences (2021), this dissertation investigates a solution that consists in creating a temporal atlas in which the past, present, and future modalities of navigating will be analysed.

To metamorphose the outcome to the future, making in this manner the invisible visible, what category of mapping would be suitable when navigating in this time of urban reconstruction? How can we, in this digitally dictated era, explore beyond technology and collect data from diverse geo-visualisation processes to uncover a multitude of geographical patterns that will shape the unseen modalities of exploring the city?

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MArch Architecture MArch Architecture is a two year full-time, or a three year part-time programme that leads to exemption from ARB/RIBA Part 2. The programme encourages a rigorous professional approach to architecture within a highly speculative and creative context. We think of our programme as an incubator for reflective architectural practice. Our students are encouraged, challenged and inspired in equal measure; we offer an environment where students are able to develop skills and practices that will extend well beyond their time at university. We nurture a positive and creative environment that, due to its location in the School of Design, is multi- and inter-disciplinary by nature; this puts us in a unique position to equip students to address global environmental and technological challenges. We believe that we have a responsibility to look forward; to not only deal with what architecture was and is, but to set an agenda for what architecture can be. All students choose a Design Unit in which to undertake their project work, each with a different specialism. Year 1 students develop advanced skills in digital representation that can be applied to the building design project in conjunction with a professionally tutored ‘Design Realisation’ technical and professional report. Collaboration with London based architecture offices is included in our teaching, enabling students further experience with the skills required for practice. Additionally, students are exposed to current theoretical trends that form the basis for ambitious speculations on contemporary architecture. The final year of study takes the aspirations of the students work to a higher level of academic engagement; an integrated advanced architectural design project and specialist theoretical and/or technological thesis are developed with respect to the student’s own unique interests and passions.

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Unit 12 Fictions and Fabulations: An Instrument for Speculative Dreaming RAHESH RAM + LUCY SANDERS + KIERAN HAWKINS Year 2 FT Freddie Aleluya, Syed Aswad Al Jaffree Bin Syed Sobri, Hanaa Bawamia, Joe Brotherton, Zoe Kan, Francesca Kiprianidis, Sophie Shields, Eve Summerhayes, Janki Vara.

Year 1 FT Jian Onn Chin, Yasmina Elshlmani, Vasil Georgiev, Andrius Maguskinas, Pragga Saha, George Stewart, Robert Wasawas-Jepsen.

With thanks to Our practice tutor Harry Bucknall (Piercy & Co.), Michael O'Donnell, Rayan Elnayal, Farid Karim.

In a profession where commercialism, pragmatism, and problem-solving seems to be prevalent, Unit 12 believes that there needs to be a space where experimentation and speculation should be the forefront of thinking; and this space should be in universities. Unit 12 has a tradition of speculation, and this year, we used Fiction and Fabulations as an instrument to investigate our world.

We already live in a fictional world. There are fictional narratives everywhere; religious ones, political ones, social, historical, futuristic and personal ones. They are all unreal and fabricated.

Yet they form and create cultures, societies, communities and can manifest themselves in the physical world through artefacts such as literature, art and architecture, right the way through to whole cities. Fictions are everywhere, and they create REAL worlds.

Philosophers have long stated that fictions are thought experiments, and if you instrumentalise them, it can be used as a tool for speculation.

Fictions are calibrated possible worlds constructed out of the truth and untrue notions, partially composed of the actual world and a fabricated one.

The collision between these components produces a fallout that can be surprising and, when reflected upon, can deliver new and unexpected insights. The imagination plays a vital role in extracting knowledge

and uncovering new insights from this world. The imagination is the cognitive 'black box' of fictional projects. These possible worlds could be radical like Donna Haraway's speculative fiction is, but they can also be a gentler form of invention. Fiction as a provocation is where the value of fictional projects lie. One of the fundamental aspects of fiction that people often neglect to see is that they are both an experiment and a provocation about the real world.

However fictional a project may seem, such an experiment speculates upon what the actual world could be or could end up being like.

Fictional possible worlds are stipulated worlds with particular parameters. They are like experimental chambers where environmental conditions are set for a specific experiment to occur; once established, the investigation is observed in search of new insights. This form of speculation is a simulation-based account of the possible world.

This year students were asked to construct a possible world in which they could speculate. Their possible world could be near to the actual world or far from it. Then the students task was to speculate on the architecture that would inhabit the context of this newly created possible world.

The constructed world would be based on the student's own interests. It can be social, cultural, political, economic, environmental, technological, or any other topic the student chose to explore.

The hope is that students will leave the Masters programme by evolving their interests through imaginative speculative thinking.

→ Evie A Summerhayes The Good Ship Ambrosia

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1 Janki Vara The Necropolis of Troy 2 Andrius Maguskin Fame, The Crypt 3 Pragga P Saha Institute for Bengali Women 4 Freddie B Aleluya A-Myth-Onia: Journey to a Biocentic Being

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1 Robert Wasawas-Jepsen Filipino Festival of London 2 Zoe Kan The Invisible 3 Vasil M Georgiev Mountains of Millwall 4 Janki Vara The Necropolis of Troy 5 Robert Wasawas-Jepsen Filipino Festival of London 6 George R Stewart Save Our Children

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1 Sophie Shields The Ark of Southend-on-Sea 2 Francesca Kiprianidis M.U.(L) M- Medical Unit Lost Memory 3 Joe T Brotherton Costa Naranja-The Ecstatic Estate of Essex

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Unit 13 Architecture is the Thing with Feathers IFIGENEIA LIANGI + DANIEL WILKINSON Year 2 FT Samia El-Betioui, Yasemin Evmez, Zuzanna Kaczmarczyk, Priyanka Sankaranarayanan, Beatrice Scorta, Anouschka Tang, Nick Topping.

Year 1 FT Becky Barnett, Bryan A.R. Johnson, Quadri A. Oyetunde, Matilde Perticone, Andreas Petras, Luke Stevens.

Year 1 FT Y1 PT: Gerson Lima Pedro De Almeida, Issuru vimukthi perera Uswatta liyanage.

With thanks to Our practice tutor Adam Bell (Foster + Partners) and our go-to critic, Matthew Lenkiewicz. We would also like to thank our thesis tutors, who were Caroline Rabourdin, Nerma Cridge, Simon Withers, Nick Boyarksy and Naomi Gibson.

This year Unit 13 considered how architectural designers might have a more intimate relationship with the constructing and occupying of their projects.

To do this, we looked at how lengthy and idiosyncratic building processes can be autobiographical, by capturing the psyche of the builder-designer as a kind of architectural diary. We did this with a foot in the magical and a hand in the practical.

We began by summoning the spirits of our heroes such as Gunther Domenig, who thought his Steinhaus was impossible to complete due to his love of construction; Henry Chapman Mercer, who made a majestically odd castle with the help of a horse called Lucy; the late Justo Gallego Martinez, who, until last November, spent decades building a one-man cathedral from whatever came to hand; Richard Greaves, who improvised an entire village from architectural salvage; Kurt Schwitters’ constantly fluxing work in Hanover and Cumbria; Clarence Schmidt’s 30 year labour of love, ‘The Miracle on the Mountain’; Edward James, who oversaw a team of 100 workers for 40 years to create Las Pozas, his version of Eden in Mexico.

Like previous years, we developed projects that work between the scale of the building and the community, with their themes being determined by our students’ individual backgrounds. By using models and drawings to think differently about design, we captured stories in brick and stone, and the other stuff of architecture, such as textiles and ceramics. These buildings became more than the sum of their parts, as explorations of the magical capacities of construction and memory. Amongst other things, they became love letters to lost grandmothers, monuments to forgotten women, critiques of unnamed leaders, towns for the spirits of our ancestors and sanctuaries for the worlds of cancelled authors.

→ Zuzanna Kaczmarczyk The Tale of Lusia, My Magical Grandma

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1 Zuzanna Kaczmarczyk The Tale of Lusia, My Magical Grandma 2 Bryan A.R. Johnson Biblical Curative Garden (Art of Purification) 3 Quadri A. Oyetunde Reincarnation (Àkudàáyá) as a Regenerative tool 4 Priyanka Sankaranarayann The Gypsy Village: An Annual Rendezvous 5 Nick Topping East of East Hagbourne 6 Becky Barnett The Bishops Avenue Assembly

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1 Beatrice Scorta The Subversive Stitch 2 Samia El-Betioui The Journey of a Little Girl Tutei Al’amal to a Falling City 3 + 5 Yasemin Evmez Woven Tales 4 Nick Topping East of East Hagbourne 6 Anouschka Tang Feeding the Hungry Ghost

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↑ Anouschka Tang Feeding the Hungry Ghost

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Unit 14 Old Habits MIKE ALING + ERIKA SUZUKI + SIMON WITHERS Year 3 PT Alex Clough, Harry Parkinson.

Year 2 FT John Berry, Will Bingley, Abby Halfacre, Henry O’Neill, Zoe Power, Peter Reed, Jack Smith.

Year 2 PT Holly Freeman.

Year 1 FT Dan Heijink, Pedro Herrera Gomez, Will Slade Jones, Ciprian Negut, Richard Okyiri, Jack Taylor.

Year 1 PT Laura Dumitru.

With thanks to Our practice tutor Anders Strand Luhr (Office Ten) and our critics Irene Astrain, Delfina Bocca, Anna Goldrin, Catja de Haas, Colin Herperger, Ahad Mahmood, Anna Muzychak and Matt Smith. Thanks also to our thesis supervisors John Bell, Nicholas Boyarsky, Naomi Gibson, Caroline Rabourdin and Fiona Zisch.

The recent pandemic demonstrated that we all have the ability to radically alter our behaviours when needs must. And although there is a certain comfort in returning to 'the normal' that we are at least partially enjoying at present, we must drastically change our individual habits and routines in a very different way if we have any hope of averting the worst ravages of the climate crisis. This is not to put the blame at the feet of individuals at the expense of holding corporations and governments to account, but we simply all need to take some form of personal responsibility and advocate for change. Yet the complex and seemingly overwhelming nature of the climate crisis means that very little change is happening, very slowly, whilst the number of unprecedented extreme weather events and natural disasters accelerate.

This year unit 14 asked all new students to commit to changing a behaviour for the sake of improving our individual environmental impacts. Each new student altered one (or more) aspects of their lifestyle; they could be subtractive (taking something away/giving

up something), additive (something additional to your normal routines) or a substitution (changing one behaviour for another). To begin with, we asked for changes outside of a professional and/ or academic capacity as an architect and the immediate concerns of the industry — we asked for changes to students everyday life. Our altering of hard-wired habits did not solely need to focus on reducing waste water and cutting down on meat consumption, there are a wealth of purposeful activities that we can undertake as individuals, and items that we can or cannot choose to consume, that will have impact — Unit 14 were inventive and surprising in their choices. We sought out new behaviours from the crevices of the everyday and from that we developed architectural programmes and projects: tiny, personal changes, when scaled up, can have planetary consequences.

Year one students sited their projects in our local context, in and around Greenwich, by working with the Greenwich Park Revealed scheme currently in development by the London Royal Parks group. Students evolved their projects through research into the implications of their chosen changed behaviour, alongside investigations into the rich splendours of Greenwich park and its surrounding area.

Final year students developed projects through research into their individual themes and agendas.

We encouraged students to work through the processes of modelling and the outputting of models. This year there was a focus on how photogrammetry and laser scanning informed physical modelling practices. As ever, we sought to explore the potentiality of the architectural model in its manifold forms and aimed towards proposing new model languages and methodologies.

→ Henry O'Neill Chathastail's Therapeutic Dungeons & Dragons Centre

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1 + 5 Will Slade Jones Greenwich Park Committal Ground 2 + 4 Ciprian Negut Greenwich Kinesiotherapy Centre 3 Pedro Herrera Gomez Embassy of Gesture

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↓ John Berry Streetwear Fashion House, Moorgate

↓ Will Bingley Angola, Games of the XXXVI Olympiad

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1 Abby Halfacre Ladywell Pleasure Gardens 2 Peter Reed The Great County Adit 3 Henry O'Neill Chathastail's Therapeutic Dungeons & Dragons Centre 4 Alex Clough Canterbury Miniature Landscape School

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Unit 15 Trojan Horses, Epiphytes and Parasites. Free Space — The City and its Discontents NICHOLAS BOYARSKY + LOUISE CANN + DUC LE Year 1 FT Arwa Gaddur, Rachel Ganesan, Gwanghoon Kim, Chun Kiu Michael Ngam, Stephanie Steele-Boyce, Rhys Kin Hei Wong, Mei Sze Ying.

Year 1 PT Alexandra Wijayanti.

With thanks to Our practice tutor Graham Modlen (Graham Modlen Architects), Nerma Cridge and Pascal Bronner.

The art of the epic theatre consists in producing astonishment rather than empathy... instead of identifying with the characters, the audience should be educated to be astonished at the circumstances under which they function.

— Walter Benjamin on Bertolt Brecht.

We invite you to leave aside our consumerist society that privileges profit and the individual above everything else and follow us to a land built on dreams of experimentation, self-management, socialism and cinema. This land is deeply conflicted with recent histories of war, natural disaster, genocide, corruption, pollution, and rampant neo-liberalism yet these epic conditions have not overwhelmed its citizens, but rather stimulated them to activism, to develop new forms of social relationships based on the commons and to reject neo-liberalism. The empty husks of the city are full of traces and possibilities for a new definition of what architecture can be.

Our search for astonishment was situated in the city of Zagreb, where we unpacked the recent past, mapped tendencies and future trajectories to develop new strategies and structures that can interrupt and inhabit the fabric of the city. We focussed on the notion of Free Space as a radical alternative to conventional city building and living.

Building on the ruptures and disjunctions within the city and its evident fragility, interventions started without programme, the search for astonishment will defined them.

Lebbeus Woods worked in Zagreb during 1991 at the start of the Croatian war of independence, developing his speculative Cybernetic Circus and his notion of a network of Free Zones across the city through a body of drawings, collages and physical models.

Cinema is something that played a major role in the formation of Tito's Yugoslavia. Between 1949 and 1980 Tito's private projectionist showed him 8,801 films. Tito was actively involved in the film making industry constructing alternative and complementary realities for his citizens. Today the majority of the Zagreb's cinemas and film studios are abandoned and empty. We started with film as a means to generate drawings, collages, models, scripts, and animations. Working on and intersecting these mediums as means to gather our libraries of creative expression for the year. We investigated the role of the architect as urban performer and speculated how free spaces can choreograph, re-program and transform the city across multiple scales from the individual to the wider network.

The materiality of your site will act as props for your interventions which will insinuate themselves into the city fabric building new relationships, narratives, and dependencies as Trojan Horses (misguidance of intent), epiphytes (air plants requiring physical support) or parasites (living off a host).

→ Stephanie Steele-Boyce House of Scorpio

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1 + 5 Macy Ying Coffee Temple 2 Arwa Gaddur Stalking Head 3 Stephanie Steele-Boyce House of Scorpio 4 + 6 Rhys Wong Stalker 1

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Rehabitation River 3 Macy Ying Coffee Utopia 4 Michael Ngam Urban Theatre Park

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Unit 16 The Future of Yesterday: Year One SIMON HERRON + SUSANNE ISA + NICK ELIAS Year 3 PT Sean Flavin.

Year 2 FT Jordan Burton, Robyn Harrison-Church, Kwok Hei Gloria Ip, Paul Tatsumi Walker, Alexander Wilford.

Year 1 FT Saba Alsadi, Amanda Annan, Ki Yung Kei, Somil Vithani.

Year 1 PT Gyunay Sever.

With thanks to Martin Sagar (Martin Sagar Architects) for practice support, our thesis supervisors, the support staff, student helpers, staff at the National Trust at Orfordness, and our critics and lecturers throughout the year.

Unit 16 is interested in investigating the hinterlands and their relationship to the world we live in. We are interested in the trans-disciplinary fields of art, architecture, geology, museology, archeology and anthropology as a means to explore the psychology of places, narratives of history, mythologies, rituals and magic. Unit 16 focuses upon collections, typologies and curation in order to create episodic, surreal and transformational spaces and landscapes.

The Future of Yesterday: Year One was the theme for the year with the site of Fawley.

The unit acts as a research group that explores and investigates research topics that form the critical lens through which an Architecture is proposed for the Future of Yesterday Now! First year MArch students developed an alternative Masterplan for Fawley. The site was seen as a frontier, a place at the limit of what has been known, a place that is not a place, that is unknown, a place with no indexes, no roads, no signs, no names. The appropriation of a frontier allows for imagining, naming, marking and the making of place. We used the United Kingdom as a hunting ground. Initially we visited the former proving grounds and experimental stations at Offord Ness in Suffolk.

Final year students were encouraged to develop their own polemic agendas within the framework of the unit and select appropriate sites for their proposals.

→ Paul Tatsumi Walker A General Theory of Architecture — Extreme Margins of an Alternate Standard Model

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↓ Paul Tatsumi Walker A General Theory of Architecture — Extreme Margins of an Alternate Standard Model

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Unit 18 Future Ruins PASCAL BRONNER + THOMAS HILLIER Year 3 PT Erti Velaj.

Year 2 FT Giorgio Amirante, Sundeep Bagoan, Soz Dizaey, Parinaz Kadkhodayi-Kholghi, William Munroe, Enise Parlak.

Year 1 FT Niya Ann Sharon, Yi May Emily Chan, Fahad Dad, Nawres Ghachem, Charlie Griffin, Lewis Harvey, Vaibhava Patel, Jerick De Castro Seruelas, Sana Tabassum.

Year 1 PT Daniel Bunkham.

With thanks to Chris Roberts (David Morley Architects) for his practice support, Nicholas Boyarsky, Naomi Gibson, Caroline Rabourdin, Dan Wilkinson and Simon Withers for thesis support, along with all our guest critics who so generously gave up their time, knowledge and expertise across the year.

It seems, in fact, that the more advanced a society is, the greater will be its interest in ruined things, for it will see in them a redemptively sobering reminder of the fragility of its own achievements. Ruins pose a direct challenge to our concern with power and rank, with bustle and fame. They puncture the inflated folly of our exhaustive and frenetic pursuit of wealth.

— Alain de Botton, The Pleasures and Sorrows of Work This year, through the lense of the ruin, Unit 18 continued to explore the impact that our ever-growing thirst for the new has on the built environment.

Ruins are often described as remnants of human achievement, and we asked, is this still the case? Or is there an opportunity to repurpose or reconfigure these discarded memorials of our mechanized age?

In 1747, Giovanni Battista Piranesi began producing plates for his most famous works, Vedute di Roma (Views of Rome). Manipulating scale and often envisaging something that wasn’t there, he created reproductions of real and fictional Roman ruins that acted as a metaphor for the imperfection and

transience of human existence. 100 years later, Joseph Gandy, dubbed the ‘English Piranesi’ created A Bird’s-eye view of the Bank of England that was both seen as under construction and in ruin, a Piranesian ruinscape that blurred the boundaries between past, present and future and the temporal nature of architecture.

Both offered a romantic, if intentionally ambiguous, view of historical ruins, but what of today’s ruins? The lifecycle of buildings are now measured in decades rather than centuries, some new buildings are built yet never inhabited.

The decaying remnants of obsolete industries and infrastructures, whether it be dams, coalmines, factories, shipyards, power plants, shopping malls or even whole cities like Detroit, lie scattered across the world, collecting dust. These skeletons of incomplete buildings, both old and new, litter our skylines like an architectural form of memento-mori, proving that no structure is permanent or impervious to the changing desires of a society in constant flux.

Future and ruin are intrinsically linked concepts, especially in the age of our growing planetary crisis.

To speculate on the future requires one to anticipate ruination, whilst ruins themselves are symbols of an abandoned future. They are never truly dead, yet never really alive, precariously treading the border between life and death.

We asked our students to reveal and explore both a ruins past and its possible future. Could these lost totems of technology, greed and climate change become something more, an architecture of wonder and delight? Unit 18 peeled away the layers of dust, mud and detritus to reveal a ruins past (or future) glories and the memories it once held, like an architectural palimpsest, their architecture would become a new ‘layer’ for a new future.

How long will it be before we are playing on the vast rooftops of abandoned Amazon fulfillment centres or living across Tesla Giga-Factories? Will we even know what lies beneath our feet? Unit 18 attempted to find out!

→ Giorgio Amirante The Weeping Parthenope

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1 Charlie Griffin The Petrified Palace 2 Nawres Ghachem The Diving Bell Foundry 3 Erti Velaj New Carrara 4 Niya Ann Sharon The Sacred Lights of Sonagachi

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5 Lewis Harvey The Ruins of Cinema 6 Enise Parlak L.I.D.O — The London Ice District of Olympia 7 Fahad Dad Vicennial Decay

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↑ Dan Bunkham The Filament

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↑ Sana Tabassum Burslem Basilica

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↑ Yi May Emily Chan Ghost of the Forbidden City

→ William Munroe Anderson’s House

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Unit 19 Non-Specific Urbanism 4.0: Alterities, Or, The Pragmatics of Magical Realism JOHN BELL + SIMON MILLER Year 3 PT Declan Riordan Allison.

Year 2 FT Kieran Harrison, Nicholas Mierzejewski, Parthiv Parikh.

Year 1 FT Glenn Altarejos, Abbie Caton, Suha Kardaman, Finbarr Ojabo, Jemima Onugha, Marta Rachwol, Ina Rrapaj, Aahan Sakhuja, Yun Man Kaitlin Tang, Jo Lin Voon.

Year 1 PT Patrick Finnegan, Timothy Watts.

With thanks to Our practice tutor Andy Puncher (founding Director, PH+ Architects), our Thesis supervisors Nicholas Boyarsky, Naomi Gibson, Dan Wilkinson and Simon Withers and our guest critics Martin Bates, Benedict O'Looney and Nick Elias.

Who? — Unit 19 propose contexts out of which individual trajectories emerge through discussion.

We interpret architecture through the lens of the picaresque where, to quote Angela Carter: …people have adventures in order to find themselves in places where they can discuss philosophical concepts without distractions… . The theoretical axis of the unit remains concerned with developing new modalities for near-future architectural design which extend and extrapolate from extant conditions. We believe that to adapt, extend and re-use are ethical, aesthetic and environmental imperatives.

Where? — This year we continued our research into Non-Specific Urbanism: proximities, infrastructures, hierarchies, histories. Sites were chosen by negotiation, with final year students as usual having the option to pick any conurbation on Earth, whereas year one students were geofenced to the UK. Students self-selected an existing building or buildings to augment. In terms of programme, first

years developed proposals for an event space, interpreted very broadly, whereas final years took either the same focal interest or developed their own in the context set by the unit.

What? — It has been our intention this year to investigate the possibilities presented by realtime games engines to inform architectural design, rather than solely for representation. Given this focus we decided it would be appropriate and possibly fun to address alterities: spaces of difference, of otherness. Architecture has always contained a strand of the illusory and when married to event, opportunities for radical spatial, formal and optical invention are foregrounded. As most are aware, the means of production of work are always implicated in it’s outcomes. The unit this year experimented with the use of Unreal Engine as our principal experimental and representational platform.

Why? — Within the visual register, we are already at a point where the virtual can be made indistinguishable from the physical, conferring on it the potential to become an architectural device comparable to any of the material/ morphological components with which we are familiar: we contend that if we shift the notion of the projective surface as tabula rasa, away from the conventionally discrete physical presence functioning primarily as a container of narrative, we can then consider new possibilities for developing the character, programme, thematics, even the dimensions of urban space as mutable and responsive. Interventions can and should encompass the sonic, thermodynamic and material: the possibilities for augmented urban environments have barely been touched.

The only way of discovering the limits of the possible is to venture a little way past them into the impossible.

— Arthur C. Clarke

→ Kieran Harrison Orleans Temporary Autonomous Zone

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1 Kaitlin Tang Reinventing the Lloyds Building 2 Marta Rachwol The Institute of the Enlightened 3 Ina Rrapaj AI Robotics Hub 4 Finbarr Ojabo St Giles Vertical Farm 5 + 6 Jo Lin Voon The New Stonehenge Experience

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Unit 20 Things Arise DAVID HEMINGWAY + JAKE MOULSON Year 2 FT Adeena Arif, Leyana Clarke, Pui Yan Ng, Yan Tung Yen Poon, Alexander Robertson, Shakera Sultana, Berna Tanis.

Year 1 FT M Naji Barri, Jaehyun Cho, Ossama Elimam, James Healey, Maria Fernanda Rave Jimenez, Charles Truman.

With thanks to Our practice tutor and critic, Peter Barry (Studio-P Architects), and our critics, Noor Kassam, Luis Roja Paipilla, Rob Berry and Sanjay Ghodke.

"Things arise when objects down tools and refuse to cooperate with us, break down, or have their functions mysteriously interrupted."

— Thinking Things, Steve Connor This year, Unit 20 looked to the death and rebirth of objects as they transition from function to ‘thing’ and possibly back again. We listened, observed, collected and explored the questions ‘things’ pose around the interplay of humans, nature and technology, and what trajectories they might suggest for our collective futures and alternative nows.

The Thing-ness of objects becomes palpable or visible or in some sense knowable, where there’s an interruption within that circuit… the circuit whereby we, you know, float, as we do, through objects.

— The Nature of Things, Bill Brown We looked to museums, collections, archives and art galleries to observe and consider objects, artifacts and ‘things’ removed from circulation, transforming their meanings and purposes, and saw what they, their interrelationships and their shifting contexts, can elucidate.

We look to art’s cultivation of uselessness, resisting computation or quantification, and its ability to imagine, pose questions and inhabit unknowingness, to open spaces of thought.

Landscapes of ‘things’ — zones of (de-) industrialisation and their waste zones. The spoil tip or slag heap, for example, is an ultimate ‘thing’ — functionless from birth and creating huge territories and topographies of ‘nothing’.

As monuments to the huge extraction that fuelled industrialisation, coked the steels of modernism, and added volatility to our atmosphere, these sites were, and are now more than ever, sites of immense sociological and ecological change.

Might these seemingly apocalyptic landscapes, when redundant, also provide opportunities for new life? How do we begin to conceive of a rewilding of other species, cultures and ‘things’ that might claim space via instability, uselessness and chemical inhospitableness?

Thing theory is addressing how ithe inanimate object world helps to form and transform human beings alike.

— The Nature of Things, Bill Brown Unit 20’s postulation is that, by tuning into objects and ‘things’, their shifting contexts, and the ideas that accumulate around them, new kinds of exchanges are possible. In the face of a seemingly endless production of material ‘things’ and information, building new scapes of uncontrollable scale and complexity, what other ways of thinking, looking and knowing might come forward?

What changes are required to our immediate environment — housing, communal space, distribution of resources? What would it mean for humans to renege their authority to other kinds of intelligence and ways of thinking the world? What kinds of structures, adaptations and constructions do we need?

Excavating and extracting from our architectural and art histories — we looked back to the futures of the past, at the utopian villages (now ‘things’) of industry and the possibilities and questions posed by past avant-guard architects of the last century.

Taking these lessons and tangents as points of departure we drew out and modelled speculative architectures for alternative nows and near futures.

Never again shall a single story be told as though it were the only one.

— Ways of seeing, John Berger

→ Yan Tung Yen Poon Hashima the Gaming Island

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1 Maria Rave Jimenez Tide Mills — The Lost Village Archive 2 + 3 James Healey District O1 4 Jaehyun Cho The Spider's House 5 Ossama El Imam Brent Great Exhibition Interchange 6 Charles Truman Kellingley Scan Retreat

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1 Adeena Arif Nothing is Original: Silicon island of Shanzhai 2 Leyana Clarke Senufo Centre for Arts 3 Shakera Sultana The Woven Boarders of Afghanistan, A Refuge For Women And Birds 4 Alexander Robertson COP EDGE (Commune Of Peoples Expelled & Displaced from Global Emergencies) 5 Yan Tung Yen Poon Hashima the Gaming Island

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→ Berna Tanis Dream Lab

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DESIGN REALISATION RAHESH RAM Practice Tutors Peter Barry (Studio-P Architects), Adam Bell (Fosters + Partners), Harry Bucknall (Piercy & Co.), Anders Luhr (Office Ten), Graham Modlen (Graham Modlen Architects), Andy Puncher (PH Plus Architects), Chis Roberts (David Morley Architecture), Martin Sagar (Martin Sagar Architects).

Consultants Francesco Banchini (Arup), Tom Barton (Barr Gazetas Architects), Jonathan Bayliss (Arup), Samuel Beard (Arup), Cecilia Bonfigli (Arup), Isaac Campbell (Arup), Zoe Chu (Arup), Jamie Dewar (Arup), Grizel Hocknell (Arup), Duncan Hough (Arup), Larissa Johnston (Larissa Johnston Architects), Tom Jordan (Barr Gazetas Architects), Gabija Leonaviciute (Arup), Vasilis Maroulas (Arup), Amelia Ng (Arup), Eoin O'Loughlin (Arup), Hugh Pidduck (Arup), Sophia Rawlins (Arup), Thomas Rose (Arup), Jack Schroeder (Arup), Michael Stankiewicz (Arup), William Tung (Arup), Hasan Yousaf (Arup).

Lectures Francesco Banchini (Arup), Isaac Campbell (Arup), Ivan Clark, Tony Clelford, Tom Jordan (Barr Gazetas Architects), Vasilis Maroulas (Arup), Eoin O'Loughlin (Arup), Sophia Rawlins (Arup), James Woodall (Allies and Morrison).

Our practice tutor and critic, Peter Barry (Studio-P Architects), and our critics, Noor Kassam, Luis Roja Paipilla, Rob Berry and Sanjay Ghodke

As the discussions on the relationship between the architectural profession and architectural education heighten, schools that have promoted the idea of experimental and speculative design have on occasions been accused of ignoring the ‘real’ world in favour of the abstract.

Design Realisation (DR) at Masters level is a gateway between these two worlds. As a school, we encourage and enjoy the speculative and the experimental, but we use the DR module to juxtapose these ideas up against the ‘real’ world constraints and opportunities. The result of which is the surfacing

and resurfacing of tensions, which in turn has the ability to ask questions of the status quo and provide a conduit for learning.

It could be said that architectural technology education begins when you bring the ‘real’ world experience and the speculative world of architectural education collide. The friction between the two is where the excitement is. At worst the DR can be a tick box exercise, and best it can be a provocation. With this in mind, the school engages with the profession in earnest and employs architects from established practices to support the teaching. This year they brought a wealth of experience and provided workshops and one-to-one tutorials on every aspect of the delivery of an architectural project.

As a pedagogic strategy the module mimicks ‘real’ world experience. Students were given the opportunity to consult with structural engineers and M&E consultants about their projects. Arup provided this support with workshops, one-to-one tutorials and lectures.

Students on the module are expected to bring the experience that they gained from their architectural practices and apply it at Masters level. We are aware that one year in an office is not sufficient to gain the knowledge that is required to be experimental and be speculative, so we reinforce, in depth, their knowledge of architectural technology and the profession before we encourage students to think outside of the box.

The Design Realisation module is seen as a way to move the design forward but with consideration of site, planning and other legislative constraints, professional requirements, through to how the project can be constructed and perform. We built on the introduction of the London Energy Transformation Initiative (Zero Carbon) and Post-Grenfell requirements that were bought in last year and made them vital subject matter in the module. We endeavour to keep our students up to date with current issues, and provide firm ground to start a learning trajectory that will continue well beyond their university lives.

→ Daniel Bunkham Unit 18

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THEORIES OF ARCHITECTURE + ARCHITECTURAL THESIS CAROLINE RABOURDIN With thanks to Ava Aghakouchak, Anushka Athique, Luca Ferrarese, Naina Gupta, Stephen Kennedy, Maira Korolkova, Benedict O’Looney, Matt Shaw (ScanLAB projects), Shukri Sultan and Aoi Phillips (Afterparti Collective).

Theories of Architecture The Theories of Architecture module offers Year 1 students the opportunity to independently define and critically appraise ideas in relation to their own design projects. The module focuses on topical issues of sustainability, diversity and equality in architecture, inviting the students to engage with most recent environmental and cultural theories, including posthuman theories, relational ecologies and post-colonial theories. Organised around a series of lectures from guest practitioners and thinkers, the module is supplemented by key theoretical texts which serve as the basis for group discussions during small group seminars and writing workshops.

Throughout the term, students enhance their skills in research and writing, whilst further refining their critical awareness of the role of architectural theory in their design projects. Ultimately, the module encourages students to make critical reflections on their own practice in relation to the wider context of contemporary architectural design, theory, the arts, technology, social sciences and cultural studies.

Architectural Thesis The Architectural Thesis module allows every year 2 full-time, and year 3 part-time student in MArch Architecture to develop a highly tailored piece of research to support the intellectual and/or technical ambitions of their final design project. The thesis can take many forms, be it an individually written historical, theoretical, technological essay, evidence based experimental and/or empirical technical research, work developed through specialist programming and scripting, experimental and creative writing practices, interactive media, full size installations and constructions, and performancebased research, amongst other forms of research

practice relevant to the particular interests of the individual student. Each student works with an individual Thesis supervisor to develop the exact content and structure of the final output.

As part of the preparatory work for the Thesis, students start by developing a Research Methods Statement (RMS) that demonstrates a systematic understanding of different relevant research methods and knowledge of the implementation of different research methodologies in the production of the Thesis. The RMS is initiated through an intensive series of lectures that run at the start of the academic year.

Students identify, investigate and communicate in detail a specific topic of architectural research, demonstrating skills in evidence-based research and writing. The Thesis offers students the opportunity to develop a rigorous intellectual position that informs, and symbiotically synthesizes with their Design Project undertaken in the studio.

The Thesis supports design practice with a highly informed knowledge base and critical engagement with the relevant technical, historical and/or theoretical issues at the forefront of the architectural discipline. The Thesis encourages highly creative, critical, inventive and innovative forms of research.

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Paul Tatsumi Walker Metabolism/2022: Hermeneutics of an Architectural Manifesto Thesis supervisor: Naomi Gibson

The manifesto: wielded by architecture’s avantgarde, boldly challenging to liberate radical, experimental ideas and discourse, has ironically entered a period of nostalgia. Though not extinct nor exclusive to any period, many identify an ‘age of manifesto’ with distance, ostensibly suggesting separation and decline in their power.

Using Metabolism/1960 as case study, this thesis challenges the view of texts from this ‘age’ as artefacts; vestiges of their consummate movements, and instead reinvigorates them as their conceived, continual, creative forces.

After presenting my own vantage, with varying degrees of separation in time, status, culture and language, the manifesto is individually liberated from elevation, format, author, and intent, recorded parallel to a deepening understanding of literary

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hermeneutics and the role of reader, curator, and text — influenced by the work of Eco, Culler and Barthes.

A more multifaceted and nuanced understanding of the polemic is then sought by gathering polyphonic responses to the decontextualised manifesto from friends in the field. The hermeneutic attitudes developed earlier in the thesis are then applied to these: breaking down, interpreting and reforming significant themes raised in the text, as well as those neglected. The result is a series of augmented, provocative texts suggesting the beginnings of a longer collaborative process of revisiting the neglected potentials of the manifesto. It reveals an attitude with which other ‘distant’ texts may be liberated from the confines of the canon and its often-hegemonic interpretation.

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Sophie Shields Southend Through Sound — An exploration into how sound can be effectively deployed to enhance our understanding of a place Thesis supervisor: John Bell

This thesis studies the potential of how sound art can be effectively deployed throughout a city to enhance our understanding of place and to evoke memories. The impetus for the thesis is my hometown, Southend-On-Sea. It addresses the shift of the seaside town towards becoming a city, and the importance of past experiences and memories to the community, going on to explore how memories can be lost when a community experiences change, and ways in which those memories can be preserved.

The thesis unravels some lesser-known features of Southend and its accompanying memories.

The work consists of two separate sound pieces based in Southend: project 01: Reimagining the Kursaal Estate and project 02: Southend Through Sound. Both pieces have been developed by researching and learning from existing sound art projects, as well as understanding the physiological and psychological power sound can have on a community and its memories. The two artworks explore different methods of deploying sound to reveal or trigger memories of Southend, and how sound art can be used to document hidden memories of this, and potentially other cities.

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Robyn Harrison-Church Who let the dogs out? The Architectural contribution to the fight against climate change Thesis supervisor: Nerma Cridge

This thesis questions if and how architects can participate in combating climate change through architectural intervention. The thesis is structured in four strands, a dialogue between a glacier and the author form two. Another strand provides a theoretical investigation into several artistic and architectural practices. The fourth element is design work which this thesis complements.

Key texts that have been addressed include Michel Foucault (Of Other Spaces [1986] & The Foucault Reader [1986]), Robert Smithson (The Collected Writings [1996]), Ben Tufnell (In Land [2019]) and Paul Shepheard (The Cultivated Wilderness [1997]). Case studies included The Rafah investigation by Forensic Architecture, The Climate Impact tour by ScanLAB, Declarations of Anarchy by Extinction Rebellion and the 2014 Ice Watch by Studio Olafur Eliasson.

Discussions consider the potential power architecture has within the climate crisis conversation and in what way architectural practice can invoke action for change. This thesis starts with the glacier and its possible extinction, leading to a debate on whether architecture should aim to evoke change in others through powerful imagery or be the change through rebellion and investigatory architecture.

The conclusions are open-ended, pointing towards further research into the effectiveness of sustainability initiatives such as BREEAM and Architects Declare. There is no easy answer to the action for climate change, however, even if flawed, many of the cases discussed in this thesis are seen as steps in the right direction.

A shared conclusion by all is that the option to stay passive is unacceptable.

Image: Robyn Harrison-Church, Chandelier 02, installation (2021)

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William Bingley Manifold Landscapes Thesis supervisor: Caroline Rabourdin

Through a detailed investigation of the ‘Clay Country’ in central Cornwall, this thesis questions society’s negative view of ex-industrial architecture and architectural sites. It places particular emphasis on posthuman theory and Deleuze’s philosophy of time as it relates to being to create a framework in which this negative sentiment can be reconsidered.

The body of the thesis consists of passages of sitewriting in which I describe the experience of walking the clay pits through the voices of a variety of different narrators. These include the miners and company employees who constructed them, myself as I visit the site, and even the clay itself with which the landscape is formed.

These passages of site-writing are intercut by a series of theoretical tracts, each further developing a posthuman argument for the merits of ex-industrial ‘wastelands’ like the Cornish pits. They reach their conclusion with a proposal to re-define industrial architectures as Deleuzian manifolds. This would enable us to reframe post-industrial sites generally, not as finished and abandoned architectures, but as continuums — as entities with no author, and no definable point of conception or completion. After all, if it is possible to understand industrial landscapes as architectural forms with their own non-human agency then a new critical relationship can be formed between humans and the other actants which populate them.

Thereby we might come to a better understanding of our impact on the new ecologies emanating from them and of their impacts on us.

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Giorgio Amirante Aedicule Votivae and Vasci: Unpacking the layers of public and private in the Spanish Quarter, Naples Thesis supervisor: Nicholas Boyarsky

This thesis explores the relationship between vasci and aedicule votive (shrines), and the consequent expansion of the domestic realm into the Neapolitan streetscape.

It opens with an introduction to Neapolitan mythology and the relationship towns around Mount Vesuvius have had with religion and the belief of the otherworldly.

Through photographic records and on-site observations, this thesis peels the architectural layers of the walls of the Spanish Quarter, Naples.

Meticulous descriptions of shrines contribute to giving a more extensive understanding of Neapolitan customs and faith, and the woven net of social and cultural relationships. It is then explained how aedicule votive have allowed for the expansion of the domestic realm into the streetscape, slowly blurring the physical threshold of private and public, domestic and civic. Using drawing and surveying as tools to freeze memory in time and space, as well as a speculative tool, this thesis provides an extensive understanding of the relationship between Neapolitan customs and urban morphology through an ethnographic lens.

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Evie Summerhayes Songlines of the River Dart Thesis supervisor: Simon Withers

Songlines of The River Dart explores and celebrates the biological health, mythological presence and historical significance along the course of the River Dart in Devon, to awaken the rivers distinct characteristics along its course and fundamentally recognise the river as a living entity entitled to environmental personhood.

A three-day expedition along the river records and documents locations and objects of interest to reveal the true hypnotic spirit of the water course from Dartmoor to Dartmouth. The methodology of the pilgrimage ensures a rigorous account of the river is portrayed. The method included the use of drone footage, photogrammetry, sound recordings, photography, text documentation and pencil rubbings from natural objects. The tool kit from the expedition enabled the production of a film with sound, three-dimensional point cloud models and poems to create the final River Dart taxonomy.

The thesis draws research from a multidisciplinary realm from legal scholars, environmentalists, philosophers, theorists, sociologists, biologists, anthropologists, politicians, water agencies, environmental agencies, indigenous communities and local Devonian inhabitants. The Rights of Nature movement has the capability to produce inclusive environments for all species — one that reimagines the natural world and its ability to create interconnected, harmonising relationships for future generations. The thesis explores the notion of the Rights of Nature in relation to the River Dart in Devon and its ability to imagine our relationship with nature.

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Jordan Burton Grime, Space & Time Thesis supervisor: Daniel Wilkinson

Grime, Space and Time is an exploration of the urban conditions critical to the formation of Grime music culture. Focusing on the genre’s roots and emergence at the dawn of the millennium in Bow, East London, to understand the fragments that remain today within its local epicentres.

This thesis explores the Grime scene’s use of pirate radio to transcend limitations placed on its pioneers in the public realm, as well as the delineation of Bow’s geographical border through art and trespass. The scene establishes a voice for marginalised communities across London by creating a metaphysical extension of Bow and casting an invisible net of collective identity for those excluded from a broader civic identity.

Grime, Space and Time is the story of an unrealised future of culture in the physical streetscapes of London, and the immaterial constructs used to create new spaces and alternate possibilities.

MArch ARCHITECTURE

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PDAP (Postgraduate Diploma in Architectural Practice) PDAP (the Postgraduate Diploma in Architectural Practice, Greenwich’s ARB/RIBA Part 3 programme) is designed to be enjoyable, engaging and interactive. Small group teaching encourages students to share experience and critically appraise their own professional practice. The ensuing debate is always fresh, contemporary, relevant, and fascinating.

There are no formal examinations, but continuous assessment of coursework will keep you busy. The course can be done in one year but the flexible structure means you can take longer to accommodate career developments. You can join in September or January and graduate in November or April.

PDAP’s pass rate is one of the best in the country.

Comments from recent graduates: Essay format is great as opposed to exams. Lectures/ seminars are structured in such a way that we learn through discussion and debate as opposed to having the information spoon fed to us. Brilliant way to dissect how a practice is managed, why certain practices do certain things in a certain way. What is good practice? What is bad practice? How can a practice improve? The course is as much learning from your peers as it is learning from the lecturers, you get a wider scope of how other practices in the industry operate, especially during and after the pandemic.

— AS 2021 PDAP was the course I never knew I needed. Each session encouraged peer to peer sharing and feedback, both of which are vital in understanding your strengths and weaknesses as a professional. It gave me a deep understanding of what it means to be an architect and prepared me for the profession, as opposed to teaching prescribed answers.

— NB 2021

Landscape Architecture + Urbanism

LAN DSC APE

Making Wild First of all, I am saying that the wilderness is everywhere. Not just in the oceans, not just in the deserts and the mountain ranges, but everywhere. It trickles down the staircase of the minaret and into the prayer hall of the great mosque at Damascus. It seeps through the filters of the cooling plants at Rockefeller Centre.

Paul Shepheard, The Cultivated Wilderness, or What is Landscape? (1997:9) Practices and processes of making wild have been the focus of this year. Inspired by a study visit that Duncan Goodwin led to Glen Affric and Dundreggan in the Scottish Highlands, the projects, dissertations, and technical reports that the students have developed highlight the potential of exploring notions of wild. From the Scottish Highlands to South London and from challenging private control of urban neighbourhoods to curating flooding on the Thames, Making Wild takes many forms. Student projects explored wild places as physical and imagined, material and digital, spatial and social — emphasising processes of making wild.

The opportunity to take study visits and to learn from each other on campus this year has reminded us of the diverse forms of practicing and learning landscape. Design studios engaged with local community organisations, making bricks from local clay, consulting with school children, and remaking urban spaces. It has been inspiring to join conversations in the design studios and see the range of techniques that students are learning, from GIS and 3D scanning to sketch models and tapestries. The studios in Stockwell Street began to buzz again and the machines in the model making workshops came back to life.

We embraced the opportunity to see each other on campus, most explicitly through the Collective Landscape Futures roundtables that were hosted in the Stephen Lawrence Gallery. Opening up conversations between students, alumni, tutors and guests, the roundtables explored questions of native species, intersectionality, economy and ecology, and citizenships. This semester guests include: Iman Datoo, Sui Searle, Christina Geros, Larry Botchway, Indy Johar, Johanna Gibbons, Paul McGann, and Torange Khonsari.

The success of the year was only possible with the hard work and dedication of the students, tutors, and staff. Despite being back on campus the weight of the past two years, during which the Covid-19 pandemic unsettled our lives, was still present. Landscapes are messy, the relations that we have with each other and the land are complicated, and this year has been a time of navigating and negotiating these relationships with care and empathy. We were inspired by what new tutors brought to the school and excited with how students have responded.

Although the work of landscape can be messy, through making wild this year the students have shown that it can also be extraordinary. I hope that you enjoy their achievements.

Dr Ed Wall Academic Portfolio Lead, Landscape Architecture and Urbanism

BA (Hons) Landscape Architecture The BA programme is the first step in a professional career in Landscape Architecture. It is the only programme of its kind in London that is accredited by the Landscape Institute. The programme centres on the design studio, working in small class sizes with lecturers from leading landscape architecture practices in London. Students are introduced to inventive approaches in Landscape Architecture and are encouraged to experiment and to develop design speculations for future landscapes and cities. Design projects explore a range of landscapes, working with green roofs, living walls, courtyards, public spaces, parks, squares, waterfronts, urban masterplans and regional strategies.

Students also investigate historical contexts and contemporary ideas in Landscape Architecture, with studies informed by fieldwork in the UK and abroad. Visits to art galleries, museums and important landscapes in London, as well as lectures by leading international designers and artists, are essential to the programme. Classes in ecology, conservation, horticulture, construction, visual representation, drawing skills and digital communication further support the development of design projects.

Graduate employment from this programme is high.

BA (HONS) LANDSCAPE ARCHITECTURE

YEAR 1 A Tolworth Safari ELIN EYEBORG LUND + WILL SANDY Students Luis Cudco, Sol Damli, Lucy Faye Gill, Johnny Hardiment, Mathew Head, Rachel Lowe, Elisabeth Luckett, Rowan Marlow, Muhammed Miah, Theo Paulson, Akib Raz, Glen Walker.

With thanks to Community Brain: Robin Hutchinson, Himali Patil, Trudie Green, Charlotte Levy, Georgia Neesham.

This year the BA1 students went Wild in Tolworth, a town in the Royal Borough of Kingston-upon-Thames in Southwest London; the ‘scrag end of the borough’ — as the Evening Standard controversially described it. Tolworth straddles the Kingston by-pass, south-east of Surbiton. It was recorded as ‘Taleorde’ in the Domesday Book (after a man called Tala) and mutated through ‘Talworth’ before the present version of the name took hold in the 19th century.

When the the Kingston by-pass opened in 1927 a massive programme of expansion began, with houses and amenities replacing farms such as Tolworth Lodge, the Ewell Road was re-cut and Tolworth Broadway appeared. In 1938 Tolworth station opened, originally as the terminus of the first stage of the Chessington branch line, and then was extended to its final length a year later.

Our studio partnered with the Community Brain who became our client team for the project. The Community Brain is a local Tolworth based organisation who believes in liberating people’s brilliance through participation, permission and play with a purpose.

The Community Brain provides people with the resolve, confidence and passion to pursue ambitious visions for their communities. They support the local community and work to influence change through involvement in policy setting, regeneration, asset ownership, social enterprise and economic development.

The BA1 students worked with the Community Brain team to develop design responses for their three project sites, providing platforms for conversation and provocation about what the future landscape of Tolworth could become.

This year, the studio was split in to three project sites across Tolworth town centre: 01) Tolworth Station, 02) Tolworth Court Farm Fields and 03)

Tolworth Broadway.

Each project site sought to explore, understand and disseminate ideas of wilderness in the built environment and the city, asking: what is urban?

What is suburban? What is rural? and can any of these spaces be ‘Wild’? The students were encouraged to look beyond the roundabout, the bypass and the ‘iconic’ Tolworth Tower and explore the wild side of Tolworth, the green spaces, the cultural oddities.

Living life on the edge of the city — is this where things get wild?

→ Rachel Lowe Using Sound as a Catalyst for Change

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Year 2 Landscape as Protagonist MEAGHAN KOMBOL + CESARE CARDIA Students Ruby Allison, Xi Gong, Lydia Graham, Dmitrijs Kopendjuks, Cleo Lewington, Rabiah Mohammad, Matt Mountford, Ioana Popa, Joe Reynolds, Molly Walker, Ziqi Xu, Ivan Yordanov.

With thanks to Alexis Liu, Jenn Mui (MRG Studios), Liz Redbourne (Homes England), Xabier Mendez, Meike Wagner, (Croydon Council), Katie Sheppard, (Print Collective), Jack Clay, Susanne Tutsch, (Erect Architecture), Peter Palmer, Tracy MacDonald, Matt Kasoar (1st Coulsdon Scouts), The 1st Coulsdon Scouts.

There is strong evidence that connecting people with green spaces can support the recovery of both mental and physical health conditions. Covid has emphasised these issues, exacerbating widespread mental health problems and highlighting the inequitable dispersion of green spaces. However, inequality in provision, combined with cutbacks in maintenance, means that existing green spaces are struggling to cope with demand.

This year our studio has looked at an approach to Making Wild through the lens of ‘Landscape as Protagonist’; moving away from a system that values productivity, efficiency, human comfort and profit, to one that reflects our agency as individuals and our ability to challenge — if not change — the ideals and systems of how landscape is created and treated.

Instead of playing second fiddle, our landscapes have become the main character, the protagonist, and our projects have sought to reflect how nature is understood in our cities.

Arm in arm with their design studio, the Resolution class has focused on researching materiality and refining design using digital and mixed-media.

Students produced physical models using a range of methodologies and materials, from laser cutting to 3D printing, from picking site debris to hand crafting. To start, we reviewed The Seven Lamps of Architecture

by John Ruskin, and created our own ‘lamps’, or virtues, based on landscape architecture. We looked to the NHS’s Green Social Prescribing initiative,

creating restorative landscapes through the processes of making them wild. In the first instance, we explored how we understood ourselves as being a part of nature, instead of something that is disconnected, we used this understanding to help us design better projects with actual stakeholders — the 1st Coulsdon Scouts. The Coulsdon Scouts formed our research base; our test bed for ideas and our ability to engage communities with the nature that surrounds them. Over two terms, we explored two sites in Croydon — Waddon Ponds and the Surrey Iron Railway Embankment.

Students were encouraged to start each term looking at the opportunities and constraints of both sites. This year’s projects advocated for a slowing down: seeking light, wind and an awareness of the life nature can bring to us. We explored the process of making wild as an opportunity to create new dynamic interactions and opportunities for urban life, environment and ecology to co-exist.

→ Cleo Lewington Social Animals

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↑ Joe Reynolds Two Million Points of Interest

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Year 3 Re-Worlding Naturecultures ROO ANGELL + ALEXIS LIU Students Aphra Das Gupta, Naomi Maguire, Hope Morris, Leigh Pearce, Sofia Peon, Lenka Rajmont, Olly Rogers, Elise Rodney, Dean Sutton, Henry Westphal-Reed, River Wittke, Ida Zaninovic.

With thanks to Martin Bhatia, Alison Campbell, Altan Dervish.

What is wilderness? Where is nature? Life on Earth is changing: how do we — as landscape architects and as humans — adapt?

In this studio we worked to challenge the romantic ideal of wild nature as something 'out there', untouched by human hand. Instead, we sought it in amongst ourselves, cheek-by-jowl, to find strange beauties and unacknowledged reciprocities. This studio took place in the context of human-induced climate change, mass species extinctions and a global pandemic. Our challenge was to radically alter perceptions of, and interfaces between, human and more-than-human worlds, to find weird futures shared in unexpected ways — and learn how to take care of them.

We chose Tilbury as our study site, setting the tone through fieldwork, photography, videos, materials collecting, and mapping. Tilbury is located on the intersecting edges of estuarial River Thames, the Greenbelt, agricultural fields, suburban settlements, port developments, and the global city of London.

This is a place with wild elements, interventions, challenges, and opportunities where students could explore, develop, and test their wild ideas.

Students started by exploring both the town and the apparent “wilderness” of sites of low human occupation within Tilbury, observing wild processes and interactions. Each developed their own taxonomy of wilderness specific to the site: identifying existing nature/culture interfaces and working at a range of scales from 1:10 to 1:1000. These taxonomies formed the basis for further site research using Geographical Information Systems.

These observations were taken on a leap forward into the future — 5, 50, 500 or 5,000 years — to develop an SF* narrative exploring nature-culture

interfaces, hybridities and practices of care. These narratives focused on the interaction between a current or future human resident of the site, an existing organism or process and its multi-species support system.

Students designed a future scenario which proposed an assemblage of multiple organisms (including human), where the landscape is the protagonist. Proposals include interventions and processes or disturbances which facilitated transformative multi-species encounters. These encounters were taken forward to create robust yet open-ended multi-species networks which respect our mutual precarity whilst developing our interdependence.

Proposals were developed further through the Resolution module, where students explored the landscape relations on site, they modelled the interactions taking place in their future scenarios, using the combination of GIS, Rhino and Grasshopper. The drawings created from these processes developed the storytelling of studio projects and communicated the atmospheres of the weird wildness’ imagined. *After Donna Haraway, who uses 'SF' to denote open-ended productive imaginings, including Science Fiction, Science Fact, Speculative Fabulation, String Figures, Speculative Feminism, and more.

→ Lenka Rajmont The Code is LCY2

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1 + 4 Hope Morris A New Flow 2 Ida Zaninovic Past Future Landscapes: An Exploration of Regenerative Industries 3 Elise Rodney Back to Eden 5 River Wittke Project gAIa 6 Leigh Pearce Beneath the Birds

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EXPERIMENTATION + COMMUNICATION Dreams of Green Infrastructures MARCO VENERI + GIULIO GABRIELLI MLA1 Neeraj Balani, Arlo Clark, Rachel Cornhill, Karen Dear, Angie Dixon, Alex Erwee, Alex Forbes, Alan Gillingwater, Maddy Hodgeman, Shubhangi Kedia, Reina Kosugi, Harika Puralachetty, Satya Raavi, Kaley Robertson, John Philip Salalima, Shravya Shetty, Manisha Silwal, Mei Xiang Tay, Nirooha Veeramachaneni, Sam Vessey.

BA1 Luis Cudco, Sol Damli, Lucy Gill, John Hardiment, Matthew Head, Elisabeth Luckett, Rachel Lowe, Rowan Marlow, Muhammed Miah, Safa Mohamed, Theo Paulson, Akib Raz, Dania Stephenson, Glen Walker, Nabil Younsi.

With thanks to David Eek, Duncan Goodwin, Phil Hudson, Ed Wall.

The Experimentation and Communication module, in parallel with the design studio, builds upon the practises and processes of ‘Making Wild’ and rewilding, to explore and develop the digital skills needed to analyse and propose landscape projects.

We took Greenwich Peninsula as a challenging test site, and as a provocation for our experimentation.

The area, undergoing regeneration in phases, is fragmented in terms of land use and accessibility, being cut through by several North-to-South roads, parking lots and construction sites. It presents many sites that are underused, vacant or waiting to be redeveloped. Following an initial phase of fieldwork investigation and analysis of the site, we took the opportunity to create a speculative design proposal — a wild scenario — to reimagine the peninsula's green and blue infrastructure and see how this could change the tone and direction of the ongoing regeneration. Our speculations focused on redefining the landscape through earthworks: to rethink the peninsula’s green infrastructure and it's

topography and create new relationships between water and land. The historical traces present on the site — its remaining industrial heritage and its past as marshland, its position on the river and its morphology and the flood risk — have all inspired our investigation. We took the chance to explore with media and software new imaginaries of how urban nature could be and perform.

The module focused on using visual language to communicate ideas and concepts. Communication with visual language relies on drawing as the primary component to support the conception, analysis and visualisation of ideas. This involves acquiring and applying design and critical thinking skills, as well as drawing skills to experiment and articulate our ideas. We made use of diagrams, sketches, collages and 3d modelling as tools to generate ideas to explain concepts as well as analyse systems within the project. Early diagrams, photographs and collages were used to study the context and its spatial qualities. During our workshops, we developed skills to show multiple layers of information within one image and refined the ability to graphically represent data and concepts within a drawing.

Our workshops focused on selecting and applying multiple techniques, methods and styles of representation to achieve complex visualisations using multiple software so that students can develop a personal style with an efficient workflow.

The module has been collaborative in nature: working in groups we encouraged free exploration and learning from one another, to discover digital tools as a medium to build landscape analysis and proposition.

→ Alex Erwee Wetlands in Greenwich Peninsula

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Masters Landscape Architecture + Urbanism MASTER OF LANDSCAPE ARCHITECTURE (MLA) The MLA is designed for graduates who wish to become professional landscape architects. The programme is accredited by the Landscape Institute, offering a 2-year graduate entry conversion route for candidates from diverse backgrounds such as art, architecture, horticulture, geography and social sciences. Graduates are eligible to become licentiate members of the Landscape Institute and begin the Pathway to Chartership. Students explore a diverse range of approaches to the design of landscapes, such as green roofs, living walls, courtyards, public spaces, parks, squares, waterfronts, urban masterplans and regional strategies. Students develop skills and knowledge in design, history, theory, professional practice, technology, ecology, sustainability, horticulture, drawing and digital representation. The programme has a close relationship with industry, and an extensive alumni network, resulting in exclusive work experience opportunities with The Royal Parks, and strong graduate employment with renowned practices such as Gustafson Porter + Bowman, Martha Schwartz Partners and Gross Max. The programme attracts applicants who are changing career or furthering their work in Landscape Architecture.

MA LANDSCAPE ARCHITECTURE The MA programme is designed for individuals interested in becoming professional Landscape Architects. Graduates have joined some of London’s leading landscape practices, have founded award-winning international design studios and have led strategic urban design projects such as the Queen Elizabeth Olympic Park. The programme has a high international profile, with published and award-winning student projects recognised in the Landscape Institute Awards and the International Biennial of Landscape Architecture. The core component of the programme is the design studio, with student investigations addressing concerns about climate change, ecological conditions, spatial justice, urban development and future technologies.

Students are supported in the development of innovative and distinct approaches to landscape architecture in the final design project and written thesis. Design teaching is informed by professional and technical seminars, theory lectures, and guest lectures from international artists, designers and academics.

Masters Landscape Architecture + Urbanism MSc ARCHITECTURE, LANDSCAPE AND URBANISM The MSc encourages students to develop inventive and speculative approaches to the design of cities, landscape and territories. The programme promotes strong design methods and the integration of innovative technologies to address the challenges facing cities, such as urban growth, climate change, globalisation and social inequality. The programme interrogates the growing influence of landscape on urban, social and ecological processes, providing a platform from which to address the conditions of contemporary urbanism, such as extreme environmental events, shifting economic agendas, new forms of public space and the transformations to urban infrastructures. The programme centres on the design studio, with advanced design techniques and innovative methodologies employed to develop speculative designs, strategies and interventions.

The programme is designed for those aiming to develop advanced design skills for use in architecture, landscape and urban design practice, and for those looking to enhance their academic skills and/or go on to doctoral study.

MASTERS LANDSCAPE ARCHITECTURE + URBANISM

Unit A Exchange: Citizens Living Landscape EMMA COLTHURST + HONORÉ VAN RIJSWIJK MA Cong Ma. MLA2 Laura Bush, Elena Ceppo, Taffeta Gray.

MSC Silas Basley, Harshith Gopalakrishnan.

MLA1 Arlo Clark , Alex Erwee, Alan Gillingwater, Shubhangi Kedia, Reina Kosugi, Satya Raavi, Sam Vessey.

With thanks to Anushka Athique, Kalliopi Bouz, Benz Kotzen, Ed Wall.

Unit A gave communities control of infrastructural systems and their living landscapes. We asked, what happens to landscapes when infrastructure systems fail or become redundant? Which communities are impacted? How can design reconnect citizens with its landscape infrastructure systems?

We explored the material, social, and spatial exchange between living landscapes and unseen infrastructure systems. The relationships between oil pipelines, subterranean rivers, or gas holders may initially appear detached or hidden from our everyday lives. Such systems remain largely invisible underground, or on the periphery of cities until the precise moment at which they break down, fail, or become redundant.

Yet these systems are always interconnected within landscapes and communities, they reveal (and conceal) unequal or symbiotic exchanges. Such infrastructural breakdowns dramatically impact landscapes, for example, the catastrophic New Orleans flooding, which partially resulted from the operation and maintenance failure of the Mississippi River-Gulf Outlet. Or the conflict of the Dakota Access Pipeline, as the construction threatens the region's water, disrupts ancient burial grounds, and cultural sites of historic importance. Our lives are all informed by the apparent ‘simple’ systems that sustain our ways of life, whether oil, water, sewage, or transportation.

The unit challenged the privatisation and land ownership of such systems, that fragments and restricts landscapes and communities. We explored the structural and hierarchal control of systems, and we questioned: who and what is at stake within the infrastructural living landscapes?

This year we explored innovative methods for community participation, including group mapping, toolkits, and self-builds. We tested design ideas through prototyping and modelling (3D and physical), as we explored the landscape exchange of the three unit themes — shelter, yield, and dispose. The site research and design focused on a system that intersects with London (central and greater London), whether through rivers, canals, railway lines, reservoirs, sewage, catacombs or other. Students explored disrupted, abandoned, or declined infrastructure systems. The ‘exchange’ was the point of breakdown and interconnection that we identified between the hidden infrastructure system, and a London based living landscape.

Consequently we asked — how can these infrastructure exchanges be reimagined with communities?

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Unit B Paper Garden JAMES FOX MLA2 Gokuleshwaran Asokan, David J. Eek, Ian E. Smith.

MLA1 Alex Forbes, Harika Puralachetty, Shravya Shetty, Manisha Silwal, Mei Xiang Tay, Nirooha Veeramachaneni.

With thanks to Ai Hishi (Global Generation).

That night in Max’s room a forest grew, and grew until the walls became the world all around, and an ocean, and Max sailed through a year and in and out of nights to where the wild things are. And when he got to where the wild things are he stared straight in to their yellow eyes and they were frightened and made him king of all the wild things. And Max said: ‘Let the wild rumpus start.

— M. Sendack, Where The Wild Things Are (1963) Our Study site was Global Generation’s Paper Garden, a landscape at Canada Water. Global Generation is an educational charity that works with local children and young people to create healthy, integrated and environmentally responsible communities. These young people are called ‘The Generators’ and in our Unit we worked with them as our clients and became generators ourselves through making real landscapes — our project was to make a zen garden at Canada Water. Our emphasis was on working towards construction using construction drawings, physical and 3d computer modelling. Then we captured our activities, ideas, and landscapes photographically. The majority of the work was shared group work.

Whilst most people can decide where to put a path or plant a plant, designers are people who bring a certain conceptual order, rigour and beauty to these activities. We think that beauty still matters and we pursued it at all times. To help with this we began with the help of Ai Hishi, who recently oversaw the restoration of the Japanese garden at Cowden. After completing our real landscapes we broke away and made individual proposals for the future of the site at a broader scale. This year the theme was wilderness.

We propagated a certain wildness of the soul.

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Unit C Myths of the Wild: Narrating and Concealing Accounts of Injustice HELENA RIVERA + KALLIOPI BOUZOUNIERAKI + ED WALL MA Jess Bond, Emi Kaneko, Maxine London, Zanna Woodgate.

MSc Wattan Jawareesh, Fernanda Nunes.

MLA1 Neeraj Balani, Rachel Cornhill, Karen Dear, Angela Dixon, Maddy Hodgeman, Kaley Robertson, John Philip Salalima, Frances Reeves.

With thanks to Sven Reindl, Samuel Sheard, Nasios Varnavas.

Myths are stories told of places and people. They are illusions, unreal, fake, lies, untruths. But they are also grounded in realities, abstractions of truths, extensions of actualities. Anthropologists for example, examine myths to “better understand the structure and functioning of social organisation” and they derive "space, place and landscape" as the key constituents in the construction of myths (Cosgrave: 281). In our unit, we were interested in how we can use myths to tell stories of places. We recognised that whilst myths can make some narratives clearer, they also simultaneously obscure histories. There are traditions in landscape where myths are used and re-used to perpetuate social, environmental, and land injustices. In a way, our collective reliance on myths to protect and conceal injustices is a wilderness that remains in social organisation, and this was our understanding of Making Wild.

We decided to work with myths because they are accessible: elaborate in their detail but clear in their setting, conflict, character and plot. The deeper you read a myth the more embellished the plot becomes.

But before delving into the richness of the detail, the myth needs to lure in its audience with simplicity and abstraction. Myths can be told as fairy tales, as folklore, constructed into religion or become personal and collective ideologies. Looking far afield, one finds

an entire civilisation was built in Greece around the mythology of gods, and searching closer to home, one finds an entire family that remains with limitless power and land in the UK around the mythology of monarchy. And there are others: myths of Santa Claus; myths of eternal life; myths of capitalist growth; myths of nature; myths of wilderness. The setting, in other words, was explored as something close to us in both time and space.

We studied in what ways myths rely on symbols and devices that could be presented as abstracted narratives. For example, how they could be told as stories, or sung as odes, they can be drawn as markings, or written as holy texts. Symbols can “provide ancient sureness and comforting stability" (Lerner: 1290), or they can become “political tools, for example, where settlement activity becomes a social form leading to further settlement activity” (Kellerman: 363) that perpetuate land injustice on a state-level. A reoccurring idea that we worked with is that symbols are woven into the fabric of myths, so if we think about the components of ‘space, place and landscape’ we needed to add symbols as the lens/narrative device with which to view these.

In the unit, students discovered sites where they found a land injustice that needed to be explored.

They constructed their own myth through the production of a tapestry and using the classical structure of a myth: the setting, the conflict and character, the plot and the resolution. Each student produced a tapestry as a 3-dimensional mural drawing that explored the myth from its creation to its atonement.

→ Various Unit C Experimental Castings

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1 + 5 Fernanda Nunes The Universal House: A New Political System for Westminster Parliament 2 Kaley Robertson A London Thames Path Myth 3 Maxine London A Myth Transpiring within the Air in Greenwich 4 Maddy Hodgeman Ungrounding Canary Wharf

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1- 2 Zanna Woodgate Pickle Herring Jetty Way: A Route of Un-surveillance 3 Karen Dear Limehouse Museum

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1 Wattan Jawareesh My Home is my Prison: Land Injustice in Palestine 2 John Philip Salalima Revealing Lost Chinatown in Poplar 3 Emi Kaneko Grow the Carpenters Together: Benefiting the Community through Regeneration with Social Infrastructures 4 Angela Dixon ‘I Was Here’ 5 Jess Bond Aspirational Living along the A206 6 Rachel Cornhill Centuries of Stink: Urban Smellscapes and their Restorative Role

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LANDSCAPE TECHNOLOGY DUNCAN GOODWIN + MARK BENTLEY + PETER MASSINI With thanks to Jim Quaife (Quaife Woodlands), Helen Gillespie-Brown (Wildflower Turf), Sarah Jefferson (Vandersanden), Nick Cosle (Palmstead Nurseries), Steven Burton and Phil Crichton (Steintec Tuffbau), Jason Jensen, Anar Patrick and Mihai Suta (Campbell Reith), Mark Bentley (TEP), Paul Traynor and design team (Light Bureau), Tom Gray and Tim Morgan (ARUP), Alex Clark (Salix River and Wetland Services), Kim Dawson (Brighton and Hove City Council), Peter Massini (Future Nature Consulting), Phil Askew (Peabody), Nick Williams (Safer Sphere), Brett Morse (Milestone Transport Planning), Giacomo Guzzon (Gillespies), Ivan Clarke (Five Pump Court Chambers), Alan Watson Featherstone (Trees for Life Founder), Kat Murphy and Jill Hodge (Dundreggan).

The fossil-fuel-powered Industrial Revolution of the 18th Century provided the conditions required for mechanised extraction, manufacture, and processing of materials never before experienced.

This in turn created a situation suitable for exponential growth of the human population.

However, such growth has inevitably placed an ever-increasing demand for more and more of the earth’s resources, from mineral deposits to fertile land, freshwater and productive oceans.

In 2000 Paul Crutzen, from the Max-PlanckInstitute for Chemistry, and Eugene Stoermer, of the University of Michigan, proposed that the current geological age be named the ‘Anthropocene’ — a term that encapsulates the impacts that human activities are placing upon the earth and its atmosphere, at all scales. The Anthropocene, they argued, is characterised by the earth’s biosphere being pushed beyond its normal operating range and being subjected to forces which are greater than those exerted by natural cycles.

The planet is under pressure from its inhabitants as never before and all this comes with concomitant land cover transformation, biodiversity loss, pollution and climate change; the implications of which are globally significant. Not only do we and our wildlife need to be able to adapt to the steadily increasing rise in overall temperature but also to an erratic and

unpredictable set of weather conditions such as heatwaves, droughts and flooding. There are very few geographical areas over which humans have not had some influence, even if indirectly. There is little doubt that climate change is happening, whatever the cause, and the speed of this change is exponentially, so we need to respond to it directly and plan accordingly.

Landscape Architects are uniquely placed to provide solutions to these problems through their developed understanding and connections with natural ecological systems, urban green infrastructures, sustainable water management, low carbon materials and urban resilience.

Innovation and creativity in material processes have always been at the forefront of the Landscape Architecture technology modules at the University of Greenwich. We encourage our students to develop more creative approaches, beyond tackling the conventional core issues, that aim to minimise environmental and social impacts now and into the future whilst also responding to the aesthetic needs of the city dweller. This in part can be achieved by reducing embodied energy and carbon, targeting green infrastructure interventions and embracing the sustainable integration of water management to create effective, living and sustainable systems.

We invite specialists from a variety of construction and creative disciplines to deliver key technical seminars that challenge conventional approaches and encourage exploration and discussion. Our students then reflect on and develop these approaches further within their design projects and consider how they are relevant to their current and future ambitions as Landscape Architects. We provide a rigorous foundation in professional landscape architecture practice for both our undergraduate and postgraduate Landscape Institute accredited programmes. We encourage our students to explore established, historical and future approaches to material trends, emerging technologies, technical detail, professional regulation and project precedents.

→ Tangina Ahmed Technical Details

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1 Aphra Das Gupta Section 3 2 Henry Westphal-Reed Planting Plan 3 Lenka Rajmont Saltmarsh Section 4 JP Salalima Hydrology Analysis 5 Harika Puralachetty Social Play

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LANDSCAPE HISTORY + THEORY ANUSHKA ATHIQUE Tutors Roo Angell, Anushka Athique, Bob Bagley, Emma Colthurst, Elin Eyborg , Benz Kotzen, Sarah Milliken.

With thanks to Loretta Bosence (Local Works Studio), Victoria Pratt (Invisible Flock).

LANDSCAPE THINKING Knowing why and how things happen in landscape's more-than-human systems brings to light possibilities for engaging and changing them.

— Jane Wolff, Bay Lexicon (2021) To be able to work with landscapes, we need to be able to talk about them. And to be able to address the intimate (dis)connections between the production and the enactment of landscapes it is important that we question how we think about landscapes; how we categorise, how we conceive of its borders and boundaries, and the language that we use to talk about the multiple human and more-than-human agents. We need to be working simultaneously but not always together, to alter and redefine our landscapes.

Landscape History and Theory at the University of Greenwich explores critical and theoretical discourses surrounding landscape, architecture, and urbanism. It engages with the processes and ideas concerning the production and experience of the lived environment. We look at how we, as humans, interface with the more-than-human environment.

Whilst there is an emphasis placed on landscape, architecture, and urbanism theory, we strive to create an interdisciplinary dialogue across design, performance, philosophy, sociology, geography, history and anthropology discourses.

In the first year of the Undergraduate programme we look at the core ideas of landscape and architectural theory, contextualising our positions within London. In the second year we expand this knowledge, exploring key texts through discussion and site-based workshops to develop a critical approach that connects theory to site. In the third year of the undergraduate programme, personal research is developed into a dissertation that connects sites, practices and theory. Masters students combine and expand on these research

approaches with seminars and presentations to produce an illustrated thesis.

By introducing a more nuanced discussion between ourselves and other disciplines, other agents and practices, we can investigate how theory is connected to the practice of design. And by exploring the multiple discourses surrounding 'landscape', we can think about the ideas and complexities of landscapes from different perspectives, paying particular attention to how our developing theoretical understanding influences how we experience and produce the environment around us.

Through group activities, lectures, workshops and tutorials we create a space for the discussion and development of ideas. We want to be able to interrogate established and emerging theoretical concepts that are relevant to landscape architecture and urbanism. We aim to demonstrate the relationship between the work we do in our history & theory classes and that in design studio. We apply critical theory to design and writing projects, in both reflective and propositional modes. And we aim to strengthen landscape and urbanism thinking through the assimilation of wider disciplinary concepts and approaches.

→ Silas Basley Internet Landscapes

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Silas Basley Internet Landscapes. How the Internet and Edge Computing is Impacting Rural and Urban Frontiers with a Focus on Porton, Wiltshire and Central London

The aim of this project is to investigate the potential impacts of the internet and edge computing (which moves computing resources away from data centres, to as close as possible to where they are being used) on urban spaces and landscape fringe settings in the UK. This idea of the rural edge is explored, as well as the urban environment, particularly through the lens of the landscape architect, urbanist and anthropologist.

LANDSCAPE ARCHITECTURE + URBANISM

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River Wittke Autonomy Is Refuge. How Informal Refugee Settlements Adapt to the Needs of Disenfranchised Populations

Though there are a variety of informal refugee settlements throughout the world, this essay will focus on three disparate camps: The Jungle in France, the Sahrawi camps in Algeria, and Jabal al Natheef in Jordan. Each of these camps has responded to separate crises in different eras and act, or once acted, as a home to unique populations (Doezema, 2016) (Herz, 2020) (Leuder, 2019). As such, these informal settlements also perpetuate their own architectural styles, uses of space and materials, and internal economic systems that physically shape the camp.

By examining the socio-spatial formations of each camp, a set of distinguishing features can be established. These reflect the times, needs, and populations of particular camps, and begin to provide an understanding of the broader implementations of informal refugee settlements.

It is through an analysis of these unique landscapes that recurring spatialities can be established, which is essential in determining the efficacy of architectural and socio-spatial interventions in informal refugee settlements in contrast to their formal counterparts (Herz, 2021).

Tafetta Gray Sellafield. Gardens of Nuclear Waste

Using Sellafield in West Cumbria as a case study, this essay seeks to unravel the material processes that create radioactive waste in the UK and explore the resulting intertwined relationships between communities and the landscape. By following the trail of uranium from extraction through to disposal, this essay hopes to demonstrate that waste is a material that is as important as the commodity of which it is a byproduct.

In addition, this essay explores the temporality of radioactive waste. When dealing with materials that have a radioactive half-life of hundreds of thousands of years, the human species has a responsibility to protect future generations from the poisons that they have created. Society has historically always buried its waste, but this essay suggests that through maintaining visibility an actively productive relationship between humans and waste materials can be achieved that will inspire communal action and avoid complacency.

In Search Of Sellafield Oystercatchers chat furiously as they hop in and out of seaweed. An enormous seagull abandons a freshly caught sea bass as I approach. Although the sun rose an hour ago, the beach is gloomy. Drizzle blurs the landscape. One can imagine how busy it must be in the spring, but it is January 2022 and only a few dog walkers are making the most of the low tide. The Cumbrian mountains loom in the background and shaggy sheep look down from the coastal path with curiosity as I make my way south towards the Low Level Waste Repository.

Sellafield is the UK‘s oldest and longest serving nuclear power plant, which rises from the Cumbrian coastline like a castle surrounded by a moat of fences and barbed wire.

Welcome to Seascale, a small town on the west Cumbrian coast, three miles south of Sellafield with an ageing population of 1,754 (Barker, 2016).

"I worked at Sellafield when I was younger. My parents were horrified", explains local hotel owner Sandra. "Ooh, don't work there you'll get cancer they said", she says with a wide grin.

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Alan Gillingwater Vagabonding London: Prospects for a Freakology of Spontaneous Urban Flora as Landscape Design Tool

One humble, non-native, ephemeral annual that is overlooked and trampled on everyday across London, is Cardamine hirsuta (Hairy Bittercress). It might rarely be questioned as to why a vagabond is where it is, however, all "plants have contexts. They never grow completely at random. There is always a story behind their persistence in one place and their sudden arrival in another" (Mabey, 2010: 87).

This essay seeks to utilise the analytical tool of freakology (Fletcher, 2008) — an expansion of ecological analysis to include a more dynamic understanding of human/non-human relationships in Anthropocenic landscapes — to better understand spontaneous flora in London and its relevance to landscape design. Firstly, freakology will be situated in the longer history of urban ecology. Secondly, a reading of spontaneous urban flora as vagabonds will be elaborated from the perspective of four particular species — Ivy Broomrape, Hairy Bittercress, Hoary Mustard and Maidenhair Spleenwort — as they have moved through the city over time. Weaving together the cultural with the empirical and botanical, different modes of representation of these stories are explored from sketches to data visualisation. From Greater London, we zoom into the London Borough of Camden in particular. Finally, prospects for a freakological approach to landscape design with vagabond flora are examined.

LANDSCAPE ARCHITECTURE + URBANISM

Aphra Day Slowing The Flow. Hydropolitics of Flood Mitigation in the Calder River Valley

Flooding is a serious and increasingly frequent phenomenon with social and financial implications. In the past 50 years, the UK has seen a 42% increase in severe flooding (Beevers, 2018). The blame for this often falls at several doorsteps, and while flooding is a natural process and often a result of geological topography, there is always the expectation that it is a problem to be fixed. Whether caused by a failing in "conscientious planning" (Restemeyer, Woltjer and van den Brink, 2015), outdated infrastructures (Scott et al., 2013), or urbanisation (Zevenbergen et al., 2008), the impacts are expected to be exacerbated as climate change brings rising sea levels and extreme storm events (Hegger et al., 2016).

The Calder Valley has a long history of flooding, the severity and frequency of these events appear to be increasing (Sakai, 2016). In recent years, a string of devastating floods has drawn much attention to the area. The Boxing Day floods in 2015, and more recently, the flooding of Storm Ciara in 2020, saw damage to over 2,781 homes and 4,416 businesses (Eye on Calderdale, 2022). Over the years, a variety of flood mitigation strategies have been implemented in the valley, both flood-defence interventions and in more recent years flood-resilience strategies have been introduced. This essay delves into the challenges and politics surrounding the collective effort to combat flooding in the area.

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BA (Hons) Urban Design This year we begin a new programme, BA (Hons) Urban Design. Students on the programme will explore the speculative design of future cities and urbanisation, informed by site-focused research, within specific local, regional and global contexts. This new Urban Design programme will continue our exploration of ecological justice and urban equity begun on the Landscape Architecture programmes, from theoretical discourses to new forms of material constructions. The programme will bring together three distinct areas: Firstly, inventive design projects will be the focus of the programme, from future cities to historic urban precedent. Secondly, ecological justice and urban equity will be the priority for all projects, through collective, shared public spaces. Thirdly, the programme will address urban change across vast scales of space (planetary to material) and time (daily lives to generational struggles). The urban design programme will importantly consider cities and urbanization through the lens of landscape, considering challenges of temporality, change, growth and scale, and interacting with colleagues in landscape architecture to allow concerns for biodiversity loss, climate change and landscape citizenship to be addressed through the design of new urban environments. A unique aspect of the programme supports students to work on live projects through placements in London design practices and/or studio projects, working with clients and consultants. This opportunity will test the experimental projects developed in the university and build confident professional networks for the students. This new programme is developed from the success of the Future Cities Summer School and taught by an experienced team of staff experienced in the design of landscapes and cities.

LANDSCAPE ARCHITECTURE + URBANISM

COLLECTIVE LANDSCAPE FUTURES ANUSHKA ATHIQUE Speakers Dilip Lakhani, Giacomo Guzzon, Iman Datoo, Sui Searle, Amund Hugin, Christina Geros, Ed Wall, Larry Botchway, Wattan Jawareesh, Alan Gillingwater, Henry Wilson, Indy Johar, Johanna Gibbons, Simon Goldsmith, Emma Colthurst, Malaika Cunningham, Oscar Berkeley, River Wittke, Sowmya Parthasarathy, Kris Cullum-Fernandez, Meaghan Kombol, Paul McGann, Torange Khonsari, River Witkke, Frances Reeves.

With thanks to David Waterworth.

Collective Landscape Futures is a series of roundtable discussions with guests alongside students, graduates and tutors from Landscape Architecture and Urbanism at the University of Greenwich. This year the roundtables investigated the relationships between landscape practices and the interconnected issues of race, gender, extraction, and the economic/ environmental crises. The four roundtable discussions that took place each explored a particular issue as it relates to the future of designing landscapes and cities, and they explored the role of landscape and urban practitioners in collectively building fairer worlds. The conversations were recorded (audio only) and will be transcribed to form a series of Zine publications out in Autumn 2022.

Citizenships: 27 April 2022 A roundtable discussion exploring practices and policies that can empower more diverse citizenships.

Collective Landscape Futures began in 2021 with guests including Julia Watson (author of Lo—TEK. Design by Radical Indigenism), Ben Campkin (Co-Director of the Urban Laboratory, UCL), Ross Exo-Adams (Co-director of Bard Architecture) and Martí Franch Batllori (EMF).

Native Species: 23 February 2022 The histories of plants in our public spaces can perpetuate narratives of injustice, but can they also offer opportunities to reframe these perspectives?

Intersectional Landscapes: 9 March 2022 How can design practices challenge established power structures and create landscapes that foster empowerment, inclusion and solidarity?

Oikos=Eco=Our Home: 23 March 2022 A roundtable discussion examining the relationship between ecology and economy and ways of making and living in the world.

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Graduate + Student Employment School of Design Landscape architecture education at the University of Greenwich has an international reputation developed over fifty years. Confident, knowledgeable and skilled landscape architects have graduated from Greenwich, the oldest courses in the country, going on to become leading landscape designers, landscape planners, garden designers, urban designers and occasionally academics in the UK and abroad. As one of the elite design and construction chartered professions, amongst architects and engineers, our education is both explorative as well as being finely honed towards professional practice mainly in landscape and environmental consultancies, where students become the creative and professional consultants who ensure that our world becomes a better place to live in, whilst fulfilling their client briefs.

Our aim is and has always been to prepare our graduating students for work and to accomplish this we not only provide the necessary education in theory, technology and design, but we promote interactions with industry employers and consultants — many of whom also studied at Greenwich — in five ways. Firstly, our students regularly meet with professionals in their design reviews where external consultants are invited to critique the design work and to talk about their own offices and approaches.

Secondly, we organise live design projects where students work with designers and clients to realise physical projects.

Thirdly, we take students to visit offices and sites, both in the UK and abroad (when we are on field trips), to get a real impression of real office environments and where the students are exposed at first hand to the workings of an office and a particular consultancy’s approach, ethos and methods. Fourthly, towards the end of the year we also invite consultants as well as recruitment agents to engage with students with their portfolios and CVs, explaining what employers are looking for and how to create and curate a portfolio and how to engage with a potential employer from the outset; from the initial letter and introduction, to presenting the portfolio and oneself. Finally, our engagement with the Landscape Institute through our review group and our external examiners provides students

with an excellent knowledge and future network from which to develop their careers. Employers regularly approach Greenwich as they have opportunities for landscape graduates as well as developing long-term agreements with the University to employ our students.

Our engagement with consultants strengthens our alignment with the profession but also provides our students with an amazing resource that could not happen without the generosity of time, and energy, brought into the University by the profession. In this respect, we would particularly like to thank Jennifer Mui (MRG Studio), Carl Thomas (LOCRI), Armel Mourgue & Oliver Duiguid (Gillespies), Liz Stark (LDA), Helene Saulue and Leighton Pace (Exterior Architecture), Martin Bhatia (Colvin and Moggridge, Donncha O Shea (Gustafson Porter and Bowman), Jane Pelly and Graham Dear (The Royal Parks) for their generous contributions.

Ed Wall, Associate Professor of Cities & Landscape

LANDSCAPE ARCHITECTURE + URBANISM

FUTURE CITIES SUMMER SCHOOL ANUSHKA ATHIQUE Project Lead Anushka Athique.

Project Coordinator Emma Colthurst.

With thanks to Karen Dear, Ross Schaffer, Meredith Will, Phil Hudson, Robbie Munn, Poppy Ring.

The Landscape Architecture and Urbanism team organise a unique summer school for Year 12 and 13 students from across London who are interested in the design of future landscapes.

The summer school, founded in 2018, involves young Londoners working in small teams with professional designers and lecturers at the university of Greenwich.

This year (25–29 July 2022) we will be looking at how our cities function, and asks: what type of energy will be needed to make them run? We will question where our resources come from and how they will shape how we use and occupy the cities of the future.

At the Future Cities Summer School we will propose a future based on a new relationship with energy and natural resources. We will begin by exploring London’s neighbourhoods, recording what is happening with photos, sketches and video. Then we will return to the university design studios and develop proposals through drawings, collages, model making and video. The aim of the Summer School is to speculate on what cities might be like if we were in charge of designing the future.

At the end of our five days together we will present our vision to invited friends, family, and guests.

Students will also receive a certificate of attendance and a printed publication on completion of the Summer School.

Join the Future Cities Summer School at University of Greenwich’s award-winning Stockwell Street building — to explore the design of cities and landscapes of the future.

Apply via: https://thelandscape.org/future-citiessummer-school/

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Identity, Belonging, Care What are the processes that mediate our relationship with nature, culture and each other in 2022? In the aftermath of Covid-19 pandemic, facing devastating consequences of the events in Ukraine, as well as global climate crisis – and with eight years to go to reach the 17 Sustainable Development Goals of 2030, the media is turning towards the self, and the questions of identity, belonging as well as care are louder than ever.

Inspired by these processes, the students’ work from Media portfolio’s Dissertations and Advanced Projects reflect on these connections and disconnections, drawing trajectories of migrations and belongings of 2022.

Gurpreet Kaur’s "The impact of Indian farmers' protests on the farmers and their families" follows the on-going farmers' protests that have been occurring in India over the past few years, which began when the Indian government introduced new laws undermining the farmers' control over the selling price of their own crops. Through interviews with family members of farmers who have participated in the protest, the project aims to help understand both personal and public dimensions of the protest, raise awareness of the interconnections of land and selfhood.

Grace Ennis’ "Row of Corn" showcases a technique of cornrowing, that not only weaves together pieces of hair but thousands of years of history also. It has transitioned from its primal use as a symbol of wealth and status to a desperate measure in times of slavery. Is this history lost in the 20th century as it stands only as a means of adornment? Or does the history live on with the technique? The project explores those questions in order to find a new ways to transfer the skill of cornrowing.

Vesa Morina’s work on "Memories in Exile – Leaving Kosovo and Objects of Home" documents a personal journey of her family, who fled Kosovo in the 1990s.

This research project presents one family’s background of immigration to the UK and their feelings and emotions as refugees, documenting the different objects that my family members have kept from their homeland and that remain meaningful to them. Isabel Amande looks at more contemporary migration crises, exploring the representations of Ukrainian and Syrian refugees in the national press in the UK. A number of research projects present different dimensions of belonging exploring the notion of identity and diversity in self-representation through media and film, including representation of strippers by female filmmakers (Daisy Ellis), queer female gaze in film (Eve Flude), as well as the creating of gendered brands (Georgiana Cojocaru) and Instagram self-imagery (Summer Children-Smith and Sarah Tran).

The diversity of voices and the amount of care about the common future explored through these works is fascinating, and we hope you will enjoy exploring these exceptionally relevant works and will find certainly find some new voices that resonate with your own reflections.

Dr Maria Korolkova Academic Portfolio Lead Media

BA (Hons) Media + Communications OUR MEDIA AND COMMUNICATIONS degree provides an academic, creative and critical understanding of the media, for roles in a variety of creative industries.

The Media and Communications programme enables students to develop an in-depth understanding of how media inform, persuade and make an impact, and to explore these issues through a combination of traditional scholarship and innovative media practice. By the end of this degree, our graduates know how to produce creative content across different kinds of media, including writing, camera use, sound recording and post-production/editing.

We frequently invite guest lecturers, including professionals from media and creative organisations, to share their specialist knowledge, which allows students to keep abreast of the latest developments in their field.

This employment-focused programme prepares students to be among the content creators and creative entrepreneurs of tomorrow. Popular career options for our Media and Communications graduates include roles with in-house communications teams, PR, marketing, content management and social media.

Advanced Projects ADVANCED PROJECTS mentors BA (Hons) Media and Communications, BA (Hons) Film Studies, BA (Hons) Sound Design and BA (Hons) Digital Arts students through a self-directed process of study, research and practice leading to the exhibition of a creative final output and production of a project report.

During the first term the student submits a proposal for either a group or solo project. A significant feature of the course is that once the student’s proposed area of activity has been agreed, they are supervised in working towards their goal through regular focused tutorials with a staff member who has experience in that area.

This project is about how families interact with the Artificial Intelligence device Amazon Alexa. It explores important questions relating to how Amazon Alexa is regularly used by family households and the impact it has: how it makes us feel, better or worse?

MEDIA + COMMUNICATIONS

Usman Ahmed Amazon Alexa Experience usman7862000@hotmail.com

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Sustainability has been a trend for the past 10 years. More and more people started recycling, changed their diet into healthier alternatives like vegetarianism or veganism, as well as using natural renewable resources (wind and sun).

Researchers noticed that, in those many years of sustainability, not many considered fashion. Despite their commitment to a sustainable lifestyle, many people continue to shop at fast fashion stores.

The purpose of my project is to find out how to make slow fashion more attractive and available for the consumer. In order to do that I made a magazine about slow fashion.

Models in the magazine wore only reused and recycled clothes, showing that the garment does not have to be new and expensive to be attractive, as well as it makes individual more unique.

MEDIA + COMMUNICATIONS

Greta Baublyte Elderberry Magazine baublytegreta@gmail.com

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In recent years cracks have begun to form, exposing the extent of doping in sport. The pandemic has acted as a catalyst in accelerating the consumption of supplements which means that it’s available to not only elite level athletes but your everyday jogger. A grey area is formed as over the counter supplements for everyday ‘essential’ use can be banned at a professional sporting level. The media for decades has unfairly characterised performance enhancing drugs (PEDs) tainting certain substances in a negative light.

The overall aim of ‘Blurred Lines’ is to educate and inform those in the dark about PEDs and supplements in sport, gathering views from sports coaches, athletes, and sports science experts to see where the future of sport is going.

MEDIA + COMMUNICATIONS

Jamie Bishop & Toby Helyes Blurred lines — Supplements and performance enhancing drugs in sport jamiebishop100@icloud.com tobyjhelyes@gmail.com

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Every part of the world is somewhat different: weather, enviroment, people, culture, language and even seasons are different. Everyone experiences changing weather in various ways, depending on where they live or come from. What I feel when Autumn comes can differ to what you feel during Autumn. Therefore this project searches for other people perspectives on Autumn. The video essay presents four women describing their experience of Autumn, from a country they grew up in.

FILM STUDIES

Audrone Cerniauskaite Autumn through others' eyes audronecern@gmail.com

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Can we control the multiplicity of our fragmented identities?

Can we prevent any versions of ourselves from occurring by choice, or is it not up to us? My research question will involve many sub questions, created by this giant question.

It will be answered through fictional scenarious and characters, represented in this short film. as well as solutions from previous academic proffessors. However, it will mostly be answered in its own way, that has not been done before.

MEDIA + COMMUNICATIONS

Mo Chowdhury Multiplicity nadim_01@icloud.com

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"How not Worry" is about mindfulness and self-help and tells a message through transmedia storytelling. The project's premise is that a boring character called Z sends the message to the Universe and receives an answer. The Universe and Z have a digital conversation, where the Universe tells Z secrets of fulfilling wishes. Also, The Universe gives Z many insights into positive thinking, manifesting, mindfulness and, more importantly, tells Z how not worry. I intend to demonstrate to young adults the possible ways of living mindfully and happily, especially nowadays. Furthermore, the project contains inspiring quotes and engaging media formats like photos, videos and sounds.

MEDIA + COMMUNICATIONS

Maria Drannikova How Not Worry mari.nnikova@mail.ru

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Cornrowing is a technique that not only weaves together pieces of hair but thousands of years of history also. It has transitioned from its primal use as a symbol of wealth and status to a desperate measure in times of slavery. Is this history lost in the 20th century as it stands only as a means of adornment? Or does the history live on with the technique? The project explores those questions. I aimed to find a non cultural way to transfer the skill of cornrowing and allow those interacting with my appartus and hairstyles to make their own decisions about its culture.

MEDIA + COMMUNICATIONS

Grace Ennis Row of Corn graceennis@hotmail.com

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The creative output is an autoethnographic investigation into game playing. It appears that the older generation and the younger generation don't have an understanding of why young people are so obsessed with playing video games. So I embarked on a journey of playing video games and keeping a journal of my gaming experience to analyse available research results on 'Video Game Obsession' As a video game novice, I'm being instructed by my son and in-game rules, at the beginning. The aim is to find out the 'magnetic pull' that keeps young people glued to video games.

MEDIA + COMMUNICATIONS

Veronica Olabisi Falodun Measuring ‘Use Overtime’ (UOT) of a Game Player, to Analyse the Possibilities of Game Obsession for Young Video Game Players tncwitholabisi@yahoo.co.uk

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Data sonification is the use of sound and music to present data. Presenting data in this method is not as popular as other data presenting methods but there are some benefits to data sonification. Sonification is all around us; from the audible alert from mobile phones to the beeps of supermarket checkouts. Sound is a great and unique storytelling tool. This project seeks to research different methods of data sonification, utilising different parameters on each composition, to develop alternate sonifications of a singular dataset. The result is the portrayal of different approaches to turning data into sound and how the different approaches reflect in the final compositions.

SOUND DESIGN

Mishael Holdbrook Climate Change Sonification mishaelaudio@gmail.com

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Many people have probably heard something about mythology. Some can maybe name every god and goddess and tell every story. How many people know how big an influence mythology actually has on our society? Would anyone think that popular sports brand Nike is named after Greek goddess of victory? Or a popular saying 'wrong end of the stick' comes from Greek stories?

To narrow area of my research I decided to look at my main subject of interest — films. It is very interesting how many films refer to mythology in so many different ways.

Some films are based directly on specific stories or character and some films are using just one element of myth; and this is exactly what my project is about! About how filmmakers use mythology for their films and why do they love to use it so much.

FILM STUDIES

Barbara Jarczynska Mythology in Films basia.jarczynska@interia.pl

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This project follows the on-going farmers' protests that have been occurring in India over the past few years, which began when the Indian government introduced new laws undermining the farmers' control over the selling price of their own crops. Indian farmers were afraid of the impact this would have on their livelihoods, so they gathered as one from around the country and took their protest to the capital city, New Delhi.

Through interviews with family members of farmers who have participated in the protest, the project aims to help us to understand their point of view and their thoughts about the protest, while at the same time understanding what impact the protest had on family life. The aim for this project is also to raise awareness of the protesting farmers and their families.

MEDIA + COMMUNICATIONS

Gurpreet Kaur The impact of Indian farmers' protests on the farmers and their families gurpreetkaurchandi1@gmail.com

412

Nowadays food and its advertisement, as well as the presentation, are crucial for businesses in attracting new customers or even keeping the regulars around. But not many people know the reality and the importance of food presentation, as well as the advertisement directed towards it. We live in a world where everything has to be Instagrammable and visually aesthetic because we do eat with our eyes first after all. But big food franchises trick their customers into believing that what they see is exactly what they are going to get, which most of the time ends up being a lie.

My project is focused on picking out those food tricks used by the franchises and taking them out into the daylight, revealing the patience and detail it takes to present the dish in the right way and how unrealistic such things are for a regular home cook. As a chef myself, I do believe that the detail is crucial to unraveling the true potential of the dish.

So I compare my home cooking to the picture of an actual recipe to reveal the tricks used by commercial food photographers as well as the complexity behind it.

MEDIA + COMMUNICATIONS

Kotryna Kondrotaite The importance of food presentation in the present world kotryna.kondrotaite@gmail.com

413

I have grown up in up in such a beauty- obsessed world. A world that didn't represent anything that influenced body positivity. Social media and influencers led many women to build up a negative relationship with the way they looked and felt about their bodies. I aim to subvert these ideologies and be a voice to the voiceless of many young women, and help them build up a healthy relationship, where young women will feel good about themselves.

What could social media look like if it stopped the over glamorisation of the thin, wealthy, and white stereotype that has been represented over the past years. This aim is to empower young women when they go on social media and embrace their body image. Through my research I explore how I can subvert these stereotypes and can be a voice to the voiceless of many young women and embrace their lived body. #EmbodyYourSize

MEDIA + COMMUNICATIONS

Zoe McCarthy Embody your size zmccarthy123@outlook.com

414

The years of the 1990s were an emotional time for my family when they had to flee Kosovo to migrate to the UK. This occurrence became meaningful because of the dramatic cultural changes and the sudden need to adapt to a foreign country. This research project presents my family’s background of immigration to the UK and their feelings and emotions as refugees. It documents the different objects that my family members have kept from their homeland and that remain meaningful to them These feature in a documentary video alongside interviews with my family members, found footage from the period of the Kosovan War, archival images, and recent footage showing family and everyday life in London. This idea was inspired by my family background and the challenges they faced as refugees and starting a new life. Therefore, the project allows the audience to listen to a refugee’s story and be in touch with their culture.

MEDIA + COMMUNICATIONS

Vesa Morina Memories in Exile — Leaving Kosovo and Objects of Home vesa2009@live.co.uk

415

Media is an ever-evolving landscape but has always been a means to provide information to the masses. With the power that all forms of media uphold, it can become an incredibly dangerous device concerning what information is told and how it is articulated. Due to the technological revolution information is now more accessible than ever; both the production and consumeristic nature of media is easier to obtain. Whilst this can bring great benefit to a society and culture it can also be used as a tool (intentionally and inadvertently) to create false narratives.

This can be particularly dangerous concerning nonfictional forms of media, such as news and certain aspects of social media. With the use of transmedia, the spiral of information that can be depicted from a single story is vast and often unconcerned with truth. Therefore, the project is a representation of how media can create false narratives.

This will be portrayed through one holistic story being told within different forms of media such as: A short film, two newspaper articles (both of differing political ideologies), a news broadcast as well as an online reaction video.

FILM STUDIES

Jack Morgan Puzzling jack.amorgan@yahoo.com

416

Have you ever felt that you are everywhere and at the same time nowhere?

We are living in an interconnected world in which cultural identity is intertwined and expanding in so many different ways. A sense of belonging is what we all strive for in this world. The feeling of displacement is inevitable throughout the journey of life. The answer lies in the memory that we choose to hold dearly in our hearts. This short documentary explores the story of a girl finding that sense of belonging through her journey from childhood to adolescence and adulthood. She travels far only to realize home is always in front of her. The journey starts from the far Eastern part of the world and ends in the West. And like Greenwich where the dividing line between eastern and western time zones is set to serve as the center of navigation worldwide, the fine line where she finds her home acts as the definitive line between two parts of the world that are so significant to her life.

MEDIA + COMMUNICATIONS

Anh Thuc Nguyen East Meets West: sense of belonging thucanh264@gmail.com

417

Over the years I found that while I was looking at online articles about makeup for people of colour, and watching makeup tutorials, I became quite interested in the names of these products. The more I saw the more I felt that some of the product names could be seen as offensive and do not represent people of colour. Most of the product names are based on desserts, drinks or are a simple standard name for darker colours. This can cause issues around reducing a whole race to inappropriate names, sexualisation of women and colourist ideas.

MEDIA + COMMUNICATIONS

Shaniqua Pinnock How do cosmetic brands use language to describe make-up shades for darker skin tone? shaniquapinnock01@outlook.com

418

Being "Green" today raises the perceived value of a brand.

And rightly so, because the historical moment we are in requires sustainable work. The consumer is rapidly evolving: he is more informed, connected, aware, and seeks meaning in his choices. It is critical for corporations to be able to establish trusting connections with consumers, for the benefit of both industry and community. Despite this, the phenomenon of greenwashing, which is a façade ecology that leads to the assumption of having acquired something entirely green when, in reality, the product is not at all — or almost — sustainable, occurs regularly. A sustainable brand identity lasts because it conveys credibility in line with the brand's stance, as well as the most common values connected with it, such as its vision, objectives, and values. Kiddykin is a research project that tries to define the terms "green" and "greenwashing" in the toy industry, as well as to criticise those who use the latter through satire in an adverse commercial.

MEDIA + COMMUNICATIONS

Salvatore Alessandro Rimpici Kiddykin: a tough green to follow totyrimpici@gmail.com

419

The creative decision making process is often an intuitive one, especially in the case of a sound designer working with moving image. Progression is made through experimentation, identifying the elements of their work which best suit the narrative of the image, then taking those ideas forward. However, a key challenge faced by those working in this field is difficult deadlines; short and demanding timescales often result in a lack of time for the sound designer to do the neccesary experimentation to reach the desired outcome.

Therefore, this project aimed to investigate if a more systematic approach could be taken when making creative decisions. A short film soundtrack was produced, using practical examples of sound design theory which were researched earlier in the project. Instead of relying solely on experimentation and intuition, the process had a theoretical and informed basis from its inception.

SOUND DESIGN

Morgan Smith The Audio-Visual Experience: Articulating Creativity morgansmithaudio@gmail.com

420

Social media sets unrealistic standards and expectations of how one’s body should look. That can lead to disordered eating behaviours, negative thoughts or even plastic surgeries. Trying out new filters on Instagram made users feel better about themselves, and with the development of this application and new filters coming out people stopped looking like themselves anymore.

I’ve decided to do a research about how social media has influenced women’s perception of their body image. The consumption of image online has grown a lot in this generation, so I’ve decided to reach my audience through film. Whether we’d like to admit it or not, social media has changed the beauty standards.

MEDIA + COMMUNICATIONS

Gabriela Zukowska Body Image gabriela97421@gmail.com

421

BA (Hons) Sound Design SOUND DESIGN develops creativity, through exploring the ideas, techniques and skills needed for work in contemporary post-production sound and the wider creative industries.

Through creative practice and critical thinking, students discover how to record, edit, critique, generate and compose sound. Moving fluidly between the worlds of music and sound, they develop a broad understanding of the role of sound in a diversity of creative practice and contemporary life.

By working with fellow students from across our creative portfolio, Sound Design students apply individual knowledge and share ideas in a supportive environment. In this way, students build experience in the collaborative and team-working skills that underpin the creative industries.

Popular career trajectories for Sound Design graduates include working with sound through film, television, computer games, music production, radio advertising, theatre, virtual reality and composition.

Dissertations WRITING A DISSERTATION in the final year of their studies provides an opportunity for students to apply their knowledge and understanding acquired during the taught courses to investigate a specific topic related to their field of study. The dissertation is also a chance to demonstrate research and analytical skills in the form of a substantial written project, which can support future studies and/or professional preparation. The course is shared between BA (Hons) Media and Communications, BA (Hons) Films Studies and BA (Hons) Film and Television Production students.

Musammat Fatima Begum

MEDIA AND COMMUNICATIONS

Summer Children-Smith The Seen Does Not See Back: Self-Representation and Sexualisation of Women on Social Networking Site Instagram

m.fatimabegum22@gmail.com

MEDIA AND COMMUNICATIONS

A study of video-games: The relationship between visuo-motor skills in Left 4 Dead 2 and cooking.

summerchildrensmith@gmail.com

Video-games have been recognised by researchers from game studies and neuroscience to enhance the following cognitive related skills: memory, focus and problem solving. Existing studies yielded gaps of knowledge of named activities to which motor skills acquired from video games can be applied. This research conducted a study to examine the effects of transferring visuo-motor skills to cooking from first person shooter video game Left 4 Dead 2. This demonstrates an established relationship of cognitive development inside and outside of the cyberspace, which contributes towards future research associated with age related declined motor skills caused by illness. A detailed selfreflected autoethnographic journal was produced to assess the correlation between cognitive development gained from Left 4 Dead 2 and its involvement in cooking. The findings reveal a positive influence of video-games on cooking, establishing that video-games can be useful for improving the quality of daily activities.

DISSERTATIONS

Founded in 2010, Social Networking Site (SNS) Instagram has become a hub for self expression and the self-employed. This research explores the social pressures created by SNSs and their effecrs on women. Departing from Laura Mulvey's claim that "in a world ordered by sexual imbalance, pleasure in looking has been spit between active/male and passive/female" (2001, p.19), the dissertation focuses on the representation of young women on Instagram, centralising issues concerning the sexualisation of the female body, selfrepresentation, and gender stereotyping. It uses a mixed methdology: an interview with a small influencer and a mass audience questionnaire aimed at a female target audience aged 18-29. As stated in the title, the focal point of the study is to understand how women are represented online in a sexualised light; using specific case studies within my interviews, this investigation creates an understanding of what women deem to be sexually explicit and objectifying. The significance of this analysis is that it illuminates the many issues young women face on platforms like Instagram and how this affects how they perceieve not just themselves, but other female users.

426

Georgiana Cojocaru Gendered-Designed Gender — Disrupting the Marketplace of Hegemonic Masculinities and Femininities: An Autoethnography

Daisy Ellis Women Beyond the Pole: How Female Filmmakers Are Humanising Strippers on Screen

MEDIA AND COMMUNICATIONS

daisy.elli5@icloud.com

FILM STUDIES

gc2373cpa@gmail.com

For the past decades, social scientists have attempted to deconstruct gender stereotypes that are strongly embedded in culture and reinforced on a daily basis. This thesis examines how gendered cues depicting traditional norms of femininity and masculinity are utilised in gendered-designed products to reinforce the heterosexual binary view of gender. In a world of pinks and blues, the individual has no choice but to identify oneself as either "masculine" or "feminine." By combining gender and consumer theoretical disciplines, this autoethnographic essay reflects how the marketplace of gendered femininities and masculinities affected the development of my gender identity.

This essay argues that the hegemonic group of femininities and masculinities are subordinating an inferior group of males and females who struggle to conform to society's gender norms. This reflective thesis examines how I was exposed to hegemonic groups of men and women who reinforced gender stereotypes and tried to humiliate and sanction those who did not conform. As a member of a subordinated group that couldn't adhere to either of the two available gender alternatives offered by the marketplace and traditional thinking, I disrupted gender stereotypes and became gender neutral.

This essay encourages individuals to detach themselves from the heterosexual gendered labels attached to their identity and disrupt the binary view of gender. It also reveals how consumer researchers might begin building scales for queer and genderneutral people.

DISSERTATIONS

For so long strippers on screen have been portrayed as struggling single mothers, drug addicts and nameless figures in the background used as objects to serve the male gaze; they have also almost always been directed by men. This thesis explores how female filmmakers in recent years have been challenging these stereotypes, instead creating three-dimensional characterisations of strippers, with depth, character, and agency, rather than just a tiny bikini and pair of 6-inch pleasers. Using a close reading of the female directed and female led film Hustlers (2019), this thesis explores how the film's themes of family and sisterhood create dimension for these characters and how through Lorene Scafaria's directing, the film at no point sexualises these women for the sake of sexualisation and visual pleasure, but instead punishes the men who do.

Through Hustlers (2019) this research challenges the relevance of Laura Mulvey's male gaze theory while also exploring the lesser-known female gaze and the presentation of female characters when directed by women.

427

Eve Flude Audience Reception of Jennifer's Body (2009) and its Link to the Subversion of the Heterosexual Male Gaze

Sara Gashi The Portrayal of Domestic Violence in Albanian Society and How it Has Helped to Change Society's Wiews on Women.

FILM STUDIES

MEDIA AND COMMUNICATIONS

fludeeve@gmail.com

saradgashi@hotmail.com

Jennifer’s Body (2009), the teen horror-comedy starring Megan Fox as a cheerleader-turneddemonic succubus, is now widely regarded as a cult classic years after its release. However it opened to poor reviews, mostly from male critics who were expecting it to be a male-fantasy sex-romp due to the poor marketing aimed towards teenage boys. It seems the majority of male spectators could not seem to fathom that the film wasn’t made with them as the target audience. In fact, it is a perfect example of a film made by women, for women. The film draws male audiences in with the expectation of typical horror conventions and cliches, but turns these conventions on their head by having powerful, violent, three-dimensional female characters, powerless men as their mewling victims and an unapologetic tragic queer love story between the two protagonists. Using a close analysis of the film itself and audience reviews and reactions, this thesis explores the idea that the use of the queer/ female gaze is the reason Jennifer’s Body was harshly and unfairly judged by its unintended audience: heterosexual men.

Over the last 30 years Albania has progressed from one of the strictest communist dictatorships in Europe to a democratic nation, but women’s rights and gender equality have not experienced the same progression. This dissertation explores how Albanian social media portrays domestic violence in order to change societies views on women. Through my research it became evident that there was a gap within the research on the impact social media has had on the way society views victims of domestic violence, therefore my dissertation will further explore this as an extension of existing works of feminism research within Albania, whilst looking at the changes in society through the lease of ‘social media movements’.

DISSERTATIONS

428

Grace O'Hanlon How has the portrayal of Nuns in Movie Musicals changed between the years of 1960 — 1993?

FILM STUDIES

graceohanlon102832@gmail.com

Exploring three case study films of the Sound of Music, Sister Act 1 and Sister Act 2: Back in the Habbit, this essay discusses the positive and negative portrayal of the themes of Christianity and in particular the representation of the Sisterhood. It examines the impact of the time of release as well as the time these films are set, the role of the Nuns in the film and how they are portrayed through different elements of film making such as the Mise en scene and Cinematography. This essay also explores the reception of the films and how the audience and critics responded to their portrayal of the Sister hood and this outcome then impacting religious movie musicals in the years following the release of these films.

DISSERTATIONS

429

MA Media and Creative Cultures AN INTERDISCIPLINARY INTERNATIONAL DEGREE that encourages interrogations of contemporary media and cultural theories, arts, technologies and politics in an expanded field. Students specialise in research methods for creative disciplines, aesthetic economy, subcultures, digital activism, race, gender, and class through exploring themes of identity, power, aesthetics and creation of meaning in contemporary media cultures. The programme produces graduates with informed approaches to communications and media to enter international creative industries, including but not limited to museums and festivals sector, journalism and cultural charities, creative writing and curation, research analytics and marketing, fashion and arts, as well as provides clear pathway to further research degrees.

I encourage all to see this programme as a creative intellectual lab with an absolute perfect match between theoretical and practical skills, that reflects the demands of the new generation and advances the ways of creative mentorship and supervision within higher education in the UK and beyond Dr Vlad Strukov, Associate Professor in Media, University of Leeds, Curator of Research at Garage Museum of Contemporary Art

MA Digital Arts MA DIGITAL ARTS builds upon the foundations Digital Art, Fine Art, Sound Design, Film, Television, VFX, Graphic Design, Animation and Media Studies. At the core of the programme is an interdisciplinary approach which utilises the School of Design’s facilities and staff from across a variety of contemporary creative fields. Each student is encouraged to examine and explore their individual practice from diverse viewpoints which is challenged through studio based practice, visiting artist lectures and group critique. We provide graduates with skills that are highly valued in a global economy where boundaries between creativity and technology are increasingly fluid. Modules are designed to encourage the development of personal specialisms through a diverse range of art practices. Graduates will be ready to enter a wide range of artistic fields and international organisations, while making a contribution to the production of new aesthetics and future uses of creative technologies.

University of Greenwich School of Design 10 Stockwell Street Greenwich London SE10 9BD Design_School@greenwich.ac.uk http://www.gre.ac.uk/designportfolio +44 (0)20 8331 9135 Copyright © University of Greenwich No part of this publication may be reproduced in any form or by any means, electronic or mechanical, including photography, recording or any information storage and retrieval system without permission in writing from the publisher.

We endeavour to ensure that all information is accurate at the time of publication.

ISBN: 978-1-911695-02-8 Design: Claire Mason + Guglielmo Rossi Design assistants: Tangina Ahmed + Kornelija Bružaitė + Jack Taylor