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The Cass Session 2014–15 Also available as a PDF

The Sir John Cass Faculty of Art, Architecture and Design London Metropolitan University 59–63 Whitechapel High Street London E1 7PF

Edited by Robert Mull, Michael Upton and Charlotte Gorse. Project coordinator Ben Farquharson Creative and editorial concept by Joseph Kohlmaier (Polimekanos), Kirstin Helgadóttir and Susanna Edwards. Typeset in Bau (FontFont), Burgess (Colophon), Times Ten (Adobe) and Walsheim (Grilli Type) by Kirstin Helgadóttir, Joseph Kohlmaier, Chris Lacy, Luísa Martelo and Lisa Stephanides at Polimekanos. Proof-read by Liz Jones. University photographer Stephen Blunt. Portrait photography and student photography art direction by Yiannis Katsaris. Student photography team Michael Ahrain, Delfina Davaro, Ina Pasilyte, and Deborah Virelli. Printed and bound in Belgium by Deckers Snoek.

First published in London in 2015 British Library Cataloguing in Publication Data: A catalogue record is available for this book from the British Library. ISBN: 978–09–5635–327–6

Copyright © The Cass 2015 Copyright © The Authors 2015 All rights reserved. Except for the purposes of review or criticism, no part of this publication may be reproduced or used in any form by electronic or mechanical means, including photocopying, recording and information storage or retrieval, without prior permission from the publisher.

The editors would like to thank the many students, staff, partners and collaborators who have contributed to the yearbook contents and development.


The Cass is three years old in August. A mere toddler. Like all toddlers, it is energetic, exploratory, at times unruly but much loved. This yearbook captures that energy, looks back over the past year and looks forward to next year.

ROBERT MULL  Dean and Director of Architecture

Professor Robert Mull Foreword by the Dean of Faculty The Sir John Cass Faculty of Art, Architecture and Design (or simply the Cass) was formed in August 2012 as a result of the merger of my previous faculty, Architecture and Spatial Design, based in Holloway, and the Sir John Cass Faculty of Art, Media and Design, based in Aldgate. In the time leading up to the merger, and before the final decision to merge had been made, I was Dean of both faculties and curated a year-long conversation between them. My aim was to discover if there was common ground between the two faculties that could form the basis of an amicable union. As a part of this courtship, we staged an exhibition called At First Sight, where we put work from all our disciplines in one room at one time, looked and talked. What emerged was extraordinary. There were many common aesthetic, social and material values. And from these, we began to develop the mission and identity of the new faculty. Over time key themes became important. There was a common belief in socially engaged forms of creative practice; a recognition of London as our context and our greatest resource; a com-mitment to teachers who practise and practitioners who teach; a realisation that all scales of practice within the faculty, from artefact to urbanism, are embedded within and dependent on each other, and an overall obligation to play our part in making London.


In my earlier work in the Architecture Faculty I had spoken of ‘duty of care’ as a common obligation that unites diverse approaches. On merger, this essentially social definition of care was strengthened by the history of making in Aldgate. So care for the wider society we are part of and serve; care for things made carefully; and increasingly, care for future generations became strong themes in the new faculty, particularly in a time when society is becoming more careless. So, when the faculty was officially formed in August 2012, we matched these values with changes to the way we delivered our courses and how we organised ourselves. The biggest change was to introduce the ‘studio’ system across all areas of the Cass. The studio or unit system originated in the Architectural Association in the 1970s and is a way of teaching that simulates the dynamic of practice. Studios are mainly run by practitioners, who propose a theme and projects for the year. Students then vote for the studio they want to join and spend the year in that studio. Studios can cross years and even courses. Over time, studios develop their own identity and culture supported by studio-specific events, exhibitions, trips and publications. The studio system was quite alien to some of our disciplines, particularly where there was a strong culture of the individual practitioner. Three years in, and a good balance between individuality


and collective action and support has been established. The Cass now runs over seventy-five studios, including twenty-four dissertation studios introduced this year, and we’re now looking for some new studios to challenge and inspire us in the next year. Another core part of the new faculty and our ‘Making London’ agenda is our workshops and technicians. When the Cass was formed we brought all our making together into Cass Works, which supports everything we do. Cass Works offers support from the most traditional of making skills, in areas like Musical Instruments through to high-end digital manufacture and printing, located in what was formerly Metropolitan Works. In the coming year we are developing a new structure for Cass Works, which will celebrate and strengthen the part our technicians play in teaching by developing the posts of Technical Demonstrator and Technical Tutor. Another part of our commitment to socially engaged forms of practice and to live projects, is our Projects Office. We formed the Projects Office back in 2004, as a result of a successful bid to the Higher Education Innovation Fund. Cass Projects as it is now, is an RIBA chartered practice and provides a supportive professional environment to staff and students, who wish to undertake live and other projects. Live projects range from small-scale interventions in local schools, through to large-scale sanitation projects in India. Such projects allow our staff and students to connect their work to their ethical and political values, and be useful. We see the boundary between the faculty and the society around as porous and exploit this. Cass Projects also oversees


The Cass Session 2014–15

our bewildering range of short courses and continuing professional development, which are a major part of what we offer. Of course change continues as we refine the way that we work. You will see that this book is structured around what we call the ‘Casses’. These are new, and bridge between our studios and the three schools, Art, Architecture and Design. Casses are strong subject or support areas. Currently there are nine academic Casses: Foundation, Fine Art, Architecture, Cities, 3D, Interiors, Film, Visual Communication and Music. These academic areas are surrounded and enabled by three support areas, Projects, Works and Culture. Projects and Works are as outlined above. Cass Culture is new and brings together the teaching of history and theory across the faculty. Each Cass, like the studios that it supports, is invited to develop its own identity, culture and economy based upon its specific disciplines and values. However, with this greater autonomy comes the obligation for Casses to collaborate and investigate the edges of their practice. Each Cass can also appoint a Visiting Professor and the first of these has been the Turner Prize-winning artist, Jeremy Deller. Having established these new academic structures, we also felt that it was important to restructure our buildings to better reflect the way we work. So in 2011, we were able to persuade the university to appoint Florian Beigel and the Architecture Research Unit (ARU) to rework Central House to house architecture students moving from Holloway. Our brief to ARU was to turn the building into a spatial armature that supported the evolving structure of the Cass. ARU opened up the floor plates,


Currently there are nine academic Casses: Foundation, Fine Art, Architecture, Cities, 3D, Interiors, Film, VisualCommunication and Music. These academic areas are surrounded and enabled by three support areas, Projects, Works and Culture. Image in reference to Walter Gropius's diagram for the structure of teaching at the Bauhaus (1922)



Early drawing of Central House studio landscape by ARU (Architectural Research Unit)

creating what they describe as a little city, complete, with internal elevations and shared boulevards. The architecture is a play on what ARU call the ‘raw and the cooked’. So it is artfully unfinished, allowing the users to take control and appropriate it. Floors are connected by new ‘domestic’ staircases which allow for informal connections between floors and disciplines. The new spaces do not force dialogue between disciplines but, like a good dinner party, simply place them next to each other and invite them to talk to each other. The final impact is provisional, creative and humane and very different from the corporate aesthetic that has dominated so many recent Arts Educational buildings. We now have plans for the outside of Central House. We have won a grant from the GLA to form one of Boris’s Pocket Parks on the roof, and once we’ve sorted out the structure of the roof we will


The Cass Session 2014–15

start planting. We also have planning permission for a big Hollywood-style sign on the roof by our own Bob and Roberta Smith declaring ‘Art Makes People Powerful’. When this is finished the wealthy occupants of the twentynine story housing block being built next to Central House, who literally look down on us, will have something to remind them that the arts are important and to be defended. Over the next two years, we will move out of our Commercial Road building. Plans are now well advanced for our new spaces in Calcutta House five minutes away towards the City. This includes exciting new studios, events spaces and new ‘state of the art’ workshops. So has all of this been successful? We think so. From the very beginning, the Cass began to generate a buzz. Patrick Brill (aka Bob and Roberta Smith) coined the phrase the ‘Aldgate Bauhaus’

in an article in the Guardian, the Cass has been named one of Domus’s Europe’s top 100 architecture and design schools for the past three years, and only last week, some of our graduates were nominated for the Turner Prize as part of the art/architecture collective Assemble. In fact, our staff and students have won an extraordinary range of prizes and commissions. The Life section of this book gives you an idea. Among the many highlights this year were: Florian Beigel winning the Annie Spink Award, the Oscar of architectural education; Ellie Corp being a Jewellery and Silversmithing graduate runner-up in the New Designer of the Year Awards; Fine Art graduate Adam Wallace being selected for Bloomberg New Contemporaries, and PhD student Julia King winning the Emerging Woman Architect of the Year Award. But it’s not just awards that define us. The hard facts are also impressive. We are seeing strong rises in applications to our courses, overall student satisfaction (as measured by the National Student Survey) rose 12 % last year and UCAS figures show that we are gaining a greater share of the market relative to our London competitors. Three projects exemplify the Cass potential of making this year. The first, Meet the Makers where our first-year architecture students worked closely with each of our making disciplines to design and make interventions in the streets around the Cass. The second was our show Alchemy: Material Obsessions in the Vivienne Westwood showroom in Milan during Design Week, where Jude Dennis upholstered live during the show


and caused quite a stir, with the actual act of making seen as radical and refreshing. The third is the extraordinary models of baroque churches made by students of David Grandorge’s and Colin Wharry’s unit. Our commitment to working in areas of social deprivation and political change has been particularly important in the past year, as some of our partners face difficult times. Our work in Sierra Leone led by Professor Maurice Mitchell and Dr. Bo Tang lead to collaboration with the University of Sierra Leone and the Sierra Leone Union of Architects to establish Sierra Leone’s first school of architecture, which we hope will admit its first students in September 2016. The first three years of the curriculum will focus on building a public room for the new school, which demonstrates the sustainable, locally sourced forms of construction that the school will promote. Students in two of our units have been working in Kathmandu. Following the recent earthquakes, they are making proposals as to how they can contribute their local knowledge and architectural skills to the relief effort and subsequent rebuilding. In October, we will be staging an auction of architectural drawings donated by staff and friends of the Cass. Proceeds will support our work in Sierra Leone and Nepal. Other international collaborations have also flourished. Our School of Design has been active in China and our new Architecture School in Moscow saw its first cohort of Masters students graduate in September. We have now validated an undergraduate course in Moscow, which will start in June. The Moscow School is establishing itself as a strong


voice in Russian architectural education, attracting Russia’s best practitioners to run studios, including the Dean, Eugene Asse, Alexander Brodsky and Sergei Tchoban. The school’s focus is the urban reality of Moscow, and its projects are beginning to influence the city's architect and city policy. A crucial part of our culture and identity is our programme of events, lectures and exhibitions. You can see a detailed programme in the Life section of this yearbook. But highlights have included the curation of the Windowspace opposite the Whitechapel Gallery by our MA Curating the Contemporary students; Out of the Ordinary in our Bank Gallery, which showed the work of young South Korean architects for the first time in Europe; and the rework-ing of the Bank Gallery into the Arts Emergency Response Centre in the lead-up to the General Election. So, a huge thank you to all our talented students and extraordinary staff, and to all the external partners,

friends and critics who have supported us, and without whom, our commitment to outward-facing, socially engaged projects would be impossible. I would also like to thank colleagues in all the other areas of the university, including the Vice Chancellor’s Office, Libraries, the Student Hub, Estates, ISS, Registry, Admissions, Marketing, Finance and Human Resources, who support us all. Finally I would like to thank all those who have contributed to this book and the team that has put it together. The design and production team represents the sort of collaboration that we value. Joseph Kohlmaier lectures in Cass Culture, Susanna Edwards leads Visual Communication, and the outrageously talented Kirstin Helgadóttir is our recent Cass graduate from Graphic Design. I would also like to thank Michael Upton, Charlotte Gorse, Ben Farquharson and Cat Jeffcock for so effectively inspiring and gently bullying us all. I hope that you enjoy all that you see in the following pages.

Art makes people powerful, Mock-up with Bob and Roberta Smith and Robert Mull


The Cass Session 2014–15

There was a common belief in socially engaged forms of creative practice, a recognition of London as our context and our greatest resource, a commitment to teachers who practise and practitioners who teach, a realisation that all scales of practice within the faculty, from artefact to urbanism, are embedded within and dependent on each other and an overall obligation to pay our part in ‘making’ London.




The Cass Session 2014–15


CELEBRATION WEEK  9–13 February 2015 Visual Communication

Fine Art

Film and Broadcast / Animation

Matt Williams Exhibitions Curator, ICA

Amanda Jenks Film Producer, GreenAcre Films

Laura White Artist and Senior Lecturer, Goldsmiths Melanie Manchot Artist and Photographer

Axel Scheffler Illustrator Music Neil Churcher Head of Design, Orange

Wall to Wall Media Jesse Quinones Film Director / Writer and Alumnus Mike Walker Creative Director, Bartle Bogle and Hegarty

Steve Ellis Music Producer and Recording Engineer


Alex Bishop Guitar Maker

Peter Higgins Peter Higgins Land Studio

Andrew Hill Composer of Electro-Acoustic Music

Jason Holley Jason Holley Universal Design Studio

Undergraduate Architecture

Jewellery and Silversmithing / Fashion and Textiles

Carma Masson Interior Architect

Jay Gort Gort Scott Architects

Joan Ferguson Fashion Critic

Furniture and Product

Hana Loftus HAT Projects

Mark Eley Eley Kishimoto Fashion Textiles

Peter Marigold Furniture and Production Designer

Maria Smith Studioweave

Rosy Greenless Director of the Crafts Council

Max Fraser London Design Festival Curator

Harriet Harriss Radical Pedagogies, OBU

Harriet Vine Tatty Devine Jewellery

Katie Walker Furniture Maker

Robin Monotti Robin Monotti Architects

David Mills Goldsmiths Company

Chris Eversley Furniture and Product Designer

Durrell Bishop Interaction Designer Caroline Roberts Grafik Magazine Sandy Suffield Wolff Olins

Professional Diploma Architecture Kate Goodwin Royal Academy of Arts Olly Wainwright The Guardian Alex Ely Mae Architects David Kohn David Kohn Architects

Celebration Week is an opportunity for students from studios and units across the Cass to present their work-in-progress to external experts and each other. This is done through a packed programme of studio-based ‘crits’, screenings, events and pop-up shows within Central House studio spaces. This year, in addition to the presentations, there was a series of events including the exhibition Out of the Ordinary: Award-Winning Works by Young Korean Architects, and in the Bank Gallery, Project Red, a catwalk show from our Fashion students.



Exhibitions Young Swiss Public 25 June –6 July 2014 Central House An exhibition of work by seven emerging architects from Switzerland which featured as part of both the International Architecture Showcase and the London Festival of Architecture. Curated by James Payne, supported by the Swiss Embassy in the United Kingdom. The exhibiting architects were Brockmann Stierlin, Angela Deuber, Lütjens Padmanabhan, Dreier Frenzel, Pascal Flammer, Raphael Zuber and Barrao Hutter. John Henry Newton You always say you’ll go, but you never buy the ticket 7– 3 1 August 2014 Windowspace The Cass launches Windowspace, a temporary gallery opposite the Whitechapel Gallery presenting a programme of site-specific installations by different artists and curated by MA Curating the Contemporary students, with a new work by BA Fine Art alumnus John Henry Newton. Foundation Show 13 – 1 6 August 2014 Commercial Road Gallery An exhibition of work by students on the fast-track Februarystart Foundation in Art and Design. Anna Genoves 4 – 3 0 September 2014 Windowspace Second Windowspace exhibition curated by Cass curators features an installation by Ana Genovés. For the opening Genovés invited artist Sarah Jones to create an audio piece to be installed in the Bank Gallery. Infinite Traces 17–20 September 2014 The work exhibited in Infinate Traces was by an international group of postgraduate Art and Photography students as part of the Cass MA Show. Each artist created a body of work focused on their particular area of interest – the still image, video, installation, painting, or sculpture. The exhibition reflected the diversity of their practice. Adrian Hardy / Ireland, Alex Grady /   UK, Andrea Navarro Natera  / México, Eric Boscia   /  USA, Faranak Zandieh  / Iran, Frances Jagodzinska  / U K, Gwen Anderson /  The Netherlands, Kate Long / U K, Nichelle Channer /  U K, Roger Clarke / U K, Rosa Mignacca  /Brazil, Salli Yule–Tsingas  / G reece, Suleyman Gingi /  Cyprus. In Memorium for Gaynor Ithell. The Cass MA Show 2014 17–20 September 2014 Central House The exhibition in the Bank Gallery featured work from both taught and research postgraduate courses in Art, Architecture and Design at the Cass. Disciplines represented included Fashion, Textiles, Fine Art, Furniture, Graphics, Interiors, Jewellery and Silversmithing, Music, Photography, Product Spatial Planning and Urban Design, and more. The exhibition took place during the annual London Design Festival.


The Cass Session 2014–15


Alice Anderson 2–28 October 2014 Windowspace Alice Anderson’s Dematerialized curated by Cristina Ramos and Thomas Stokmans. Anderson's performances with objects generate states of consciousness associated with memory. The artist has developed a technique of weaving that consists of winding copper wire. David Osbaldeston 6 November – 1 December 2014 Windowspace Fourth Windowspace exhibition in Central House Window features David Osbaldeston. Curated by Cristina Ramos and Thomas Stokmans. Osbaldeston takes over Windowspace to perform language and re-direct communication. Uncertain States 2014 14 November – 5 December 2014 Bank Gallery Photography / Lens based art collective Uncertain States, established by alumni David George, Spencer Rowell and Fiona Yaron Field, curate the fifth annual exhibition at the Bank Gallery. The exhibition features a selection of photographers that have contributed to the quarterly Uncertain States broadsheet including Adrian Hardy, Agatha A. Nitecka, Ania Dabrowska, Cat Stevens, Charlie Fjatstrom, Christina Reid, David George, Fiona Yaron Field, Franscico Gomez de Villaboa, Heather McDonough, James Russell Cant, Josephine Coy, Karl Ohiri, Martina Geccelli, Mick Williamson, Mish Amikoff, Radoslav Daskalov, Richard Ansett, Rebecca Sainsot Reynolds, Richard Sawdon-Smith, Robin Grierson, Roy Mehta, Spencer Rowell, Susan Andrews and Tracey Holland. LCF – Then and Now 27 November 2014 – 23 January 2015 Parker and Commercial Road Galleries Symposium and exhibition commemorating 50 years since the opening of predecessor institution the London College of Furniture attracts widespread attention. The exhibition comprises of pieces by LCF alumni, students, lecturers, designers and craftspersons who attended the courses from 1964 to 1992, as well as contemporary practitioners who have gone on to lead their field. Alumni exhibitors include Frederick Parker (founder of the company that later became Parker Knoll), Lucian Ercolani (the founder of Ercol), and, more recently, famous designers such as Terence Woodgate, Michael Marriot and Roberto Feo (El Ultimo Grito).

Claudia Djabbari 5 December 2014 – 2 January 2015 Windowspace Fifth Windowspace exhibition, curated by Cristina Ramos and Thomas Stokmans, features German-Iranian artist Claudia Djabbari. In her installations, collections of objects are often in the fragile state between being unpacked and being put back into storage and between being functional and non-functional. Making It 18 December 2014 Bank Gallery First-year architecture students worked on a five-week collaborative project with makers at the Cass. A variety of methods of making found at the Cass including jewellery, guitar-making, textiles, casting, leatherwork and upholstery informed a family of human-scale objects, designed by the students to enhance the streets of the East End. The project is part of the interdisciplinary Huguenots of Spitalfields project at the Cass initiated by Gina Pierce of BA Textile Design and coordinated by the Cass Projects Office. Andrea Medjesi-Jones and Edward Simpson The British School at Rome 16  – 24 January 2015 Bank Gallery Concurrent exhibitions by Cass-based BSR scholars Andrea Medjesi-Jones and Edward Simpson. They do not draw direct links between their work; however, the sharing of the space is a reflection of a dialogue that began in Italy and continues within the Cass, and represents the enjoyment of informal collaboration between artists and architects.

Out of the Ordinary 8–28 February 2015 Bank Gallery An exhibition of award-winning work by young Korean Architects curated by Hyungmin Pai. The works of nine winners of the Korean Young Architect Awards were on display at the Cass Bank Gallery. Curated by Hyungmin Pai, a former Visiting Scholar at the Cass, the show explored the recent radical changes to Korea’s built environment, and looked at how young practices adapt to new challenges with unconventional solutions, attracting media attention worldwide. LIMITACTION: Accessibility 5 March 2015, 6pm Windowspace Launch of a six–month artistic and curatorial residency by MA Curating the Contemporary with artist Charlotte Warne Thomas.

Estuary English Four Corners Gallery February 2015 Cass MA Photography Alumnus David George exhibited at Four Corners, after winning NCM/Foyle Commission for this East End Archive project in collaboration with Michael Upton, exploring Gothic Associations with the Thames Estuary.



On Beauty 2–31 March Foyer Gallery / Brady Arts Centre Exhibition across two sites to celebrate Womens’ History Month by Cass Photography students and staff. Each space was filled with portraits of women, challenging the narrow, conventional notions of female beauty as represented in the mainstream press. PROTECHT 12–27 March 2015 Bank Gallery Exhibition curated by MA Curating the Contemporary Year 1. PROTECHT is a group exhibition bringing together national and international artists who in very different ways present the screen as our ever–present interface with the world. Through a wide range of mediums comprising photographs, sculptures, videos and installations, the show investigates our relationship with the screen and the impact it has on our everyday life, questioning both the extent and the consequences of this reliance. The exhibition was accompanied by a series of events, comprising curators’ tours, a screening event presenting Jack Williams’s Screen Deprivation project, and Emily Lazerwitz and Ines Marques in conversation. PROTECHT was co-curated by Matilde Biagi, Ines Costa, Fabiola Flamini, Alice Montanini and Antonio Terzini. The exhibition comprised work by Pamela Breda, Daniela Brenna, Sophie Bullock, Jack Davis, Matthieu Delourme, Katrin Hanusch, Peter Hoiß, Alexander Isaenko, Jamie Jenkinson, Christine Lucy Latimer, Emily Lazerwitz, Ines Marques, Theo Tagholm, Sam Treadaway, Nara Walker, Roland Wegerer, Jack Williams and Dawn Woolley. LIMITACTION: Privacy 2–8 April 2015 Windowspace The second part of LIMITACTION, a six–month programme developed as an artistic and curatorial residency with Charlotte Warne Thomas, opened. PRIVACY investigates the phenomenon of

John Henry Newton Sun Bleached Stills from a Number of Films

8­–21 May 2015 Bank Gallery MA Curating the Contemporary


The Cass Session 2014–15

PROTECHT 12–27 March 2015 Bank Gallery

the privatisation of public outdoor spaces, which has prioritised business over community needs, granting corporations control over some of the London’s busiest squares. Arts Emergency Response Centre 13 April – 2 May 2015 Bank Gallery Arts Emergency Response Centre was an innovative immersive exhibition in the Cass Bank Gallery curated by Bob and Roberta Smith, attracting hundreds of visitors during the run-up to the General Election. The exhibition was presented in collaboration with Arts Emergency, a new charity co-founded by Josie Long and Neil Griffiths helping low-income teenagers get into university and art school. Arts Emergency Response Centre confronted the critical challenges facing education, the arts, and those young people hoping to study them. The exhibition brought together diverse artists, students and organisations with the crucial common interest: to defend the arts and make a difference to individuals. Visitors entered a ‘hospital ward’, created by Arts Emergency, and were seen by the ‘Arts Emergency Pharmacist’ (with the occasional celebrity appearing throughout the show) and picked up a prescription for something to make, see or do. They were also provided with an ‘Arts Emergency Kit’. The advice prescribed for visitors was provided by creative individuals and Arts Emergency friends including Jarvis Cocker, Jake and Dinos Chapman, Samantha Morton, Richard Herring, Vampire Weekend and many others. Participating organisations included NSEAD, Deptford X, Artists Union, Q-ART, Cultural Learning Alliance and Craftivist Collective. Spencer Rowell Pathography April 13 – May 21 2015 Foyer Gallery Exhibition of Photography by Cass Senior Lecturer /  PhD student Spencer Rowell. Pathography explores representations of identity where, through the use of photographic self–portraiture, one might explore psychological states. Sun Bleached Stills from a Number of Films 8­–21 May 2015 Bank Gallery A new solo show by John Henry Newton, curated by students of MA Curating the Contemporary. Sun Bleached Stills from a Number of Films explored and responded to the Bank space.

John Henry Newton (Swindon, UK 1988) lives and works in London. His work has been exhibited internationally, including shows at FRUTTA, Rome and MOSTYN, Wales. This year Newton will also participate in Nouveau Festival at the Centre Pompidou in Paris. He is a graduate of BA (Hons) Fine Art at the Cass. ‘The building shows its scars well, with specific past times locatable through its architectural features. Similar to the city, it is a scattering accumulation of clues – as if the building could be read as a detective novel. Perhaps the murder a graffito scraped into a toilet door or a note dropped at the haste of an exit.’ LIMITACTION – Freedom 7–13 May 2015 Windowspace Freedom was the third part of LIMITACTION, a six-month programme developed by MA Curating the Contemporary as an artistic and curatorial residency with Charlotte Warne Thomas. The installation investigated the concept of labour, its meaning and implications, while questioning the relationship between aesthetics and activism in art.

Lectures and Talks

Marie Lund Taking and giving shape 6 November 2014, 5.30pm Central House Fine art lecture. Marie Lund (b. 1976) is a Danish artist, trained in Architecture, now living and working in London. She teaches in the BA Fine Art Active material studio at the Cass and shows with Laura Bartlett Gallery. Jane Bowler 7 November 2014, 1pm Parker Gallery Speakers Corner talk by the London fashion designer known for her constant exploration and discovery of new and exciting materials, alongside sculptural silhouettes. Lunchbox Lecture amaCollective dontdrinkthemilk 10 November 2014, 1pm Central House A lecture by amaCollective, a London-based curatorial collective comprised of Alejandro Ball, Amy E. Brown and Miriam La Rosa; three MA students of Curating the Contemporary.

Daniel Libeskind Libeskind returns 24 June 2014, 6.30pm Graduate Centre, Holloway Road Internationally renowned architect Daniel Libeskind returned to celebrate ten years since the completion of the London Metropolitan University Graduate Centre. The event, which included a Q&A with the audience, was chaired by Professor Robert Mull. Speakers Corner Markus Soukup, media artist 24 September 2014, 1pm Parker Gallery Media artist Markus Soukup presented his approach to audiovisual work. He is interested in how an object, image or moving image can communicate its intended content or expression while still enabling freedom of interpretation on realistic and abstract levels. Speakers Corner Christopher Crawford One year on 24 October 2014, 1pm Parker Gallery Recent Interiors alumnus Christopher Crawford delivered an insightful reflection on his graduate internship year at Gensler. Bob and Roberta Smith Museums should be like newspapers 30 October 2014, 5.30pm Parker Gallery Inaugural lecture by Associate Professor Bob and Roberta Smith. What’s the real value of art? Owning art? Or making and looking at it? Should museums and art galleries become places that we visit to understand events that are affecting our world today? What’s the responsibility of the artist to engage in politics? Bob answered these questions in his own inimitable style.


CJ Lim Food City 10 November 2014, 12.30pm Central House An investigation into the urban consequences of food poetics, combining nostalgia and futurism in a narrative architecture. Food City, the follow up to Smartcities and Eco-Warriors, explores the issue of urban and architectural transformation and how the creation, storage and distribution of food has been, and can again become, a construct for the practice of everyday life. Mark McGowan: Artist taxi driver 20 November 2014, 1pm Central House By profession, McGowan is a London taxi driver and occasional university speaker and arts tutor. McGowan is known internationally for his performance art, including shock art, street art and installation art, and as a stuntman, internet personality, video blogger, social commentator, social critic, satirist, political activist, peace activist, and an antiestablishment, anti-war, anti-capitalist, anti-monarchist and anti-power-elite protester.

Lectures and Talks

Shaan Syed 13 November 2014, 5.30pm Central House ‘How holes and stage diving have everything to do with painting’, a lecture by artist Shaan Syed. Syed’s work explored notions of absence and ‘finding a space in painting, for where “want” may exist’. Syed talked about his projects in the lecture and how they have informed his view of painting. Speakers Corner Delita Cole 28 November 2014, 1pm Commercial Road Delita Cole, graduate of Interiors, presented one of her most recent projects with The Housewith. The Housewith work predominantly in the hospitality sector, on restaurants, bars, refectories and cafés. Delita is a graduate who won an internship with The Housewith in April 2014 and now enjoys a varied portfolio and a busy working life. Lunchbox Lecture Eddie Farrell 17 November 2014, 1pm Central House ‘Notes on thinking and making’ was a lecture by artist Eddie Farrell. Farrell is a painter who collaborates extensively with groups and individuals through print, film, performance, blogs and book-making. He presented a thread of recent research including work from projects made in Berlin, where he lived for five years until 2013. Nick Hill aka NIKILL 21 November 2014, 1pm Commercial Road Nikill is a former Cass Visual Communication student who has gone on to work with some of the most exciting brands in the Industry. The work of Nikill began in the form of street art and illustration and progressed into moving image and time- based media. The quest is to find the ideal path to converge these disciplines with sound. Speakers Corner JAKe 31 November 2014, 1pm Parker Gallery London-based graphic artist JAKe is a prolific illustrator who has worked for clients worldwide. His iconic work for the Prodigy on the Fat of the land LP first brought him to the attention of an international audience. A long and varied career has seen him design toys and direct animation.

Lewis G. Burton NIGHTCLUBBING 8 December 2014, 1pm


The Cass Session 2014–15

Harold Offeh

Perform and re-perform: embodying histories 4 December 2014, 5.30pm Jeremy Deller Visiting Professor Inaugural Lecture 11 December 2014, 5.30pm Central House Jeremy Deller lives and works in London and is the current Visiting Professor for Cass Fine Art. He began making artworks in the early 1990s, often showing them outside conventional galleries. Deller won the Turner Prize in 2004 for his work Memory bucket and represented Britain in the 55th Venice Biennale in 2013.

Speakers Corner Rebecca de Quin 28 November 2014, 1pm Commercial Road Rebecca de Quin RCA is a silversmith who has successfully combined studio practice with a parallel career in teaching for twenty-five years. Her work has been shown extensively in the UK and Europe as well as in the US, Japan and Hong Kong, and she is a Goldsmiths’ fair exhibitor. Lewis G. Burton NIGHTCLUBBING 8 December 2014, 1pm Central House Lewis G. Burton is a queer performance artist, just graduated from the Cass. Burton talked about the very nightlife that inspires and orchestrates his work. NIGHTCLUBBING is an insight into the nightclub’s role (predominantly of the gay variety) in both contemporary art and among older generations of artists.

Harold Offeh Perform and re-perform: embodying histories 4 December 2014, 5.30pm Central House Artist Harold Offeh talked about his ongoing project Covers, which sees him re-creating album covers from the 70s and 80s. He puts this in the context of other artists’ practices where performance and the body are used to explore social and cultural histories. Folke Köbberling 2 December 2014, 6.30pm Fourth Floor Boulevard, Central House Berlin-based artist Köbberling talked about her practice focused around concepts of artistic and aesthetic opposition to pressures of consumer society, threatening to change the appearance of our cities in a fundamental way. Lunchbox Lecture Emily Pope 1 December 2014, 1pm Central House Emily Pope studies at the School of the Damned and coordinates the arts campaign for the East London Fawcett Group. The School of the Damned is a course run by its students, supported by visiting lecturers and tutors. It aims to establish a new network of artists, academics and institutions. Speakers Corner Mara Irsara Conversations on jewellery 19 December 2014, 1pm Commercial Road There is no strategy, but continuous stimulation through vast, even random, collections of influences; outspoken thoughts and witty thinking make creativity spin and thrill and grow. Speakers Corner Phil Cleaver Book-object-art 5 December 2014, 1pm Commercial Road Cleaver is an established and multi-award-winning heavyweight in the graphic design world. A protégé of Anthony Froshaug, Phil honed his design and typographic skills under Alan Fletcher at Pentagram, Wim Crouwel at TD in Holland and Michael Wolff at Wolff Olins.

Speakers Corner Alasdair Lennox Fitch 12 December 2014, 1pm Commercial Road Lennox talked about designing Hamleys World, located in the Central Detsky Mir building in the heart of Moscow, and synonymous with the childhood dreams of all Russians.

Michael Wilford Composition and character in architecture 29 January 2015, 6.30pm Central House ‘Composition and character are primary aspects of the art of architecture and determinants of the organisation, form and tectonics of buildings. Their consideration is fundamental to the practice of architecture.’ The lecture accompanied the monograph Michael Wilford selected buildings and projects 1992–2012, published by Artifice Books, which was available on the evening. FLASH//FWD Chris Chung 8 January 2015, 1pm Central House The first FLASH//FWD lunchtime lecture of 2015 is by awardwinning filmmaker Chris Chung. Chris Chung is an alumnus of BA (Hons) Film and Broadcast Production. He is an award-winning director and his witty, polished style has seen him commissioned by the likes of Gym Box and Jingo. FLASH//FWD Danny Bright Lecture, composing with sound and site 12 January 2015, 1–2pm Commercial Road The second in the series of the fantastic FLASH//FWD lunchtime lectures is by multi-talented sound artist Danny Bright. Danny Bright is a sound designer, composer, recordist, musician and sonic manipulator working across the fields of music, performance, installation, theatre and media. His work has appeared at the Hatton Gallery, Brighton Digital Festival, New York City Electroacoustic Music Festival, MAGNA, the global composition, V&A, Prague Quadrennial, MOSI, British Science Festival, and has also toured the UK, Europe, Australia and the USA.

Folke Köbberling 2 December 2014 6.30pm Central House 23

Lectures and Talks

FLASH//FWD David Weiss of SAM Labs 15 January 2015, 1pm Commercial Road A presentation and demonstration of new wireless technology, with applications in art, music, design and architecture. Stevphen Shukaitis Wages for dreamwork 15 January 2015, 5.30pm Central House Stevphen Shukaitis is a Senior Lecturer at the University of Essex, centre for Work and Organization, and a member of the Autonomedia editorial collective. Since 2009 he has edited Minor Compositions. He is the author of Imaginal machines: autonomy & self-organization in the revolutions of everyday day (2009, Autonomedia) and editor (with Erika Biddle and David Graeber) of Constituent imagination: militant investigations  //  collective theorization (AK Press, 2007). CASS Music: Soundcheck Performance 28 January 2015, 6­– 8.45pm Parker Gallery Café Soundcheck – a showcase for sonic arts, deep listening and performance practice organised by Cass Music and curated by Alexander Wendt with support by students from Music Technology courses. Speakers Corner Dr Sung Hee Ahn Innovation through art and design 9 January 2015, 1pm Commercial Road Dr Sung Hee Ahn mainly spoke about her (and her students’) recent project in China. The project was originally designed as a social contribution by the artist and designers to a minority village located in the deep countryside of Hunan Province in China. Speakers Corner Diogo Lopes 16 January 2015, 1pm Commercial Road The recent graduate from the Winchester School of Art spoke about the paths that he took through art school to employment at Protein®. Protein® delivers hugely successful multi-platform campaigns to a worldwide network. Lunchbox Lecture Florence Peake 22 January 2015, 5.30 pm Central House This talk focused on her methods for working across media, transferring ideas into different art forms – how an idea finds its medium. A live performative demonstration was also included. Lunchbox Lecture Emily Beber Shrinking studies 19 January 2015, 1 pm Central House ‘Shrinking Studies – a cultural history’ considers the paradoxical process of shrinking as it has appeared throughout history as an action, attack, metaphor, subjective sensation and ontological anxiety. It explores a vast body of shrinkages, from miniaturised performances of discipline


The Cass Session 2014–15

and power, to a contemporary dissolve of perspective – and from groundlessness, to fourteenth-century century saints’ and mystics’ body horror in their search for nothingness, to the panoptic presence, the all-seeing, unseen space of the internet. Sian Moxon 19 January 2015, 6.30pm Central House Lecture by new Senior Lecturer. Sian has extensive experience leading social and conservation projects at Jestico + Whiles. Her text book Sustainability in interior design is published in five languages. Sian has been appointed as Technical Coordinator: Sustainability for the School of Architecture, and is teaching across all years of the Part I and II Architecture courses through lectures and studio work. Speakers Corner Dominic Wilcox 23 January 2015, 1pm Commercial Road Dominic Wilcox works between the worlds of art, design, craft and technology to create innovative and thought-provoking objects. Recent projects include the design of a pair of shoes with inbuilt GPS to guide the wearer home, a Binaudios device to listen to the sounds of a city, a race against a 3D printer at the V&A and a stained-glass driverless car of the future. FLASH//FWD Alexander Koby 29 January 2015, 1pm Central House Alexander Koby was born in the USSR in 1979. He has been living in London since 2006. He is studying for an MA in Photography and is interested in black and white analogue technology and hand printing processes. Markus Hansen 29 January 2015, 5.30pm Central House This lecture was his first public appearance in two years, since an accident that left him unable to work. The spine of the talk will be the series ‘Other people’s feelings are also my own’ interspersed with works and projects that touch on the themes of Come together, History and the big now and The improbable gardens.

Markus Hansen 29 January 2015 5.30pm Central House

Pil & Galia Kollectiv 5 February 2015 5.30pm Central House Space for Architecture 3 February 2015, 2–4pm Central House On the occasion of the awarding of the RIBA Royal Gold Medal to Sheila O’Donnell and John Tuomey, the Cass hosted a Colloquium devoted to a topic chosen by Sheila O’Donnell and John Tuomey: ‘Space for Architecture – the social purpose and poetic possibilities of this most complicated career’. Speakers Corner Bompas & Parr: Sam Bompas and Ann Charlotte Ommedal 6 February 2015, 1pm Commercial Road Founded in 2007, in their early work Bompas & Parr used jelly as a vehicle to research the cross-modal correspondences between food and architecture. Their work has evolved into the creation of immersive flavour-based experiences ranging from an inhabitable cloud of gin and tonic, to a chocolate climbing wall and alcoholic boating experiences. Lunchbox Lecture Günther Herbst Everyday value 2 February 2015, 1pm Central House Günther Herbst’s talk centered around his ongoing engagement with geometric abstraction in relation to the figurative/landscape, and how he brings modernism into a history of imperialism. FLASH//FWD Alex Bishop 5 February 2015, 1pm Commercial Road Having left a degree in Aerospace Engineering in Bath, Alex moved to London in 2007 to pursue the possibility of becoming a guitar maker. He studied for a BSc in Musical Instrument Making at the Cass, and graduated in 2010 with a first class honours degree, the Top Thirty Student Award and the University Recognition Award for Academic Excellence.


Pil & Galia Kollectiv 5 February 2015, 5.30pm Central House The Cass lecturers Pil & Galia Kollectiv are London-based artists, writers and curators working in collaboration. Their work explores the relationship between art and politics. Through a broad range of media, from performance to film, collage and sculpture, they examine the legacy of the avant-garde in the context of creative work and instrumentalised leisure. Korean Mini Festival Workshops and panel discussion programmed by the British Council 7 February 2015, 12–4pm Central House To accompany its upcoming exhibition Out of the Ordinary: Award-Winning Works by Young Korean Architects, the Cass, London Metropolitan University, in partnership with the British Council and the Korean Cultural Centre, hosted a one-day festival to explore and celebrate contemporary Korean architecture and its relationship to wider Korean culture. Lunchbox Lecture Katie McGown The instability of cloth 16 February 2015, 1pm Central House Katie McGown explored the ways in which textiles are used in sculptural practices to describe multiple kinds of instability: structural, social and temporal. Katie is interested both in how these different modes of flux and collapse can be used within her own art practice, as well as reappraising the frequently stigmatised use of textiles (including cloth, rope, felt and string) in twentieth-century sculptural works. Jan De Vylder 16 February 2015, 6.30pm Central House In this lecture, titled PREPARED, Jan De Vylder showed a series of drawings and photos from previous projects his practice has

Lectures and Talks

designed. These images have been cropped or altered in some way – they are ‘prepared drawings’ or ‘prepared photos’. Jan discussed how these prepared images can give rise to new projects. FLASH//FWD Andrew Hill Sculpting in time 18 February 2015, 1pm An exploration of audiovisual practice, from colour organs to DA&VWs, discussing approaches for combining sound and image. Hill is a composer of electro-acoustic music, specialising in studio composed works, both acousmatic (purely sound-based) and audiovisual. Marlie Mul Second-hand smoke 19 February 2015, 5.30pm Central House For her talk at the Cass, Marlie Mul focused on the topic of (tobacco) smoking to offer an insight into some of the ideas that form her artistic practice. Smoking can be seen as a tool to examine the seemingly obvious, to ask which societal decisions lie behind the familiar habit, and how human behaviour is shaped by such decisions. Speakers Corner Catherine White Boutique studio: Starting a design firm 20 February 2015, 1pm Commercial Road The designer discussed with students how she garnered the appropriate experience to start her business, as well as presenting some projects due for completion in 2015. Hannah Patching 1, 2, 3 years after 23 February 2015 , 1pm Central House Three years ago Hannah Patching was running around the art studios in Central House. Making sculpture, stressing about the impending degree show, wondering just how far she could make

Victor Burgin Three recent works for projection

5 March 2015, 5.30pm Central House her student loan stretch. Now she is still making sculpture and video. She’s interested in the osmosis of narratives, both historical and fictional and how this forms ideas of identity. She works as an assistant to the artist Christina Mackie, who has been commissioned to create an exhibition at the Duveen Gallery in Tate Britain. And she has a studio in Peckham. Hannah talked about the bits in between. About internships, getting jobs, finding studios, how her work has changed from being out of university and all the things she wishes someone had told her three years ago FLASH // F WD Sandra Kazlauskaite 26 February 2015, 1pm Central House Composer and sound artist Sandra Kazlauskaite returned to talk about her artistic practice and academic career path after graduating from Music Technology (Sound for Media). Alexis Harding 26 February 2015, 5.30pm Central House Since the mid-1990s, Alexis Harding has subjected painting to a singular physical strain. His work emerged as an antagonistic


Héloïse Bergman Who are you? 12 March 2015, 1pm Central House 26

The Cass Session 2014–15

and unruly take on the process painting of the 90s and has developed into a wider practice that explores and celebrates the intersections between abstraction and representation. Speakers Corner Nous Vous 27 February 2015, 1pm Parker Gallery Lecture by Jay Cover, William Edmonds and Nicolas Burrows of Nous Vous. They collaborate on a broad range of projects including illustration and graphic design commissions, exhibitions, curatorial work, publishing and teaching. Lunchbox Lecture Yvonne Feng To find my lost voice 2 March 2015, 1pm Central House Through her own journey of searching the self and discourses on other artists, Yvonne Feng’s lecture looked into the representation of subjectivity in painting, with particular attention to the relationship between interiority and exteriority in the depictions of the human body. Ricardo Agarez 2 March 2015, 6.30pm Central House The Cass was pleased to host a lecture by Ricardo Algarez, who discussed his current book project, entitled Algarve building: modernism, regionalism and architecture in the south of Portugal, 1925–1965. FLASH // F WD Ben Burns 4 March 2015, 1pm Central House Informal introduction to Live Sound as part of FLASH//FWD. Speakers Corner Imogen Belfield Conversations on jewellery 6 March 2015, 1pm Since breaking into the world of fashion and jewellery in 2010, Cass alumna Belfield’s covetable pieces have won the attention of a plethora of celebrities, including, Georgia May Jagger, Uma Thurman, Nicole Scherzinger and Rita Ora, and were worn by Cameron Diaz in Ridley Scott movie The counsellor. Fernando Menis, Arquitecto 6 March 2015, 6.30pm Central House Fernando Menis is an architect who is inspired by the geology and volcanoes of the sea. The volcanic landscape of the Canary Islands is the point of departure for his architecture. Victor Burgin Three recent works for projection 5 March 2015, 5.30pm Central House Victor Burgin is an artist and writer, working since the 1960s, with scores of solo shows all over the world. He has taught art in the UK, America and Switzerland. He is Professor Emeritus of History of Consciousness at the University of California, Santa Cruz, and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London.


THE CONTEMPORARY ANIMAL 23 April 2015, 5.30pm Central House Lunchbox Lecture Sophie Frost What does it mean to be a creative worker today? 9 March 2015, 1pm Central House Lecture by PhD researcher in Visual Culture and Sociology at the University of Aberdeen. Frost has an MA in Contemporary Art Theory from Goldsmiths and is a freelance arts events organiser. Her research focuses on the relationship between creativity and the contemporary workplace. FLASH//FWD Héloïse Bergman Who are you? 12 March 2015, 1pm Central House Héloïse Bergman is a photographer  / artist currently based in London. She completed an MA in Photography at the Cass, and is currently working on several long-term community /  documentary projects, including Ta Moko – modern Maori warriors, a series documenting the revival of Ta Moko, or facial tattoos within New Zealand’s indigenous Maori community. Speakers Corner Anna Bates and Elizabeth Glickfield Dirty Furniture magazine 13 March 2015, 1pm Parker Gallery Dirty Furniture is a new independent biannual design magazine that uncovers the relationship between people and the things they live with. Conceived as a finite printed series of six, and showcasing design’s best writers and emerging talents. Introduction to creative freelancing 17 March 2015, 1pm Parker Gallery Making a Living event open to all Cass students to help them learn more about how to present themselves and their work to potential clients. Emily Lazerwitz and Ines Marques Artists in conversation 18 March 2015, 6pm Bank Gallery Part of the PROTECHT exhibition public programme with MA Curating the Contemporary.

Lectures and Talks

FLASH//FWD Nick Benjamin 19 March 2015, 1pm Commercial Road Nick Benjamin is a guitar maker in steelstring acoustic guitars who has become well known for working with players pushing the boundaries of modern finger-style. Lunchbox Lecture Grace Adam Spaces and their objects 23 March 2015, 1pm Commercial Road Grace Adam’s practice moves between drawing, painting and sculpture  /installation, and she is particularly interested in our built environments: constructed spaces, both public and domestic. How do we negotiate, adapt and relate to them? How do they shape our behaviour? Hans van der Heijden 27 March 2015, 7pm Hosted by Unit 3 Lecture investigating reciprocity between urban space and architectural form. Hans showed his own work against the backdrop of the Monte Carasso village design by Luigi Snozzi, and articulated three different dimensions: the aesthetic, the ceremonial and the typological. Lunchbox Lecture Michael Lawton Painting as quadruple object 13 April 2015, 1pm Central House Michael Lawton is an artist and writer. He studied Fine Art at Leeds Metropolitan University and Chelsea College of Art and Design, and started a practice-based PhD at the University of Kent in September 2015. He is researching to shed light on the inspirations and processes behind his own painting practice, and to see if it is possible to take an ‘object-orientated’ approach to the clash of the literary and the painterly. Dr Andy Pitman The Timber Research and Development Association (TRADA) 16 April 2015, 1pm Central House Dr Andy Pitman, University Liaison Manager at TRADA, presented a CPD lecture on timber use in construction, and innovative fabrication techniques. This event was open to all with an interest in timber design and fabrication.

Neil Griffiths The arts and democracy 16 April 2015, 5.30pm Central House 28

The Cass Session 2014–15

Neil Griffiths The arts and democracy 16 April 2015, 5.30pm Central House Arts Emergency co-founder Neil John Griffiths, a human rights activist and one of the fifty most influential fundraisers in Britain, examined the role of the arts and humanities in a democracy and argued that the withdrawal of public funding for the arts and humanities is anti-democratic.

Speakers Corner Colophon 17 April 2015, 1pm Parker Gallery Colophon is a London and New York-based independent type foundry established in 2009 by The Entente (Anthony Sheret and Edd Harrington) and joined in 2013 by Benjamin Critton Art Department. The foundry’s commissioned and bespoke work in type design is complemented by independent and interdependent initiatives in publishing, curation, exhibition, and pedagogy, with a focus on local and international partnerships with institutions both large and small. Tom de Paor Picture window 17 April 2015, 7pm Central House A lecture by award-winning Architect Tom de Paor. The title of the lecture refers to the mirror in Delay, a research piece for the windows in the Picture Palace which was shown at the Palazzo Giustinian Lolin in the 2008 Venice Biennale. Tom also discussed two recent projects – a garden in Dysart, and the Picture Palace, a new art-house cinema for the city of Galway, Ireland. Alex Edwards The solid and the ephemeral 20 April 2015, 1pm Central House Fine Art Lunchbox Lecture by artist and Cass alumnus Alex Edwards, whose work deals with the contrasting physicality of the solid (architecture, stone) and the ephemeral (performance, fabric, paper). FLASH//FWD Bryan Holmes 20 April 2015, 1pm Commercial Road Bryan Holmes is a Chilean music composer, researcher and producer who lectures at the University of Rio de Janeiro. His talk encompassed the technical and aesthetic views involved in the realisation of Arak saya, an electro-acoustic work commissioned by the Mexican Centre for Music and Sonic Arts.

Lorna Syson Growing a market for your work 21 April 2015, 1pm Parker Gallery All-student event considering the value of networking, self-promotion and the potential of an online presence in growing a market. Elaine Toogood Creating with concrete 23 April 2015, 1pm Central House The architect and concrete specialist presented a CPD lecture covering the basics of concrete construction, design of finishes, formwork selection, precast and insitu, and sustainability. Steve Baker The contemporary animal 23 April 2015, 5.30pm Central House A Fine Art lecture by the writer and artist Steve Baker, Emeritus Professor of Art History at the University of Central Lancashire. What makes contemporary art about animals ‘contemporary’? How easy is it to maintain a cutting edge, a critical engagement with the forms of current art practice, at the same time as attending to the condition of non-human animals? Flash  //  Forward Geoff Titley 30 April 2015, 1pm Central House Cass alumnus Titley’s photography practice is digital in both the practical and the topical sense. Extending from the exposure of shared intimacies to the development of collaborative artwork, he explores themes that surface as our shared perception and experience of technology moves beyond that of benign tool. Speakers Corner Matt Wade Kin 8 May 2015, 1pm Commercial Road Founded in 2008, Kin is a research and design studio in Farringdon, London, working on a combination of commercial and publicly funded projects, from museum gallery spaces to interactive installations and print and graphic communications.

In the Media Architects’ Journal July 2014 Essay by Ellis Woodman in the Architects’ Journal on the role of the studio system in architectural education praises approach at the Cass. Guardian Cities 17 September 2014 Mark Brearley of Cass Cities contributes to an article by Olly Wainwright on ‘The truth about property developers’. Frame October 2014 MA Interior Design course selected among the Top 30 Postgraduate Interior Design courses in the world for Frame Masterclass.


OUT OF THE ORDINARY: Award-Winning Young Korean Architects Globo News November 2014 ‘Archive: Imagining the East End’ exhibition was covered by the TV broadcaster Globo News, the largest broadcaster in Brazil and Latin America (with 40m viewers), who filmed during the opening of the show. DOMUS November 2014 Architectural practice CHORA, who lead Diploma Unit 8 on the Professional Diploma in Architecture (RIBA Part II), were profiled in ‘Stirring the city’s soul’. BBC November 2014 Cass Jewellery lecturer Mark Bloomfield took part in a headto-head competition between traditional and contemporary craft techniques for the BBC. Bloomfield, who runs Electrobloom, saw his 3D printing approach pitted against that of traditional potter Geoff Kenward. Domus December 2014 Cass in list of Top 100 Architecture and Design Schools in Europe for third consecutive year. In March, the school we helped establish in Moscow was also included. London College of Furniture: Then and Now November–January 2015 Fiftie anniversary exhibition appears across print and digital media, including: Fashion Insight 12 November 2014 / Furniture News 12 November 2014 / Inex Online 13 November 2014 / Design Week 14 November 2014 / Archbiz 14 November 2014 / East London Advertiser 19 November 2014 / OnOffice 19 November 2014 / The List 20 November 2014 / Port 21 November 2014 / Architectural Digest 25 November 2014 / Cabinet Maker 1 December 2014 / ELLE Decoration 1 December 2014 / Time Out 1 December 2014 / Disegno 4 December 2014 / Sunday Telegraph 7 December 2014 / RIBA Journal 8 December 2014 / Form 14 December 2014 / Glass Online 16 December 2014/ Evening Standard 7 January 2015 / Country House and Home February 2015. 2014 RIBA Annie Spink Award Cass Professor Florian Beigel wins for Excellence in Architectural Education December 2014 1 December 2014 / Architects Journal 1 December 2014  / Building Design 2 December 2014 / Building December 2014 / RIBA Journal 1 December 2014.

In the Media

Alchemy: Material Obsessions Vivienne Westwood with Tiipoi April 2015 Time Out 28 January 2015 Cass Professor Bob and Roberta Smith explains why art is an election issue.

The Observer 22 March 2015 Mark Brearley and Jane Clossick of Cass Cities in an article by Rowan Moore about the regeneration of Tottenham.

Out of the Ordinary: Award-Winning Young Korean Architects January–March 2015 Exhibition curated by Hyungmin Pai enjoys international coverage: Icon 1 January 2015 / Building Design 5 January 2015 / After Nyne January 2015 / OnOffice 7 January 2015 / Vile Arts 8 January 2015 / Visit London 9 January 2015 / BBC India / Middle East / Afghanistan and Pakistan / Portugal / Ukraine 16 January 2015 / London Korean Links 25 January 2015 / Evening Standard 4 February 2015 / Domus 5 February 2015 / Interni 5 February 2015 / OnOffice 5 February 2015 / Icon 6 February 2015 / Cent Online 6 February 2015 / Evening Standard 6 February 2015 / Wallpaper* 6 February 2015 / Architectural Digest 6 February 2015 / Port Magazine 7 February 2015 / OnOffice 10 February 2015 / Monocle 24 Broadcast 11 February 2015 / Culture Whisper 12 February 2015 / RIBA Journal 12 February 2015 / The Architectural Review 13 February 2015 / BDOnline 16 February 2015 / Architizer 24 February 2015 / The Architectural Review 1 March 2015 / Dezeen 10–20 March 2015.

RAI TV April 2015 Cass students Philippine Hamen and Matteo Pacella were interviewed by Italian broadcaster RAI TV while exhibiting at Designers’ Block with the London College of Furniture.

YTN February 2015 South Korean broadcaster covers Out of the Ordinary exhibition on TV News.

ARTS EMERGENCY RESPONSE CENTRE April 2015 Exhibition curated by Bob and Roberta Smith in collaboration with National Arts Charity. Royal Academy Newsletter 10 April 2015 / Culture Whisper 13 April 2015 / METRO Newspaper 13 April / Apres Furniture 14 April 2015 / East End Review 15 April 2015 / Time Out / A–N ( Artists Newsletter ) 28 April 2015 / THE LIST April 2015 / The Wharf April 2015 / Londonist April 2015 / FAD Website 27 April 2015 / Art Map London April 2015.

Guardian 16 March 2015 Nick Curtis joins Cass Professor Bob and Roberta Smith on the campaign trail for the General Election. Architects’ Journal 16 March 2015 Cass academic Florian Beigel and Zaha Hadid Architects’ partner Patrick Schumacher pay tribute to Frei Otto, the influential German architect who died just hours before being revealed as the 2015 Pritzker Prize Laureate.


The Cass Session 2014–15

Alchemy: Material Obsessions Vivienne Westwood Exhibition with Tiipoi during Salone attracts design press April 2015 Oggi 15 April 2015 / ATP Diary 16 April 2015 / Cent 16 April 2015 / Dezeen 17 April 2015 / AnOther 17 April 2015 / Australian Design Review 17 April 2015 / Libreprensa 17 April 2015 / Vogue Italia 17 April 2015 / Affaritaliani 17 April 2015 / Daring To Do 17 April 2015 / Gioia 17 April 2015 / How To Spend It (Financial Times) 17 April 2015 / Amica 17 April 2015 / The London Design Festival News Letter 20 April 2015 / Creative Academy 20 April 2015 / Designer Blog 22 April 2015 / Unique Style Platform 22 April 2015 / Fiera Magazine 22 April 2015.

Docklands and East London Advertiser 29 April 2015 MA Curating the Contemporay Students Becky Edwards, Jack Parrott and Mariaelena Soligo feature in article entitled ‘A statue is present’ at the Royal College of Psychiatrists.

Architects’ Journal 5 May 2015 Article covering discussion on need for government to tackle housing by expert panel including Lara Kinneir of Cass Cities. TES News 6 May 2015 Article about Bob and Roberta Smith standing against Michael Gove in his Surrey Heath constituency in the General Election. LONDON LIVE TV May 2015 Simone ten Hompel, Reader in Silversmithing, was interviewed at the launch of ‘What is Luxury?’ at the V&A, where she is one of the exhibitors. Elle Decoration June 2015 Feature on Primitive Huts project in collaboration with the Soane Museum. Dezeen June 2015 Article by Robert Mull on the relationship between practice and education in architecure.

News Re-Energising Space 19–25 June Cass Interior Design students exhibited with students from Hunan University, China and Dong Yang Mirae, South Korea at the London Festival of Architecture. The collaboration is now in its fifth year and is a part of the Hidden Space research group which investigates abandoned, un-adapted and unused spaces within an urban environment.

of £6000, his first ever cash award for a portrait of journalist Suzanne Moore for Paupers Press. Trevor Banthorpe won the Northern Print Collaborative Prize – an opportunity for the artist to work with master printmaker, Kip Gresham (The Print Studio, Cambridge) to develop skills and create new work. Making a Point June–July 2014 Jewellery and Silversmithing students produced a Mobile Information Point for YMCA Hayes. Result of a joint project with Hayes YMCA and Jewellery and Silversmithing studio Assorted jewels, enabled by Cass Projects and Hayes Town Centre Partnership, and funded by the Hillingdon Ward Budget Initiative. Streets Ahead June–August 2014 Cass student images were used on hoardings around the neighbouring Aldgate Tower development with the support of Brookfield Multiplex. The exhibiting students were Clelia Giannuoli, Dan Cates, Joseph Bodansky, Alice Shepherd, Nicole Becker and Sandra Harris. UCS Open Call June 2014 Cass alumni group ‘Uncertain States’ announce open call for lens-based artist work. Nine winners will feature in a new exhibition and publication. The group was founded by David George, Spencer Rowell and Fiona Yaron Field while they were studying MA Photography at the Cass. Camac Challenge Success 5 July 2014 Nine BA Textile Design students from all three levels of the course won the chance to show work at the Warner Textile Archive Gallery, responding to an Art Deco brief.

MARCH Brick Lane Meets Park Lane 20 June 2014 Students from the Articulate bodies studio on the BA (Hons) Jewellery and Silversmithing course presented their work at a catwalk show at the Park Lane showroom of Aston Martin. The event, which was organised by course leader Marianne Forrest, saw VIPs, journalists, business partners, staff and students mingle to enjoy work from graduating students. Print Success 27 June – 9 August 2014 Cass Professor Bob and Roberta Smith and alumnus Trevor Banthorpe both won awards at the International Print Biennale. Bob and Roberta Smith won the Bryan Robertson Trust Award


The First of MARCH 26 June – 4 July 2014 Work by the first cohort of MA students from our partner school in Moscow featured in the Cass Summer Show. The Moscow School of Architecture (MARCH) is part of the British Higher School of Art and Design and will offer Cass Architecture students the opportunity to study in Moscow as part of their course. It will also allow us to carry out live projects, research and consultancy in Russia.


London Re-Imagined 21–25 July 2015 Central House At our Year 12 Summer School, students from schools and colleges in London enjoyed free courses in photography, sketching, film production and model-making, each with a London flavour. Students from each course exhibited their work on the final day. RSA Student Design Awards success July 2014 Julie Berdou, a third-year Interior Design student’ won an RSA Student Design Award for designing ‘WW – a mobile workplace that connects’ submitted in response to the Tomorrow’s Workplace brief. The jury were very impressed with the detailed project work, which won the Royal Bank of Scotland Award of £1000 for the Best Business Case.

Between Heaven and Earth Gallery On, Seoul 1–8 July 2014 Cass Reader in Silversmithing and Jewellery, Simone ten Hompel exhibits at Gallery On in Seoul, South Korea. The Between Heaven and Earth, exhibition saw ten Hompel take traditional craft processes and use them to create contemporary interpretations of ‘landscape’. Recognition for Research Cass staff Maurice Mitchell, Bo Tang and Shamoon Patwari shortlisted for RIBA President’s Awards for Research 2014. Dr Bo Tang was shortlisted for RIBA President’s Award for Outstanding PhD Thesis. Maurice Mitchell, Bo Tang and Shamoon Patwari were shortlisted for RIBA President’s Awards for Outstanding University-Located Research for The architecture of three Freetown neighbourhoods: documenting changing city topographies 2008–2013. Shongram 14 and 16 July 2014 Cass Alumnus Munsur Ali’s debut feature film Shongram premiered at the London Indian Film Festival as part of the official selection. The red carpet world premiere took place at the O2 in London, followed by a special screening at London’s Leicester Square. Shongram, which was previously screened at Cannes and in Bangladesh, is a 103-minute romantic drama and is the first film produced, written and directed by a British Bangladeshi filmmaker set during the 1971 Bangladesh Liberation War.

New Designers success July 2014 Cass Jewellery and Silversmithing graduate Ellie Corp won Runner-Up in the New Designers Designer of the Year Award 2014. Ellie won the competition for her project SUCK: a BA Starter, completed while studying in the Assorted jewels studio led by Simone ten Hompel, Mah Rana and Silvia Weidenbach. The project explores aspects of culinary art, food and drink, investigating the purpose of everyday utensils, rituals of eating and more metaphorical aspects.

Stephen Williams Scholarship Chloe Anderson, a student entering RIBA Part II (Professional Diploma in Architecture) in September 2014, was announced as the beneficiary of the RIBA AHR Stephen Williams Scholarship. The scholarship will offer Chloe personal academic mentoring by a member of staff at AHR and a £5,000 grant towards her studies.

POST DIGITAL? A Matter of Blood 3 July – 14 August 2014 Cass Fine Art alumnus Gabriel Andreu’s film A Matter of Blood (2012) was shown at Vyner Street’s Degree Art Gallery as a part of the group exhibition Post Digital?’, a show curated by Nimrod Vardi.


The Cass Session 2014–15

Bone Idol July 2014 The Femur Stool, based on human bone structure and designed by MA Product Design Senior Lecturer Assa Ashuach, became the latest addition to the Frederick Parker Collection, which is housed within London Metropolitan University. The structure of the stool provides support that is optimised to 120kg – so if the user changes the sitting load, the object form will change to accommodate and adjust performance.

CHICKEN-SKIN GIMP SUIT Fleshing the Press August 2014 A London walkabout in a chicken-skin ‘gimp suit’ by 2014 Cass Fine Art graduate and performance artist Lewis G. Burton stunned crowds and attracted the attention of national media. The performance piece, developed with Victor Ivanov, involves performances fully covered in a suit constructed of sewn-together chicken skins. Newspapers including the Evening Standard, Mail and Mirror covered the event, and FAD website demanded: ‘Is it art?’

Rising Star 2014 July 2014 BA (Hons) Interior Architecture graduate Nikita Wilson was named ‘Rising Star of 2014’ at the Interior Educators (IE) exhibition at the Truman Brewery, where the Cass won two of the eight awards at the annual IE exhibition, the national showcase for Interiors graduates. Over thirty universities from across the UK and overseas exhibited. The Cass exhibition was also awarded Best Course Pavilion. Hidden Dragons 17–31 July 2014 The new i’klectik art space opened its doors with a solo exhibition by Cass Fine Art alumnus Mark Newton. Hidden Dragons is Mark J. Newton’s first solo exhibition in London. He paints fractured and distorted images of endangered species using digital and online sources. His collaged paintings hint at the role played by the screen and technology in relation to contemporary attitudes towards animals. NWLSA Student Awards 2014 July 2014 Studio 3 and Unit 10 students won awards from North West London Society of Architects for live projects. The winning students were Ania Folejewska for Tea Dance on Austin Estate in Hayes, London, and Reham Elwaki with Music Academy for Austin Estate in Hayes, London. Ania’s scheme was to provide a pop-up theatre space where local residents could gather and partake cultural activities. Reham created instruments from recycled materials for the residents to perform, which led through to the creation of a music academy.


Lights Off 4 August 2014 Cass Professor Bob and Roberta Smith was one of the artists commissioned to create a work to mark the centenary of the outbreak of the First World War. Lights Out was an invitation to everyone in the UK to turn off their lights from 10pm to 11pm on 4 August, leaving just one candle or light on for a shared moment of reflection. The initiative was accompanied by a series of ‘moments’ with work by artists including Jeremy Deller, Nalini Malani and Bedwyr Williams. Suspended in Green 15 August – 20 September 2014 Design alumna Laura Bradshaw Heap curated a jewellery exhibition at the Lesley Craze Gallery . Thirty-three contemporary jewellers from all over the world explored the colour green. Jury: David Clarke and Mah Rana. TOTAL FABRICATION 15 August – 24 September 2014 MA alumna and Design/Shift Project Assistant Vanja Bazdulj was invited to exhibit in TOTAL FABRICATION at Craft Central, an exhibition of contemporary design for interiors with a material twist. The exhibition formed part of the London Design Festival. SLURP 20 August – 14 September 2014 A new interactive installation using IT relics and Raspberry Pi is created for the ice well under the London Canal Museum by artist and Cass MA Fine Art alumna Nye Thompson. The installation imagines that some strange technological artefacts have been


uncovered from the rubble filling up the old ice wells, exploring our relationship with the seductive technologies that mediate or construct our interactions with the world. Art Parties Everywhere 21 August 2014 Thousands of people across the UK attended GCSE Results Day screenings of the Art Party Film by Cass Professor Bob and Roberta Smith. The movie, which centres on the Art Party Conference that took place in Scarborough, is ‘part documentary, part road movie and part political fantasy’. It mixes musical performances, appearances by leading artists including Cornelia Parker, Haroon Mirza and Jeremy Deller, and imagined scenes of the fictitious Michael Grove MP. FACT and The Hepworth Bodging Workshop August 2014 A group of FDA and BA Furniture students led by William Warren escaped to a forest near Chelmsford for several days of ‘bodging’, or green woodworking lessons. The traditional English furnituremaking approach involves working fresh-cut timber with hand tools, and they were assisted by wood owners Katie and Nick Abbott.

Jeweller Sparkles 6–9 September 2014 Kiki Tang, a third-year student on BA (Hons) Jewellery and Silversmithing was chosen as one of International Jewellery London (IJL)’s Bright Young Gems 2014. Now in its ninth year, the Bright Young Gems initiative is well known within the industry for unveiling future stars. Re-Imagining the Austin Estate 12 September – 10 October 2014 An exhibition of work completed by Cass Studio 3 at Botwell Green Library as part of the ‘Made in Hayes’ project. Between 2012 and 2014 the studio has been working on the Austin Estate in Hayes, West London, in order to re-imagine its civic life and explore the notion of a ‘Town Hall’ for an ethnically diverse and fragmented residential community, starting in the first year with the construction of a mobile civic fragment. Gaynor Ithell Celebration 13 September 2014 A celebration was held of Gaynor Ithell’s life, surrounded by her art and including a silent auction. The proceeds of the auction were donated to the Walton Unit in Liverpool. Blazing a Trail LDF 13–21 September 2015 Various Locations Cass design staff, students and alumni featured across the London Design


The Cass Session 2014–15

Festival in a series of exhibitions at major venues arranged as a ‘trail’. These included a Cass graduate showcase at Tent London in the Old Truman Brewery, Brick Lane; a ‘best of the best’ show at 100% Design at Earl’s Court; and Total Fabrication at Craft Central in Clerkenwell. MACC at Berlin Art Week 16–21 September 2014 MA Curating the Contemporary students curated EXOTICA... and 4 other cases of the self at the Collectors Room during Berlin Art Week. The exhibition and the accompanying publication were the product of a collaboration between the three curators, Fanny Nina Borel, Myrto Katsimicha and Elisabetta Rabajoli. Artists included Marina Abramovic, Eva Aeppli, Barry X Ball, Matthew Barney, Chuck Close, Graham Dolphin, Jan Fabre, Sylvie Fleury, Andreas Golder, Julie Heffernan, Krištof Kintera, Ernst Ludwig Kirchner, Terence Koh, Philip-Lorca diCorcia, Juan Muñoz, Eadweard Muybridge, Tony Oursler, Gerhard Richter, Collier Schorr, Cindy Sherman, Helmut Stallaerts, Otto Steinert, Werner Rohde, Paloma Varga Weisz, Erwin Wurm. Second Sitters 18–21 September 2014 Tent London Second Sitters supported by the Cass presented an upholstery installation workshop at Tent London, offering a sensory discovery of the skills, techniques and materials of the upholsterer. ‘Second Sitters’ was established by Cass alumni and staff members Jude Dennis and Hannah Stanton, and works with some of the bestknown upholsterers in the UK, many of whom studied at the faculty. New Adventures 19 September 2014 Mah Rana, pathway leader for MA Jewellery, was one of the keynote speakers at this seminar in Gothenburg, Sweden. New Adventures in Jewellery is an international programme of exhibitions, lectures and other events within the context of contemporary jewellery. Lotus Prize September 2014 Selena Cerami, a second-year Interior Design student, won the Lotus Prize Design Innovation Award 2014. The award, which was based on her concept for Taskin Square, Hunan, saw her invited to present her work in China. Book Launch: Unevenness 23 September 2014 Central House Unevenness, a publication offering a reflection on Unit 3 and the Brazil Programme’s work in São Paulo during 2013-14 is launched. The book contains selected drawings and texts that articulate the unit’s engagement with, and speculations on, the city’s downtown area, alongside transcriptions of selected lectures. FASHION UNCUT September 2014 A new blog called FASHION UNCUT was launched. Developed, designed, built and run by Cass Fashion and Textiles alumni, the blog features posts about fashion trends, East London street style, exhibitions and the experiences of the bloggers after graduation. The blog will be taken on by new students each year.

Start of Year Party 26 September 2014 The first student party of the new academic year was held at 93 Feet East on Brick Lane. The event, organised by Cass Student Union officer Amanda Marillier, gave new students the chance to meet each other, staff and the Student Union officers. WCCA Travel Award September 2014 William Burgess, a BA (Hons) Architecture student at the Cass, won a runner-up prize in the WCCA Travel Awards 2014: the Stuart Murphy Award. Successful applicants are funded to make an overseas study trip and asked to produce a report of the project. William’s project was ‘Between the Cathedral and the Wild Sea, on religious Gothic buildings of Northern Europe. WCCA Drawing Prize September 2014 Two students from the Cass School of Architecture were successful in this year’s WCCA Drawing Prize. Anna Pizova of BA Architecture won the Part I category, and Suzi Pain of the Professional Diploma course was runner-up in the Part II category. Kat Walk September 2014 Work by Jekaterina (Kat) Atarinova, graduate of BA (Hons) Jewellery and Silversmithing, featured in a collaborative catwalk show with fashion designer Mariana Jungmann during London Fashion Week. Jewellery pieces from her Collapse Project were shown together with Jungmann’s collection Yemanja inspired by the image of the sea goddess.

Wooden Worlds and Pathétique September–November 2014 Compositions by Dr Javier A. Garavaglia, Associate Professor in Music Technology, were performed in Germany in autumn 2014, including the Internationales Klangkunstfest Berlin 2014 and NOW! Parallelwelten Festival in Essen. Peter Carl honoured by the RIBA September 2014 Professor Peter Carl, who teaches at the Cass, was selected by the Royal Institute of British Architects (RIBA) to receive a 2015 RIBA Honorary Fellowship. The lifetime honour will allow Peter – who leads PhD study and teaches on the Free Unit on the Professional Diploma (RIBA Part II) course at the faculty – to use the initials Hon FRIBA after his name. Rhino Day for Staff September 2014 Cass 3D were treated to a special day, with an introduction to Rhino with Marianne Forrest. Alongside learning to use some of the tools, each developed their own design for a ring, which was printed by CassWorks. Cass Architecture: Students invited to exhibit in Antwerp exhibition 26 September 2014 – 4 January 2015 deSingel Art Campus, Antwerp Third-year student Jun Kim contributed to a major architecture exhibition in Antwerp. His structural model of NoA Architects’ Lo-Reninge Town Hall was requested by the architects to be included in their retrospective exhibition ‘Encounters’ at de Singel Art Campus in Antwerp.

BRAIN IMPOUNDED BY AUTHORITIES Brain of Two Halves September 2014 A huge walk-in sculpture of a human brain by Fine Art graduate LadyM was seized and impounded by local authorities when it was illegally squatted. To ease the headache, in the same week another smaller brain sculpture was selected for the prestigious National Open Art (NOA) Competition 2014 Exhibition at Somerset House.



Shanghai Exhibition 9–12 October 2014 Cass staff and alumni participated in the Shanghai International Silversmithing and Jewellery Art Exhibition 2014, included Charlotte Gorse, Ellie Corp, Juliette Bigley, Kerstin Haigh, Mah Rana, Marianne Forrest, Maarit Liukkonen, Mara Irsara and Elizabeth Auriol Peers. Gone Too Far 10 October 2014 Cass Film alumna Destiny Ekaragha’s debut feature Gone too far opens in UK cinemas. The movie, which earned four stars in Time Out, is a coming-of-age story written by the award-winning Bola Agbaje, based on her Olivier-winning play. Eschewing clichéd urban narratives of gun crime and drug use, Gone too far focuses on two estranged brothers over a single day as they meet for the first time and struggle to accept each other for who they are. Young Masters Art Prize 14–31 October 2014 Cass Fine Art graduate Bex Massey was shortlisted for the Young Masters Art Prize, which celebrates artists who ‘pay homage to the skills and tradition of the past’. Her work was exhibited alongside the other shortlisted artists at Sphinx Fine Art in Kensington.

Lunchbox Lectures November 2014 The Cass School of Art announced a programme of Monday lunchtime lectures where artists give talks in exchange for their lunch. NEWS: Professor Announces Election Campaign November 2014 Cass Associate Professor in Fine Art Bob and Roberta Smith announced he would stand against Michael Gove in Surrey Heath constituency – part of an ongoing campaign to raise awareness of the importance of art in education. Trace 6–16 November Cass ceramicist Fred Gatley presented his new works at Trace – Artists in Search of a Landscape at APT (Art in Perpetuity Trust) Gallery in Deptford. Book Launch in São Paulo: Unevenness 7 November 2014 Unevenness reflects on Unit 3’s interests in looking and ideas. The book contains selected drawings and texts that articulate the students’ engagement with and speculations on São Paulo’s downtown area, alongside transcriptions of selected lectures given as part of last year’s Brazil Programme at the Cass in London.

#MOSN: Museum of the Shared Now 20–24 October 2014 Cass alumna Nye Thompson created an interactive art experience for London Met Connect Week. The Museum of the Shared Now was a series of experiments in creating an enhanced sense of community in the Holloway Road area as part of Islington Exhibits.

Mirror City November–December 2014 Cass lecturers Pil & Galia Kollectiv showed new work at the Hayward Gallery as part of the Mirror City exhibition. Concrete gown for immaterial flows, a newly commissioned sculptural installation, was accompanied by a series of performances of Nathan Alterman’s ‘Morning Song’.

The Palace that Joan Built October 2014 – April 2016 Cass Fine Art lecturer Mel Brimfield collaborated with songwriter and composer Gwyneth Herbert on a project for Art on the Underground at Stratford Underground Station. Inspired by the legacy of leading theatre director Joan Littlewood, and coinciding with the centenary of her birth.

Chinese Whispers 6–23 November 2014 Cass Fine Art alumna Patricia Shrigley was one of the artists exhibiting in the Chinese Whispers project at Karin Janssen Project Space. The exhibition united UK and Netherlands-based artists. Ex–Factory

PARTICIPATE! 24 October 2014 One-day symposium on participation in learning and teaching at the Cass. Speakers included Cécile Tschirhart, Rosemary Stott, Sandra Denicke, Sandra Sinfield, Debbie Holley and Torange Khonsari. Tokyo Design Week Winner October 2014 Cass lecturer Onur Ozkaya, who teaches Studio 4 Interior Architecture and Design, won a first prize award at the prestigious Dare to Dream design awards in Tokyo. The award-winning project proposed a new chair prototype that developed by exploring the performative qualities of the traditional Japanese kimono dress. Jiao Tong visit 14 November 2014 A delegation from the prestigious Shanghai University toured the faculty with key staff. The visit followed a trip to the Jiao Tong campus by Charlotte Gorse, Associate Dean and Head of the School of Design.


The Cass Session 2014–15

Mel Brimfield Barbara and Henry – The Musical 18 November – 13 December 2014 Site Gallery, Sheffield Barbara and Henry – The Musical at the Site Gallery in Sheffield is an exploration of an imagined relationship between revered sculptors Henry Moore and Barbara Hepworth, conceived by artist and Cass lecturer Mel Brimfield and singer-songwriter Gwyneth Herbert.

8–29 November 2014 Fine Art Lecturer Leigh Clarke featurea in a site-specific exhibition in a disused Stoke-on-Trent factory. The project and resulting exhibition, Ex-Factory, emerged from KULES, a new residency programme in Stoke-on-Trent aiming to provide venues and environments for artistic research. Another London 15 November 2014 Screening of the film Another london, directed by Cass lecturer Ektoras Arkomanis, followed by a QA with Ektoras and writer Robert Harbison chaired by Colin Davies, and a live performance with music from the film and other themes by composers Simone and Andrea Salvatici. Written, filmed and edited over three years, Another london takes its audience to places of architectural, spatial and historical interest. Locations included the Soane Museum, Greenwich Naval College, Trinity Laban Centre, Museum of London, London Docklands Museum and the Thames itself. Tracey Emin Do They Know It’s Christmas? 17 November 2014 Cass Alumna and Honorary Doctor Tracey Emin has designed the cover for the Band Aid 30 single ‘Do They Know It’s Christmas’ (2014), which was released in November 2014 and aimed to raise money to help the Ebola crisis in West Africa. The design incorporates one of the artist’s signature neon text works and reads ‘Faith Love Trust You Me And The World’.

upon Thames. The animators projection-mapped moving images on to the building, transforming its windows into digital stained glass, and walls into animated origami. Winter Winners 28 November 2014 Cass Professional Diploma graduates James Hand and Nik Klahre won the Glasgow Institute of Architects competition to find a future for the city’s derelict Springburn Winter Gardens. Tandemize – London/Cairo – Cross Cultural Project Exhibition November 2014 – May 2015 Tandemize is the first collaboration and live project sponsored by the British Council Cairo, in which Design Studio Azza Fahmy, Egypt’s first specialised jewellery institute, in association with Alchimia School of Contemporary Design in Florence, partner’s with the Jewellery and Silversmithing department at the Cass Faculty of Art, Architecture and Design in London. Florian Beigel Annie Spink Award 2014 1 December 2014 Professor Florian Beigel won the Annie Spink Award 2014. The Annie Spink Award is open to teachers (individuals or groups) working on any internationally recognised RIBA course who are involved in the development of architectural education and engage with the process of teaching and learning.

Geoff Titley and Héloïse Bergman The Bleached Bones of a Story 20 – 25 November 2014 Espacio Gallery, London MA Photography alumni Geoff Titley and Héloïse Bergman were among a group of exhibitors from London Independent Photography Central Group that showed their work in the exhibition at Espacio Gallery as part of Photomonth 2014. FATHOM 26 November 2014, 10am CE1–16, Central House One-day symposium in partnership with Four Corners exploring production-led residencies, and exhibition and distribution approaches. This symposium considered Four Corners’ FATHOM 2014 residency programme, and took it as a starting point to discuss production-based residencies, and how artists can exhibit, market and distribute their work following production. The Future of Architectural Education 26 November 2014, 7pm Feilden Clegg Bradley Studios Panel discussion at the Architecture Foundation that explored and debated the future of formal architectural education as part of the Futures in the Making season. This panel discussion, chaired by Professor Robert Mull, the Architecture Foundation Trustee and Director of Architecture at the Cass, explored and debated the future of formal architectural education. CASS Animators Light Up London 27 November 2014 Surbiton Station BA and MA Animation students transformed Surbiton’s iconic Art Deco station as part of the turning-on of the Christmas lights in the London Borough of Kingston


RIBA Presidents Medals Success Portland Place 4 December 2014 Samuel Little of BA (Hons) Architecture Studio 1 was awarded a Commendation in the Bronze Medal for the best design project at Part I at the annual RIBA awards ceremony for his project City Frame: the Re-Appropriation of Maple House. Christmas Cheers! 16 December 2014, 4pm Central House The Design School threw open its doors, inviting students and staff to tour all 2014 studios. The event had pop-up shows, the chance of winning £100, and various food and drinks! WORK SHOP! 18 December 2014, 5pm Central House Art students put together a giant ‘shop’ for a pop-up show. In the pre-Christmas exhibition, themed around Claes Oldenburg’s 1961 installation Store, students from all levels of the BA Fine Art degree investigated supermarket stacks; wall displays; plinths and vitrines; signage and advertising; and multiple film screenings.


Nye Thompson 30 Years of the Future 5 December 2014 – 1 February 2015 Castlefield Gallery, Manchester The Cass MA Fine Art alumna was selected for the celebratory exhibition at Castlefield Gallery in Manchester. Castlefield Gallery celebrated its thirty-year history with the exhibition ‘30 Years of the Future’. Working with sculpture, painting, video and performance the nominated artists communicated the breadth of visual art being made today and demonstrated a variety of approaches to contemporary art practice. Vertical Structures 1–5 December 2014 Central House Emerging work from the Art and Design Extended Degree (Foundation Year) displayed in the boulevard on the third floor. Cass students to help reinvigorate hub for community in East End 7 December 2014 Toynbee Hall Students of the Cass were elected to contribute to the 130th anniversary celebrations at Toynbee Hall. They were invited to join discussions with Richard Griffiths, Charles O’Brien and Blondel Cluff on the history of philanthropic buildings in the East End. Christmas Playtime… 19 December 2014 Parties galore were held at the Cass for Christmas Celebrations last year, where the ingestion of art, architecture and design (… and the odd tipple) spread merriment amongst all. MUSARC Christmas Concert Christ Church, Spitalfields 20 December 2014, 7.30pm Last year’s MUSARC Christmas Concert took place on the 20 December at Christ Church Spitalfields. MUSARC is a research programme organised around a choir, led by Joseph Kohlmaier, a Senior Lecturer at the Cass.

PROJECT RED Exhibition: First Year Fashion 13 February 2015, 5.30pm PROJECT RED was a live catwalk show taking place in (and responding to) the Out of the Ordinary exhibition in the Bank Gallery. It featured work from the Cass BA (Hons) Fashion degree, and was organised in collaboration with Fashion Marketing students at Guildhall Faculty of Business and Law.


The Cass Session 2014–15

FLASH//FWD 8 January 2015 Central House FLASH//FWD, which began in January 2015, is a series of lunchtime talks by practitioners from the worlds of film, television, animation, music technology and photography, jointly curated by our Cass Film and Cass Music areas. Celebration Week Exhibition, News, Performance Central House 9–13 February 2015 Celebration Week was an opportunity for students from studios and units across the schools of the Cass to present their work-inprogress to external experts and each other. This is done through a packed programme of studio-based ‘crits’, screenings, events and pop-up shows within the new Central House studio spaces, designed by our own Architecture Research Unit. Not(e)able Objects 28–15 February 2015 Contemporary Applied Arts Gallery, 89 Southwark Street Students from the Bespoke + make studio were each invited to create a piece of work inspired by and created to reflect a piece of music for the exhibition titled Not[e]able Objects. Working in collaboration with the Hayes vinyl factory, each student selected a song or piece of music which was both recorded on the EMI label and produced and printed in the Hayes factory. The expanse of this archive provided a huge range of musical inspiration, from Chopin to The Sex Pistols. Mah Rana exhibiting with the Crafts Council 14 February – 21 March 2015 Bilston, West Midlands, Gateshead, Tyne & Wear Acts of Making was a two-week festival that celebrated contemporary craft through performances, live installations and workshops taking place in Bilston, West Midlands, and in Gateshead, Tyne & Wear. St Botolph Church design competition winner announced Students studying their Part II and Part III in Architecture at the Cass were invited to submit concept drawings for a new hall that responded to the needs of St Botolph without Aldgate Church. The Cass Projects Office was delighted to announce Eleanor Grierson and Liam Ashmore as the winners of this competition. Partial Presence 29 January – 22 February 2015 Zabludowicz Collection Cass MA Curating the Contemporary students collaborated on an exhibition with work from the Zabludowicz Collection. A public programme of weekly curator-led exhibition tours, family workshops, talks and film screenings accompanied the exhibition. Making a Living party 19 February 2015, 4pm–6pm Central House 20 February 2015, 4pm–6pm Parker Gallery To launch the Making a Living professional practice month, the Cass #shift project team hosted an informal (drinks and nibbles) event to help to connect Cass students across disciplines.

Project SOL_ID 3 March 2015 Launch STO’s London showroom in Clerkenwell SOL_ID was Team Heliomet’s latest project entered into the Solar Decathlon 2015 in Cali, Colombia. The competition invited students from around the world, specialising in Architecture, Engineering, Sustainability and Urban Design, to participate in creating a new typology of urban social housing, operating primarily off solar power and using innovative material solutions. Three Dimensional Traces 5 February – 5 April 2015 Gallery So, Brick Lane The pieces in this solo exhibition by Cass Reader Simone ten Hompel investigated mark making through the third dimension and colour. Shapes and marks are embossed and overlaid into the metal, which in itself becomes the provider of pigments, texture and content. TRIP: Editions of you March 2015 The 3D studio, Editions of you, visited Oxford for the day, where they saw ‘Love is Enough’ at the Museum of Modern Art. This exhibition brought together the work of Andy Warhol and William Morris, and was curated by the artist and Cass Visiting Lecturer, Jeremy Deller. Looking for Light 9 March 2015, 6pm Commercial Road The Cass Photography area hosted a public screening of Looking for light, a film about the life and work of the photographer Jane Bown, followed by a Q&A with one of the film’s directors, Luke Dodd. Part of Women’s History month. News: Feel the Discourse! 6–28 March 2015 Guest projects Exhibition, curated by MA Curating alumna Cristina Ramos, bringing together visual art and contemporary writing in an attempt to perform criticism in a different way. Royal Visit 10 March 2015 Central House His Royal Highness and Patron of London Metropolitan University, the Duke of York, visited the Sir John Cass Faculty of Art, Architecture and Design, meeting staff and students.

AJ Small Projects Award shortlist 18 March 2015 Žužemberk Market Hall by William Burgess and Jack Richards was shortlisted for the Architects’ Journal Small Projects Award 2015. The project, in Slovenia, comprised a market hall and landscaping scheme. PROTECHT: Screening 18 March 2015, 6pm The Bank Gallery As part of the PROTECHT exhibition public programme, Jack Williams delivered a lecture based on his project Screen Deprivation: Severance and Permanence. Fabric of the City The Cass announced The Fabric of the City, an exhibition celebrating the Huguenot Weavers in Spitalfields, and Contemporary Textile Designers, in the City, opening on 9 July 2015. Book Launch – Beyond Live/Work 26 March 2015, 6pm 4th Floor Boulevard, Central House Cass associate Frances Holliss launched her new book – Beyond live/work: the architecture of homebased work – which explores the old-but-neglected building type that combines dwelling and workplace, the ‘workhome’. Music Party 27 March 2015, 6pm Forum, Central House A variety of live performances took place at this fundraising event by final year BSc Music Technology students, who are producing a DVD for the Summer Show. Drone Cinema 27 March 2015 Alexander Wendt, who teaches Music Technology, screened his film Lit at the Drone Cinema Film Festival in Leiden. Lit is a composition of real-time video and light for deceleration. Black and white video with a chance soundtrack by Robert Curgenven. Field Studies 30 March – 2 April 2015 Field Studies was a four-day masterclass led by acclaimed international artists and composers, complemented by a programme of workshops, evening lectures, screenings and performances. First taught in 2010 and originally conceived as a field-recording course exploring sound in the context of architecture and the city, Field Studies attracts students from many different backgrounds due to the course’s eccentric curriculum and the people who teach it.

News: Percussive Hunter 11 March – 15 May 2015 Cass alumnus Niekolaas Johannes Lekkerkerk curated an exhibition in Istanbul after winning the Akbank Sanat International Curator Competition 2014. The group exhibition was dedicated to the examination of processes of mattering and sonic resonance contained by, and inherent to, material substances.

A–Z of Fate April 2015 Illustrator and tutor Kieron Baroutchi exhibited at G511ERY in North London as part of The Six Fingers of Fate collective. Eight artists took a London A–Z and chose, at random, some coordinates. These coordinates created their individual starting points, from which they would make their way to G511ERY.

Venice Biennale Fellowships March 2015 The Cass announced applications for the 2015 British Council Fellowships, to combine working with the British Council at the Venice Biennale with studying and conducting a research project in the city for a month later in the year.

Cover Club Ace Hotel, Shoreditch 9 April 2015 Cass Visual Communications lecturer Emily Evans runs a night dedicated to album cover artwork by Lewis Heriz with Natalia Maus from Island Records.



A Statue is Present Royal College of Psychiatrists A Statue is Present, Stories of Melancholy and Raving Madness: exhibition curated by students of MA Curating the Contemporary in collaboration with the Royal College of Psychiatrists and David Gryn, director of Artprojx, that drew on the history of Melancholy and Raving Madness, two eighteenthcentury Caius Ciber statues, to investigate improvements in the treatment of mental health through contemporary art. Alchemy: Material Obsessions 14–19 April 2015 Vivienne Westwood Store, Milan The Cass partnered with Vivienne Westwood for Milan’s annual Design Week festival the Salone Internazionale del Mobile. Alongside designer Tiipoi, the team presented an exhibition of contemporary craft and making. Partially made and disassembled items were intertwined with Westwood’s clothing collections, mirrors and tableware, showing processes rather than simply products. Sharing Design: Utopia of Culture Makers 14 April – 7 May 2015 Students and alumni from design courses participated in this exhibition in Milan, organised by the China-Italy Design and Innovation Center, Markor Home Furnishings and, Milano Makers, and co-organised by Hunan University and Sichuan Fine Arts Institute. Selena Cerami of BA Interior Design, who helped put the show together, exhibited her Lotus Prize-winning Taksin Square design. Brazil – London 20 April 2015 Central House An afternoon of discussion with Laura Smith, Lina Bo Bardi Fellow 2014, and Unit 3 around the dialogue between their São Paulo observations and London design work.

Q-ART Crit 20 April 2015, 6pm The Cass hosts Q-ART Crit. Q-Art Crits bring together students and graduates from across London’s art schools to present and discuss work in a peer-led non-assessed environment. Self-trained artists and all those with an interest in art are also welcome. Tea and Cakes 28 April 2015, 2pm Botwell Green Library Students of Architecture Studio 3 invited the public for tea and cake at the Botwell Green Library. The group have been imagining possible futures and exploring the potential of Hayes’ high street; playspaces and music theatres in back yards, community halls on viewing platforms, and places to discover the joy of reading. Hertford Open 3–16 May 2015 Recent Fine Art alumna Lady M exhibited two new sculptures at the Hertford Art Society 63rd Annual Open, Out of the Woods #3 ‘Acclivity’ and Out of the Woods #2 ‘Fourth Page of the Dictionary’. Refashion East 9–10 May 2015 Central House Hubbub hosted a packed programme of workshops, talks and pop-up events exploring how we can re-ignite the UK ‘rag trade’ in a meaningful way and put the Aldgate area back in the spotlight. Wheels in Motion May 2015 Cass Interiors and Jewellery students have collaborated on an installation for the offices of KPMG in Manchester, due

PEACE-BUILDING A house for a victim Student works on project in Rural Rwanda Ed Dale-Harris, a Diploma Unit 6 fifth-year student, has been working with REACH, a local charity, whose mission has been to foster reconciliation in post-genocide Rwanda. They have now trained over 22,000 rural Rwandans in peace-building, starting over 30 cooperatives made up of victims and culprits. One of their most successful programmes is a restorative justice house building programme, where rural Rwandans are reconciled through building a compressed earth block house for victims of the genocide.


The Cass Session 2014–15

CASS AT CANNES 13–24 May 2015 Two recent Cass graduation films were selected for screening at the Cannes Film Festival. Tick directed by Joe Sharp is an uncompromising social realist drama. Nikola Adapts directed by Joseph Bishop is an unconventional coming-of-age story. Both were shown at the Cannes Short Film Corner, part of the annual Court Métrage.

to be finished in Summer 2015, responding to a brief asking that it communicate four main narratives that characterise the city: Northern Soul Dancing, Sport, Music and Industrialism. Students: Louisa Cole, Francesca Parpinal, Martina Terraciano, Selena Cerami, Maciek Szpicer and Alun Evans. Learning from the Indigenous Palenque Panama Jan Balbaligo, a 2014 graduate Diploma student, worked in Panama with indigenous tribes to build houses and a ceremonial temple for a festival (last January) to bring cultures together from Central and South America. Collaborating with the charity GeoParadise, Jan designed and led the two-month build with the Kuna, Emberra and Boracan tribes, Panamanian locals and a group of international volunteers. Danny and the Human Zoo May 2015 The BBC announced that Cass BA Film and Broadcast Production alumna Destiny Ekaragha will direct Danny and the human zoo, written by Lenny Henry; the fictionalised account of his life as a talented teenager in 1970s Dudley. This is the latest success for Destiny, who garnered great reviews for her debut feature film Gone too far last year and was named one of BAFTA’s Breakthrough Brits in November 2014. What is Luxury? V&A Cass Reader in Silversmithing Simone ten Hompel is one of the exhibitors in What is Luxury? the latest exhibition at the V&A. The exhibition interrogates how luxury is made and understood. Tandemize 8–10 May 2015 Oxo Tower Students from the Alchemy Studio exhibited work at London’s OXO Tower, on the South Bank . Tandemize is a live project sponsored by the British Council Cairo, uniting the Jewellery and Silversmithing area at the Cass with the Design Studio Azza Fahmy; Egypt’s


first specialised jewellery institute, in association with Alchimia School of Contemporary Design in Florence. The exhibition included work by Cass students Roxanne Simone Reynolds, Julia Trandafir, Saskia van der Knoll and Design School Azza Fahmy students Amira Ayad, May Samir Wahdan and Adam Yousry. Aberrant Award May 2015 Aberrant Architecture, tutors of Interior Studio 5, won the Dulux Let’s Colour award for the Best Use of Colour in Commercial Architecture & Buildings category for their recent project at the Rosemary Works School in Dalston. Javier Garavaglia on Tour May–June 2015 The Cass Associate Professor in Music Technology announced a busy season of performances across several continents, including BEAST FEaST 2015 at the University of Birmingham, PLACE | SOUND, an interdisciplinary sound-art event at Goldsmiths London, the NOMADES concert in Alexandria, Egypt, and the New York City Electro acoustic Music Festival 2015. Clear as Mud May 2015 Free Unit Professional Diploma student Anna Webster set off to Ghana to head up a mud-house-building workshop at Abetenim Arts Village. Her mission was to build her shortlisted design entry to NKA Foundation’s 2014 Mud House Design Competition: Reinventing the African Mud Hut Together. RSA Design Awards May 2015 Nevi Balezdrova of Studio 1 Interiors won two Highly Commended prizes ( Design Award and Business Case) for her project Hubbub – The Urban Beat Box, a community-based performance space to raise money for charity. Turner Prize shortlist announced May 2015 Assemble, an architectural collective focusing on socially engaged projects and including several alumni of our School of Architecture, are shortlisted for the Turner Prize. Photo Credits (Large) p.370 British School at Rome Jan 2015 © Edward Simpson, | p.371 Estuary English © David George, Out of the Ordinary Feb 2015 © Jaeyun Kim | p.372 PROTECHT © Dawn Woolley, | p. 373 Food City Nov 2014 © CJ Lim, | p.374 Perform and RePerform Dec 2014 © Harold Offeh, Rebecca de Quin Nov 2014 © The Artist, NIGHTCLUBBING Dec 2014 © Lewis G Burton | p.375 Hold It! Dec 2014 © Folke Köbberling | p.376 Markus Hansen Jan 2015 © The Artist | p.375 Pil & Galia Kollectiv Feb 2015 © The Artists | p.378 Who are You? © Héloïse Bergman, Three Recent Works For Projection © Victor Burgin | p.379 The Contemporary Animal Apr 2015 © Steve Baker | p. 380 Speakers Corner Apr 2015 © Colophon, Neil Griffiths Apr 2015 © Bob and Roberta Smith |p.382 Alchemy © Ruth Ward Studio | p.383 Brick Lane… © Simon B Armitt, First of MARCH © Maria Kurkova |p.384 New Designers Jun 2014 © Ellie Corp, Matter of Blood Jul 2014 © Gabriel Andreu, Bone Idol Jul 2014 ©Assa Ashuach |p.386 Jeweller Sparkles © Kiki Tang.|p.388 Barbara and Henry © Mel Brimfield & Gwyneth Herbert | p.393 House for Victim © Enock


Staff Nabil Ahmed Suzan Altay Sue Andrews Hector Arkomanis Assa Ashuach Julie Asis Julia Atkins Abi Baker Frances Balaam Jon Baldwin Alexander Bank Manuela Barczewski Robert Barnes Kieron Baroutchi Cecilie Barstad Abigail Batchelor Anna Bates Mick Battley Oliver Bayliss Vanja Bazdulj Adrian Beasley Catrina Beevor Sabina Yesmin Begum Sultana Begum Florian Beigel Zoe Berman Dipti Bhagat Kelvin Birk Alex Bishop Jade Blades Pierre Blanc Nick Blishen Lisa Bloomer Mark Bloomfield Marcus Bowerman Levent Bozdere Adam Bradley Jez Bradley Mark Brearley Angharad Briggs Patrick Brill Mel Brimfield Pascal Bronner Nicholas Brooks Bill Brown Mehbub Bukhari Raoul Bunschoten Toby Burgess Ben Burns Ben Cain Stuart Cameron Peter Carl Sara Carneholm Sara Carruthers Josh Carver John Cash Sam Casswell Aleks Catina David Chambers Jessica Chatterton Zelda Cheatle Orestes Chouchoulas Shalma Choudhury Philip Christou Leigh Clarke David Clarke Robin Clifton Jane Clossick Gonzalo Coello de Portugal John Coleman Mark Collington Jeremy Collins Sarah Considine Angela Constantinou Jonathan Cook Michael Corr Richard Cottrell Karen Coughlan Tom Coward John Cross Nick Da Costa Ania Dabrowska Mathew Dart Emma Davenport


Gareth Davies Pierre D’Avoine Nico de Oliveira Jamie Dean Sandra Denicke-Polcher Jude Dennis Suki Dhedli Emilio Distretti Eva Diu Richard Ducker Jessica Dyminska Philip Earley Sebastian Edge Susanna Edwards Emily Evans Chris Emmett Ricardo Eversley Deej Fabyc Arrash Fakouri Ben Farquharson George Fereday Neil Ferguson Danny Flynn Steven Follen Marianne Forrest Oriana Fox Liz Freemont Tony Fretton Saidhath Gafoor Padmasiri Gamage Javier Garavaglia Matthew Gates Fred Gatley Richard Gatti David George Cristina Gerada Claire Gill Sue Ginsburgh Elizabeth Glickfeld Luisa Gomes Brotas Charlotte Gorse David Grandorge Damian Grist Nick Haeffner Mohamad Hafeda William Haggard Kevin Haley Richard Hall Natalie Hand Paul Harper Janette Harris Karl Harris Billy Harrison Alex Hellum Andrew Hewish Danielle Hewitt Peter Hewitt Nicole Hewitt Rod Heyes Thomas Hillier Andy Hills David Hills Elian Hirsch David Hobson Matthew Hobson Sam Holden Geraldine Holland Frances Holliss Malcolm Hopkins Christopher Hosegood David Howells Peter Hufton Steven Hughes James Hunting Ben Hutton Nicola Ibbotson Andrew Jackson Cat Jeffcock Steve Jensen Dann Jessen Jenny Johnson Lewis Jones Jillian Jones Luke Jones Gilles Jourdan Anatol Just Hannah Kane John Keefe

Leigh Kelley Sam Keogh Jason Kerley Maeva Khachfe Mursheda Khanom Torange Khonsari Lara Kinneir Joseph Kohlmaier Nathaniel Kolbe Galia Kollectiv Pil Kollectiv Mohammed Lahrar Markus Lahteenmaki Matthew Lambert Cave Laura Andy Lawson David Leech Harry Leeson Lorenzo Levrini Anna Lewis Julian Lewis Michelle Lewis Judith Loesing Tania Lopez Winkler Maggi Loughran David Lucas Marie Lund Jonas Lundberg Kristina Lundvall Jonas Mace Gordon MacLaren Miranda MacLaren Douglas Maddison Jane Magumbe Helen Mallinson Franco Marinelli Andrea Marini Anne Markey Ruth Martin Ana Martinez Fernadez Rennay Mathurin Carlos Mazon Jane McAllister Nicola McCartney Heather McDonough Rosemarie McGoldrick Aimee McWilliams Andrea Medjesi-Jones Joanna Meehan Ben Melville Liz Miller Maurice Mitchell Rod Morris Sian Moxon Robert Mull Rose Nag Martin Nässén Robert Naylor Josephine Neill Richard Newark Kaye Newman Sue Newton-Short Jen Ng Fergus Nicol Rentaro Nishimura Anna O’Brien Elena Onyshchenko Maya Oppenheimer Orly Orbach Colin O’Sullivan Onur Ozkaya Christina Paine Janette Parris Angela Pascoe James Payne Kate Payne Francesco Pedraglio Emily Penny Mathew Philip Frederick Phillipson Gina Pierce Elaine Pierson Cheryl Pilliner-Reeves Sam Piyasena Francesca Pont David Price Lucy Pritchard Nick Pyall

The Cass Session 2014–15

Claire Qualman Mah Rana Harvey Reehal Chloe Regan Olga Reid Linden Reilly Stefanie Rhodes Lisa Rigolli Chianna Roberts Danny Rolph Lorna Rosbottom Spencer Rowell Michelle Salamon Spencer Samuel Deborah Saunt Alex Schouvaloff Allan Seago Punya Sehmi Geoff Shearcroft Colette Sheddick Edward Simpson Marina Skia Suzanne Smeeth-Poaros Karen Smith Mark Smith Peter St John Cathy Stack James Steventon Andrew Stone Michael Stubbs Signy Svalastoga Ryuichi Tabu Keita Tajima Bo Tang Stephen Taylor Ian Teague Simone ten Hompel Helen Thomas Samuel Thomas-Membery Elaine Thomazi-Freitas Dorothy Thompsett Theodoros Thysiades Adi Toch Adam Towle Cecile Tschirhart Matthew Turner Shaun Turner Natalie Tyler Michael Upton Vanessa Vanden Berghe Anurag Verma Francesca Vilalta Dean Walker Patrick Ward William Warren Silvia Weidenbach Ines Weizman Helen Welch Alexander Wendt Colin Wharry Geraldine Wharry Claire Whelan Jonathan Whitehall Owen Williams Mick Williamson Rufus Willis Tom Wilson Rob Wilson Camilla Wilson Sam Wingate Pam Winstanley Ben Woodeson Ellis Woodman Charlotte Worthington Josh Wyles Fiona Yaron-Field Heidi Yeo

Students Kauri-Romet Aadamsoo Hasan Abbas Jamil Abbas Lara Abdallah David Abdirahman Ferrero Atikah Nazhwa Abdul Aziz Mohamad Adinuar Abdullah Mohamad Sabre Abdullah Diana Abid Zehra Abidi Ossama Aboallaban Elora Aboua José Maria Abreu Pereira Dmitriy Adaev Daniel Adama Oluwafunmbi Olumoroti Adeagbo Sybil Adelaja Juliet Adlington Agnieszka Adrjanowicz Graciela Beatriz Aebicher De Ortega Yasmin Afif Shanice Agard Edem Agbodjan Lucy Ager Aeli Michael Dolapo Agha Karen Agyekum-Hene Jaahid Ahmad Tareq Ahmadi Amanda Ahmed Atta-Ul-Karim Ahmed Moayad Ahmed Sajid Ahmed Afrah Ahmed Mohamed Ville Ahola James Michael Ahrain Charlotte Marie Aiken Guy Ailion Fiona Ainomgisha Gemma Ajadi Nicole Louise Ajimal Charys-Love Akamessan Niyazi Aker Penelope Ann Akester Temitope Akinde Shamaila Akram Jubedha Akther Victoria Akyeampong Haidar Al Har Shams Al Saffar Seyi Alabi Naile Alanli Haydn Albrow Goncalo Maria Albuquerque Brian James Alderson Joshua Alexander Alexandra Alexandrou Manaar Al-Hassani Marwa Al-Hassani Sarah Al-Hassani Jayden Ali Khanum Ali Sabreen Ali Ottavia Alieri Neringa Aliksandraviciute Worood Alkhafaf Estabraq Al-Khirsan Catherine Allan Imogen Allan James Mark Allen Katie Allen Sade Kandace Allen Kaiesha Allman-Anderson Max Allum Fatima Alnashed Alejandro Alonso Díaz Tayba Al-Saffar Turky Tarik Alsalhy Ilia Altaio Carne Ysabella Alvarez Alexia Alvarez Reyes Cristiano Alves Joao Pedro Amaral Dos Santos


Charlotte Amey Elizabeth Amey Nida Amir Ehsan Amiri Iman Amjad-Anwar Margarida Brôco Amorim Omari Amos Charikleia Anastasiou Jesper Hyttel Andersen Chloe Anderson Teri Anderson Yvonne Anderson Bradley Andrews Lauren Andrews Tsanta Armelle Andriamiangy Lito Angelaki Raphael Edmond Angelina Georgette Annobi Nina Ansah Zsuzsa Antaloczi Zain Anwar Tomasz Apolinarski Marcus Appleby Harry Michael Appleyard Liam Archer Rafal Arciszewski Kristin Arestav Lydia Maria Argiriov Andrea Arianese Cristian Aricapa Deborahanne Armstrong Emma Armstrong Jake Arnfield Julien Albert Arnold Sara Aroca Rosas Denzel Arubayi Catharine Ann Arul Dass Jasmine Asamoah Robespierre Asare-Koranteng Afsiah Asghar Rorie Ash Clare Ashenden - Wadham Zohaib Ashfaq Katherine Ashley Liam Ashmore Reshad Asifi Michel Joseph Aslangul Veronica Aslangul Raoul Adam Aspinall Levana Assouline Jake Aston Susan Atkinson Leandra Augustin Ashley Augustine Kinga Augustyn Katrina Austen Santa Avotina Jacqueline Awanle Temitayo Awofolu Derek Ayivie Rebecca Aymar Mary Ayoola Remi David Ayoola Fatmanur Aytekin Antonio Daniel Azevedo Valentina Azzolin Ozgur Babacan Olugbemiga Babafemi Cassandra Babalola Modupeoluwa BabasaynaCraig Sogand Babolhavaeji Lima Babul Henriette Backer Joseph William Bacon Geoffrey Badu-Anum Salamata Bah Caveh Bahreyni Toossi James Michael Bailey Ross Bain Eleanor Bainbridge Aletha Baird Joanne Baker Rebecca Chelsea Baker Mingaile Bakeviciute Anett Maria Bako Romina Baldomir Bianca Francesca Balducci

Michael Peter Baldwin Nevena Balezdrova John Balisanyuka Alejandro Daniel Ball Joseph Luke Bamber Karolina Banasik Alexander John Bank Athanasios Banos Alicia Banton Rilwan Baoku Alison Baptiste Mark Barclay Benjamin Jesse Barfield Marks Samantha Louise Barker Andrew James Barkley Alice Barlow Laszlo Barna Charlie Barnard Joanna Margaret Barnes Eduard Barniol James Rupert Barrington Siclania Barroso Margaret Barry Mary Catherine Barry Trudy Barry Mathias Phillipe Barthelemy Leon Bartholomew Glen Bartlett Daniel James Baskett Nicholas Bastow Naba Bati Stefania Battistutta David Paul Batty Philippa Frances Battye Rhys James Beard Ingrid Beattie Emily Beaumont Jason Bechtle Matilda Victoria Beck Keith Beckles William Beeston Mike Begent Fatima Begum Sabrina Begum Dael Behagg Mohammadmehdi Beheshti Trude Elisabeth Bekk Gavin Bell Kathryn Bell Sally Ann Bell Caterina Belleri Deborah Belli Aishat Bello Ludovica Benedetta Beltrami Majda Benfaida Hannah Louise Bennett Helen Bennett Zhane Alysa Bennett Samir Benoualid Alan Michael Benzie Caterina Berardi Petya Berberova Nadezda Berga Charlotte Zoe Berman Kamara Bernard Isabelle Berre Agnija Berzina Philomena Tinashe Besa Thomas Bestwick Mondi Betaj Anjali Bhatia Abhiroop Bhattacharya Raveena Bhavsar Harrajvir Singh Bhuller Matilde Biagi Sarai Bibby Callum Bigden Juliette Heather Bigley Valentina Billios Logan Aileen Bishop Elina Bitere Conor Carson Black Lisa Blackwell Edward Russell Blake Nicholas Robert Blake Edward Blanchard Charlotte Bland Maciej Blazejewski

Lucy Ann Block Wayne Scott Blythe Alex Boardman Charissa Bobb Joseph Bodansky Nancy Bodson Nikolay Dimitrov Bogdev Juliana Campillo Bokisch Reanne Alicia Bolah Siobhan Amy Bolster Spaska Bondarenko Elena Boni Lindsay Booth Valentina Bordin Balduino Borico Chale Monika Borkowska Darija Bormotova Lisa Bornø Igor Borowski Witold Borowski Michela Boscardin Laura Boschi Eric David Boscia A’Isha Bounouar Charlotte Bourne Adel Boussenane Jamie Bowden Jack Bowen Jonathan Bowen Melissa Bowen Jonathon Edward Bowers Oliver Bowman-Daniels Daniella Bowyer Olumuyiwa Boyejo Chloe Boyle Daniel Boylett Jack Michael Boyns Ivan Bozhilov Evelina Bozyte Alistair James Braid Anya Brakha Harry Brandrick Kieran Daniel Brash Carly Breame Arnold Bregu Daniel Brewer Edgar Brito Louise Brock Alexandra Brooke Harriet Brooks David Paul Brotherton Amy Elizabeth Brown Andrea Brown Emiola Brown Freya Brown Joseph Michael Brown Ray Gonzalez Brown Ronja Marilla Brown Tom Brown Andrew James Bruce Awuraama Bruce Mariangela Bruna Fern Bryan Stephanie Bryan Rupert Edmund Buckland Amnah Bugrein Mateusz Bulawa Huseyin Bulbul Lucy Georgina Bullivant Jacob Bunton Kamala Bura Beata Burdelak William Burgess Natasha Burke Claire Louise Burnham Daniel Burns Louis Burrows Shaun Burton Peta Bush Raymond Bush Brigita Butkute Nabihah Butt Elliott John Butterwick Veronica Buzgau Sophie-Louise Bynam Cesar Caceres Ana Miguel Caetano Alves David Jose Caetano Ambrosio

Kirsty Cahill Greta Caldara Diego Calderon Barba Juan Calicchio Charlotte Elaine Calver Neave Cammock Giuseppe Campanella Lauren Jane Campany Luis Carlos Campos Margherita Canali Beatrice Candreva Esiona Cani Katherine Cannon Rebecca Cannon Raymond Cape Rebecca Capewell Joao Cardoso Serena Cardozo Ivo Antony Carew Giuseppe Cariello Stephanie Carlos Anna Luisa Carnevale Ross Michael Carpenter Ryan Carradus Stuart Carruthers Rebecca Carter Sandra Carter Cristina Carvalhosa Marcia Maria Casalinho De Mello Gisselle Casio Niralee Casson Rachelle Anne Castillo Shannen Castrillo Andrew Thomas Catcheside Arjun Vell Cattaree Sophie Caulfield Carlo Alberto Cavedo Jordan Cawser Carina Smaranda Cazacu Stefania Cernegu Lisa Cerutti Ruth Daisy Chadney Nicola Chan David James Chandler Megan Alice Chandler Ursula Chandler Nichelle Lauren Channer Rachel Claire Chanter Isobel Ann Chapman Nicole Chapman Nicola Charalambous James Emmanuelle Charles Matthew Alexander Charlton Ella Charter Saood Chaudhry Claire Chawke Darine Chekkouri Adam Cheltsov Patritsiya Chemshirova Colin Siu Cheung Cheng Thomas Francis Chesshyre Samantha Chilton Joseph Chilvers Marguerite Patricia Chin Laure Chiron Ruxandra-Stefania Chiujdea Stanley Chiura Hayley Chivers Tanyaradzwa Chiwara Sina Chiyana Weon Young Choi Won-Jeong Choi Peter Chomowicz Katya Chong Fahmida Choudhury Anastasia Christakopoulou Mo Kirstine Christensen Jake Christian James Andrew Christian Lyndell Christie Chariton Christodoulou Chris Christodoulou Afroditi-Athina Christofi Harry Christofi Justin Chu Lisa Vinh Chu Bumsuk Chung


Beatrice Ciacchella Amour Cibwabwa Theodora Cican Michael Cielewicz Agata Leokadia Cieslak Cemalettin Cinkilic Klaudia Ciszonek Emily Clack Laura Emma Clamp Sarah Clark Victoria Clark Daniel Roger Clarke James Matthew Clarke Jessica Clarke Majeda Clarke Malcolm Clarke Richard Clarke Victoria Melissa Clay John Claye Harry Clayton Lauren Nicole Clayton-Spencer Maggie Cleary Jack David Clemoes Jane Clossick Jack Patrick Coates Patrick Richard Coburn Pedro Coelho Beatriz Coelho Seixas Goncalves Nadine Tami Coetzee Anne Coffey Michelle Lucy Coggon Kathryn Coghlan Dor Cohen Louisa Evangeline Cole Timothy Daniel Coles Saskia Elisabeth Colle Taylor Louise Collings Jonathan Collingwood James Collins Matthew Collins Richard Collins Samantha Adele Collins Zoe Collinson Thomas Andrew Colwill Massimo Antonello Conca Jade Elizabeth Conlin Darryl Connor Michael Francis Connor Margaret Conroy Ben Conway Lottie Conway-Plumb Joely Cook Laura Catherine Cook Sarah Cook Samuel Canning Cooke Cynthia Coole Robert Cooper Alexander Patrick Copeman Samantha Copperwaite Alexandra Corbett Juliano Cordano Hannah Cordell Victoria Cordoba Haide Correia Joseph Corrie Giulia Corrotti Ines Teles Marques Costa Matthew Cotsell Natalie Coughtrie Michael Coulson Hugh Counsell Lucas Victor Courmont Hannah Louise Cowan Jo Cowan Adam Cowell Victoria Cowin Hayley Cox Thomas Cox Zoe Ann Cox Ella Jay Coxhead Poppy Coy Bea Craker-Horton Nick Crane Jonathan Matthew Craven Joseph Alexander Crawford Olivia Jane Crawford Enotria Crescenzi-Clarke


Benjamin Howard Cresswell Riol Arthur Cronier Eleanor Louise Crosbie Harold Murray Crosland Jane Elizabeth Cross Jonathan Crosthwaite Dora Fabiola Cruz Retamozo Francesca Cucurachi Maria Fernanda Cueva Paucar Siobhan Culhane Tara Cullen Raffaella Maria Cuneo Tilson Cunha Yazmin Zoe Cura Martha Cusker Felicia D Willis Katarzyna Dabrowka Siddhant Daby Kevin Peter Dadzie Montana Dakota Mariachiara Dal Pozzo Jessica Sarah Dale Edward Peter Dale-Harris Georgia Daly Francesca Dambra Jack Daniel Zena Daniel Hannah Danks Daniel Dao Ama Dapaah Gerald Oliver Darling Muugi Dash Delfina Ines Davaro Liam Davey Catrin Elan Davies Charlie Davies Luke Davies Morgan John Davies Robert Davies Simon Edward Davies Veronika Davies Almaz Davis Darius Davis Michelle Andrea Davis Rachel Davis Iain D’Costa James Brown Ddamba Filipa De Azevedo E Silva Marques Neto Gaelle De Bournet Elisabetta De Guio Jessica Elizabeth De Leeuwe Eureka Dela Cruz Celine Merve Delassoud Jelena Delic Paola D’Elio Escarpa Christina Dembinska Elizabeth Dent Anna Jane Derbyshire Nicola Derrick Sarah Despreaux Valerie Deutsch Cirella Mayrink Devine Pallawee Devkota Henry Michael Devlin Danielle Devoglio Deyan Deyanovski Kulvinder Dhesi Donato Di Mare Maysaa Diab Alexander Diacos Andreas Diakomanolis Maria Nkenge Dias Thurston Savio Dias Ivy Lwena Dias Coles Geovick Diassona Luis Miguel Diaz Prieto Andrew Geoffrey Dickerson Lucia Diego Phuong Ngoc Diep Michael Dillon Dimo Dimov Asif Ud Din Harry Diplock Georgi Ditchev Vincenzo Gianluca Di-Trolio Kathrine Dixon

Sharon Dixon Anne Djengue Tiago Jose Do Espirito Santo Ribeiro Emmy Laurel Doble Elizabeth Catherine Dodwell Ajike Doherty Francesca Dompe Kyle Donald Leon Donald Jack Donaldson Jenevieve Cherelle Donaldson Lisa Donkin Alexandra Donnelly Joseph Dore Clare Doughty Anton Douglas Adam Dowling Tom Down Lily Dowse Lulu Doyle Michael Edmund Dryja Frederik Du Plessis Zandile Dube Bianka Dublewicz Diana Dublewicz Nicholas Duch Monika Aneta Dudela Kathleen Duffy Curtis Dukuh Hanelore Dumitrache Ana Maria Dumitru Liam Geran Dunkley Ailbhe Rebecca Dunlea William Dunn Lucia Dunstane Alicia Dupont Lievens Iris Almendra Duran Chicano Dale Dwyer Isabella Dyson Elizabet Dyulgerova Philip Earley Elliot Eastman Jake Perry Easton Susan Easton Keanu Ebanks James Eden Jake Edey Gregory Edwards Jerome Alan Edwards Laura Ann Edwards Rebecca Edwards Lisa-Marie Ehling Elizabeth Chinonso Eke Salah Uddin Ekrayem Malika El Boukili David Eland Trine Elkjaer Andreasen Laura Rose Ellery Jerome Elliott Jason Paul Ellison Rami El-Matrawi Emma Frances Elston Agnes Elvin Aaron John English Samson Simileoluwa Eniola Hilary Louie Ennos Georgia Ensor Natalie Marie-Noelle Ernestine Rana Eskandari Shahrzad Etemadi Nazari Alun Watkyn Evans Elizabeth Evans Krista Shirley Evans Lee Edward Evans Michael Evans Antonio Evans-Godoy Frederique Evans-Jeanrenaud Jonathan Everitt Alexandra Ewan Samuel Eyles Chidozie Ezeh Emma Fairclough Luke Fairhead Ana Rute Faisca Chantel Jasmine Falase Isabel Victoria Farchy Elisabeth Fargues

The Cass Session 2014–15

Saleha Farhan Shadi Farivar Paul Farley Kristina Farm Luke Andrew Farmer Nicole Farmer Oliver Thomas Farmer Richard Daniel Farrelly Amelia Farrer Paul Michael Farry Vimal Fatania Kevin Faure Charmaine Fearon Michael Fedak Clare Feeney Flavio Fellica Bridget Elaine Fenty Viktoria Fenyes Thomas Arne Ferm Francesca Chloe Fernandes William Fernandes Warnakulasuriya Hirushan Fernando Andrea Ferrari Charlotte Jane Ferreira Antonio Vasco Ferreira Sequeira Miguel Ferrer Zarajane Ferrier Delyth Fetherstone-Dilke Patryk Fic Esther Victoria Fidlin Sandra Figler Joao Figueiredo Lucy Finlay Nicola Finlay Sarah Finn Lauren Aduke Finni Sally Caroline Finning Nikiforos Mariou Fintzos Zeynep Firat Tim Blake Fisher Patrick Alan Fisher Murphy Debbie Ann Fitch Shannon Fitchett Jack Fitzgerald Etain Alicia Fitzpatrick Fabiola Flamini Abigail Flanagan Charlotte Fletcher Ryan Flint Florina Florescu Samuel Flynn Marcus Folarin Samia Fontanetti Emilia Foolessur Sophie Ford Aneesa Kiran Forrest Ainsley Foster Tanisha Foster Colin Stephen Fowler Jayne Fowler Lee Fox Marina Frances Saez Lida Isabel Franco Rojas Julie Frankish Erika Fanny Fransson Kenneth Fraser Yasmin Freeman Adam Christopher Freestone Christian Wilson Frost Mark Fullerton Joanna Maria Furmankiewicz Manon Gabet Amir Gafori Sean Kevin Gair Ross Galtress Denis Patrick Galvin Hannah Galvin-Horne Saffo Gama Kurt Gander-Howe George Gant Sally Elizabeth Gantlett Nigel Albert Garcia Nuria Garcia Vazquez Maria Teresa Garcia Villajos Jordan Gardner-Gatt Piotr Garstecki

Rosa Maria Gaskin Allessandra Charlotte Gauci Nibedita Gautam Rory Paul Gaylor Yash Gehi Ali Genc Lorenzo Gennari Georgina George Stelios Georgiou Serena Lucia Geromel Sebastien Patrick Gey Setareh Gharatchorlou Roxana Cristiana Gheorghe Erisa Ghodratzadeh Eugenia Giannasi Clelia Giannuoli Andrew Gibbons Thomas Wingfield Gibbons Kirsten Gibbs Annika Charlotte Gibson Claire Ford Gibson Emma Gibson Lara Frances Gibson Harjit Gill Robert Scot Gillan Ellen Gillette Jeremy Gill-Praba Margherita Gilotti Suleyman Gingi Francesca Giordano Bailey Giroue Daniel Glenn - Barbour Paulina Glimas Anastasia S Glover Christian Stuart John Glover Josephine Glyn Kaiyil Gnanakumaran Susanna Gogarty Yasemen Gokce Irina Golda Daniel Goldenberg Gina Ioana Goldoiu Nikolai Gomes De Almeida Eduardo Goncalves Vieira Antje Maroussi Gonzalez Ruben Gonzalez Maria Del Gonzalez Del Corra Carolina Gonzalez Pinto Esteves Roisin Gooding David Goodman Abbe Goodyear Mellisa Kaydion Gordon Natalie Gornell Joanna Gorringe Minto Justyna Gosch William Gottelier Frances Nyawira Gould Heloise Goulding Sumara-Laika Goumain-Thorpe Maria Gower William Thomas Gowland Monika Maria Grabowska Anna Grad Heather Anne Graham Samuel David Grainge Lambert Grand Micah Grant Nicholas Granville-Fall Selena Grasso Andrew Lee Gray Janet Jeneba Gray Thomas Gray Cathal Martin Grealish Alexander Greco Calum David Green Mark William Greenhalgh Mark Greensit Alastair Greig Jolanta Greiviene Eleanor Grierson Marcus Griffiths Enrico Grimani Edward Grocott Emma Guard Emanuele Guelfi Jai Gungadin Robbie Gunn

Amrit Gurung William James Guthrie Jennifer Marie Gutteridge Shenpei Ha Daniel Haaga Ahlam Swaiad Hadaid Rayanne Haddad Jeremy Hadfield Maees Hadi Anna Maria Hadjigavriel Kamil Hafeez Claire Hagen Megan Haggis Soroush Haghighat Rida A Haider Rakeem Haizel Nairi Haladjian Laila Halilova Aidan Thomas Hall Harriet Hall Mary- Ann Hall Philippa Grace Hall Simon Hall Lucy Rowena Hallett Geraldine Hallifax Sophie Halmshaw Philippine Hamen Jahmel Hamilton-Alexander Martin Hammond Aous Hamoud Kimberly Hang Hafsa Hanif Nathan Hannawin Rosa Thorunn Hannesdottir Joanna Kathryn Hansford Markeesh Hanson Tom Harden Thalissa Harding Max Hardman William Richard Hardy Nisha Harewood Siobhan Harkin Holly Harrington James Francis Harris Elise Marie Harrison Macaulay Harrison Claire Louise Harrison-Nigro Catherine Hart Jenny Elizabeth Harvey Farida Hasan Maram Hashem Janan Hassan Benjamin George Haswell Vandad Hatami Julie Havanci Victoria Havercroft Evangeline Hawes Leo George Hawkins Tymek Hawro Jack William Hawthorne Yoshi Hayashi Daniel Haycock Adam Hayes Lucy Hayes Tamara Saffron Hayes Elliott Olivia Haylor Holly Hayward David Hazel David Haziz Lucy Healy Josh Harry Heasman Freya Heath Julia Jane Heckles Marika Susanna Heikkila Mazen Helal Sophie Helman Edward Guy Hemmings Simon Hendley Daniel Henry Jay Henry Joseph Henry Sarah Louise Henry Zack Joseph Henry Tyriq Henry Jones Anna Henryson Tesa Herman Rosemary Hervey Witold Hewanicki


Peyman Heydarian Kim Heywood Rebekah Hicks Vicky Hickson George Hill Melissa Hill Adam Hinton Amaret Hiranlakana Estelle Hobeika Doug Hodgson Ben Holland Gemma Holland George Callum Holland George Holland Geraldine Mary Holland Christopher Stuart Holmes Fergus Holmes Kate Ellen Holt Samantha Joanne Hook Catherine Hooper Katie Hope Paul Hope Matthew James Hopkins Fahim Hotak Coral Howard Eleanor Lucy Howard Jessica Howard Michael Howard Joel Charles Howland Nicholas Peter Howlett Eglantina Hoxha Elliea Li-Ting Huang Jakub Hudak Barnaby Hughes Simon Hughes Michiel Huijben Meredith India Hull Miu Sze Hung Alex Hunt Carol Jane Hunt Eik Hunter Deborah Hurst Nora Abdi Hussein Colin Hutchinson Lorenc Hyseni Riccardo Iannucci-Dawson Nicola Jane Ibbotson Esra Ibrahim Jamal Ibrahim Shaun Ihejetoh Umar Ijaz Uche Manifesto Ijomah Junior Ikem-Ifudu Nwachuku Ikweke Aneta Okwuchi Ikwuagwu Tzvetelina Iltcheva Amanda Impey Nicole Ince Liana Ingram Thomas Stephen Ingram Kirsty Inman Demos Nicos Ioannou Andreea Ionascu Anastasia Iordanidou Mahnoor Iqbal Lucy Elizabeth Irvine Adam James Isaaks Rashid Islam Abdiwali Ismail Enrica Federica Italiano Olga Ivanova Valerija Ivcenkova Annisa Jabbour Kathryn Elizabeth Jackson Vanessa Jackson-Cofie Luke Tom Jacobs Mona Jacobs Hannah Jadavji Oluwatoyosi Jaji Katarina Jakcsiova Suaad Jama Yasmina Jameel Jennifer Jammaers Soto Carlotta Jansen Waldemar J Jansson Jerzy Jan Jaraczewski David Jarrard Jack David Jarrett

Hannah Rebekah Jarvis Howard Rebecca Jarvis-Foster Yael Jay Elshy Varshana Jayapal Lucy Claudia Jennings Seong Wook Jeong Nimisha Jina Mouzna Jnaid Mari Joemagi Carlos Johansson Rebecca Johansson Jo Johnny Aaron Johns-Gordon Celia Johnson Lucy Johnson Robert Peter Johnson Paul Johnston Harmony Kate Johnston-Grant Alexander Robert Jones Camiel Jones Chantelle Alwena Jones Eleanor Jones Emily Jones Fraser Ian Jones Gareth Jones Jonathan Jones Lauhren Victoria Jones Mark Jones Miri Jones Rhiannon Elizabeth Jones Emma Josefin Jonsson Tania Kerstin Jonsson Reyes Alexander Jordan Danni Jordan Austin Joseph Jinho Joung Andrew Joyce Oliver Joyce Artur Jozefowski Dong Wook Jung Indre Jursenaite Ashraf Kadhim Husayn Attiya Kaifi Taylor M Kalambayi Rebecca Kalbfell Natalia Kallas Petya Petrova Kalvacheva Jonas Kalvis Valerija Kamolina Isaac Jeorge Kane Musu Kapu Souhil Kara-Bernou Chawki Peter Karam Eve Karanikki Georgios Kardakos Adebayo Kareem Meetal Karia Christalla Karretti Virve Maari Karvinen Lema Karwani Vilte Kasetaite Bartosz Kastner Frenshi Kava Gabriele Kavaliauskaite Shunsuke Kawano Josephine Kawiche Hassan Kayemba Jael Kayumbi Azadeh Kazemi Patrick Keating Kearney Benjamin Kee Elliott Jay Keen Frederick Keen Ben Charles Keirle Norma Kelly Scott James Kelly Reuben Kemp George James Kenlock Damien Kennedy Kai Kennedy Alice Kenny Sofia Kerany James Johnson Kerr Toyibat Olushola Keshinro Sonia Myriam Khachchouch Sanaz Khajehvandi Maroa Khaledi Sarah Khamees

Ayesha Louise Khan Mnazir Khan Shahnoor Khan Sonia Khan Taimoor Khan Alfa Khanom Jasmin Khanom Kulsuma Khanom Parnian Khazaei Rawan Kheder Amrit Khela Ivan Kho Baabak Khodaabakhshi Torange Khonsari Arash Khorshidi Baghchele Hannah Kidd Martina Kidikova Martin Kiedrowski Cathrin Kihl Dominic Kilbey Jasmin Kiln Hongjae Kim Hye Jin Kim Jun Woo Kim Min Sun Kim Yu Sung Kim Jane Kimber Andrea King Julia King Steven James King Ksenia Kinzhalova Christopher Kirby Louie Kirk Karin Kirsimagi John Samuel Kirwan Susan Kistner Sean James Kitchen Dominic Kitching Rebeka Assenova Kitchoukova Eiko Kizu Jakub Klimes Maria Klimko Natalia Kmiecik Krystyna Knapczyk Donna Knights Hannah Wendela Knoos Joseph David Knowles Nathanael Knowles Claire Knox Jon-Scott Kohli Blaze Kohter-Gabriel Diana Kolawole Konstantsa Koleva Daria Konopko Matilda Korelin Maciej Kotwas Akouman Aurelia Kouaho Sean Koudela Aneta Kowal Keiichi Kozawa Anna Krupkina Ting-An Ku Natalie Kubicki Laura Kristiina Kuhakoski Raido Kuks Nora Kurayshi Yoko Kuroda Aleksandra Kurpatova Gintare Kursvietyte Katarzyna Kuzniarz Jelena Jelena Kvasniova Lauren Kwawu Miriam La Rosa Nathan Lahrar Johnson Lai Alma Lakpour Jake Lamb Alice Lambert Alison Ruth Lambert Jadine Lambert Thomas William Laming Laura Elizabeth Lamont Seska Lanamey Hannah Landergan Damien Edward Lane-Sansam Phillip Langley-Essen Rebecca Lascelles Laura Marie Lascoux

Agata Lauckaite Anna Lena Laufenberg Jason Gavin Laurence Andrew Graham Laurie Alannah Lavender Alexandria Amber Law Emmet Lawlor Helen Kate Lawrence Kelly Lawrence Oscar Lawrence-Watkins Bethany Jayne Lawson Dora Lazar Linda Ellen Le Pard Fraser Edward Leach-Smith SĂŠan Anthony Leahy-Fitzgerald Karen Leal Zuleta Kai Lear Stephanie Karine Leclere Christopher John Lee Helen Mary Lee Matthew Geoffrey Lee Michael Lee Naomi Lee Sehyun Lee Seunghun Lee Sowon Lee Robert Clifford Leechmere Julian Leedham Elena Legakis Adam Leigh-Brown Sylvie Leithgoe Linn Lekstrom Nickel Yangu Lemba Ange Lemee Daniel Lemos Aurelie Leners Patricia Leo Patrick Leonard Simon Leow Cathy Lepinay Nadir Letang-Cushnie Josh Letherbarrow Gilbert Leung Foung Lan Celine Leung Yin Ko Isabelle Lewin Aliyha Lewis Denise Amanda Lewis Ellie Lewis Reynold Tsz Li Yucong Li Georgia Lia Silvia Liano Scott Licznerski Edwina Lidstone Rabbi Mbuyi Likolo Ji Eun Lim Smrita Limbu Pei Hsuan Lin Tuo Lin Christopher Axel Lindkvist Thomas Lindner Daniel Ling Thibaut Aubanel Lintzer Christopher Little Ashley Catherine Lizamore Sophie Lloyd Natasha Lofthouse Nora Loh Phillipa Frances Longson Luisa Filipa Lopes Tatiana De Lopes Silva Maria Lopez Gonzalez Emer Joanne Loraine Rachel Louden Jordan Louison Lumi Rebekka Lounaskorpi Ana Patricia Loureiro Farinha Petrela Jasmine Kim Low Mario Lozanov Andrada Denisa Luca Olga Lucko Jeorgia Ludlow Noora Elina Luhtala Andrew James Lum Charlotte Lund Luxsika Lunla Judith Lunnemann


Man Luo Lua Luque-Garcia Frannie Lisa Luz Ethan Venh-Pat Ly Jordana Lyden-Swift Patrick Valentine Lynch Sean Lynch Nathan Maalo Roger Maaraoui Alberto Maccan Kamila Katarzyna Mackiewicz Julie MacLean Alex MacNiven Michelle MacPherson James Magniac Gillian Maguire Amel Amelie Mahfouf Sophina Mahmood Anna Marie Mahoney Sarah Maine Francesco Mainetti Egle Majauskaite Fadi-Christian Majeed Pal Major Jurgita Maksimova Alisa Malachovic Joshua Malby Farhad Malek Vidhi Sunil Malhotra Sufyan Malik Tooba Malik Georgios Malliaropoulos Kajsa Malmstrom Abbie Mae Malthouse Carole Mandeville Victor Amachi Mandi Alex Mann Luisa Maria Mannilaan Jonathan Mason Manning Julio Fernando Manrique Natalie Mansour Fiston Manuella David Mao Lee Robert Marable Heidi Marania Marania O’Loughlin Jenifer Marcal Dave Mardle Rachael Margetts Aram Qania Marif Amanda Mariga Tanya Markovic James Marks Blazhka Marnikova Eugenia Marri Montanari Nicholas Marschner Amber Marsh Jonathan Marsh Alexander Marshall Philippa Jane Marshall Guy Marshall-Brown Hannah Martin Hector Martin Kanisha Martin Karl Anthony Martin Maria Antonia Martinez Gomez Jose Antonio Martin-Salinas Roque Oliver Martire Coulthard De La Mare Beverley Mason Louise Mason Stephen Paul Massiah Carma Anne Masson Rajan Masters Mariana Barbosa Mateus Elaine Matheo Salema Matlib Luke Joseph Matone Mikaela Eva Mattelin Martina Matusova Charles Louis Mayes Golnar Mazaheri Khorzani Tyrone Mazarura Adam McAviney Paul McCarthy Alex McGill Matthew Simon McAleese Sean McAlister


Jane McAllister Joel McAllister Rebecca McCarthy Chloe McColgan Stephen McCombe Eilidh McCormick Helen McCue Thomas McDonald Laura McDowall Roisin Mary McDowell Nicola McFarland Natasha McGhie Caroline McGivern Charlotte McGlinchey Benjamin McGowan Abigail McGrahan Michelle McIntosh Maria McIntyre Jessica McKeand Mark Jackson McKee John McKeon Jack McKeown John McKernan Jennifer McLauchlan Kenneth Ross McMahon Rachael Jayne McMeekin Shona McMillan Barry McNaboe Caroline Jane McNeill-Moss Daniel McNougher Ryan McStay Wil Meaden Philip Meakins Hazel Bernadette Mealy Joanna Meehan Zainab Mehdi Evelina Meirovic Irmantas Melko Barnaby Jack Meller Silvia Meloni Thomas Robert Melson Asher Meltzer Oliver Mendelsohn Balapuwaduge Gerald Anthony Mendis Vicki Mendy Sivashankari Mesa-Siverio Naomi Messenger Timothy Metcalfe Rebecca Meyer Wilfrid Meynell Leonardo Mezza Jasmin Miah Anthony Dinesh Michael Isabella Panayiota Michael Leo Viljami Michael Edyta Maria Michalska Aleksandra Mihajlovic Luke Miles Lorna Millard-Bourne Dionne Miller Simon Miller Sylvia Miller Yohannes Joseph Miller Christel Millet Alice Louisa Milligan Terence Edmund Milligan Audrey Isabelle Millot Joe Mills Nicholas Milton Danielle Mimran David Mimran Narinda Elenoor Minnaar Tasni Minns Daniel James Miodrag Sophie Corrigan Mishiku Mehrdad Mishra Anish Mistry Ketan B Mistry Suchitaa Mistry Alastair Mitchell Rosanna Mizon Kelvin Steven Mnyanza Semone Modeste Zafeer Usman Moghal Areej Mohamed Rima Mohammad Tarar Sepideh Mohammadnejad

Fatima Mohammed Ana-Laura Mohirta Cristian Moica Sally Mollett Jennifer Ruth Monaghan Richard Monk Antonello Monno Alice Montanini Jessica Montero Estrella Oriane Monteux Stefano Montuori Candice Moore Chloe Moore Finola Moore Leon Moore Mayeven Selvom Mootoosamy Beatrice Moran Nicolas Moreau Luis Moreira Paulo Antunes Moreira Luka Morkyte Angela Morris Dean Morrison Leila Louise Mortimer Jay Morton Jessica Moruzzi Benjamin Moseley Lucy Aileen Moss Arila Ana-Maria Moulas Nasrine Mounis Solomon Koffi Moyabi Alexandra Moye Zawadzki Herve Mpeti Matthew James Mudd Humera Mughal James Muirhead-Stewart Moses Tserai Mukoyi Grace Jennifer Mummery Tania Mundell Oana Maria Mununar Shonali Murarka Chris Murch Sarah Ann Murdock Douglas Murphy Frances Murphy Kieran John Murray Ruth Murray Gracia Mushiya Anwaar Mustafa Swed Shyukriye Fikrieva Mustafova Vincent Henry Mwesigwa-Kisa Carole Myers Michaela Mysakova Rhabia Nabi Alexandru Nacu Agatha Naigaga Firouz Najmi-Tabrizi Varun Nambiar Shalini Nandakumar Jasbir Nangla Idertsetseg Naran Gideon Nartey Reyhan Nas Abul Nasar Jennifer Nash Barbara Nassisi Andrea Navarro Natera Shahed Nazeim Samantha Joana Ndlovu Margaret Wairimu Ndungu Marlon Orlando Nelson Anna Nenaseva Amy Nestorowytsch-Irwin Jacob Neville Ciaran Nevin Margaret Ann Nevin Peter Dominic Newby Jackie Newman Charlie Newrick Hoi Chi Ng Jen Ng Charlie Ngombo Thi Nhu Nguyen Marco Nicastro Oliver Rhys Nicholas Lily Anne Nicholls Franziska Nicolaus Anna Niedzielska

The Cass Session 2014–15

Ilja Konstantins Nikiforovs Natalia Nikoulina Karina Nipane Ramona Niroomand Mari Cruz Cruz Njie Medina Angela Noon Amy Nordemann Kofi Norman Timothy Charles Norman Thom Norris James Richard Notarianni Marsha Louise Nsiah-Opoku Apolinere Nsunda Alison Ntim Ourania Ntousia Leonor Nunes Guerreiro Andrei Nichol Nuqui Obinna Nwafor Philip Nzimi Paul O’ Brien Richard O’Brien Shaun Timothy O’Brien Dorota Rita Ochocka Aislinn O’Connell Toby William O’Connor Gordon O’Connor-Read Rumyana Odazhieva Finbarr O’Dempsey Zara-Shola Odeniyi Andre Odih Andrew O’Donnell Annalena Oestreich Natasha O’Farrell Silas Ogli Ogbole Michael O’Grady Rachel Marie O’Grady Isaac Ojago Alina O’Keeffe Siobhan O’Keeffe Christopher Okotcha Elijah Zeze Okoubi Tanya Stanislavova Okpa-Iroha Genevieve Okwedy Daniel Sigurdur Olafsson Wilfred Olatunbosun Dominika Olearczyk Denis Oliveira Robert Olley Oyindamola Hafizat Oloko Marina O’Loughlin Racheal Oluwadare Sophie Mildred O’Neill Alexander O’Neill - Skjerdal Derek Christian Opara Mary Jane Opie Emmanuel Oppong Benjamin Keith Oram Lauren Orfali Charles Orme James Ormerod Maria Victoria Oros Petro Edward Osborn Stanley Osei Soraya Osei-Bonsu Saeed Osman Martina Osochovska David Harrison O’Sullivan Naimah Ouafi Nicolett Alexandra Ouertani Tomos Aled Owen Burc Ozkan Gaye Ozturk Marine Juliette Pacaut Matteo Pacella Colette Pacini Anna Page Susannah Elizabeth Pain Maija Linnea Pajanen Eva Palacios Herbert Palmer Sophie Palmer Mercedes Palmer-Higgins Karan Pancholi Beatriz Pando Feijoo Pavandeep Singh Panesar Natalja Panko Irini Papadaki Despoina Papadopoulou

Vasiliki Papazoglou Karina Papianaite Rebecca Parini Jusin Park Emma Parker Stephen David Parkes Francesca Parpinel Jack Angus Parrott Callum Partridge Thomas Robert Partridge Szymon Pasierb Ina Pasilyte Akshay Patel Drasti Patel Faizal Patel Komal Patel Justine Patterson Johnson Arandeep Paul Natalie Paul Asha Paul Bellow Emilia Paval Kornelia Pawlukowska Jamie Payne Joseph Connor Payne Anna Pazurek Edwhite Joseph Pe Daniel Peacock Toby Hatherley Pear Amelia Jane Pearson Christopher Pearson Jules Pearson Matthew George Pearson Karsha Peart Kieron James Peaty Nikol Pechova Eleanor Pedley Dawid Piotr Pedziwiatr Rosalind Teresa Peebles Mattia Pegoraro Ergys Peka Alicia Catherine Pell Laura Marianna Peltonen John Lawrence Pena Christopher George Pendrich Richard Derek Penman Dorothea Dimitriou Peponi Milanda Peposhi Edoardo Perani Danielle Ashley Percival Maria Eugenia Perez Chauvie Maria Perezagua Adam William Perkins Charlotte Perkins Michael Perkins Laurana Perpepaj Lauren Perry Matthew James Perry Ingrid Doris Petit Nicholas Petrou Ana Petrovska Hristo Peykov Elvis Philip Tarn Entabeni Philipp Lisa Phillips Susannah Phillips Michael John Phipps Junxue Piao Carlotta Piccini Susan Pickering Rowan Pickup Martina Pierallini Gina Pierce Adam Jozef Pietrzyk Arkadiusz Pikor Daniel Rolando Pilaquinga Teran Marianne Pink Fabio Pinto Tomaz Pipan Will James Pirkis Thamini Pitchaimani Jan Pitt Emily Beth Pizzey Claire Platten Haydn Plumb Viktorija Podkolzina Linda Pogson William Pohl

Johnny Poland Edite Polnevska Kittisak Pomnongsan Steven Pond Marketa Popelkova Petruta Isabela Popescu Joseane Porfirio De Souza Adrian Manuel Portillo Svensson Nicholas Postma Rebecca Potter Shauni Potton Georgina Pounds Chris Powell Matthew Powell Thomas Powell Victoria Anne Powell Vicki Power Justyna Magdalena Poyser Yves Preston Gareth Robert Price Georgina Grace Price Lucy Jane Pritchard Thomas Meirion Pritchard William Privitera Yiannis Proestos Victoria Eugenia Puerto Tommaso Pugi Ramona Puha Silvija Pukenaite Mikk Punning Sharan Purewal Anamika Puri Habib Purves Anastasia Pushkareva Kamil Puzdrowski Nicholas Pyall Agnieszka Pyrdol Ammara Qaudoos Mariam Qayumi Frederick Quartey Joseph Clinton Quartey Tanya Querns Daniel Quinn Peggy Jutta Quinn Sean Quinn Grace Edith Radford Egle Radinaite Paula Karolina Radzka Alanur Moni Rahman Mohibur Rahman Abinash Rai Biraj Rai Milana Raic Zulfiqar Rajwani Maxwell Edward Randall Thomas Charles Randall-Page Stephen Leo Ranson Iveta Dimitrova Ratarova Cherie Tanika Rawlins Martha May Rawlinson Migle Razanauskaite Thomas Rebeschini Lemma Edward Redda Abigail Rose Redmond-Best Holly Rees Charles Reeves George Regnart Sharanjit Rehill Rana Rehman Jennifer Helen Reid Maya Alice Reid Kristina Reingoldt Beata Religa Luke Renouf Cindy Eileen Reriti Naomi Resina Magdalena Resztak Adam Revett Paul Michael Reynolds Reginald Charles Reynolds Roxanne Reynolds Charlotte Richards Jack Richards Matthew John Richards Ava Richardson Rory Richardson James Richmond


Anastasia Ridley David Rieser Alexander Robert Rieveley Huan Rimington Erez Solo Rimon Inka Janna Ritola James Micahel Rixon Elvira Rizova Daniel R’Kaloo James John Roach Ekramul Robbani Dane Roberts Mark Roberts Rachael Victoria Roberts Ryan Roberts Thomas Ian Roberts Caolan Robertson Tara Leanne Robins Charlotte Lucy Robinson Georgia Robinson Paul Simon Robinson Sherine Robinson Martin John Robinson Dowland Samuel Robinson Thorley Sophia Jean Robson Amara Roca Iglesias Christopher James Rock Robyn Rockmann Priscille Maryse Rodriguez Pablo Rodriguez Diaz Tatiana Rodriguez-Valencia Harry Rogers Luis Alberto Rojano Santillan Luisa Rojas-Plaza Andreea Claudia Rolea Anna Frances Roper Marc Rosenfeld Talia Rosenthal Loes Roskam Sophie Anne Ross Mark Nicholas Rothwell Lonccia Rountree Benjamin Luke Rowe Leah Rowe Spencer Rowell Luke Alexander Rowett Alexander Rowley Frazer Rowlings-Ward Vesta Rudnickaite Simone Ruijs Ewelina Ruminska Andreas Rupf Zoe Rushton Thomas Muir Russell Jenny Ryan Yana Ryan Kyounghun Ryu Miguel S De Oliveira Mohsen Saberi Lisa Sabine Santa Sabule Golzar Sadat Booshehri Mashkhal Sadiq Farhaan Saeed Suchada Sae-Khow Fatemeh Safaii Rad Pelin Saglam Ronahi Sahgul Amina Said Mohamed Saied-Mohamed Andrea Saini Yuho Sakai Ahmed Saleh Alim Saleh Gulan Saleh Raghad Saleh Madeleine Salisbury Alina Salmanova Liucija Saltonaite Rukshana Samad Naseba Samadi Rauf Christopher Sami Didem San Wilson Sanches Dámaso Sánchez-Randulfe Matthew Peter Sanders Kharmjeet Sandhu Simran Sandhu

Violeta Sandu Urszula Saniawa Rabbieu Sankoh Helio Da Cruz Santos Hellena Acheampong Sarhene Eeva Kristiina Sarlin Mary Naki Sarpong Iza Beatrice Sasaran Shanette Savage Pavlos Savva Jack William Sawbridge Rebecca Sawyer Cian Scanlon Irene Scaramuzza Delia Scarpellino Andrew Scarsbrook Peter James Scheldt Calvin Scherer Mycle Scheuer Lucy Schofield Andrea Luise Schrader Andrea Scibisz Joseph Scoging Beer Emily Jessica Scott Martin James Scott Graham Daryl Scott-Stapleton Caoimhe Scullion Conor James Scully Edward Seaman Yasmin Seddon Max Bamidele Segun-Fayose Miriam Seisay Senanur Seker Giancarlo Selci Danushan Selvarajah Sercan Semiz Ashleigh Senior Orrapavadee Serewiwattana Jerome Sewell Magdalena Seyfried Faraan Shafique Tanisha Shafiqullah Faisal Shaikh Adam Shakespeare Gary Sham Will Shaman Craig Shanley Natalia Shapalova Ayyub Sharif Holly Shaw Susan Sheahan Lana Sheikani Angela Sheldon Rose Bell Sheldon Guy David Shenton Alice Shepherd Joseph John Shepherd Shemahni Shepherd Torsten Sherwood Viral Bhalchandra Sheth Daniel James Shevill Andrew Shiels Marina Shileva Nura Shire Sophia Shmigol Elizabeth Shofoluwe Katie Shute Charlotte Shuttleworth Marianna Siamou Lina Siaudvytyte David Charles Sibley Svinder Singh Sidhu Andrew Sigauke Arnar Thor Sigurjonsson Martins Silins Jeanne Sillett Marta Isabel Silva Vieira Castelino E Alvim Andrei Silvestrov-Tchalyi Caitlin Simcock Xhulja Simoni Charda Simons Kyrle Simpson Philip Anthony Simpson Yaszmin Simpson Carol Sing Gurpal Singh Kular John Christian Sinha

James Andrew Sirett Pradeepa Sivasanthiran Shirley Vinsier Skerritt Jevgenijs Skicko Ami Skimming Thomas Skinner Nicolai Skøtt Andrew Skulina Thomas Slade Marie Elizabeth Sleigh April Dawn Slocombe Anne Valerie Slough Peter Smahajcsik Dalia Smaizyte Daria Alicja Smiechowska Amy Claire Smith Andre Smith Gavin Luke Smith Jonathan Smith Laura Georgina Smith Marcela Smith Ryan Smith Tracey Smith Kit Smithson Wayne Smyth William Raphael SmythOsbourne Rosie Elizabeth Snaith Kristupas Sniras Luke Snow Pamela Snow Rosie Snowden Theresa Soave Katarina Sobolciakova Aleksandra Soboleva Oluwatobi Samuel Sofela Imogen Softley Pierce Bhavik Solanki Vincent Ezekiel Solaris Mariaelena Soligo Adeshina Samuel Solomon Misun Song Jojo Sonubi Grant Sorrell Stefania Sorrentino Andrew Sosnowski Roberto Sotgiu Efthimia Souroulla Gersiley Sousa Sílvia Sousa Sofia Sousa Botinas Duarte Madeira Oliver Spence Edmund Robert Spencer Bernard Evie Claire Spencer-Ruddy Sona Spesova Alex Spicer Nicolo Spina Stephanos Alexandros Spirakis Jane Elizabeth Sprague Marcus Springer Sonya Spyczak-Von-Brzezinska Shadiya Ssagala Tanya Stagnetto Adina Stancovici Adrian Costin Stanculeanu Patricija Stankaityte Jamie Stannard Daniel Stanton Milda Stasaityte Raimonda Stasiulyte Archibald Aikins Steele Adriyana Stefanova Giedrius Steiblys Khalum Stein Maxwell Stephens Emily Stevens Andrew Christian Stevenson Davina Stevenson Daniel David Stewart Jack Ian Stewart Oliver Stewart Thomas Jan Stokmans Joanne Rosie Storer Kimberley Anne Stott James Stovell Ruslan Stoyanov

Michele Straiotto Ben Strak Novile Straseviciute Beata Ewa Stryjecka Emilia Strzala Sheree Dewlisa Stuart Ben Stuart-Smith Dan Stutchbury Agnieszka Malgorzata Sudolska Matilda Sudsbury Wachira Suksuchit Teiana Sukul Olivia Ismini Sully-Karlis Timothy James Summers David Sunday Alice Sunderland Richard Surrey Katrin Svintsov Dries Rudy Swartele Ciaran Lee Sweeney Daniel Sweeting Edward Swift Sarah Louise Swift Karolina Sybicka Faisal Syed Ilkka Pekka Syrjakari Martyna Anastazja Szmigielska Kamila Szpakowska Maciej Szpicer Karolina Szulc Rupert Szyszko Hiroto Tabata John Taber Fatima Tahir Tim Taiwo Marjaneh Tajikahmadi Claire Isabelle Talbot Evelina Tamulionyte Ioan Viorel Tanase Stephanie Tandoh Luoxin Tang William Kam Tang Barnaby Targett Ramez Tarighi Hayriye Tarim Nicki Tarr Heather Tatton Andriano Tavares Denise Elizabeth Taylor Elliot Taylor Jack Taylor James Taylor Lauren Taylor Paul George Taylor Richard Eric Taylor Sabeela Ruqayya Tayub Maria Tayyab Magdalena Tello Palma Elena Charlotte Tengelmann Salli Aliisa Tera Martina Terracciano Antonio Terzini Anil Thapa Paul Theo Chelsey Theobald Hayden Ewan Thomas Laura Emily Thomas Luke Thomas Frederique Thomas-Baratte Aaron Thompson Christopher Gordon Thompson Gerard David Thompson Hannah Thompson Kirsten Jeske Thompson Rebecca Lucy Thompson Shanna-Lee Thompson Val Thompson Harry Joe Thomson Atchara Thongrong Simon Thorpe Adeline Thouverey Camille Elisabeth Thuillier Si Tian Audra Tilbrook Victoria Louise Timberlake Jack Tiong Eduard Mihai Tipaldo Edwin John Tizard


Radim Tkadlec Silvia Tognoli Harleigh Tomkins Miranda Jane Tongeman Matilda Tonveronachi Hannah Ellen Tourell Christopher Townsend Anh Tuyet Tran Julia Trandafir Ben Tregoning Joseph Laurie Tristram Francesca Trucco Ilias Tsiris Ioanna - Konstantina Tsitsa Catherine Elizabeth Tucknutt Juan Miguel Tudela Darren Tuitt Asli Tunc Myles Jordan Turner Philip Turner Robin James Turner William Turner Jordan Tyson Christina-Persa Tzemetzi Zakiya Ahmed Umer Marta Urquhart Viktorija Useviciute Ersin Engin Ustusoy Julija Utko Petar Uzelac Chukwuemeka Uzoh Haluk Uzumyiyen Dean James Uzzell Lise Vabo Mbezi Valentine Helmi Adalmiina Valkola Ross Van Leeuwen Gill Vanstone Aliki Aikaterini Varlamidi Robert Vasili Annie Vasiliou Mircea Alexandru Vasvari Parichehr Vatini Parimah Vatini Cassandra Ann Vaz Sarah Vaz Gerlinde Velarde Stanimira Velikova Rosana Venda Enrika Verbel Edoardo Verbigrazia Alice Aimee Vergé Hebe Vermeulen Jay Verona Francesco Vertucci Dominic Viall Anna Viani Abigail Evelyn Vickers Jake Vickers Zachariah Antony Vieira Gloria Viganò Katrina Vilcane Armando Villani Parvathy Vipulendran Gian Virdi Deborah Virelli Anastasiya Vodolagina Cosmina Alina Voicila Luke Niko Vouckelatou Kinga Wabia Calvin Denroy Wade Salman Waheed Zahraan Wahid Nelli Anita Wahlsten Timothy Lewis Waines Tamara Jane Wakefield Jordan Walker Megan Walker Natalie Walker-Fifield Sophie Florence Wallis Emmet Walsh Devante Walters Horace Walters Emma Rae Warburton Jonathan Mark Ward Sarah Ward Vicci Ward Hitra Wardag


Jessica Teresa Warner Hamish Henry Warren Ross Warren Luke Warwick Talal Wasfi Sonsri Watchara Lucy Rhiannon Waterfield James Watson Marnie Watson Samantha Watson Karen Watton Jodie Watts Kesorn Weaver Samuel Mack Webb Adam Webster Anna Victoria Webster Holly Louise Webster Isabelle Webster Nicholas James Wedlake Sarah Weiss Frederick Percival Weston Keith Weston Kevin Mark Whatley Emily Wheeler Mark Henry Wheeler Samuel John Wheeler Bria White Efia White Joanne Elaine White Kier White Pamela June White Sonia White Thomas Angus Whittaker James Whittam Jenny Whybrow Dominik Piotr Wiecek Helen Wilding Rhiannon Wilkey Harry Wilkins Andrew James Wilkinson Hannah Wilkinson Wendy Frances Wilkinson Anna Wioleta Wilkowska Leon Gregory Willcocks Ben John Williams Ellen Mae Williams Fabian Williams Joseph Charles Williams Joshua Samuel Williams Marsha Williams Owain Dafydd Williams Peter Williams Richard Peter Williams Towon- Anthony Williams Merayah Nathanielle Williams-Schuarz Lee James Wilshire Holly Imogen Wilson Seana Wilson Thomas Edward Wilson Hubert Windal Tina Winning Alexander Thomas Winter Elinor Winter Jake Aiken Winter Gary Wisbey Kornel Witkowski Demi Helen Witter Matthew Wittrick Michelle Frances Witts Dominika Wojciechowska Helen Claire Wolstencroft Ho Nam Wong Kevin Wong Aimee Trejayne Wonnacott Emily Wood James Wood Josephine Louisa Wood Kathryn Louise Wood Kyra Rachel Wood Sophie Woodbridge James Woodcock Sonia Woods Alice Woodward Helly Worsdell Rich Worth Sandra Wozny Daniel Wright

Jessica-May Wright Liam Edward Wright Peter Wright Philip Simon Wright Thomas Joseph Wright Shih Chin Wu Silvia Wu Sinchi Wu Paul Wynn Dervish Yababa Htike Yadana Sam Yaghmaei Tomomi Yamahara Bowen Yang Elena Yang Joshua Andrew Yates Lisa Yau-Alfredson Clarissa Yee Merve Yilmaz Yusuf Yilmaz Morris Yip Holly York Francis Young Heidi Elizabeth Young Nusrat Yousuf Gokcen Yuksek Demetri Zacharia Agnieszka Barbara Zagorska Naila Zahoor Aaisha Zaid Sherwin Zakipour-Saber Kamil Hubert Zalewski Giulia Zanotti Zana Aras Ziad Monika Zienko Alessandra Zucchetta Vestina Zuikaite Anna Zydron

The Cass Session 2014–15



What’s absolutely unique to us is it’s a real cauldron of creative practice. Chi Roberts

Great friendships are forged here, based on encounters over a commonly shared creative culture. It is a unique privilege to guide this process as a teacher. Aleks Catina

It is a kind of gateway to the rest of the Cass and once you’re through it, there are many different things here. That’s one of the aspects that we make the most of. 

I think it’s a gathering space for all sorts of different approaches to making; we’ve got this interaction between diagnostic and more specific.

Chi Roberts

Marianne Forrest

Full interview  p. 61

Cass Foundation Architecture and Interior Design Manuela Barczewski, Aleks Catina, Ana Martinez Fernandez, Nina Gerada, Geraldine Holland, Luke Jones and Tania Lopez Winkler The Extended Degree pathway Architecture and Interior Design has, over recent years, enabled students to grow into the challenges posed by the demanding courses of our thriving undergraduate school at the Cass. Some of our most successful graduates on the BA (Hons) Architecture / Design courses have passed through the Extended Deg­ree route. This is not a coincidence! Our mission is to enable our students to surprise themselves by introducing them to their own capability for making, diligent work and cooperation. The processes of spatial design – reflective exploration,

experimentation, testing and recording of process - are at the heart of our curriculum. From the early exercises in Looking Through Drawing, to the final, carefully considered scenarios proposed by students in their major design project, the year spans a wide range of exciting encounters with the world of design and making. The versatile programme is supported by an experienced and highly motivated team of tutors, from disciplines ranging from Interior Design and Architecture to Photography and Fine Art. In one year, we aim to encapsulate what the Cass stands for:

a multidisciplinary hub of creative work dedicated to the community. The secret of our success with regard to the development of skills and studentship is a continuous questioning of our work in the context of the reality of our environments. We foster curiosity and conceptual openness, and provide a framework which helps the individual students to demand more of their creative practice. This said, we will not lose sight of the fact that our students, as well as our tutors, are working hard for the ultimate reward: a sense of enjoyment and lightheartedness in pursuit of things they love to do.

Combined amplifier, installation


Architecture and Interior Design

Cass Foundation

Glass Helmet, Experiment

Experiment with light

Place collage

Orthographic drawing


Collage making

The Cass Session 2014–15

Plaster Cast project

Layered drawing

Imagined space, drawing

Colour material and space, installation

Class of 2015


Architecture and Interior Design

Cass Foundation

Urban scenario, collage


The Cass Session 2014–15

Cass Foundation Art and Design John Cash, John Coleman, David Hobson and James Stevenson This year the Art and Design Extended Degree course moved into and made immediate use of newly refurbished studios at Central House. The students experienced three different projects in three different spaces, and it was a lively and productive introduction to the Cass. These introductory projects are always fast-paced and intensive; designed to introduce students to new working practices and situations. They address developing a work ethic as well as creative ways of thinking and making. All students made ‘three freestanding structures about so high and so wide, from two kinds of card’ and then ‘three more’, followed by critical evaluation, and then ‘three more’ to recognise key ideas and develop final pieces. This led to hundreds of objects in the rooms, and for each student the vivid experience of having ideas that making in particular extends by offering opportunities and limitations. The students get better, see their work in the context of others, manage their time, use their resources and understand the boundaries and freedoms of a project. Part of the culture of the Cass is showing our work to others, and the third floor boulevard space heaved with an exhibition of the best models. Introductory classes cover drawing, printing, typography, colour and 3D skills, and further projects explore how these can be harnessed in a range of contexts – the studios become a photographic studio (with lights and backdrop paper) for students working in pairs designing and making costumes that radically address shape,


PATSY CHEM  Yellow & blue

Photography project

CARLY BREAME  Bowl, ceramic

Art and Design

Cass Foundation

Vertical Structures project

Photography project


The Cass Session 2014–15

colour and attitude in transformations of the self. After Christmas students elect to go into Visual Communications, 3D Design or Fine Art as broad areas of particular creative practices for longer and more challenging projects. They are now actively participating in many ways with the diagnostic heart of the course by making choices and decisions about both their own work and what direction it may take them in in the future. The relationship with the tutors is changing too, becoming more tutorial-based rather than classroom-based, as responses to more individual work are sought and encouraged. The permanent studio spaces on the fifth floor now develop as different intellectual and conceptual territories that can overlap, cross-fertilise and inspire. From Easter onwards students commit to practice within one of the broad areas and benefit from the context of the Cass – tutor and technician expertise; the work they can see developing within the undergraduate studio; the vibrant, creative environment of the east side of London – and begin to place their innovative, self-motivated practice within it. As individual creative practitioners navigating between studio, workshop, tutor, technician and peer support, Foundation students begin to experience what it is like to be a typical Cass student – exposed to a great variety of influences and producing carefully considered work with a strong sense of ownership, ambition and achievement.

Photography project

FRED DU PLESSIS  Portrait, acrylic on canvas


Art and Design

Cass Foundation

Cass Foundation Design, Fashion, Textile, Jewellery, Product and Furniture Vanja Bazdulj, Jez Bradley, Marianne Forrest, James Hunting and Aimee McWilliams The journey to become designers and makers in 3D begins with visual and material experimentation alongside the development of a working method that instils a steady and growing creative approach. The principal aim of the Year 0 Design (3D) programme is to inform the students of their strengths while allowing them to begin to see and understand their place in our cultural heritage – past, present and future. The projects each had a personality, with material disciplines helping students to explore possible choices. The projects ranged from the wirework drawing project, which resulted in a chandelier that hung as the centrepiece of personal studios, to the books made from personal experiences of the East End. Each subsequent project was designed to open out the students’ perception of their own creative process, gradually encompassing the outside world.

In ‘Pieces of Me’ students made wild woven 3D objects from materials collected as mementoes of their own personal histories and family remembrances. Their children's T-shirts and shreds of their oldest clothes were made into collections of memories of their past. Some ended as handbags and others as memento boxes, zipped to contain their memories. ‘Home and Away’ asked the students to respond to their personal spaces and those of others. What constitutes a home, why is it somewhere to belong and who belongs there? Everything has led towards their final major project – a personal response to the idea of ‘scape’: the scenario around an event, ‘Eventscape’; or someone they know or see every day, ‘Peoplescape’; or simply ‘Escape’ as a way of getting out and exploring. The end results include spoon hats, spiky books that describe a childhood in strife-torn South Africa, jewellery reflecting the moment of conception, bodices and corsets and metal mobiles, all made in a huge



The Cass Session 2014–15

range of materials and exploring techniques from all corners of the university. Through the year the students have found self-reliance, improved their motivational skills and started the process of developing sound critical thinking. The students discuss characteristic visual language and review their approach to the artistic process, to gain an ease in selfexpression and to bring clarity to their thoughts and outcomes. Students explore the idea of making as thinking and creative development through serendipity and deliberate choice. It’s been a great year, and a wonderful start to their experience of the Cass. Projects: Autobiographical Journey, crossdisciplinary innovation. The Perfect Object, drawing, line, form and three dimensions. Weave project, Pieces of Me, Photography project, Wire Workshops, Building with Textiles, Final Major project.

INDRE JURSENAITE  Pieces of Me, woven handbag

Cass Foundation Film, Media and Music Mark Collington, Javier Garavaglia, Janette Parris, Elaine Pierson, Spencer Samuel, Karen Smith and Charlotte Worthington

Descend by Ramona Puha and Beatrice Candreva

The Extended Degree (Foundation) in Film, Media and Music is an exciting introduction to courses in Foundation Year. Students achieve their ambitions to join a degree course of their choice, studying for a year the foundations of film, media and music in a collaborative environment. Based in the School of Art, with its wide range of professional equipment and specialist staff, the course supports team and individual work by students who are passionate about their study and careers. In the first year, students have made film, animation and music projects both personal and social. They have used the vibrant location, filming


on the streets of Brick Lane, making music from the sounds of the city and unleashing their creativity in animated form. Sounds of the underground and markets, images from the busy streets and quiet lanes, hand-drawn and digitally created works have been made by our successful students, creating strong individual portfolios for their careers and further degree study. Beginning with screenings at the influential London Film Festival and visits to famous London venues, Foundation students have participated in the undergraduate studios in Film and Animation, working alongside colleagues further along in their degree studies, contribut-

ing to the innovative Animation Mapping project and a clientled film. These professional and creative skills will be deployed throughout their degrees and careers. The undergraduate courses for which the Foundation year offers entry have hugely successful graduates working in short and feature film, broadcasting, music production, music video, commercials and highly personal projects. Foundation students have made work shown publicly and to invited critics at the School of Art Christmas events, Faculty Celebration Week, and have a strong presence in the Summer Show.

Film, Media and Music

Cass Foundation

Descend by Ramona Puha and Beatrice Candreva

Descend by Ramona Puha and Beatrice Candreva

A Long Walk Home by Luke Warwick and Dave Mardle

A Journey through the Market by Maxwell Stephens, Francesca Dambra, Siddhant Daby, Aaisha Zaid and Munzir Khan

A Long Walk Home by Dave Mardle and Luke Warwick


The Cass Session 2014–15

Robert Mull in conversation with Marianne Forrest, Aleks Catina, John Coleman, Chi Roberts and Karen Smith

RM  What is the nature of the Cass Foundation area, and what does it do and what are its aims? CR  My first impression, having arrived recently at the level, is that it’s a very important entry point. It is a kind of gateway to the rest of the Cass and once you’re through it, there are many different things there. That’s one of the things that we are going to make the most of. MF  I think it’s a gathering space for all sorts of different approaches to art and design; we’ve got this interaction between diagnostic and more specific. RM  What do you mean by diagnostic? MF  Students coming in not quite knowing what they want to do, then having a diagnosis about what they want to do and the direction in which they want to go for their degree. AC  We offer reflective self-assessment, and the framework where this reflective process can take place.

part of a long tradition of foundation courses in this country that people have come to from all over Europe, all over the world. I don’t think they’re common everywhere. They come out of the Bauhaus tradition we might touch on later. KS  With the new course, Film, Media and Music, I think we’ve got a slightly different approach There is a diagnostic element but some students come in with very fixed ideas and the course does fulfil those needs. They have an entry point into university and an entry point specifically into the Cass. They are so much involved in what’s going on in the Cass, they’ve been part of the Celebration Week, they will be part of the Summer Show, so they are learning, they are exploring and uncovering the possibilities we have available to them. For Film, Media and Music students this is a specific discrete course for them. They still benefit from interacting with all the other students, that’s very important for them, but obviously some of them are more raring to go off into their specialism.

CR  If I extend the metaphor of people coming through the gate, I’ve also met students who completely know where they’re going and that’s why it’s a really interesting level as well. The ones who are making up their minds are in the company of the students who, when they start out, might completely know what direction they’re going in. The great thing about the year is that might change over the course of the year as well.

RM  There’s this tension because we’re not running traditional foundation courses. It is a foundation year, which is actually the first year of a four year degree. This means that a student has already embarked on a four-year experience and this sense at the beginning of how they locate themselves is part of that journey. You mentioned the Aldgate Bauhaus; I can’t think of a group of people or a set of courses that better represent the breadth of what’s possible within that Bauhaus idea. Perhaps you can expand on that?

JC  I think that’s true, they’ll often come with a general idea about what they want to do, stronger in 2D than 3D perhaps, but never having done 3D, never tried many of these things. So it is an introductory programme, but all these clusters, even if they’re preparatory, still have diagnostic elements within them. In Media, you have these kind of choices still to be made but within a narrower kind of frame. The Art and Design course is the broadest of all and it’s

JC  There’s a root in that Bauhaus tradition here, the way all of us open up students’ minds to new possibilities and things they haven’t had a chance to do in school curricula typically or perhaps in their lives to date. Certainly from my own experience of foundation courses, that year for me opened up so many possibilities and was so crucial. I think it’s been a big thing in my teaching. I went to the Berlin Archive last year and saw these little projects that


students have done playing with light sources and making shadows in these old bits of footage, just open-ended experimentation and seeing where things led rather than pre-empting and thinking, ‘I want to make this.’ It’s just about that, it’s that idea of adventure. AC  Entering a university at foundation level can also be a first step to understand how to manage one’s expectations with regard to the profession one is embarking on. This realisation process can enforce a stronger purpose and foster studentship. KS  I think that’s a very important point. Secondary school’s curriculum tends to be much more about things being closed off and learning a set of skills or a set of numbers or a set of things. CR  The students I’ve spoken to really like the year and they’ve had a fantastic experience and they just want to get a sense of belonging to the whole. It’ll come with the end of year show when they see all their different things together, but it would be great to start that much earlier and have some kind of cross-fertilisation between the different areas of Foundation. JC  I think we have in a way created something special here in the sense that we’ve worked extended degrees in such a way that it’s retained that openness and broadness. The most like an extended degree we’ve got is Architecture, that feeds 80% of its students on to one course, so in a sense it genuinely an extended degree. But we’ve got this hybrid activity in the others that’s pretty unique, I think. RM  Is there anything specific or ways in which you operate at Level 0 that you think are significant and should inform what happens elsewhere in the faculty, particularly in relation to the specific issue around disciplines and where they begin and end? CR  We’re very inward–looking in a way because there are so many different kinds


Cass Foundation

of disciplines. We think that this is a very complex world but really, it’s a small island of creativity and outside is the rest of the world doing finance, business, NHS work; scientists and politicians. What’s absolutely unique to us is it’s a real cauldron of creative practice. If there’s a word that runs across all the subject areas, it’s ‘creative practice’ and I’m very interested to find, as I look in more detail, that there is a Level 0 creative practice and that’s really within this faculty. I’ve been to crits, pin-ups and teaching sessions in the different areas and it’s amazing what you see when you get out. For me as a furniture maker who then taught in Architecture to go to a Jewellery and Silversmithing crit and find that it is markedly different how students do their work, how they talk about and present it.

We’ve created something special here, in the sense that we’ve worked extended degrees in such a way that it’s retained an openness and broadness. We’ve got this hybrid activity across the courses that’s pretty unique, I think.

KS  What we possibly haven’t explored is that relationship between film and object making, and there is clearly a relationship there, that we can develop with the students, and also sound. What we’ve been doing is sound-scapes with the students and they’ve really taken to that idea. The sound-scapes then developed into visual-scapes and animation-scapes, as well. I think that is quite fruitful – that we don’t know the relationship and that we play with that.

RM  Students come from diverse backgrounds and a lot of our students are quite local and part of the community that we are a part of, and to a certain extent we’re in the service of. How does that intimacy and knowledge that students have of the world immediately around us find its way into the work that students are making?

RM  There’s a narrative in the faculty about concentrating on ‘being useful’ and socially engaged forms of activity in education. Of course it’s impossible to talk about Level 0 without touching on aspects of equality and widening access. AC  I doubt that there is any other cohort as varied and rich in diversity as our Level 0. But the child of a diplomat, a bus driver, the former roofer or the mother of two have more in common than one would first expect when it comes to learning. All profit from discovering the language and disciplinary challenges of their subject as a group; a shared, discursive experience. Great friendships are forged here, based on encounters over a commonly shared

creative culture. It is a unique privilege to guide this process as a teacher.

MF  One of the things that has been a feature of the Cass is its connection with the local area and community and, although we have a lot of people from abroad, we also have a lot of local students too. I think that’s always been strong and it’s something we do nurture. CR  The government doesn’t seem to understand the value of creativity. It doesn’t present it in a positive light at all, even though the creative industries bring a huge amount of money to the national economy. People in the creative industries don’t understand that misrepresentation at all. Possibly we need to get out more and understand things from other people’s perspectives. Innovation, invention and recreation can only come from diversity and that’s why we need to encourage all kinds of people to think that it’s a worthwhile

There’s a root in that Bauhaus tradition here: the way all of us open up students’ minds to new possibilities and things they haven’t perhaps had a chance to do in school or their lives to date. 62

The Cass Session 2014–15

direction for them to take. Once they’re here, it’s making sure their experience is reflected by having diverse staff, by having them not feeling we’re channelling them into boxes, but opening things out so they can discover their own creativity. KS  In addition students can be quite fearful if they are coming from a very tightly controlled situation where they are told what’s expected of them constantly. It is turning that inwards to them having expectations of themselves, having an understanding of their own process, developing their own processes; that can be quite scary. CR  And that’s where creativity is very unique, it is a very personal experience. MF  And a freeing experience. CR  And as a skilled and professional experience as well. RM  What changes would you advocate from an incoming government that would support what you’re doing and challenge some of the impediments you’ve just been speaking about? JC  We need to keep Art on the curriculum in our secondary schools. MF  That was going to be the first thing that we were all going to say! KS  We’ve got a national curriculum which is very prescriptive. We’ve got a lot of scrutiny from newspapers about results. We’ve got the constant repetition that exams are dumbing down and I find that tragic; I find it really sad that we’re denying the skills and abilities that our children are showing by saying that they’re not doing particularly well. They need to do better, we need to win in some kind of imaginary race. I don’t even know what we’re winning against or for.

CR  There’s a fundamental problem that I’ve heard a number of times lately which is that they want children to do something that’s measurable so that ratings can increase, yet creativity isn’t measurable. I agree and disagree because I think that you can teach creativity and you can measure its success; but when people who don’t understand it are making those decisions, we have a problem and an obligation to address the problem. JC  They’re obsessed about the creative industries in London, London as a cultural centre, London as a design centre. And then on the other hand they’re telling twelve and thirteen-year-olds, you can’t do Art. RM  Could you point to things that have happened in the last year that you’re particularly proud of or that you think are indicative of the way you’d like the area to move? CR  I really like what Patrick Brill is doing, our Professor in the Art school, about the Cass being evangelical about creativity. I think it’s a really strong part of the Cass agenda. KS  One of the things I’m very proud of, is that one of our graduates from the degree course in Film and Broadcast Production, Destiny Ekaragha, came back to talk to our students at the start of the year. She won a breakthrough BAFTA at the beginning of the year and that is inspiring. She is literally inspiring the students. She told them about her work and afterwards in the induction week, our first-year students were pitching ideas to her which I thought was fabulous. I thought that was a great way to start the year. I just got something through saying she’s directing Lenny Henry’s biography for the BBC. She was somebody who came from South London, who didn’t know what

she was going to do but she knew she loved film, and she wanted to find a way to put that together. And she has! RM  So thinking back to when you were students, what bit of advice did you receive that you thought was really useful as a student, and who inspired you? CR  I don’t know about inspired but my tutor on Wimbledon Foundation was significant because she completely changed its direction. She said to me halfway through, ‘You’re not an artist, look, you just made all that furniture. I think you should consider furniture design,’ and I did, and I’ve been very happy ever since. AC  I had the luck to be taught by a few incredibly generous and confident people as a student. There were quite a few both at London Met and the RCA, who have influenced me very much. The one who stands out in practical teaching terms is the late Ian Montgomery, here at London Met. There was a sense that he wanted you to reach your best level, by your own means. He did not give a template for success. That is a very brave way of teaching, which shows great trust in the potential of everyone to determine a personal standard, and discover the way to reach it.

JC  I had a tutor on painting and drawing at Camberwell who would always say, ‘Do more.’ I felt that he meant it and that was very simple and straightforward ‘You’re on your own now, and you can do more’. KS  With me it was a tutor in a seminar and we’d been given a problem to deal with. One group said we had to do it one way and another group said we had to do it another way and my little voice was going, ‘Yes, but why can’t we do both?’ I said it in a very small voice and the tutor said, ‘Yes!’ and I thought this was fabulous. You don’t have to choose one way! I started off with a tiny little voice and as time went on, my voice got bigger and bigger. RM  To end, what’s the one thing you would like to have happened or changed from this year? CR  I know when I’ve been around the Cass more recently, I’ve passed rooms where some very interesting and exciting things are happening and I’ve thought I would really love to do that. I’d like to stop what I’m doing now and just join that class. We all should. RM  Thank you all very much, that was lovely – and I look forward to the end of year show.

I think we’ve got a slightly different approach. The students are learning, exploring and uncovering the possibilities we have available to them.

CASS FOUNDATION COURSES Extended Degrees (with Foundation Year) in: Architecture and Interior Design Art and Design Fashion, Textiles, Jewellery, Product and Furniture Film, Media and Music RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :



Cass Foundation

Jeremy Deller

Visiting Professor Inaugural Lecture 11 December 2014, 5.30pm Central House Jeremy Deller lives and works in London and is the current Visiting Professor for Cass Fine Art. He began making artworks in the early 1990s, often showing them outside conventional galleries. Deller won the Turner Prize in 2004 for his work Memory Bucket and represented Britain in the 55th Venice Biennale in 2013.


The Cass Session 2014–15



It’s collaborative, it’s about fun, it’s about experimentation, it’s about cabaret, it’s about performance and film. We teach fine art, we teach curating and introduce students to the best professionals, the best artists, the best art teachers they’ll ever come across, at a superb location in central London.


‘Within the studio, we do have a lot of readings, seminars, going through texts, thinking about things, discussing things, going off and talking about issues in context, so there’s lots of intellectual as well as practical stuff going on in the studios. And I think that’s something incredibly rare.’ There are lots of young artists, young creative students, all setting up their own little businesses. They’re not waiting for people, they’re doing it themselves, and that’s the great thing about being at art school; that they just make it happen themselves.’ Rosemarie McGoldrick

Full interview  p. 86

‘There couldn’t be anybody more engaged with society than our own Associate Professor Patrick Brill.’ Robert Mull

Cass Fine Art Studio 1 The good, the bad and the popular Mel Brimfield and Andrea Medjesi-Jones


Rummaging keenly through the discarded, discredited and debased detritus of contemporary culture, the studio aims to interrogate the enduring appeal of the ‘low’ and the popular for artists throughout modern history. Holding up a vast distorting mirror to advanced capitalism, incarnations of ‘Pop’ weave through rich territories tangled with conflicting impulses. Our collective weakness for the guilty pleasures of product, glamour and trash offers up a charged site for political intervention, though maintaining control of subject matter already loaded with cultural significance is a tricky business. Whether romping in delighted complicity with our source material, or formulating scathing critiques of the backdoor social engineering apparently propagated by it, the research group explores the implications of building a practice around these contentious tropes.


The studio teaching is focused on a critical exploration of strategies employed by artists, writers and filmmakers for their work, including appropriation, parody, quotation and manipulation of stereotypes, genre and cliché across a broad spread of media. The habitual association of gravity and importance with seriousness has been called into question during the course of our collective work – we are exploring the potentials of humour as a transformative agency in art, in forms ranging from the ironic, the absurd and the slapstick to the satirical, the screwball and the camp. A cavalcade of high- and low-end research materials running the gamut from queer cabaret performance, stand-up comedy and theatrical monologues to specialist archival holdings and key academic texts have been examined in seminars, screenings, gallery and library visits, lectures

and intermittent workshops. Students have made work referencing a wide range of related themes and material approaches – flat Technicolor cartoon figurations proposing encounters of abstract Hanna-Barbera-style sculptural forms sit alongside human hair plaited, woven and sewn into vast abject wall-hangings. Macho gestural expressionism playfully appropriated with lumpy gusto for an exploration of homosexual identity contrasts with the delicacy of a range of wonky hand-rendered ceramic tiles, wallpaper patterns and vessels crookedly mirroring the forms of aspirational interior design. Spanning media such as expanded drawing and painting, printmaking, performative writing, installation, photography, cartooning and collage, the variety of techniques deployed in the studio research accurately reflects the diversity of contemporary practice.

Studio 1

Cass Fine Art





JAN PITT  Fine Art


The Cass Session 2014–15

Rummaging keenly through the discarded, discredited and debased detritus of contemporary culture.





Studio 1

Cass Fine Art

Cass Fine Art Studio 2 Active material Ben Cain, Marie Lund and Francesco Pedraglio The studio has focused on ‘live-ness’, affect and what might be considered to be the performative elements of art practice. We are familiar with the idea of artists and audiences having or lacking agency, but what does it mean for an artwork to have agency? As a result of the proliferation of user-centred design and content, interactive media, and an increasing presence of ‘speed’ in contemporary life, the desire for artwork to be active, to be live and responsive is greater than ever. Alongside brief seminars that introduce specific artists’ practices, theoretical texts and seminal exhibitions, we have dedicated more time to short workshops that seek to actively explore ideas through direct engagement with material, space and people. These workshops require students to produce work spontaneously and in response to a specific context. Bruno Latour invites us to consider non-human objects as ‘actants’, i.e. as able to ‘act’.

We are especially concerned with art that wants to be Doing Something, rather than simply reporting on or describing reality. Through making artwork (in studio and public sites), through discussion surrounding artwork (tutorials, seminars, workshops and lectures), through regular field trips, and through a collective studio exhibition at Supplement Gallery in Bethnal Green, this studio has looked at contemporary understandings of the terms ‘materiality’, ‘live-ness’, ‘action’, and ‘affect’, and how the definitions of these words may have changed over time. As artists, when are we being active, and when are we being inactive? Furthermore, might an artwork be considered to be active or inactive? This studio has been concerned with questioning the ways in which our work might affect the world around us – what are the consequences of our actions as artists? In a time when ‘austerity measures’



The Cass Session 2014–15

were introduced, apparently resulting from widespread economic crisis, and partly due to growing ethical/ecological consciousness, many artists are again interested in focusing upon making work that has a transient quality, even using their own body as ‘material’ or as an object or membrane. In this context actions and events might present a mode of practice that’s more appropriate to our time. Meanwhile, in direct response to the rise of the virtual, as well as automated and ‘hands-off’ production, artists have again turned to ‘folk’ and the handmade, and craft is again seen as having critical and political potential. Just as this studio has looked at art that is non-object, transient, and ‘almost not there at all’, we have been equally interested in hands-on dirty making and the types of investigation, open speculation, fumbling around for the unknown and, importantly, surprise, that are to be found in process art.





Studio 2

Cass Fine Art


The Cass Session 2014–15

Cass Fine Art Studio 3 Future fictions Oriana Fox and Pil and Galia Kollectiv Our world is in the midst of a silent revolution. Computer algorithms take less than a nanosecond to make or lose billions, street fighters tweet constant updates during uprisings, the bookshop is dead and its place is taken by the perpetual movement of Amazon’s huge warehouses. New digital technology offers huge potential and poses enormous problems in altering the very nature of work, politics, communication, the body and our physical environment. In the studio, have we sought the right tools to think about and respond to these enormous changes? How can art address the twenty-first century in the same way that surrealist film, cubist painting, pop-art appropriation or constructivist photomontage defined the twentieth? Can the laptop replace the studio or YouTube the gallery? Is the smartphone all

you need to capture the world we live in, or even create new ones? What does painting look like after the internet? How do image-objects behave when they move between the virtual world and the gallery, the media and the street? How does art move fast enough to respond to a world of high-frequency transformation? Future fictions considers dystopian fictions and strategies of subversion to think about the power of art in the information age. Looking at technologies of speed, post-human ecologies and fuWture archaeologies, we have tried to understand our own social context as contemporary artists. By combining practical projects, reading seminars, discussions, film screenings, lectures, presentations and gallery visits, we have explored different ways of integrating theory and practice.

Although this studio’s starting point was the relationship between technology and art in a changing world, there were no limits on the media and materials students could use, from performance and video to object- and image-making and beyond. Through this multidisciplinary approach, students considered different ways of constructing meaning. This year the studio visited exhibitions by Ed Fornieles at Chisenhale Gallery, Ryan Trecartin at 176 Project Space and K. P. Brehmer at Raven Row, ran seminars on accelerationism and post-internet art and experimented with online exhibition making and future archaeology. Producing work in painting, collage, photography, sculpture, 3D modelling and sound, students sought to absorb the ideas and ways of making they encountered into their own practices.

NATHAN LAHRAR (above)  SANTA SABULE (left)  Fine Art


Studio 3

Cass Fine Art

Our world is in the midst of a silent revolution.




The Cass Session 2014–15




Studio 3

Cass Fine Art

Cass Fine Art Studio 4 Making the stone stony Andrew Hewish and Rosemarie McGoldrick ‘Habitualization devours works, clothes, furniture, one’s wife and the fear of war. “If the whole complex lives of many people go on unconsciously, then such lives are as if they had never been.” And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony.’ Viktor Shklovsky, Art as technique

We promoted this art studio with those striking words, written a few months before the Russian Revolution in 1917. It’s a statement

against the attrition of routine. Shklovsky wished to reanimate what he thought he’d become too used to. Technique, device and the medium-specific in art were to be the methods: tactics to retrieve what he considered to be ‘consciousness’. In the past, this idea of making the stone ‘stony’ has sat very well with what others in the arts were thinking, too: German playwrights, Irish novelists and anglophile American poets, in particular. In fact, the ‘stony stone’ idea lies at the very corner of Russian formalism, almost a hundred years

ELINA BITERE  Timecycle, perspex, wood and sand.


The Cass Session 2014–15

old now and so in a conventional way a modernist antique itself; quoted, loved and fetishised in subject readers, journal articles and studio outlines like this. A century later, we locate much art now in an opposite way – alive exactly in the everyday, on the unnoticed margins of spectacle and sensation, temporary, jumbled and quiet. In what Iris Murdoch once called ‘the thingy world’, objects must be allowed to have ‘all a life and being of their own, and friendliness, and rights’. It’s in such a spirit of companionship that the

Making the stone stony studio has moved forward. We’ve been examining how our relationship with objects alters, once we think of them as things. This studio has been all for making things via their adjectives. Bottle, bottly. Lion, liony. Air, airy. Doesn’t have to be material, but can be temporary, evanescent, impromptu, too. That’s how art might still recover the sensation of life from what we’re all too used to... So stone itself has been just a useful umbrella for the studio. We have seen an art project develop about walking as art (Paulina Glimas). We’ve seen big, experimental steps taken by Guy Marshall Brown and James Johnston in the ceramics workshop, the first there in a long time at this art school. We’ve seen some great risks taken by the painters Charlotte Amey and Fatima Begum, moving off canvas and on to the walls and floor. Oli Spence has worked closely on his practice with the Centre for Recent Drawing at Highbury Corner. Shanna-Lee Thompson has worked on Caribbean artefacts using needlework, while Karen Watton has rethought staircases in stuffed cloth. Andreea Ionascu creates wide constellations on the floor to examine time. KAREN WATTON  8 steps to a stress-free office, fabric and stuffing


TRUDE BEKK  Liquid prey, fake fur and metal cage


Studio 4

Cass Fine Art

Cass Fine Art Year 1 Andrew Hewish, Mel Brimfield and Rosemarie McGoldrick Year 1 is (in old money) the first year of the BA Fine Art course. It’s traditionally a time when art students set out to specialise in their subject, after Foundation. And as every art graduate will testify, it’s a crucible of a year - a fantastic time of discovery, of getting used to independence, meeting other art students, testing your ideas against theirs and above all learning to love speaking about art – gaining the

confidence to do so in the safety of the art school. At the Cass this year, we split the Year 1 Art students up into three groups, each served by its own special tutorial team, so building on common concerns and skills. We’re proud to work our first years hard – there is a lot to be accomplished, it’s not an option to be laidback, and many art students spend some time getting used to this.



The Cass Session 2014–15

However, that’s all part of gaining confidence in art. Part of this year’s programme was learning in ‘Ways of Seeing’, a drawing module based around ideas from John Berger’s TV series and book. There was a carousel of project workshops in video art, painting, screenprint and etching, sculpture, performance and text. Art students had a lecture series in Critical and Contextual Studies in Fine Art, with three major

assignments over the year. The main thrust of the year was one in which a student first learnt to propose, research, develop and document their own year-long art project. This project stood alone from their other work. Students interviewed each other about their developing practice and took part in group critiques and seminars about art project methodology and research. We went on field trips to Oxford – once for a ‘virtual’ project at the Pitt Rivers Museum and again for a tour of ‘Love is Enough’, the Andy Warhol and William Morris exhibition, led by its curator, the artist and Cass Visiting Professor Jeremy Deller. There was an excellent response from the first years to the Christmas Show brief – ‘Workshop’ – and the Easter Show, with two buzzing private views in what we call the ‘Turbine Hall’ – the main boulevard area of the second floor studios. CHARLOTTE AIKEN  Untitled





Year 1

Cass Fine Art

Fine Art Studios, Easter Bunny exhibition April 2015 , Central House


The Cass Session 2014–15

Cass Fine Art Masters MA Fine Art MA Curating the Contemporary Patrick Brill aka Bob and Roberta Smith, Nick Haeffner and Nico de Oliveira Cass Fine Art has two postgraduate courses for those wishing to study Art at Masters level – MA Curating the Contemporary and MA Fine Art. Led by Associate Professor Patrick Brill (also known as the artist Bob and Roberta Smith), the MA Fine Art course at the Cass promotes the development of art student voices in the contested territory of the modern politics of art, and art’s place in the world. The MA Fine Art course at the Cass uniquely, in London, offers full- and part-time art students a studio space and unparalleled access to tutorial

support and workshops. The course has strong roots in socially engaged art practice. Postgraduate art students at the Cass are encouraged to think about the value of their art practice not only to the art world, but also to society itself. In 2014–15, art students on the MA Fine Art programme contributed to three major art projects of national and international importance. ‘Vote Art’ saw Cass postgraduate students at the heart of the political process, questioning individual engagement in the




Cass Fine Art

EXOTICA  Berlin Art Week 2015

LUCY SCHOFIELD   Where’s my boozer gone


The Cass Session 2014–15

2015 General Election. The Arbroath Template invited students on a field trip to Fife, asking them to contribute to an art project which looked at how images are shared online. The Arts Emergency collaboration worked with a charity to interact with the public in a display on site at the Cass, to encourage a debate about access to art education. Taught by Nico de Oliveira (Cass) and Daniel F. Herrmann (Whitechapel), MA Curating the Contemporary (MACC) is a course for students wishing to launch their careers as exhibition makers in the contemporary art world. The course is directly involved in the life-cycle of the Whitechapel Gallery, allowing students to acquire key skills in and knowledge of professional curatorial practice – invaluable to those seeking future employment in the sector. In 2014–15, the MA Curating course was heavily involved in many events here, and in Germany and Belgium. The year began with EXOTICA and 4 other cases of the self, curated

by Elisabetta Rabajoli, Nina Borel and Myrto Katsimicha, which ran from September 2014 to January 2015 at the Olbricht Foundation in Berlin. A new exhibition initiative using the Central House frontage began in the Windowspace. The long glazed space, visible throughout the year, has been occupied by new installations and other works on a monthly basis. Cristina Ramos Gonzalez and Thomas Stokmans presented solo shows by John Henry Newton, Alice Anderson, Ana Genovés, and David Osbaldeston. Miriam La Rosa, Alejandro Ball, Stefania Sorrentino and Margarida Amorim then developed the new LIMITACTION residency with artist Charlotte Warne Thomas, with changing window installations, interventions and a symposium at Whitechapel Gallery. MACC alumnus Niekolaas Lekkerkerk, a graduate of 2012, was declared the winner of the International Curator Competition 2014, an award that led to his show Percussive Hunter

A sense of things  Zabludowicz Collection, 2015



Cass Fine Art

in Istanbul in March 2015. Lekkerkerk’s Office for Curating, based in Rotterdam, has been active since 2012 in producing innovative exhibitions, events and publications. MACC’s first-year students were also hard at work with ‘A Sense of Things’ at the Zabludowicz Collection, London, in January 2015 (curated by Anna Viani, Eilidh McCormick and Emma Rae Warburton from the MACC, in collaboration with Goldsmiths’ MA Curating students. ‘Protecht’ at the Cass Bankspace featured the work of 18 national and international emerging artists. Through photographs, sculptures, videos and installations, the curatorial team (Matilde Biagi, Ines Costa, Fabiola Flamini, Alice Montanini and Antonio Terzini) scrutinised our relationship with the screen and the impact it has on our everyday life. Year 1 students also co-curated a four-day visit to Art Brussels week, featuring an extensive series of gallery openings and art fairs in the Belgian capital. They met with directors of the Wiels Contemporary Art Centre, the Flanders Art Institute, the Rodolphe Janssen Gallery and La Loge, as well as at Maison Particulaire, and with artist Hans Op de Beeck. The group also attended the Brussels Art Fair, and Poppositions, an independent fair for young galleries. The Royal College of Psychiatrists, London hosted A Statue is Present, curated by Rebecca Edwards, Caterina Berardi, Jack Parrott and Mariaelena Solig. The exhibition drew on the history of eighteenth-century statues to investigate improvements in the treatment of mental health through contemporary art. The Cass alumnus John Henry Newton’s show ‘Sun

Bleached Stills from a Number of Films’ at the Bankspace was curated by Iveta Filipov, Leana Lovell Gardner, Silvia Meloni, Kornelia Pawlukowska and Thomas Stokmans. Another project at the Olbricht Foundation, Berlin opens in June 2015 - Falling Fictions, a show curated by Amy Brown, Rosie Snaith and Alejandro Alonso Diaz. Concerned with metafiction and its narrative potential within the Olbricht Collection, the show features numerous works from that collection and a textual collaboration with the artist and Cass Fine Art tutor Francesco Pedraglio. Overall, a busy year for Masters students in Cass Fine Art.

A statue is present  Royal College of Psychiatrists, 2015

LIMITATION  Windowspace, 2015 - Sun Bleached Stills from a Number of Ffilms, Cass Bank Gallery, 2015


The Cass Session 2014–15


WINDOWSPACE LAUNCH 5 MARCH 2015, 6PM Launch of a six–month artistic and curatorial residency by MA Curating the Contemporary with artist Charlotte Warne Thomas


Conversation between Robert Mull and Rosemarie McGoldrick, Head of Fine Art

RM  What is Cass Fine Art – what makes it special? RMG  We teach fine art, we teach curating and introduce students to the best teachers, the best artists, the best art teachers they’ll ever come across at a superb location in central London. We also have a really good record in wideing participation – we bring Higher Education to art students for whom university admission may have been a struggle. Yesterday, our students gave ten-minute presentations. It was absolutely wonderful, and I just thought, ‘That’s our teaching, that’s the Cass.’ RM  In the interviews with the other Cass heads we’ve spoken about this general commitment we have as a faculty towards socially engaged forms of practice. What aspects of the Fine Art area and teaching have this sense of being socially engaged or dealing with social issues with local communities or further afield? How does that inform the work? RMG  We’ve got students involved with the Interact studio, working with architecture with the Roman Road, but also students getting involved with Patrick Brill and the Arts Emergency charity; we’ve got students linking up where we had a really quite interesting social exchange with Francesco and his residency in Mexico involving our students. And I think the more we can get socially active, that would be really useful for our students. In this year’s show there are students working on projects linked to working with people with mental illness and autism, for example. RM  I mean, there couldn’t be anybody more engaged with society than our own Associate Professor Patrick Brill. What do you see in his work, and obviously also our Visiting Professor, Jeremy Deller; what aspects of their work do you think inform and point to the future of Cass Fine Art? RMG  We really believe in social entrepreneurship. Patrick has worked with our students for many years. They’ve been actively involved within his practice. Jeremy Deller is talking to students about


the show he created in Oxford when they visited. Andrew Hewish is working with students, allowing them to curate shows at his gallery space, Centre for Recent Drawing in Highbury, and that’s been really good. Students who weren’t very confident last year have been involved in this curating programme, all of a sudden making amazing decisions about how to hang shows. The idea of students getting involved in making posters or being involved in the art party, again has given them confidence outside of their normal life inside the studio space, and that’s been really, really quite exciting, and I think students want to be engaged in the world more. RM  My experience of the Fine Art student, is that they have a sort of generosity to each other and to the world outside. They’re not inward-looking; they’re not obsessed with their own practice. RMG  We actively encourage students to collaborate, and they work very closely together. That doesn’t mean they’re doing it all the time, but we set up shows where students across the years work together, so they’re kind of talking, and so there is this collaborative encouragement between students that’s actually really important to the ethos of Cass Fine Art. And, you know, students do go out, they set up shows together, they set up pop-up shows outside as well, and they’ve been actively encouraged to do that. RM  And of course, two years ago, together we introduced the idea of the studio. Initially there was a degree of scepticism in Fine Art because my understanding is it’s quite an unusual model for Fine Art. I mean, how’s that now working? RMG  The structure built on ‘atelier’ experiments we were already engaged with. It meant that we could start structuring what we were doing in themes and teaching. And the great thing about the studios is that they offer intensive teaching, and therefore really good support to students. It’s in its third year and overall, I think it’s been an incredibly positive

The Cass Session 2014–15

thing. Students get really good teaching, not just from the two studio members, but across crits, and other exchanges that go on. There’s a healthy competition. Within the studio, we do have a lot of readings, seminars, going through texts, thinking about things, discussing things, so there’s lots of intellectual as well as practical stuff going on. And I think that’s something incredibly rare. The students that I’ve been getting coming for an interview can’t believe how student-centric we are – that we allow students to fail, that taking risks is really important, and that’s what we want to see. RM  Patrick Brill described us, the Cass, as the Aldgate Bauhaus, and I suppose by that he meant the bringing together of a lot of different disciplines in one place and one time in the service of clear social and material aims. What other Casses do you collaborate with, and which ones would you like to collaborate with in the future? RMG  I hope Interact will continue, in partnership with Torange of Architecture. I’ve been down to Portland because of the stone quarry sculpture trust and there’s the possibility of a project where architects and Fine Arts students could work and collaborate together, either with the Wildlife Trust or on rejuvenation. RM  Can you describe a couple of highlights of the year? RMG  The Christmas Cracker and Easter Bunny are incredible pop-up shows. We spend a couple of days setting it up, it’s collaborative, it’s about fun, it’s about experimentation, it’s about cabaret, it’s about performance and film. Students show to each other. It’s really interesting seeing first years getting involved tentatively and then really enjoying it. We do that twice a year, because I think a really important thing for Fine Art is display, how we think about display, and how we think about final year show. The graduation show is special – many students have lived down the road in Brick Lane or live in the East End, and it’s the first time a family member has gone to university or art college. They’re so proud

We all know it makes a difference. We know it makes a difference in rejuvenating local areas or parts of cities, and you know, the artists move in. of their kids at the final year show. And you see this kind of development from the first year, to the third year, where there’s this wonderful transformation. RM  What do you hope we’ll be talking about this time next year? RMG  People. So many great students apply. I really want people to come here, not only because of the location and the name, but we’re teaching in a particular way that nobody else is teaching. And display – more emphasis on showing, continuously, making use of great spaces to show in our own ‘Turbine Hall’. RM  I hear you have a weekly assembly. Do you sing? RMG  Patrick Brill did offer to sing. They’re really good because we gather

the staff and, we gather the students. It is re assuring. RM  When the architects moved to Central House there was an incredible evening where there were badges saying ‘Hug an architect’ and ‘Hug an artist’. How is that relationship? Do you think it’s time now to have fine artists and architects on the same floors? RMG  Torange from Interact was talking about the fine art influence moving into architecture. Also, there are models, where some Fine Art students would be much better going upstairs and talking to the architects about them. There is a feeling of freedom to be introduced and you could go and chat. RM  We’ve just had an election – what is the one thing that you would like the government to do in support of your area?

RMG  Related to what Patrick Brill’s doing with the Arts Emergency, actually getting arts back into schools, because we all know it makes a difference. We know it makes a difference in rejuvenating local areas or parts of cities; the artists move in and then it improves. It is such an important area of creative life, and gaining confidence. I wrote to students who’d left the university five years ago. All of them were involved in the arts in some way or another. They’re not all artists, but they’re running their own little artistic companies or curative companies, and they all talk about how important it was for them to be at art school learning these things, because it’s made them kind of adaptable to everything. To deprive kids of that, actually, is a really stifling, awful thing for a society; it has to be something that we all fight for. Where I live in Stoke Newington, there are lots of young artists, young creative students or whatever, all setting up their own little businesses. They’re not waiting for people, they’re doing it themselves, and that’s the great thing about being at art school, is that they just make it happen themselves. They’re not waiting for people. So that confidence has to continue to flourish, and a government cannot stop that; it shouldn’t be allowed to do that. These people can work anywhere and do anything. That’s a really positive thing. RM  Thank you, Rosie.

FINE ART BA (Hons) Fine Art MA Fine Art MA Curating the Contemporary MA by Project RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :



Cass Fine Art



My highlight was the first-year project Meet the Makers in the Bank Gallery. It was a great success and it does really reflect what we do at the Cass; collaborating with other disciplines and one-to-one making. It is socially engaged. It is architecturally relevant. Something that pertains to the current culture, current facilities, current ideas. Nate Kolbe

I find it particularly important that students experiment while they are studying, in order to change the profession, from the bottom up.

Students learn to question and to be critical about both current and future practice. Our duty of care extends to the culture of the school, the studios and the use of resources and materials. Signy Svalastoga

Sandra Denicke-Polcher

‘What I’m most proud of in the last year is this idea of making at the Cass. This understanding, or empathy that’s happening between the way the students are designing buildings, and how they’re thinking about them in terms of the material. They’re using and inhabiting the interior in relation to the outside. I can see that actually happening. That sense of judgement seems to be increasing, it’s maturing as the year goes by.’

‘There’s another form of care which I think the School is very well known for, making things carefully, the tectonics of architecture.’

Jane McAllister

Signy Svalastoga

Full interview  p. 192

Robert Mull ‘Students are encouraged to look at contexts around the world. Different geography, politics, climates and cultures. By doing this they get a better understanding of their own.’

Cass Architecture Studio 1 City terroir Alex Bank and Sam Casswell

‘London has looked very different at different times, and her citizens have lived different lives from our own; but a man or woman does not become a different person when they grow up, or change their clothes or gives up wearing a beard. What is true of people is true, in principle, of cities and particularly of London, whereof the majestic continuity seems as inevitable as the flow of the Thames.’ Ronald Carton, This Our London, London, 1948

This year the students of Studio 01 have explored what architects can bring to the complex and collaborative art of city making. Design processes have started and ended with the spaces between buildings;

the void spaces that form the backdrop to the life of the city and can be enjoyed by all. Earlier in the year, a number of small design projects and studies equipped them with a larder of methodologies for exploring and intervening in city space. In this text we will concentrate on just one of these, a collection of short films they made Public City Void screened earlier this year during Celebration Week. The students’ recordings attempted to capture moments in the life of ten public spaces in London. The purpose of the films was to make a portrait of the place that went beyond a surface understanding. Each vignette was filmed in a similar cinematic style, a combination of five or six still

shots, that captured the quotidian life and sounds of the city over which a concise narrative was laid. This narrative was distilled from research made into the forces – natural, political, economic and cultural – that have influenced and shaped each city void over time. The film was only one part of the research they made into the unique character, or city terroir, of each place. The other piece was a large composite plan and elevation drawing that recorded the measure and physical characteristics of the space. While the drawings were important and insightful, it was the films that surprised and delighted us most. The students were encouraged to research the site like a detective,

Public city void film, filming in the city, Clerkenwell Green, Cleaver Square (upper right) and Flat Iron Square (lower right)


The Cass Session 2014–15

KINGA AUGUSTYN  Public void spa terminus station, pencil plan

LEON WILLCOCKS  City void prospect Marylebone, pencil and collage

as Patrick Kellier often does in his films, looking for clues that reveal the latent qualities of each place. At the Economist Plaza in St James’s the students included a passage describing the neighbouring institution Boodles, one of London’s oldest private members clubs. This statement gives depth to the visual, communicating something very specific about how it feels to encounter this particular space in the wider city. Aside from the Economist Plaza, the majority of the public city voids were not architecturally celebrated examples of city space, nor technically all ‘public’. In many cases they may not have been planned or had any input from an architect, but evolved over time from landscape elements such as agricultural fields sloping down to rivers now buried beneath the city’s streets. Whatever the story behind their existence, they are all spaces people still remember fondly



and wish to return to. In their own way they are small gifts of publicly accessible space that contribute something positive to the experience of being in the city. Making the film inspired the students. It gave them the conviction to make their own proposals for a small piece of city – with public space at its heart – conceived in resistance to the predomination of soulless developer-led complexes built today with no sense of time or spatial generosity. The films were a reminder to us of how architects should engage with the full set of contexts of a place, including its everyday life. Through

this film the students have made a startling jump – similar to that of Michel de Certeau in The Practices of Everyday Life – from the third floor of Central House to the public voids of London, shifting their mode of vision from the detached to the engaged architect. This is not to suggest that the everyday prescribes a method of designing. Rather, exploring the life of a place acts as a catalyst for productive thinking when designing spaces with a sense of what we are calling city terroir. Public City Voids is available to view on vimeo: user33002505/publiccityvoids

Studio 1

Cass Architecture

NELLI WAHLSTEN  Spa terminus perspective view

CINDY RERITI  Pocket space Marylebone, grey card model 


SALAH UDDIN EKRAYEM  Cookery House Marylebone, urban elevation


The Cass Session 2014–15


KINGA AUGUSTYN  City terroir spa terminus façade study

KINGA AUGUSTYN  City terroir spa terminus tower, figure and viaduct

KINGA AUGUSTYN  Setting for a drinking fountain and open kitchen construction concept, pencil

IZA SASARAN  Public yard spa terminus, pencil and water colour


Studio 1

Cass Architecture

Cass Architecture Studio 2  Dissolution Freddie Phillipson and Lucy Pritchard

Monastery study models

Our studio is concerned with the relationship between city and landscape. We consider this to be in a constant state of adaptation, or dissolution: a work-in-progress, in which successive conceptions of settlement emerge from, and are applied to, the given terrain. This year students’ design research has investigated the idea of the monastery as a means of settling the land. We began by identifying the remnants of London’s monastic houses within the contemporary city grain. In several instances these


traces reveal the beginnings of the city’s subsequent patterning, the foundations of the urban block. A broad sample of Western European monasteries was then considered. All monasteries were within the Latin tradition – a lineage in which the ‘utopian’ aspects of Roman city planning can be seen to echo. Students explored the different scales of enclosure in these miniature towns, drawing and modelling the adaptations and differences which occur as a result of different locations and practices. These were made vivid

The Cass Session 2014–15

through a study trip to south-west France, where students intensively drew the relationship between architecture, city and landscape in a range of extraordinary complexes, from the abbey of Le Thoronet to Le Corbusier’s radical re-interpretation at the Couvent de La Tourette. Through this work the monastery was seen as initi­ating a reciprocal relationship between a settlement and the landscape territory beyond its walls. The design projects carried this thinking into proposals for the exemplary condition of the Somerset

HO NAM WONG  Sacro Convento, Umbria

Levels: a landscape in which medieval monastic settlements were responsible for the original draining and cultivation of the marshes between the Quantock and Mendip hills. The Levels remain a flooding landscape, with settlements occupying the raised ground appearing as islands during the floods. One of these monastic sites, Muchelney (meaning ‘Great Island’), formed the focus for project work. Students made careful studies of the archaeological site – the ruins of the monastic buildings ensuing from the Dissolution under Henry VIII – but also of the two villages which grew up around the monastery, the rich and diverse farmlands and agricultural buildings (both on the Levels and on the island) and areas which are set aside as protected wetlands. In these forms of order the various times of inhabitation manifest themselves as traces left on the terrain: suggestions for what could happen in future. The design projects seek to address some of the challenges resulting from the contemporary political, economic, social and ecological conditions of Muchelney and the Levels by offering strategic architectural proposals. In their design work the students suggest ways to adapt the existing settlement in order to ensure its continued viability. These projects propose to re-describe the monastic settlement in acknowledgement of present, and future, states of uncertainty.


JAMES MARKS  Mont Saint-Michel, Normandy

GROUP WORK  Somerset Levels regional scale map

CONTEXT GROUPWORK  Monastery scale model

Studio 2

Cass Architecture

TARN LEVY PHILIPP  South field landmarks

DANIEL DAO  Muchelney Castra

JAMES MARKS  Excavated welcome room


The Cass Session 2014–15

PHILIPPA LONGSON  High line, Muchelney

JAAHID AHMAD  Orchard territory

ANGE LEMEE  Landing station


THOMAS MCDONALD  Tower and walkway where the island meets the levels

EEVA SARLIN   Self-build along the Fondamenta

HO NAM WONG  South village edge building and walkway

Studio 2

Cass Architecture

Cass Architecture Studio 3  Re-imagining high streets and back lanes – from the Austin Estate to the High Street in Hayes Sandra Denicke-Polcher and Stefanie Rhodes

Studio 3 is a ‘live projects studio’ and has been working in Hayes, West London, for the last three years. This year, we have moved from the Austin Estate to the High Street and the backyards that support it. The Austin Estate lies adjacent to the High Street, facing the blank walls of the loading bays and car parks, but also brick walls screening courtyards used for storage, play, access to homes and the sale of a large selection of shoes. On the other side of the High Street the yards form a network of neglected wilderness, parking, dumping grounds and workshops. These spaces are connected to the High Street through alleyways, and have the potential to create new links – to the Austin Estate, and to the schools and residential areas beyond. The links between this and last year’s programme go beyond the physical links; one of the students

is working with the women running the Austin Estate sewing club, which came together through events organised by last year’s student Susan Kudo. Others have developed project ideas through events on the High Street in November, which included a paper engineering workshop for children, a gramophone installation, a printing studio and dance and parkour events. The studio aims to address the more challenging aspects of Hayes’ transformation from a vibrant but economically struggling centre to a rapidly growing Crossrail hub with prescribed aspirations. Throughout the year the studio has presented the projects in Hayes to local organisations and council representatives, and the conversations have drawn out particular links and local narratives. A proposal, for example, for a bicycle workshop

EKRAMUL ROBBANI  Station Square, initial proposal


The Cass Session 2014–15

reimagines how bikes which had been purchased by the council but have yet to find a home could be used, and the ambition to create a canoe club is part of a project looking at the potential of a canal inlet and adjacent industrial site. Students have integrated the feedback into their projects and followed up information and links that were shared. Some of these projects will inform the studio brief for the next year, while others have begun to actively shape local discussions, showing up opportunities where they previously had not been evident. This process of discovering real local potential through architectural proposals is central to Studio 3. It is a ‘live project studio’ and as such we work with real clients and build on the relationships the studio has established over the years in Hayes.

EMILY WHEELER  Bicycle community workshop linked to an NHS medical centre, proposal

GURPAL SINGH KULAR  Network of backyards, existing site plan

Presentation at Botwell Green Library, Hayes, 28 April 2015

MILANA RAIC  Integrating Austin’s sewing club into new backyard activities, strategy drawing

EGLE RADINAITE  Music in the underpass with recording studios above, proposal


Studio 3

Cass Architecture

EKRAMUL ROBBANI  Elevation study, proposal

MILANA RAIC  Front façades and back façades of Hayes High Street, sketch

EMILY WHEELER  Exploring the sliding mechanism, moved by cycling, model 


The Cass Session 2014–15

MILANA RAIC  Giebelhaus High Street, historic precedent

EMILY WHEELER  Bike frame structure, 1:1 prototype

HELIO SANTOS  Gramophone Jukebox, Action Day

EKRAMUL ROBBANI  Masterplan for the station area, proposal

MILANA RAIC  Sewing club on the Austin Estate, working together

EGLE RADINAITE  Recording studios, proposed plan

HTIKE YADANA  Action Day in Hayes, dance studio We would like to thank everyone who has supported us in Hayes, in particular: David Brough for his incredible local knowledge, contacts and generous support he has shared with us; Botwell Green Library; Mr. Puar (Chairman of Hayes Town Business Forum); John McDonnell MP; Maxine Willets from Acts 29; Hillingdon Play Association.

EGLANTINA HOXHA  Parkour Day in Hayes, flipbook


We would like to thank everyone who has contributed to the teaching this year: Richard Gatti, Step Haiselden, Maria Kramer, Tim Marcot, Bea Munby, Irene Djdao-Rakitine, Sabine Rosenkranz, Tom Routh, Karen Scurlock

Studio 3

Cass Architecture

Cass Architecture Studio 4  Cottrell & Vermeulen Architecture – ­ Aylesbury Archive Richard Cottrell, Rufus Willis and Anna Ludwig

Working with the casting and photography workshops we have sought to find ways to perceive and portray both the perpetual and ephemeral qualities of the city. We have experimented with forms of representation based on the transformative factors of photography – frame, vantage point, focus and frozen time – to inform our spatial interventions. Aylesbury Archive is a critique of tabula rasa regeneration, and the urban strategies that we have developed respond to local communities and collective memories. The studio has participated in workshops with Southwark Council and Local History Archive and the Creation Trust. To conclude and illustrate our findings students have proposed an archive that reflects upon the past, engages with the present and speculates on the future of the Aylesbury Estate.

Studio 4 continues to explore the London Borough of Southwark and develop urban strategies for this contested and changing piece of city. Our ongoing work on the Aylesbury Estate suggests an alternative approach to master planning and the public realm derived from fragmentary interventions that respond to specific context and local communities. As planning permission is granted for the outline plan that is intended to be realised over the next two decades, a range of conflicting urban conditions co-exist across the neighbourhood, from dereliction to refurbishment, demolition to construction. Built on the site of the former Walworth Common, the concrete slab blocks facing imminent demolition are occupied by protestors and consumed by the landscape. Rather than neglecting this

complex condition of regeneration purgatory we embrace the inherent uncertainty in order to critically address issues of conservation and continuity, preservation and permanence. To begin we reimagined the everyday and the mundane – gate ways, bus stops, street lights and designed interventions in the public realm –to provide points of reference and vantage amidst the ruination and reconstruction. Within this fragile and unpredictable context we went on to consider the theme of archive. Aylesbury Archive is concerned with notions of palimpsest in the city. On our field trip to the eternal city of Rome, we considered the city as illusion (Cinecitta), monument (EUR) and utopia (Corviale). The studio continues to develop collage and montage techniques to interpret and represent existing, proposed and imagined layers in the urban fabric.

SAMSON ENIOLA  Burst water main in Bradenham Gardens

FATIMA MOHAMMED  Hanging bridge on Heygate Street


The Cass Session 2014–15

HANNAH JARVIS  Snow globe model for the Creation Trust

LOUIS MAYES  Slide Archive section

LOUIS MAYES  Landscape collage plan

TOMOMI YAMAHARA  Landscape axonometric

TOMOMI YAMAHARA  External walkway


TOMOMI YAMAHARA  Aylesbury Estate phasing collage

Studio 4

Cass Architecture

FATIMA MOHAMMED  Route through Missenden undercroft

HANNAH JARVIS  Garden Archive room

SORAYA OSEI-BONSU  Landscape study for Print Archive

HANNAH JARVIS  Street light ‘eraser’

TOMOMI YAMAHARA  Bus stop ‘joiner’


The Cass Session 2014–15

Critics and Consultants Catherine Bates, Pierre Blanc, Anthony Coleman, Creation Trust, Rute Ferreira, Fred Gatley, Enrico Grimani, Catherine Hamilton, Sandi Johnen, Lefkos Kyriacou, Peter Laidler, David Lowe, Jane McAllister, Steve Potter, Lisa Rigolli, Paul Taylor, Simon Tucker, Sophie Williams, Suzi Winstanley

FATIMA MOHAMMED  Local Archive figure ground studies

SORAYA OSEI-BONSU  Print Archive section

FATIMA MOHAMMED  Plot 18 massing studies


Studio 4

Cass Architecture

Cass Architecture Studio 5  Courtyard and Tower Nina Lundvall and James Payne

Studio 5 are proposing experimental housing typologies on the dramatic rocky peninsular of Kvarnholmen just outside Stockholm. This ex-industrial area has been a site for progressive modernist housing since the 1930s, with low horizontal workers’ houses forming a counterpoint to the powerful vertical figures of industrial silos and warehouses. Our research and design this year has focussed on two distinct but related housing typologies that have a rich history, but are ripe for reinterpretation: the tower and the courtyard house. The first research project investigated a selection of courtyard and point tower precedents. 1:33 scale models were produced and lovingly furnished to convey the special qualities of these hardwon typologies. Site models and were also produced to evaluate the projects in their site context, and hand-drawn perspectives to show their architectural language and configuration of private outdoor space. We concentrated on moments of innovation, such as Scandinavian post-war folkhemmet housing, that successfully built on vernacular and modernist precedents, as well as post-war Italian and recent Dutch housing. We studied typological invention both in terms of the autonomous logic of architectural form and as historical critique; how the projects respond to context and the needs of a society at a particular moment in time. Currently Kvarnholmen is undergoing a long-term phased development to provide 3,000 new homes. With the more built-up northern side underway, later phases of urban blocks on the untouched southern side threaten to obscure


MARTINS SILINS  Evolution of courtyard house typologies

The Cass Session 2014–15

Kvarnholmen, site model

PAMELA SNOW  Ridge courtyard housing, Kvarnholmen Critics and Consultants Catherine Bates, Pierre Blanc, Anthony Coleman, Creation Trust, Rute Ferreira, Fred Gatley, Enrico Grimani, Catherine Hamilton, Sandi Johnen, Lefkos Kyriacou, Peter Laidler, David Lowe, Jane Mcallister, Steve Potter, Lisa Rigolli, Paul Taylor, Simon Tucker, Sophie Williams, Suzi Winstanley


ANETT BAKO  Parkeringsplatten Towers, Kvarnholmen

GUY POMNONGSANG  Drawing of Keeling Tower, by Denys Lasdun

Studio 5

Cass Architecture

the existing natural qualities and industrial heritage of the site. Our proposal is to replace the later unbuilt phases of the current masterplan with a new housing expo of tower and courtyard typologies to form a more responsive landscape urbanism. Our ambition is to renew the hopeful spirit of the temporary housing of the 1930 Stockholm Exhibition with new layouts, materials, structures and sustainable technologies. The phenomenon of the public housing exposition has deep roots in Sweden, pre-dating even the 1930 Stockholm exhibition and

Stuttgart Weissenhofsiedlung of 1927. Artur Hazelius pioneered the open-air folk museum at Skansen in Stockholm, collecting timber vernacular buildings from around the country to showcase a disappearing agrarian way of life to the inhabitants of the newly industrialised city. This tradition of exhibiting a way of life continues with recent expos in Malmö in 2001 and Tensta in 2006 to generate new neighbourhoods. Studio 5 visited Stockholm in November to survey Kvarnholmen and visit important examples of post-war urban planning and

ISABELLA ALEXANDRU  Drawing of Fredensborg courtyard housing by Jørn Utzon

housing. The final project unfolded with a series of briefs, starting with a landscape project to ‘prepare the ground’ for future inhabitation. Working at various scales, students developed their towers or courtyard houses further by making massing models and detailed material models at 1:33 of private outdoor spaces. These courtyards and balconies were the key to organising the interior spaces of these selfcontained typologies and configuring relationships between buildings and landscape.

JOSEPH WILLIAMS  Forest punkthus, Kvarnholmen

IRENE SCARAMUZZA  Early tower massing collage, Kvarnholmen


The Cass Session 2014–15

MICHELE STRIAIOTTO  Brovägen Towers, Kvarnholmen

ISABELLA ALEXANDRU  Norra Klippan shell and core towers, Kvarnholmen

RAFFAELA CUNEO  Cliff courtyard houses, Kvarnholmen

JAKUB KLIMES  Interior of courtyard houses

JAKUB KLIMES  Brofesten courtyard houses, Kvarnholmen


JOSEPH WILLIAMS  Forest punkthus, Kvarnholmen

Studio 5

Cass Architecture

Cass Architecture Studio 6  The apartment Andrew Jackson, David Leech and Martin Nässén

This year Studio 6 has explored the themes home and housing within the urbane context of central London. From the perspective of both personal experience and historical precedent we have aimed to clarify what it means to live in a metropolis, both as an individual and as a collective. Precedents from London’s rich and somewhat peculiar culture of housing has been set against precedents from Vienna, which we went to experience first-hand at the beginning of the year. Proposals have been developed for a number of defined sites within the boroughs of Mayfair and Kensington & Chelsea. Each of the sites has its own unique, at times eccentric, character formed through historical evolution and juxtaposition. Complex adjacencies of contrasting scale, form and character have

formed the setting for architectural speculation. Set against this highly compelling and at times exceptional architectural context is the reality of the increasingly global property market, which has turned these neighbourhoods into areas only for the superrich and stripped them of their social diversity. While not aiming to solve this general problem which housing in all of London is facing in one form or another, and which is political rather than architectural, students were encouraged to acknowledge this reality and to formulate projects that exemplify and illustrate alternative possibilities. Through careful readings of the sites and their specific conditions, interventions in the form of city buildings for domestic use have



The Cass Session 2014–15

been proposed. As urban interventions they have sought to liberate new potential beyond the limits of the site; urban gestures ranging from the opening-up of closed routes, to additive strategies of completing and mending the architectural fabric, to the overall figure of a building. A sense of generosity has been sought, with the ambition to make believable and enjoyable spaces in both the private and the communal realm, seeking to make positive contributions to the wider neighbourhood, and ultimately the city. Throughout, the study has oscillated between the personal and the collective, and between the ‘home’ and ‘housing’, with the aim to understand and interpret the social context of living adjacent to and together with others.

MAGGIE NDUNGU  Interior model

MOHAMAD ABDULLAH  Interior model

JAMES CLARKE  Interior model




Studio 6

Cass Architecture


MOHAMAD ABDULLAH  Sun in an empty room

MAGGIE NDUNGU  Sun in an empty room


MOHAMAD ABDULLAH  View from street


The Cass Session 2014–15



A Domestic Scene (My bedroom) Plan and internal elevation 1:25

MAGGIE NDUNGU  View from mews


ELISABETH FARGUES  Developed surface drawing



Studio 6

Cass Architecture

Cass Architecture Studio 7  Architecture of rapid change and scarce resources Bob Barnes and Bo Tang

DANIEL HAAGA  Proposed section perspective

Taking as a starting point topical issues of rivers in cities and the associated contemporary flooding issues, the studio briefs, of which there were six in all, proposed projects in riverside locations in London and Kathmandu. In Kathmandu there was a central city location known as the Ghats and another peripheral location next to the airport to the east of the city known as Manohara. In London the students selected sites either in Surbiton or Hampton along the Thames. The Kathmandu city centre site had an interesting historical temple context and the London site was close to Hampton Court Palace. The brief for building designs this year focused on structural issues, the portent of which was to become apparent in the aftermath of the earthquake disaster in Kathmandu in April 2015. This recent tragedy has allowed us to consider the importance of safe building technologies and made the students very aware of their responsibilities as designers. To start the year the students were asked in the preliminary project


to find a waste object, specifically an abandoned piece of furniture, and to meticulously draw and deconstruct this object and then reconfigure it as a new useful and recycled artefact. The idea was to work at full scale with real materials and learn about their particular qualities in detail in a workshop environment out of the studio. The design process also stipulated that the finished pieces should also bear their designers’ own weight, which was accomplished in all but a few cases. The issue of working at full scale and with the intention of reusing old discarded objects was to inform the later design problems in Nepal of recycling and fostering the innovative use of materials. Whereas the sites in London are not undergoing the transformations of their counterparts in Kathmandu, they still need to be understood as places in their own right, which have a future which is yet to be decided. Opportunities to learn from the local community were encouraged. In Kathmandu the two-week visit in November was initiated with a day-long walk around the city

The Cass Session 2014–15

to visit sites that had been identified by a summer working group, who had sought out areas undergoing significant change and under pressure from the rapidly expanding urban conurbation of Kathmandu. It was particularly interesting that the group split almost evenly into two groups working in the centre and the peri-urban locations of the Ghats and Manohara. In the former, the historically significant riverside ghats have been abandoned due to receding river levels and an infrastructure project to situate a new urban highway and main sewer along the redirected riverside, much like Bazalgette’s proposals for the Embankment in London in the nineteenth century, have resulted in the ghats becoming detached from the river. This deprives them of their function as places of funerial actives. We discovered many abandoned and dilapidated temples and shrines asscoiated with the ghats, beautiful historical buildings that were over five hundred years old. Sadly some of these, having survived the earthquake of 1934, succumbed to the 2015 earthquake. In the latter the


Site model

expansion of the city and the displacement of the slum populations that had gathered along the riverbanks but were now under pressure to relocate, were typical of the work of ARCSR over the past decade. The poignancy of the recent events highlights the fragile state of these monuments and communities in the context of twentyfirst-century Kathmandu. Projects for workshops, visitor accommodation, wedding venues, educational facilities, waste recycling centres, and commercial and mixeduse developments have all come out of the students’ daily conversations with the local inhabitants of the sites, crystallised by the cultural excursions carried out during the trip. Much pre- and post-trip research has located the appropriate materials with innovative constructional methodologies to propose structurally stable solutions for the mainly low-rise projects.



Proposed section through workshop tower

ANDRADA LUCA  Pigs going to slaughter

Studio 7

Cass Architecture

NIKOL PECHOVA  Market view

NIKOL PECHOVA  Section through waste processing centre

NIKOL PECHOVA  Rooftop view


The Cass Session 2014–15

Cass Architecture Studio 8  Industrious estates William Haggard and Josh Carver

Studio 8 explores the large and ugly structures central to the contemporary economy. Following three years of studying urban spaces of public exchange and consumption, we have begun a second three-year programme investigating the rural economic landscape and spaces of production; the places where people work and make things. The South Downs is the newest and the most densely inhabited of the UK’s 15 National Parks. Like the other National Parks in the UK, the rolling downland landscapes of the South Downs are not a wilderness but a series of largely agricultural territories shaped by human settlement over many thousands of years. 110,000 people live in the park, in settlements from small hamlets to large market towns, and it borders onto the near-continuous conurbations of the South Coast. Around 80,000 people work in the park boundaries. We studied fourteen working industrial estates across the Sussex Downs; the aggregations of sheds housing

the small industrial and warehousing businesses which provide a quarter of these jobs. On these sites between ancient woodland, open downland, heathland and farmland, we found a layering of historic and contemporary vernacular architecture; lowcost, informal, improvised, driven by economics and contingency but lively and rich in its functionality and interaction with the landscape. They are important places in the rural landscape and economy, worthy of consideration and respect. There are moments of ugliness and moments of beauty. We found wedding caterers, candle factories, manufacturers of military vehicles, importers of chewing gum, furniture makers, children’s party venues and music classes, and plenty of places to repair a car. Alongside these sites, we studied a number of parallel conditions. We drew the whimsical gatehouses of the ‘Great Estates’ and studied the role of these estates in the history of land ownership and the enclosure

WALDEMAR JANSSON  New gatehouse, model photograph


of the commons. We investigated the 44 Screwfix Trade Counters within by the M25, finding semipublic gatehouses of sites which were once rural industrial estates. A group building project for a university event enabled design ideas to be tested rapidly at small scale. We visited Palladio’s villas and the semi-rural industrial estates of Northern Italy, held a seminar with the New Economics Foundation on the local economy, and learnt about the Social Enterprise and MakerSpace movements. Based on this research, the students have proposed simple new buildings for people to work in, as part of an extension or adaptation to an existing industrial estate, without fetishising the existing condition or attempting to ‘fix’ its appearance. The interventions are studies for new forms of rural industrial architecture, harnessing sustainable energy sources and developing the local economy by enhancing existing clusters and proposing new circular business models.

WALDEMAR JANSSON  Vertical factory building, composite image

Studio 8

Cass Architecture

JUN KIM  New gatehouse, model photograph

KEVIN FAURE  Field pattern map, digital drawing

MAEES HADI  Industrial history study, digital drawing

HARA ANASTASIOU  Study, hand drawing


The Cass Session 2014–15

JAKE ARNFIELD  Biodiesel workshop interior, digital drawing

EDEM AGBODJAN  Vehicle study, hand drawing

HARA ANASTASIOU  Gatehouse section, digital drawing

MAEES HADI  Three colour study, digital drawing


Studio 8

Cass Architecture

EDEM AGBODJAN  Liphook study, hand drawing

FATIMA TAHIR  Mackley Industrial Estate, digital drawing


The Cass Session 2014–15

Cass Architecture Studio 9  Town life Fran Balaam, Miranda MacLaren and Michael Corr

Studio 9 is interested in the careful understanding of places. We engage with live projects, working with community groups, and real stakeholders, consultants and clients. This year Studio 9 has been looking at town life, exploring the cultural, social and economic townscape of King’s Lynn in Norfolk. King’s Lynn, a medieval port, lies at the mouth of the Great Ouse on the southern edge of the Wash. For centuries the town was a major trading point with the Low Countries and part of the Hanseatic League, a northern European trade confederation stretching to the Baltic. It was a place of towers – merchants’ lookout points rose high above rooftops and the town’s wealth was channelled into ecclesiastical architecture - steeples mingled with watchtowers, articulating the horizon. The old core of the town survives today, clinging to the once-bustling river’s edge: rows of merchants’ houses with grand seventeenth-century fronts, warehouses stretching down to the quayside, tight passages cutting across streets and a grand market square. Once a thriving vibrant town, King’s Lynn today is quiet, meandering, and almost forgotten. The impressive public spaces are now car parks and the river is edged with vacant plots and crumbling industrial buildings. The Hanse connections between King’s Lynn and northern Europe remain, and while trade has all but died off, Dutch gables abound, and the town has been described in the press as still having ‘something of the flavour of a Baltic port’. Drawing on the old links with the Netherlands, we visited Rotterdam and Amsterdam in November.


Housing for the Elderly Throughout the year we have been looking at the shifts and transitions in the life of King’s Lynn and its people, making decisions about what should be preserved and identifying scope for change and adjustment. Students were asked

to propose a mixed-use sheltered housing scheme for a site on the riverfront at South Quay, on the edge of the medieval town and adjacent to the Millfleet, a tributary of the Great Ouse. The brief responded to an existing proposal for the site, and with an ever-increasing ageing

CALVIN SCHERER  Proposed site plan, pencil and CAD drawing

Studio 9

Cass Architecture

population, Studio 9 set to re-imagine retirement living, proposing housing specific to the needs of the over-65s. Proposals consider both the intimacies of daily domestic life and the potential to enrich the public realm and contribute to the life of the town. Students were also asked to incorporate a public use as an interface between the residents and the town; these included wool production, pamment tile making, chicken keeping, a fish market and a horse therapy centre. The needs of potential residents were carefully investigated; mobility, flexibility, community, neighbourliness and the prevention of isolation were concerns. Boundaries and edge conditions of public, communal and private spaces were questioned and interrogated to create a balance between embracing activity and community, but not at the expense of privacy and dignity in later life.

MARCO NICASTRO  King’s Lynn landscape, CAD drawing

SEUNGHUN LEE  New archive


The Cass Session 2014–15

NIRALEE CASSON  Life on the first floor

SEUNGHUN LEE  Thorseby College, CAD drawing

PERSA TZEMETZI  Riverfront elevation

MARCO NICASTRO  New yard, CAD drawing


Studio 9

Cass Architecture

PERSA TZEMETZI  Courtyard view, printed tile

ANAMIKA PURI  Proposal section

SEUNGHUN LEE  Room perspective


The Cass Session 2014–15

JONNY CRAVEN  Greyfriars Tower

Cass Architecture Studio 10 InterAct Torange Khonsari and Andrew Hewish

TZVETELINA ILTCHEVA  Exploring the space between inside and outside

Interact is the newly formed platform/studio between Fine Art and Architecture. It is mainly designed for undergraduate BA courses, but is also open to postgraduate MA students at the Cass. Artists have always aligned themselves with the informal system and practice of the everyday, while architects are mostly aligned with the formal system of the state or financial power. InterAct explores spatial projects that sit in-between these two systems and explore the construction of the ‘liminal city’, where the formal and the informal are negotiated and physically constructed.


The project which is a three-year partnership with London Borough of Tower Hamlets, is a place-making project for the Roman Road. An empty left over site is secured for the next three years, to be developed as a base for an engaged development of the Roman Road. This year the students have spent all their time carefully designing and considering the space. The non-programmed and unconditional place outside the site as an extension of the street is one space. The space inside where community programmes and collaborations will take place has been designed indicatively, and planning gained. Most importantly, the threshold

between the unconditional extension of the street and the conditional place of hosting is the key component designed by students this year. Students directly engage on the Roman Road, and this year they did this through, engaging with an active group of over-60s called the Geezers in their campaign to save the pubs, made the Roman Road chair with a local trader or for a local resident, and finally they made a collective tea hut, which would be the first setting for the hostings that will happen next academic year. The relaxing of the planning laws has meant that shop owners leave their shops vacant as a tactic to apply

Studio 10

Cass Architecture

for them to become residential, which is more financially lucrative. As much as the planning department is trying to resist this, the move towards privatisation of shops, is supported by the London Mayors Office. The Architecture students as their main architectural project looked at notions of public homes. They explored how a private–public partnership scheme can allow a new typology of high-street housing to emerge. Each student set up their own brief and created a unique typology negotiating the private and the public.

VALERIJA KAMOLINA  Housing inspired by Escher

HANNELORE DUMITRACHE  Public home, public library and a home

VALERIJA KAMOLINA  Model inspired by Escher


The Cass Session 2014–15

InterAct collective design for the Roman Road tea hut

HANELORE DUMITRACHE  Library and tea house

OANA MUNUNAR  Site plan, community farm

Roman Road Hosts, our live space for three years on the Roman Road

PELIN SAGLAM  Drawing, Roman Road


Studio 10

Cass Architecture

Cass Architecture Year 1  Aleks Catina, Nina Gerada, Pascal Bronner, Tom Hillier, Tania Lopez Winkler, Orestes Chouchoulas, Punya Sehmi, Gonzalo Coello de Portugal, Colin O’Sullivan, Keita Tajiam and Dean Walker

ALEXANDER GRECO  Walking through the object

Studying architecture in the first year of the BA course at the Cass introduces our students to design processes and representation of ideas and concepts through making. The early project, Making Furniture, concentrates on the human scale and the craft of making as a means of relating the attitudes of care and consideration to the urban realm. In the tradition of our architecture school we never lose sight of the


poetic qualities of making as human expression, both ordering and enriching our living environments. In an exhibition we hosted in our Bank Gallery on Whitechapel High Street in December 2014 we showcased the work of our first years to the Cass community and the wider public. Where else would one have a show of one’s freshly produced work opening in central London just ten weeks after embarking on

The Cass Session 2014–15

the BA course? The opportunities that present themselves to us in our Aldegate Bauhaus require our students and our highly qualified tutors to challenge expectations of what we can do in first year, and exploit the possibilities of adding a distinct explorative character to our work. It therefore follows that ‘Creating Identity through Making’ has been the motto of our year. The major

ALEXANDER GRECO  Ground floor plan of yurt maker’s workshop


GROUP WORK  Testing upholstery mock ups


CHIDOZIE EZEH  Concept model

Year 1

Cass Architecture

design project in the second half of the year, Making Spaces, focused on the proposition of a small, carefully considered intervention in the urban landscape of London. These maker’s units, spread along canal sites in Hackney, richly reiterate the attributes we explored in the full scale of the preparatory project. Making Spaces is driven by consideration and care for the maker’s need, as well as the public face of making in the contemporary city. The project allows us to explore scenarios of a unified spatial experience of life and work, and the architectural language of thresholds and boundaries such a proposition requires. The designs of our students place their validity in the realm of a speculative reality, evoking the possibility and scope of architecture as a social practice.

MICHELA BOSCARDIN  Object project, hybrid drawing


GROUP PROJECT  Street furniture based on guitar-making processes


The Cass Session 2014–15

GROUP WORK  Testing a sound amplifier mock up

Florian Beigel Annie Spink Award for Excellence in Education 2014

1 December 2014 Professor Florian Beigel won the Annie Spink Award 2014. The Annie Spink Award is open to teachers (individuals or groups) working on any internationally recognised RIBA course who are involved in the development of architectural education and engage with the process of teaching and learning.

JOSEPH BODANSKY  San Lorenzo, perspective


The Cass Session 2014–15



Cass Architectural Diploma Unit 1 Beyond object-ness, a good house Florian Beigel and Philip Christou

In the design research we do in practice and in our discussions with students, we are continuously working with ideas of space. We are not interested in form following function. Firstly it should be a good room, with good proportions. It should have character, perhaps a certain awkwardness or irregularity. This might come by offering a good view, a good relationship to other rooms, and connections to the exterior and the city. It can come with a clear tectonic language and an ability to use a little of good materials selectively. We are constantly reminding students to be sensitive to and always draw the larger context beyond the building – the horizon, the space of the city or the landscape.

We have in one way or the other always asked students to think about the space in-between – the void, rather than the things or objects. We think architecture is the embodiment of the relationships between things rather than the things themselves. This year we have asked this question quite directly: can one find an architecture that is not focused on object-ness? Kasimir Malevich wrote about Suprematism as a ‘new objectless construction of relations among elements through which sensations (feelings) are expressed.’ In parallel with the idea of beyond object-ness, we asked the students to design a good house or ensemble of houses with good relationships

WILLIAM BURGESS  In Alvaro Siza’s Quinta da Malagueira urban landscape project of patio houses in Evora, Portugal, several existing farm houses were retained and artfully embedded into the urban fabric of the new district. In this proposal, two new farm houses are built next to the existing farmhouse. The interior is a large hall where several dwellings and workshop rooms face each other, as in a small public square. The open-ended nature of the construction and spatial relationships in this design anticipate changes that happen over time


The Cass Session 2014–15

JASMINE LOW  One corner of a mat of patio houses in Alvaro Siza’s Quinta da Malagueira urban landscape project in Evora, Portugal is reconfigured with several public voids. Public and domestic activities are in close proximity. A public hall, like a small tower house, makes an active relationship with Siza’s overhead infrastructural ducts and the horizon

JASMINE LOW  A study of figure and void


WILLIAM HARDY  Built on the outside of the city wall of Évora a new city building is one of an array of long walls with small buildings that mark the edges of territories of fields laying perpendicular to the ancient aqueduct. This gives a measured sequential experience as one approaches the city from the landscape.

Unit 1

Cass Architecture

between the house and its context and between the spaces inside the house. Students should think about what makes a sense of place and a sense of time. What is it that gives a place character, offers a feeling of well-being and gives people the desire to return? The project is intentionally not about housing, as it should not be a systematic repetition of a type. Students have designed houses that are not only places for domestic living. Some have designed a workshop house, a farm house or a shop house. These houses are places of employment as well as a place to live, and the city district will be enriched by these multiple public functions. In November we visited the ancient city of Évora in Portugal, where Alvaro Siza has been working since 1977 designing the Quinta da Malagueira district of patio houses. Siza is someone who brings a gentle sensitivity and artfulness to architecture. Students selected six sites for the final design project: three within or in close proximity to the city walls of Évora,

EMILY SCOTT  An interpretation of ‘beyond object-ness’ as a fabric of interconnected exterior and interior spaces.


The Cass Session 2014–15

and three within the archipelago of building mats in the new district designed by Siza. The relationships between the ancient centre of Évora and the new district is very interesting. In Évora a Renaissance aqueduct connects the dense city fabric to the open landscape of the region. In Malagueira a sophisticated architectural infrastructure of overhead service ducts gives spatial coherence and orientation to the city tissue with its mats of patio houses. The Siza project is by no means complete. This open-ended-ness is one of the most special characteristics of Malagueira. It gives a sense of time and the project is able to anticipate a future that is yet unknown. We try to encourage students to come to an understanding of the poetic dimension that comes with a good judgement about how much or how little to do in a situation. Students have tried to be sensitive to this aspect, and not build too much. A sense of an on-going project that is continuously evolving in time is an aspect that many students have tried to find in their designs.

JOE BROWN  Spatial concept drawing

JUSIN PARK  This design proposal works within the context of the Quinta da Malagueira urban landscape project of patio houses designed by Alvaro Siza in Évora, Portugal. It connects the Quinta gardens with the Siza district of houses. The architectural infrastructures of overhead service ducts that are unique to the Siza project can be seen in the distance in relation to the primary infrastructures of the proposal, drawn as a ruin.


Unit 1

Cass Architecture

Cass Architectural Diploma Unit 2 Housing and pleasure Tony Fretton

This unit teaches design and technical skills, cultural and theoretical awareness, and understanding of the nature and capacities of practice. In semester 1 each student designed thirty to fifty dwellings on the site of the 2012 Olympics according to the brief and master-plan of the Olympic Legacy Corporation and the London Housing Design Guide, to which they took a critical stance. In semester 2 each designed a new building for the British Film Institute on the site in the South Bank originally intended for its relocation.

How their buildings could be both iconic and have duration, how they could provide for cinema as both entertainment and a cultural force, how the interiors could be proper public spaces without the requirement to consume were questions that arose. Sigurd Lewerentz was said to be able to look for a long time at a building component (in one version of the story, a nail) and find things that he could say with it. After decades of architectural theory, our aim is to show that design and practice are forms of cultural and social intelligence.

Technical skills, cultural and theoretical awareness, and understanding of the nature and capacities of practice. EIKO KIZU  Houses for Sweetwater, evening image



The Cass Session 2014–15

PETER WILLIAMS  Sweetwater housing, adaptable façade

LIAM ASHMORE  Sweetwater

JACK HAWTHORNE   Sweetwater housing interior


Unit 2

Cass Architecture

JACK HAWTHORNE  Sweetwater housing façade

ANISH MISTRY  BFI, public interior


The Cass Session 2014–15

ROMEY EDWARDS  Sweetwater housing

THOM CHESSHYRE  Sweetwater, view north up mews street, Maxwell Render


Unit 2

Cass Architecture

Cass Architectural Diploma Unit 3 Topography and exchange Julian Lewis, Dann Jessen, Judith Loesing and Richard Hall

Walthamstow reservoirs, Tottenham

This year the unit has been working with two valleys. We started and finished the year around the Walthamstow reservoirs with an intermission in São Paulo’s downtown valley Vale do Anhangabaú. These urban landscapes formed the sites for an interrogation of the relationship between architecture and topography. Projects are concerned with how architecture might engage with this topography, how it can contribute to an understanding of a larger landscape, and how a topography of place can be understood and implemented as an architectural and spatial strategy. The unit started the year walking in Tottenham – recording and describing the urban landscape, it's spatiality and economy. Emphasis was placed


The Cass Session 2014–15

on unpicking what was particular about this landscape – to articulate the specific and varied qualities of the place in a way that would provide a productive architectural context. Students were asked to 'show us what they could do'; to utilise an existing making skill to develop a piece of work that would capture and communicate something essential in their interpretation of the place. Outcomes included castings, origami landscapes, stitched blankets, metal work, bookmaking and printmaking. In São Paulo the unit worked with downtown sites around the Vale do Anhangabaú - a buried river whose valley helped shape the original morphology of the city. Students were invited to propose a new industry based on their reading

of the particular economy and culture of each situation – and to translate this into an architectural response that was specific to the place. Projects were led by readings of the place as found; it's urban heredity; and nuanced observations about how these places are used. While in São Paulo, Unit 3 and the Brazil programme continued ongoing collaborations with Escola da Cidade, and visited projects by João Batista Vilanova Artigas, Oscar Niemeyer, Lina Bo Bardi, Paulo Mendes da Rocha and local architects’ offices. Returning to Tottenham, the unit built on the experience of working as foreigners in Brazil to provide fresh readings of the landscape. Individual student briefs synthesised interests exposed during the first part of the year, their particular take on the situation and the unit agenda. In response to recent developments and economic shifts in Tottenham, all of the projects contain some aspect of employment or production. The type and scope of uses have been proposed by each student as an extension of their individual theses and exchanges uncovered. Projects have explored the idea of the evolving landscape and architecture’s role within it. Students have used both analysis and proposition as a way of describing the topographies of their sites and how they came about, and to ‘join in’ with the evolution of these landscapes. The unit has further explored the notion of strategy and detail, alongside the ideas of layering, material intent and narrative, to develop architectural proposals that are rooted in their situation, set within landscape strategies developed from a careful engagement with the place – spatially and in terms of use – in order to shape or strengthen the landscape metabolism.

LILY NICHOLLS  Tottenham tapestry

LUXSIKA LUNLA  Tottenham objects origami

Critics and collaborators Escola da Cidade, Ana Araujo, Florian Beigel, Mark Brearley, Philip Christou, Sandra Denicke-Polcher, Maria Helena Flynn, Joao Guarantani, Jane Hall, Hans van der Heijden, Pablo Hereñú, Mark Lemanski, Megan McKeever, Darren Park, Emma Rutherford, Laura Smith, Martin Waters


North Circular, Tottenham

Unit 3

Cass Architecture

ROSALIND PEEBLES  Study collage of in-betweenness

CHLOE MOORE  Section stories

ROSALIND PEEBLES  Folding book of observations

Unit 3 at Lina Bo Bardi’s Teatro Oficina in São Paulo

ALICE VERGÉ  Downtown São Paulo from Edificio Copan


The Cass Session 2014–15

Cass Architectural Diploma Unit 4 SOL_ID Jonas Lundberg, Nate Kolbe, Eva Diu & Elian Hirsch

SOL_ ID  Urban cluster, Cali Green City

We are designing and building ‘SOL_ID’, a fully functional prototype of solar-powered sustainable affordable housing to compete at the prestigious Solar Decathlon Latin America & Caribbean 2015 in December. We are working on a professional project in an academic setting. We work as a team to invent, design, prototype, promote, discover and construct the house. Team Heliomet is an interdisciplinary student team operating out of Unit 4 on the Professional Diploma in Architecture course at the Cass, London Metropolitan University, working in direct collaboration with leading industry partners. Our team is comprised of nineteen students of architecture, five members of teaching staff,


and the Projects Office of the CASS. We are further supported by a number of industry partners, professional collaborators, supporters and partner institutions. The house must be constructable for $50,000 and house a family of five. The house is situated amongst neighbours in a clustered setting. At the urban scale the design creates a density of two hundred units per hectare. The house must withstand and excel in all categories of the SDLAC competition: 1. Architecture, 2. Engineering and Construction, 3. Energy Efficiency, 4. Electrical Energy Balance, 5. Comfort Conditions, 6. House Functioning, 7. Communication, Marketing and Social Awareness, 8. Urban Design and Affordability, 9. Innovation and 10. Sustainability.

Unit 4

Cass Architecture

TEAM HELIOMET  Mycelium bricks

SOL _­I D  1:10 Assembly model

SOL _ ID  Clip-on PV and balcony unit


The Cass Session 2014–15

It will be competing against nineteen other competitors in December 2015. To invent in architecture one must be brave and energetic. Brave enough to take a new idea and push the limits. Energetic in the face of setbacks and problems, dilemmas and regulations. Unit 4 has been designing, growing, developing and testing the use of mycelium as a structural and architectural component. The team have created a lab for growth, moulds and prototypes for testing and have worked out ways to deploy mycelium at a large enough scale to effectively use in the construction industry. The team have set up collaborations with other experimentalists to develop and construct using cross-laminated bamboo. The combination of material experiments has been born from a series of prototypical projects undertaken throughout the year. As in most design-based practices we understand that we are stronger as a single team: Unit 4 operates as an associative design machine!

TEAM HELIOMET  Mycelium bricks

TEAM HELIOMET  Mycelium lab and storage Facility -76°35'




Come join the project at: Project Partners & Supporters


5 km 1 : 500 000

SOL _ ID  Cali Green City plan proposal


CASS Projects, British Embassy in Bogota, Colombian Embassy UK, Anesco, BRE, STO Werkstatt, Ecovative, Price & Myers, City University, Amphibia Group, Universidad de Caldas, Green Center Cali, London Festival of Architecture, Stephen Lawrence Foundation

Unit 4


UNIT 4  Primitive Hut installation for the Sir John Soane’s Museum, Lincoln’s Inn Fields


The Cass Session 2014–15

Cass Architectural Diploma Unit 6 The march of the city Maurice Mitchell and Francesca Pont The march of the city is like a bull in a china shop, oblivious of established places of exchange, proceeding blindly with a tendency to neglect and eradicate everyday interaction in the service of its futuristic vision. It is incumbent on architects in these circumstances to grow new nesting-places for sharing. This year, Unit 6’s Architecture Exchange investigation involved territories in Whitechapel (London), Kathmandu (Nepal) and Rwanda, where the changing city topography is leaving marginal land, blighted places, and cracks and crevices within the city fabric in its wake. Our task this year has been to plant these territories with green shoots to provide an infrastructure for shared place and city making. At the start of the academic year (2014/15) students built three lamella canopies from recycled pallet timber on the roof of Central House, in St Botolph’s churchyard and in a pop up-market place off Brick Lane; all in Whitechapel.

Thereafter they carried out further in-depth site investigation at their chosen location (Whitechapel, Kathmandu or Kigali). Students carried out transect walks and measured surveys, to sketch and interview and even build directly so as to embed themselves straight away in the situation in which they proposed to intervene in their major project of the year. The very act of measuring is a performance by itself and provided an entertainment to residents. It was the key to open the door to a range of cultural exchanges which gave insights into the relationships between people and place. This approach rejects the futurism of fundraising, institutional collaboration, a future plan, the accumulation of stock, and specialist skills; and instead embraces the super-present nowism of new no-cost permissionless intervention where innovation is pushed out to the edges: where the power of pull is greater than the burden of push. To address the contingencies

ROBERT JOHNSON  A corridor of green: Pragati Nagar, a slum settlement on the edge of Kathmandu on reclaimed flood lands beside the airport


Unit 6

Cass Architecture

ED DALE-HARRIS  Reconciliation through making: a house for the victim of the genocide, Rwanda

of city complexity and shortage of time, students have worked by a process of resistance and accommodation to the contingencies of the situation. They always have a compass but never a masterplan. As far as possible students have avoided proposing demolition, removal and replacement; seeking rather to add, transform and re-use. Interventions do not aim to simulate what already exists but rather to enable inhabitants to exploit its latent potential. In proposing what to erase and what to reveal, students are aware of their chosen site’s engagement with the changing city. Their investigation of context has been performative rather than formal. This strategy is intended to promote generosity in the act of making; involving craftspeople and residents in the use of materials, spatial resources and infrastructure to engage with and contribute to the culture and freedoms available to them in the city. As with other areas of investigation initiated by the ARCSR research area these studies have been carried out with optimism, in the hope and expectation that the creative interplay between the energy of the students and the residents’ ongoing act of dwelling will generate a valuable and meaningful architectural discourse around engagement with the city.


The Cass Session 2014–15

DAN STANTON  Building high in Kathmandu to reserve land for urban farming

Pradeepa graffiti temple

DANIELLE MIMRAN  Phasing: ongoing building of multi-storey incremental social housing, Jagriti Tole, Kathmandu

CHLOE ANDERSON  Historic development of Shanti Nagar, Kathmandu 2014. incremental changes in a dynamic urban topography

ISOBEL CHAPMAN  New High Street embedded between dynamic urban topography and situated civic institutions


Unit 6

Cass Architecture

JACK TIONG  Proposed bamboo civic hall for short-term sukumbasi slum settlement, Paurakhi Gaun Southern Ghats, Kathmandu

Neighbourhood axonometric, Arete market place, Rwanda, urban food exchange


The Cass Session 2014–15

Cass Architectural Diploma Unit 7 Going to a town II David Grandorge and Colin Wharry

This year, Unit 7 returned to Berlin to undertake the design of a specialist library and archive for post-war German art and photography on three sites; two north of the Spree in Mitte, and one to the south in Kreuzberg. The constitution of these sites has changed intermittently in relation to the traumatic history of a city subjected to the extreme conditions of war and totalitarian governance and, more recently, that of unbridled and voyeuristic tourism. Preceding this endeavour, in a spirit of rigorous geometric and tectonic exploration and the promotion of the architectural imagination, students undertook extensive drawn and modelled analysis of four exemplary baroque edifices. The drawings investigated the nonstatic geometrical principles underlying the form of the edifices and their significant thresholds from their exterior to their centralised interior space. The ambitious materially scaled models eschewed the decorative motifs evident in the original churches, taming their complex attenuations and distortions to produce something more abstract and austere. The spatial, material and lighting qualities of these models were translated to greater or lesser degrees in their library and archive designs. It was imagined that the library and archive would be a collaborative project financed and managed by the Stadt (city) and Humboldt University, and contributed to by publishers such as Walther König, Schirmer/Mosel, Hatje Cantz, Steidl and others. The library would contain a broad range of volumes on artists, from those engaged in provocation (e.g. Martin Kippenberger, Joseph Beuys, Sigmar Polke) to those who exploit technique, method and memory (e.g. Gerhard Richter, Bernd & Hilla Becher, Thomas Struth). The archive would store and display rare first editions, catalogues raisonnés and books published independently by artists.


WILLIAM SMYTH-OSBOURNE  Library, Klosterstrasse, view from street

HARRY THOMSON  Library, Cuvrystrasse, view from public garden

Unit 7

Cass Architecture

The library and archive were conceived of as spaces of work, contemplation and reflection. Emphasis was placed on spatial motifs particular to the civic nature of the programme – thresholds (from urban realm to desk), spatial hierarchy, spatial differentiation and compositional clarity. Characteristics of the photographic image – viewpoint, frame, composition, colour, contrast, spatial register – served, in part, to define the external expression of the propositions and many of their interior qualities.

ETHAN LY  Library, Bernauerstrasse, book stacks and reading areas

ELEANOR GRIERSON  Library, Cuvrystrasse, book stacks

BEN STRAK  Library, Klosterstrasse, reading room


The Cass Session 2014–15

HARRY THOMSON  Library, Cuvrystrasse, elevation studies

BEN STRAK  San Sindone, section and plan GEORGE REGNART  Library, Klosterstrasse, reading room

JOSEPH BODANSKY  Library, Cuvrystrasse, reading room

JOSEPH BODANSKY  Library, Cuvrystrasse, book stacks


SARAH HENRY  Sant’Ivo, section

GEORGE REGNART  San Carlino, perspective

Unit 7

Cass Architecture



5 SARAH HENRY, ETHAN LY, KRISTINA REINGOLDT  Sant’Ivo alla Sapienze, Francesco Borromini, 1642–60, cast iron


SARAH HENRY  Library, Cuvrystrasse, exterior study and rendered section


The Cass Session 2014–15

JOSEPH BODANSKY  San Lorenzo, perspective

RE-IMAGINING THE BAROQUE Models, various scales


1  San Carlino alle Quattro Fontane, Francesco Borromini, 1638–46, pre-cast and in-situ concrete, Robert Gillan, Michael Phipps, Alexander Rieveley 2  San Carlino alle Quattro Fontane, Francesco Borromini, 1638–46, high-density cork, Hugh Counsell, George Regnart, Harry Thomson


3  Sant’Ivo alla Sapienza, Francesco Borromini, 1642–60, cast iron, Sarah Henry, Ethan Ly, Kristina Reingoldt 4  Sant’Ivo alla Sapienza, Francesco Borromini, 1642–60, softwood, Eleanor Grierson, John Kirwan


5  San Lorenzo, Turin, Guarino Guarini, 1668–87, pre-cast concrete, Jason Bechtle, William Privitera, Demetri Zacharia¬ 6  San Lorenzo, Turin, Guarino Guarini, 1668–87, steel and fibreglass, Joseph Bodansky, Barnaby Hughes


7  San Sindone, Guarino Guarini, 1667–94, pre-cast concrete, Alexandru Nacu, William SmythOsbourne, Ben Strak 8  San Sindone, Guarino Guarini, 1667–94, oak, Valentina Billios, Sean Kitchen, Sophia Robson

Structural Consultant Alan Conisbee

HARRY THOMSON  Library, Cuvrystrasse, view across the Spree


Critics Matthew Barnett-Howland Peter Karl Becher Trevor Brown Tom Emerson Andrew Jackson Patrick Lynch Matias Musacchio Bex Roberts Rowan Seaford

Unit 7

Cass Architecture

Cass Architectural Diploma Unit 8 The public face of De Beauvoir Town Stephen Taylor, Theodoros Thysiades, Sam Holden and Jamie Dean

This year Unit 9 has made building propositions in the post-war reconstructed neighbourhood of the De Beauvoir estate in Hackney, East London. We have been reflecting upon how for the most part, in its housing design, the ‘modernist project’ severed continuity with the past, ideas and traditions that London housing had long evolved through the two centuries from 1700 -1900 from the classical ordering of Georgian terraces, to the flamboyancy of detail and façade expression of the late Edwardian period and its influences from the Arts and Crafts movement. Shaw, Webb, Lethaby, Voysey and Lutyens all made buildings with considerable invention, experimentation, and surprise. They ‘sampled’ architectural styles; distorted and reworked techniques to make their own. They composed domestic façades with a public reach, buildings that belonged to the city - their character and expression for public consumption. The façades of their buildings could contain great poetry and connect with our collective memory, communicating ideas through an artistic arrangement of parts, familiar imagery



The Cass Session 2014–15

combined with unfamiliar juxtapositions. These buildings could present moods, attitude and awkwardness. They could be theatrical, command an urban junction, turn corners and beckon the adjacent city. They could be figurative, brooding, humorous, ironic, commanding and romantic. Against this rich culture of interpretation, experiment and reinterpretation, the explosion of modernism was a kind of aberration and with it came a lost heritage in its realisation of the post-war city. In November our study trip took us to Venice where we explored the local campi, scuole and palazzi and learnt about the natural development of the city, its public spaces, the demeanour and decorum of its buildings and their practical design. Upon our return to London - and continuing the idea of architecture as a form of palimpsest – our students were asked to rework sites on the fringe of the De Beauvoir estate and the adjacent nineteenth-century neighbourhoods of classical and vernacular housing stock.




YOSHI HAYASHI  Visualisation


Unit 9

Cass Architecture

While recognising the heroism of these post-war estates, now a familiar part of London’s urban landscape, students have evaluated their success and failings as part of the neighbourhood’s broader historical trajectory. We have worked on five sites within the estate, each containing existing buildings from across this period. Students have integrated


new building propositions, densifying their chosen site. Programmes consist of a range of functions that make up the city, not least workspace and housing. However the focus of the year’s work was on the building’s public face; its potential to communicate ideas and artistic intention, and its part in the wider conversation of the city.



Collaborators Allessandra Greggio David Valinsky Douglas Murphy Critics Andy Holden John Glew Tony Fretton Peter St John



The Cass Session 2014–15



Unit 9

Cass Architecture

Cass Architectural Diploma Unit 10 An architecture of relationships II Signy Svalastoga, Jonathan Cook and Edward Simpson

This year we continued to investigate territories in the Miyagi Prefecture of Japan, one of the regions worst hit by the Great East Japan Earthquake in 2011. We established a formal collaboration with Miyagi University and have, with Professor Senhiko Nakata and colleagues, continued to learn from some remarkable post-disaster projects and initiatives, which indicate a shift in planning and urban design thinking and a desire to rethink sustainable living in this part of Japan. Specifically we continued to work in the Nobiru and Miyato Island areas of Higashimatsushima with Shintaro Tsuruoka and Yuko Odaira of the NGO HOPE, and in the neighbouring town of Ishinomaki.

‘I am convinced that the earthquake and tsunami that struck the Tohuku region of Japan on 11 March 2011 provided an opportunity to redress the balance of this social and cultural decline. Tohuku has the richest natural resources of Japan, and was the place where many craftsmen with skills that utilised the natural environment lived and worked. But the Tohuku we saw destroyed by the earthquake and tsunami was not the old Tohuku with which we were familiar. It was not the Tohuku that had been the paradise for craftsmen. Row after row of prefabricated housing units had been assembled from parts made in factories, and people living in these units commuted to work in the cities by car. A lifestyle similar to that of the American

Unit 10, box art

BEN STUART SMITH  Landscape plan


The Cass Session 2014–15

Primitive Hut

Unit 10 Primitive Hut

suburbs had destroyed the rich and distinctive culture of the region […] Cultural anthropologists have pointed out that this relationship – the production of things using place as material – is the most important relationship of humankind. […] Architecture is an act of producing a thing from a place…’ – Kengo Kuma 2012 Starting from a concrete situation of urbanity, the unit stresses the use of a combination of research, thinking methodologies, and creative practice to propose strategic interventions that


TOM MELSON  Nobiru Archive

Presentation at Miyagi University November 2014

span extremes of scale, from the immediate and personal, to the collective and geographical. A common attitude and investigation into the material manifestation of the environment underpins continuity from the detailed to the large scale. Architecture, landscape and urbanism themselves are not seen as a shift in scalar thinking, but as overlapping and inseparable fields occupying the same territory. We promote notions of ambiguity and imperfections as productive to the design

Unit 10

Cass Architecture

VARUN NAMBIAR  Perspective

VARUN NAMBIAR  Ishinomaki Live Work

process, looking at how ordinary spaces can hold the extraordinary. We emphasise the development of intuition and process to test and develop new forms of architecture, landscape and urbanisms in practice, as well as questioning the current state of play. Central to the philosophy of the unit are the notions of tolerance, generosity, an economy of means and time. As part of the introductory projects, Unit 10 participated in the Primitive Hut competition organised by the Cass and the Soane Museum. Out of the seven entries, the Unit 10 entry, led by Ben Stuart-Smith, won the competition. Our work from last year in the city of Higashimatsushima is currently being exhibited in the Rias Ark Museum of Art in Kesennuma, Japan, and we have been invited to exhibit the work of the last two years in Higashimatsushima in the autumn. We hope that these projects can help start a conversations about the future ambitions for these sites.


The Cass Session 2014–15

TOBY O’CONNOR  Nobiru water and escape strategy

IVAN BOZHILOV  Miyato Island Theatre of Regeneration

IVAN BOZHILOV  Miyato Island actor’s house

TOBY O’CONNOR  Sento street view

BEN STUART-SMITH  Nobiru flower fields


Unit 10

Cass Architecture

Cass Architectural Diploma Unit 11 Above and below Deborah Saunt, David Hills, Nicola Ibbotson and Matthew Lambert

Each year DSDHA’s unit tackles an aspect of the city that challenges our preconceptions, often confronting issues that might appear unpalatable or beyond the remit of the traditional architect, such as exclusivity in Mayfair, deregulation in Soho, or the un-nurtured design potential of infrastructure projects such as HS2. And with each investigation, we produce beautiful architecture along side relevant provocations that attract attention from a world beyond the Cass. Via design-based research we aim to redefine where architecture inserts itself into contemporary culture. This year we have studied the influence of a hidden territory within architecture, an unspoken critical threshold that underscores most of what we do but which often goes unaddressed, and is little understood: the world beneath our feet. Cities including Helsinki, Montreal, Singapore and Tokyo have developed underground masterplans, but what about London’s underworld? The basement boom in London spurred on by high land values and lack of space, coupled with Crossrail’s anticipated daily surge in the city’s population, suggest a future with yet more underground development. Until this year the underground was an area of London largely unregulated by planning authorities, but new policy documents are likely to halt many new proposals. Is this a good idea? Do we need to ask why would you want to go underground? Is there a cultural, financial or social argument that justifies excavation? And if we do build below, what is the potential character revealed by underground space? Reduced light allows things to emerge from the shadows. Political or spatial acts of ‘chiaroscuro’


The Cass Session 2014–15

could reveal a particular character. Being buried might provoke different emotional resonances. From the security of the nuclear bunker or scholarly archive to the claustrophobia of being trapped, versus the tranquillity of the grotto, this terrain demands exploration. The year began with a series of plaster studies of existing underground spaces in central London, revealing their unique spatial qualities and opportunities. A road trip across the UK stop at an underground flax mill in Leeds, an observatory in Kielder, and went on to Edinburgh to measure closes and alleys above and below the Royal Mile, capturing atmospheres through photography and sketching. Returning to London, mapping revealed the extensive infrastructure and geological networks ranging from 300mm to 60m below our feet. Working with engineers, we began to understand the technical complexities of excavating London. No detailed cohesive underground map of London yet exists, so developments try to avoid underground rivers, tunnels and other hidden services, as if playing a game of Battleships with the capital’s critical infrastructure. Reflecting on our research, speculative urban polices were developed anticipating the next fifty years in underground London: ‘Bury the ring road’, ‘Freedom to Dig’, ‘Basement Tax’ as well as ‘Squatters Rights for Subcultures’ all challenged our preconceptions of the city’s subterranean potential. Individuals developed these policies into specific projects articulating the transition from an above-ground public space to the lowest level of a basement proposal. Is it right to propose ‘(Under) Mining London’s Greenspace’?



AVA RICHARDSON  Cast of Gordon’s Wine Bar, plaster




Unit 11

Cass Architecture

TOM BESTWICK  Somerset House, cast, plaster


The Cass Session 2014–15

TANYA STAGNETTO  Royal Academy proposed section

ERIKA FRANSSON  Unit trip to Kielder

Anchors Close and Advocates Close, charcoal sketches

Unit trip to Edinburgh


Unit 11

Cass Architecture

Cass Architectural Diploma Unit 12 The accidental city Peter St John and Rod Heyes


Central London is famous for its resistance to planning, messiness, inconsistency and variety of scale. The city formed itself as a growing-together of villages, where the soft pattern of streams, tracks and field boundaries were the guidelines for its streets. It is the city of individual actions, of grandeur and informality, the ordinary and the beautiful together, offering an episodic experience that is always metropolitan. In the city, for example, buildings change their use and are modified and added to over time, creating composites of unexpected richness. In the city, buildings of different ages stand next to each other, their different heights revealing unintended views of blank sides or unruly backs, offering a variation that has a comfortable scale. And in the city the view from an upper room to a foreground and a background, to a pavement, a roof or a distant skyline, with the sound of traffic and trains,


The Cass Session 2014–15

allows the reverie of landscape. This ensemble of unintended complexity has been the starting point for our research. As a way of thinking about this pleasure, this year we have studied ideas of form and composition, specifically at how the loose and varied arrangement of a building can reinforce an open and democratic image of the city. We see this research as a contribution to ideas about London’s burgeoning densification, and its newly found confidence in using public space. By composition we mean the arrangement of parts to make a whole, in the form of the building, in its programme and in its relationship to other buildings. Composition is not an easy subject, but if its use is not merely an abstract pleasure, then it has great power. Composition gives buildings figurative qualities that can speak to the man in the street, and can generate different atmospheres within. We studied this first

JAMES BAILEY  Apartment building and school cascading back elevation

ALICE SHEPHERD  Apartment building elevation wrapped around a spire

HAMISH WARREN  Apartment building street view with blue roofs


Unit 12

Cass Architecture

by looking at composition in painting and sculpture, then at composition in architecture, before attempting it in design. All projects this year were located in South London, between Waterloo Station and Elephant and Castle. This very central and relatively unformed part of the city is currently undergoing an extreme urbanisation. We have worked at sites on crossroads and roundabouts; very public sites where buildings can be seen from different directions and against the sky. The projects of the year have mixed and dense public and private programmes, with housing and offices, shops and hotels, cinemas and fire stations. In November we travelled to Milan and Rome. In Milan we visited apartment buildings from the twentieth century well known for their considered urbanity, and studied the variety of their apartment plans. In Rome we visited palazzi and Roman ruins. On our tour we sketched buildings and city landscapes, from the pavement, from windows and from surrounding hills, developing a sensitivity for how buildings are experienced and how they become part of the city around them. ALASTAIR GREIG  Apartment building elevation

ADAM PERKINS  Office building after Daniel Burnham


The Cass Session 2014–15

AYESHA KHAN  Apartment building garden façade

RUPERT BUCKLAND  Swimming pool and office building after Alberti

JO BARNES  Apartment building scalloped end elevation

JO BARNES  Curving street façade

JO BARNES  Three buildings at a new street junction


JONATHAN CROSSTHWAITE  Fluted cinema façade

Unit 12

Cass Architecture

Cass Architectural Diploma Unit 13 New adventures in adjacency Geoff Shearcroft, Tom Coward and Josh Wyles

This year the studio has explored the potential of custom build as a development model for settlement in the Ebbsfleet Valley, the highly publicised area of Kent that has been the focus of much public speculation on the future of settlement in recent years. Described by artist, and former local, Rachel Whiteread as ‘the closest thing we have to America in this country, in terms of industrial landscape,’ it sits between the retail temple of Bluewater to the west, the proposed Paramount London theme park to the north and the productive fields of ‘the garden of England’ to the south. The valley’s post-industrial topography has provided us the opportunity to gain an understanding of past forms of settlement, to consider contemporary aspirations of private and public life, and to test forms of future inhabitation. We began the year with an exploration of architecture’s first adjacency: the primitive semi. Designing and modelling two attached dwellings, now and in 25 years, established forms and methodologies for our investigations

SAMUEL WHEELER  Ebbsfleet Arboretum, CAD image


The Cass Session 2014–15

of adjacency, user completion and character. Sited in the context of the valley it provided the opportunity to photograph and analyse the character areas that surround Ebbsfleet, to gain an expert understanding of the place and to propose appropriate architectures. Working collectively the studio developed a masterplan for the Ebbsfleet Valley, sampling previously experienced places to test scale, density and form. Taking the proposed infrastructure as a springboard we divided the site into different development strips, one per student, maximising the length of boundary between each to maximise the adjacencies of our new town. Twenty-one students, Twenty-one development strips, Twenty-one new types of living in one new town. Working between the image of the city and the detail of a housing type, each strip of our new town proposes a distinct place to live, rooted in the context of the valley and open to adaptation by it’s residents. The existing plan’s proposed

Primitive Semi Elevation, Photoshop Collage

density of twenty-four dwellings per hectare was tested and developed through proposition, with lived experience challenging the assumptions of technical analysis. The problems of designing the adapted future were actively embraced, with students providing plot passports as the basis for their peers to make designs for their sites. The studio’s final proposal for a new town allows the juxtaposition of contradictory desires to create a new image of the city in which the extreme adjacencies of different ways of living and the forms that accommodate them are synthesised and enjoyed.

Primitive semi-elevation, Photoshop collage

BEN ROWE  The user-completed street, computer visual


RORY RICHARDSON  Semi for bean, digital illustration

Unit 13

Cass Architecture

JACOB NEVILLE  Swanscombe, computer generated

MYLES TURNER  The evolution of Overgooi

EMMA ARMSTRONG  Image of the town, digital illustration

OLIVER JOYCE  Southfleet, watercolour and ink


The Cass Session 2014–15

Cass Architectural Diploma Unit 14 Architecture of Accumulation Pierre d’Avoine and Colette Sheddick

ANDREA ARIANESE  Origins of architecture, collage

Unit 14 has focused on an architecture of accumulation. We have been concerned with material culture and the ways in which humans live individually and in society – never independent from place or context. At a most basic level we acknowledge the impulse for humans to surround themselves with artefacts – tools, instruments and other material ‘things’ found or made, that are necessary to mediate the environment we live in and the way we interact with nature and one another. Not just useful things, but ornaments and trivial items which provide visual and other sensory pleasure – things that make life worth living. Across the stretch of history men have built on the foundations of previous generations and cultures so that our settlements are layered strata of debris, ruins


and waste – becoming part of the ground and requiring expertise and patience to decipher through acts of sifting, separation, classification and interpretation. Through engagement with cartography, archaeology and philology new architectural readings were made and drawn out. As physical layers are compacted, excavated and built on, so are the stories, myths and historical records of a culture and society. We have thus been interested in the act of curation at various levels and scales and in a variety of circumstances and situations. Reinterpreting Soane’s Primitive Hut We started the year with a project to reinterpret Soane’s Primitive Hut in Lincoln’s Inn Fields. The idea of the Primitive Hut was used to discuss

Unit 14

Cass Architecture

the origins of architecture, what is real and what is imagined, and to explore singular form, repetition and seriality in a landscape setting. We have been interested in how the Primitive Hut is conceived and made, the means of production and also how it will be perceived and occupied in the context of our own time – a time of irresistible expansion, simultaneous reduction in space standards, extremes of poverty and wealth, privilege and the lack of opportunity. Archive in the Roman Campagna The major project has been to design an archive – building and landscape – in the Roman Campagna, which we visited on our unit trip. Proposals demonstrate a curatorial engagement with the act of accumulation. It has been an invitation to form an attitude to economy and efficiency, dressing and adornment, accommodation and display, rarity and the commonplace

ANDREA, ARIANESE   Origins of architecture, collage


The Cass Session 2014–15

in the process of deciding and representing what is of value in the project. Investigation and Research We have explored cinematic techniques of making and representation – architecture as mise-en-scene, using the storyboard as well as technical drawing and modelled assemblage to study and test propositions. We have referenced post-war Italian cinema, Arte Povera, Luigi Moretti’s girasole and the work of artists and architects to investigate the potential of ‘poor’ materials to be gathered, sorted, reused and re-invented in the architectural project. Students were invited to make proposals that test existing built fabric and wider landscape at a range of scales. Our methods have included measured survey and mapping, precedent studies, making, ethnographic procedures related to anthropology and art practice.

Guests Miraj Ahmed, Peter Carl, Alan Conisbee, Sandra Denicke-Polcher, Max Fordham, Murray Fraser, Sophie Habermann, Andrew Houlton, Rosie Jones, Eleanor Lygo, Matthew Margetts, Jane McAllister, Mitchell Moreno, Hikaru Nissanke, James Payne, Freddie Phillipson, David Porter, Greg Ross, David Roy, Signy Svalastoga, Mo Wong

ROB LEECHMERE  Shrine section, mixed media

RYAN MCSTAY  Faleri Novi, planometric


SHUNSUKE KAWANO  Primitive Hut, pigment piece

DANIEL OLAFSSON  Ronciglione proposal, etching

Unit 14

Cass Architecture

JOSHUA HEASMAN  Artifice in nature, render


The Cass Session 2014–15

The Free Unit Professional Diploma, Masters Architecure Robert Mull, Catrina Beevor and Peter Carl The Free Unit enables students to propose and realise their own thesis projects. Students make a signed contract with themselves and their tutors; they also nominate ten friends to support and challenge them throughout the year. Then they develope their Free Gift – an element of their project to be given to one or all of their friends. Drawing and swapping workshops are held before students finalise their work in the summer. This year Free Unit students also made a collective submission to the Primitive Hut competition as part of our collaboration with the Soane Museum. Having been tutored by the artist Nikolay Polissky during our field trip to Moscow and Nikola Lenivets Art Park (where we rethought and refurbished the Soviet-era village shop), the students proposed that he and his team of former agricultural workers were the first company of noisy players to act in the

Free Unit Theatre of Construction in Lincoln’s Inn Fields. Just what it needs. Free Unit projects at their best are the initial phase of the student’s future practice; they are as diverse as the students themselves. Jayden Ali has proposed two buildings on the seawall and in the centre of Folkestone that will give presence to the asylum-seeking teenagers who have to live there until eligible for their adult permission to remain in the UK. Will Beeston site is the North Sea. He celebrates slow travel; focussing mainly on Harwich and Bergen, he has merged vernacular boatbuilding traditions with heavy engineering to re-think the perimeter ferry terminals. Ivo Carew has researched how manipulating the extraordinary can make the ordinary particular. He has devised a regenerative strategy for south Bermondsey that questions the developer norm.



The Free Unit

Cass Architecture

JAYDEN ALI  Home and away

Nadine Coetzee is reinstating the fynbos, which is the endangered botanic heritage of the Cape Flats in Cape Town, South Africa. By inventing a network of protective architectural elements and hydro-infrastructure, she is encouraging the indigenous plants to flower. Calum Green, already an advocate for the community land trust movement, has honed his design and advocacy skills through his proposal for one-hundred and forty homes on a large infill site in Lewisham. Jennifer Gutteridge weaves spatial narratives through derelict buildings in Birmingham to provoke a delicate structure of domesticity and sociability. Rosa Hannesdóttir converted a string of abandoned Icelandic farmhouses, recreating echoes of their past in her designs for hikers’ retreats.


The Cass Session 2014–15

Andrew Skulina and and Finbarr O’Dempsey have developed ideas about acoustics and peripatetic musical performance, leading first to a residency at Aldeburgh with the composer Freya Waley-Cohen and then a masterplan for the Director about how to further develop the Snape Maltings campus. Siobhan O’Keeffe has worked for the MAJ housing co-op in Tottenham, nudging the council to commit a site and tutoring her clients through notions of shared living, ending with a proto-typical proposal of loosely planned flats and desirable social spaces. Huan Rimington uses his experience empowering young people to design and build adventure plagrounds to embed positive risk taking within the programme of the studio school he proposes in Hackney Wick. AndrewWilkinson asks us to speak Glaswegian; he proposes direct action

to re-awaken redundant spaces, so creating an authentic architecture from the Scottish city’s everyday life. James Woodcock is the founder of the Institute of Resourceful Building Activity (IRBA) which he has housed in a structure designed from donated or scavenged materials in Aldgate. Eleanor Howard has used hand-fired bricks, chimneys and kilns to spark a food recycling and studio pottery infrastructure in London and Manaqua. Luke Miles has been working with a boys’ club to develop a scheme on the river combining recreational and training resources. Nicolo Sana has refined his participatory skills regenerating an unused factory in Italy. Andrei Silvestrov has critiqued Moscow’s ring of micro-rayon housing developments and designed an alternative sustainable model. Anna Webster has designed and built a house in Ghana using mud construction and recycled plastic water sachets. Frank, the village schoolteacher, has now moved in with his wife and new baby.

ANNA WEBSTER  House in Ghana

JAMES WOODCOLK  Tarp drawing for the IRBA


The Free Unit

Cass Architecture

The Primitive Hut, Theatre of Construction

NADINE COETZEE  The cape flats

ANNA WEBSTER  House in Ghana

The Free Unit would like to thank: Nikolay and Ivan Polissky and their team at Nikola Lenivets Art Park. Xenia Adjoubei and colleagues at the Moscow School of Architecture. Abraham Thomas and his colleagues at the Soane Museum. critics: Patrick Lynch, Ellis Woodman, Maria Smith, Daisy Froud, Alex Scott-Whitby, Tom Coward, Rowan Moore, Patrick Brill, William Haggard, Anne Markey, Jamie Baxter, Zofia Trafas, Phin Harper, David Kohn, Martin Waters. And all the project friends who have supported and challenged us.

ELEANOR HOWARD   Fruit crate contract


The Cass Session 2014–15

24 APRIL 2015

SIERRA LEONE’S FIRST SCHOOL OF ARCHITECTURE On the 24 April 2015, the Cass signed an agreement with the University of Sierra Leone and the Sierra Leone Institute of Architects to help found Sierra Leone’s first school of architecture. The new school grows out of our involvement with live projects and research in Freetown since 2008, and the work Cass researchers and students undertook in 2011 to help build the Ivor Leigh Memorial primary school in Kaningo. Our involvement in the school represents an important opportunity to help shape the architectural culture of Sierra Leone as it emerges. Our commitment is to help develop a curriculum that honours and protects Sierra Leone’s cultural, human and material resources. We will do this by sharing our expertise through staff and student exchanges, live projects and joint research.

In time, we will be able to offer students at the Cass the chance to spend time in Sierra Leone, working on projects in partnership with Sierra Leonean students and local architects. We hope that one of the first of these live projects will be the construction of a part of the new school of architecture in which we can demonstrate our shared values and commitment to a sustainable and culturally specific architecture. It is now hoped that this new school will contribute to the sustainable development of buildings and critical infrastructure for a postEbola Sierra Leone. The faculty is organising an auction of architectural drawings in autumn 2015 which will help raise funds both for the architecture school in Sierra Leone and to support the Nepal Earthquake Appeal.


Technology Bob Barnes, George Fereday, David Grandorge, Nate Kolbe, Maurice Mitchell, Sian Moxon, James Payne, Cheryl Pilliner-Reeves and Chianna Roberts

Technology modules in the undergraduate and postgraduate architecture schools equip students with a rigorous knowledge of construction, materials, sustainability and services, leading to an integrated development of technology in final degree and Diploma studio projects. This year the technology team has been joined by two new members of staff, Sian Moxon, technology coordinator for sustainability, and George Fereday, technology coordinator formaterials, fabrication and manufacture.

UNDERGRADUATE TECHNOLOGY 1 Tutors: Chianna Roberts, with Sian Moxon, Maurice Mitchell, and Cheryl Pilliner-Reeves We used five contemporary case studies – London park buildings – and undertook workshop tasks to understand and compare structure, orthographic views, materials, construction, environment and services in each. This basic set of knowledge and application is collected together in a tech book and used as reference for the final project; to frame, propose and investigate a technological question about the building, and use this set of ‘tech tools’ to find the answer.

UNDERGRADUATE TECHNOLOGY 2 Tutors: Cheryl Pilliner-Reeves with Chianna Roberts, Sian Moxon and James Payne In preparation for the application of technical knowledge of their own projects in the final degree year, second-year students tackle more complex precedents related to their studio work and compile a thorough analysis and evaluation of their technical resolution. This is presented in a tech book which includes group models of structure and envelope as well as environmental assessments. A set of annotated drawings of the precedents are drawn to introduce students to the conventions of detailed technical draftsmanship.


The Cass Session 2014–15

STUDIO 8 STUDENTS  Envelope model of Turner Contemporary, by David Chipperfield Architects. Technology 2

Stair workshop, measuring fourth year ATA stair models

STUDIO 5 STUDENTS  Structural model of Nuovo Portello Tower by Cino Zucchi architects

IDA, factory visit

ADAM CHELTSOV  Annotated drawing, GMH park kiosk by Jo Townsend Architects

STUDIO 5 STUDENTS  Envelope model by of Kvistgård housing, by Tegnestuen Vandkunsten architects



Cass Architecture

UNDERGRADUATE THIRD YEAR IDA (INTEGRATED DESIGN AUDIT) Tutors: James Payne with George Fereday and Sian Moxon  Consultants: Alan Conisbee, Saud Muhsinovic, Irene Djao-Rakitine, Ed Tricklebank, David Grandorge and Fred Miles The IDA is integrated with the studio design project, initially with a year-long diary of research and design development covering cultural context, professional practice, structures, materials and construction as well as services and sustainability. A technical report of the resolved degree project is submitted at the end of the year. Consultant structural and services engineers, landscape architects and other experts are invited to critique and tutor students in their final degree year.

POSTGRADUATE, FOURTH YEAR, APPLIED TECHNOLOGY IN ARCHITECTURE Tutors: David Grandorge with James Payne and Sian Moxon  Lectures on stairs were given by: Adam Khan, Edmund Fowles, Peter St John and Stephen Taylor This year’s ATA design charette for fourth-year Diploma students investigated the design processes, fabrication methods and sense of collaboration necessary to make a strong, stable and elegant stair that would internally connect the floors of Central House. The design project addressed issues of dimension, jointing, tolerance, strength, stability and material economy. It aimed to promote a direct engagement with material properties and afford an understanding of how thinking and drawing, allied with making, can inform design.

POSTGRADUATE, FIFTH YEAR, IDS (INTEGRATED DESIGN STUDY) Tutors: Nate Kolbe with Sian Moxon and George Fereday The Integrated Design Study follows a similar format to the undergraduate IDA, with input from studio tutors and with the same emphasis on beautifully produced books and reports. The module aims to promote and demonstrate the integration of key fields of professional architectural knowledge in the final Diploma design project. The IDS provides a practical framework through which students can address the professional practice and academic discipline of architecture.

IDS diaries



The Cass Session 2014–15

Group 1: Douglas Fir & Mild Steel

Group 5: Cross laminated Timber

Group 9: Precast Concrete & Brass

Group 13: Mild Steel Plate & Sections

Group 17: Concrete Lintols & Brass


Group 2: Plywood & Oak

Group 6: In-situ Concrete & Brass

Group 10: Precast Concrete & GRC

Group 14: Welded Mild Steel Plate

Group 18: HDPE & Steel Rod

Group 3: Plywood & Bronze

Group 7: Precast Concrete

Group 11: Mild Steel Sheet, Plate & Rod

Group 15: Folded Mild Steel Plate

Group 19: Re-use of Existing


Group 4: Douglas Fir & Mild Steel

Group 8: Precast Concrete

Group 12: Mild Steel Sections & EML

Group 16: Reclaimed Oak Sleepers

Group 20: Cast & Wrought Iron

Cass Architecture

Moscow School of Achitecture (MARCH) Xenia Adjoubai, Head of International Projects


Moscow Architecture School, the Cass’s sister school in Russia, is expanding: starting a brand new Bachelor of Architecture course this autumn, continuing the Masters programme where units are incorporating live project elements and engaging with Moscow’s energetically transforming urban fabric, and launching the MARCH Summer Programme of workshops and lecture series to inject the Moscow summer with fresh architectural thinking and ideas. 2015 will see the second MA graduate cohort leave MARCH. Last year’s alumni are working in architecture offices in Moscow and abroad, continuing their studies in Switzerland and setting up their own practices. This year’s Year 4 units ran on themes of Architecture as Metaphor, which looked at embodying the seasons through architecture; an Embankment for a Flyover as part of a live competition


in Moscow; Rubbish in the Mind and in the City, its management and transformation; and School+, which tackled the problem of transforming Soviet typology schools in a joint unit with the Lucerne School of Engineering and Architecture. Year 5 units this year ran on themes of Rethinking a Building, and the Sacred and Profane on the monastic Solovetsky Islands in the North Sea of Russia. The Rethinking a Building unit, led by Eugene Asse and Kirill Asse, took a fresh look at what comprises a building and the polar extremes of an architect’s role in its creation; each student proposed a personal manifesto as a result. They began with ‘buildings of desire’ and worked with a charity for the visually impaired to explore what constitutes material and architectural perception. The Sacred and Profane unit, led by Narine Tutcheva and Anton Petuhov, came up with an island-scale

The Cass Session 2014–15

development strategy for the most important place of religious pilgrimage and natural beauty in Russia; their project won the support of residents and was presented to the local government as an alternative that will bring a sensitive and economically viable approach to development on the UNESCO-protected territory in the coming years. This year MARCH and the Cass are launching new exchange initiatives for students and tutors, which offer the opportunity to travel and study in two of the most vibrant cities in Europe during the academic year. MARCH is proud to be part of the Cass Summer Show for the third year running, giving London a window on to what waits Moscow, and the rest of Russian, in urban and architectural projects in the future. The Cass gives a special award to the best MARCH Masters project, as part of the end-of-year award ceremony.








Cass Architecture

Robert Mull in conversation with Sandra Denicke-Polcher, Nate Kolbe, Jane McAllister and Signy Svalastoga

RM  What is Cass Architecture? NK  It is socially engaged. It is architecturally relevant. Something that pertains to current culture, current facilities, current ideas. SDP  And It needs to be relevant to the profession. I find it particularly important that students experiment while they are studying in order to change the profession from the bottom up. SSV  I think it’s also important that students learn to question and to be critical about both current and future practice. Our duty of care extends to the culture of the school and the studios and use of resources and materials. JM  Yes I think it should be engaging and inspiring. I think our students need to want to do more of it when they leave us. RM  How does Cass Architecture contribute to the wider identity and culture of what has been described as the Aldgate Bauhaus? SSV  I think the opportunities to emphasise making at all scales is where maybe it’s quite natural for architects and their curiosity to try to find out about all the possible ways of making that exist in the faculty. RM  The curious thing about architects of course is they don’t build their own buildings, whereas guitar makers build their own guitars. So how is making relevant to architectural education?


SSV  I think it’s relevant precisely because we don’t by and large build our own buildings, to develop a proper feel for materials and construction. So much so that when we engage with the makers of our buildings, we can challenge and we can have a conversation which is on an equal level. RM  You’ve spoken about the Cass trying to be ‘socially engaged’. What forms does that take in Architecture? NK  I think that is has to take several quite big roles. One, we see right away this current disaster in Nepal, where Unit 6 is currently putting together a set of responses through their Architecture of rapid change and scarce resources programme. But we see various engagements at full scale through my own work with Unit 4 about engaging with a culture well beyond our own. But also a very socially engaged problem of providing social housing at a very reduced cost to communities anywhere in the world. So I think that it’s mostly about talking about making in a place that is culturally and civically relevant. So I think it’s not just posing the problem of how to build, but also for whom and where. RM  OK. You spoke about duty of care. What is this duty of care phenomena? Sandra, it relates to your practice and teaching? SDP  Yes, it does. I think it’s a duty of care our students should be taught because it gives them something back. It gives them the purpose of working. I can observe that in live projects such as Made in Hayes,

The Cass Session 2014–15

where we encourage students to work with real communities and can see them experience their own sense of duty for these clients as equals. RM  This concept extends to international collaborations too? SSV  Yes, I think it’s very important that students are encouraged to look at contexts around the world. Different geography, politics, climate, cultures; by doing that one also gets somehow a better understanding of one’s own. For two years running my unit has been working in the post-disaster area in the north of Japan, specifically looking at what the local authorities there imagine is the future for the so-called red zones which were the zones inundated zones by the tsunami. We find that as outsiders we can offer suggestions and hope that so far has been invisible to the people who lived through this trauma. RM  So architectural studios work in India, they work in Japan, they work all over the world. What relevance does this ‘disaster tourism’ have for students who then ultimately would be working in a more local context? SSV  Being in a different culture, their sensitivity is heightened. Their prejudices have to be removed. That is quite a useful tool in every project. Maybe specifically when you work in unfamiliar territory you have somehow an ability to go beyond the obvious. JM  Going to look at disaster areas, it really brings home the very essential things

people need to use in order to just have an existence. I think that’s important for everyone to see. SDP  We don’t just visit disaster areas, we also have the Brazil programme where we look at living in the city, and there’s a lot I think we can learn from Brazil. We also live in a big city, in London, the other way around as well. It’s really a two-way thing. I think that dialogue is quite important. RM  There’s another form of care which I think the school is very well known for, which is making things carefully; the tectonics of architecture. How is that taught? How do you teach people design, good design? NK  I think to teach anybody how to build a building means to perform a series of decisions based on how one assembles materials. So they have to first start with the basics. What is the overall form? Then start to break it down into onstituent parts. So our Applied Technology in Architecture (ATA) programme constantly embeds a series of decision-making processes that has to deconstruct what they want as a design into what is a serious piece of wood or concrete or steel in order to understand what to do next. RM  I suppose my question was more that I sit in crits, and we look at an elevation, and there’s a window there and everybody agrees it should move a metre to the right, and that that is better. How is that taught and understood within the faculty? How do you teach aesthetics? SSV  I think it’s something that develops gradually. To constantly question one’s design decisions and look what would happen if I just changed it slightly, this is really important. SDP  I think we might disagree on the position of the window and not all agree that it needs to be in one place unless it’s explained by the student; there’s a certain process to how it ends up in a certain position. And we might say yes, it makes sense. NK  Which comes from testing, doesn’t it? It comes from this process of examining a situation and trying to figure it out through experiment. SSV  This of course depends on whether you’re inside or outside. RM  What are you most proud of in terms of what you’ve seen happening in Cass Architecture in the last year?


NK  I think the cumulative competitive aspect of some of the making that has happened this year has been particularly exciting. Whether it was the Soane Primitive Hut or the ATA stair models. There is this collective idea of the students making things together. Not exactly as a single unit, but as dispersed groups. Then putting them out in the public to be reviewed. RM  Which workshops or areas of Cass Works will you be encouraging students to get involved in in the coming year? NK  Well I’m going to continue to try to promote the digital workshops and the digital production facilities because they’re an incredible resource that takes a long time to nurture and develop and get the students to be proficient and effective at using. But they are, from my point of view, the future of the industry. RM  So you see no tension or conflict between the Cass’s tradition of making by hand and the opportunities that are present within Cass Works for digital manufacture and modelling? NK  I certainly do not. One of the great craftsmen of architecture would be Frank Lloyd Wright, who was constantly espousing the use of the tool as the freedom of the architect. JM  It goes back to what you were mentioning earlier about moving a window in an elevation, and an idea of making within the Cass. This understanding or way of empathy happening between the way people are designing buildings and how they’re thinking about them in terms of the material they’re using, and inhabiting the interior in relation to the outside. I can see that actually happening. That sense of judgement seems to be increasing. It seems to be maturing as the year goes on. RM  Which other Cass would you be looking to talk to and collaborate with in the coming year?

the building. Would you be enthusiastic about that? JM  I think it would be really good fun to do that. RM  What are you most proud of in the last year, this year? SDP  My highlight was the first-year project Meet the Makers in the Bank Gallery. It was a great success and it does really reflect what we do at the Cass. One was about collaborating with other disciplines. The other was the one-to-one making. So the students all made an object, and most of them put lots of care into that. SSV  I think gradually over the years there’s less conservatism with the units, the studios and the real choice of emphasis, which I don’t think was there a few years ago to the same extent. I think it’s really exciting the way Alex has managed to invite and encourage the Diploma students to come as critics for Foundation and first year. I’d like to encourage much more of that two-way traffic. The proudest moment personally is actually probably two: being invited to exhibit the Japanese work in a museum in Japan, and it is part of a permanent collection there. Then of course we managed to win the Soane Museum competition, which was unexpected, but very nice. RM  That was a great achievement – congratulations. So, looking forward to the coming year, what is the one thing that you think will define it? What will we be discussing next year ? SSV  I think the biggest challenge is to put in place a good structure for the Architecture Casses (undergraduate and postgraduate) – how that’s done and how that enables the school to develop is key. There will also be an emphasis on the teaching of technology and technical expertise across the Architecture area to reflect on next year. The development of ‘Cass Technology’.

JM  I enjoy the Art School, that part of the Cass. I enjoy the lecturers that Rosie has been bringing in over the year. I think they’re very good. I’ve talked to a lot of the Art students and they seem to be very willing to engage in the conversation. I feel quite honoured by it really.

RM  With recent changes to the structure of architectural education mean that during the course of this coming year, we’ll be looking creatively at the structure of our courses and the move to different models of architectural education?

RM  Because there is already a cross over studio isn’t there at undergraduate level. There’s talk always of mixing up Architecture and Art on different floors of

NK  I think what I want to look forward to next year is a better developed sense of thesis for both fourth and fifth year. Fourth year students going into fifth year



looking at an understanding of what the thesis means. RM  Do you mean design thesis or written thesis, or both? NK  I mean life thesis actually. It’s something that the students would leave the Cass with – an understanding of what they want to achieve in the world and being able to say that what they get out of the Cass is the ability to pursue that quest. We’ve seen it happen with certain students coming out of the Cass as full – bodied architects, who really know what they’re going to do in the world. I want to see that happen more and more often. SSV  But that doesn’t have to be singular. I mean I trained in Norway, I was taught by Peter Salter and then worked for Zaha Hadid. It took me years to reconcile all those different things; that’s not necessarily a bad thing. RM  Post General Election, what is it that you hope for in terms of the wider context of economic, social and political context that would most support Cass Architecture? NK  To allow people to actually construct their own architecture again. Whether the community at large will have architectural design directly available to them.

I think that’s a big challenge. Each of the manifestos has tried to discuss what they would do for housing shortage. Architecture is seen as the luxury of what building means, but actually it should become the necessity. It has to go beyond the economics of it.

the Argentinian writer, and they are quite opposite.

SSV  Well, I just hope it will be less reliant on private developers to deliver things like housing and schools and so on. Because I think that skews the kind of relationship, we – our students – can have with this society, which we should be serving.

SSV  Nearly any book of David Leatherbarrow. But in particular the one called Architecture orientated otherwise as a way of enabling students to think about the space in a different way.

SDP  I can’t put a big name to this question. My ambition is really to help students find their own belief systems and their own reason for working.

RM  Thank you. RM  Finally, in relation to your teaching, who do you find yourself most often sharing the work of with students? NK  I often refer to Eladio Dieste, a Uruguayan architect, an engineer who managed to produce remarkable structures out of the simplest of materials, the brick. This idea that the formation and the material organisation has one of the greatest roles in how architectural design becomes shaped – that is the one I probably always come back to. JM  It’s kind of a difficult question; I find myself hovering between two things and they seem to be opposite poles. One of which would be Marcel Breuer, and on the other end I’d have someone like Luis Borges,

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The Cass Session 2014–15

Collective Memory Florian Beigel and Philip Christou in conversation with James Ragonesi, based on an email correspondence that began in the spring of 2014

JR  You have each been invited, along with eleven other architectural teams, to work on design proposals for the rebuilding of the last remaining shanty town in Seoul, Korea; the so-called ‘104 Village’. Each architect is asked to design two separate hillside neighbourhoods within the village. What was your initial response to what the Koreans call a ‘moon village’, and how have you gone about the study and recording of its topographical, cultural and social identity? FB + PC  This is a very interesting and unusual design project. The intention of the organisers is to preserve the memory of the existing village in some way, while rebuilding all the houses. The challenge is to decide what aspects to preserve, and what to take away. We first went to visit this village in October, 2013, and we were of course very enthusiastic. There are many types of beauty in the existing settlement, amongst its messiness and apparent disorder. We had to stop ourselves from over-romanticising, and keep a clear and

simple attitude towards the design task. Some of our architect friends in Seoul think that this whole project is nostalgic and unnecessary. Others understand that it will become an important prototype project for future urban redevelopment, particularly in Korea. The Korean architect Seung H-Sang, as Seoul City Architect working with Mr Park Won-soon, the Mayor of Seoul, has initiated the project and briefed the invited architects. We have worked with Mr. Seung on several projects over the years in Korea, including Paju Book City. Seung has the idea that all the existing streets and alleyways, stairways and little public spaces, or ‘alleyway yards’ should be kept as they are, but newly paved. Also, all the existing topography of land terraces and retaining walls that the houses are built on to, as well as all the existing house plot boundaries, will be kept. Existing and new shared green spaces such as shared vegetable gardens will make an important contribution to the public space of the village.

JR  Being one of the last surviving village settlements of its kind in Seoul, how can architects give a sense of time and memory to this place, preserving its past and yet addressing the present conditions of low cost living, sanitation, quality of life and density? FB + PC  A team of historians, sociologists, and architects have made detailed studies and surveys of the existing physical and social conditions of the village. A comprehensive briefing document was prepared for the participating architects. All the houses will be completely rebuilt with better insulation, roofs, windows and doors, and a longer lifespan. We are looking very carefully at the photos that we have taken on site, without preconceptions. We are thinking of using a varied material palette similar to the existing buildings. We are concentrating on the design of the shared public spaces of the alleyways and small lanes. Finding characterful relationships between each of the new houses along both sides of the

104 Moon Village, Seoul, was mostly built by its residents since the mid-1960s on the lower slopes of the steep hillsides at the north-east edge of the city of Seoul. Each dwelling carries with it the story of its piecemeal construction over time. Photo supplied by Seoul City Mayor’s Office, Design Guidelines, 2014


Collective Memory

104 Moon Village, Seoul, site plan as existing

Site photo taken during the first visit Florian Beigel and Philip Christou made to the village in October 2013. Photo: Philip Christou


The Cass Session 2014–15

alleyways is our primary concern. We have made proposals for the plan and elevations of each house individually, responding to the specific qualities of the shared spaces and the culture of living in this place. JR  Do you find dealing with the city, at say the large scale of ‘104 Village, Seoul’, then finds its way back into your architecture at a more intimate scale? FB + PC  Yes of course. We call it ‘architecture as city’. This works at all scales, from the intimacy of the low windows that face the boulevards at the Cass giving good views for people sitting and working at a table inside a studio room, to the scale of a neighbourhood street, and to the scale of a city structure that acts like a topographical element in the landscape. Each is architecture as city. JR  Currently the houses follow the profile of the landscape, having full contact with the earth, almost growing out of the hillside. As you mentioned the new building structures should adhere to or respect the existing plot boundaries. How are you proposing to reconcile the differences in the topography?

FLORIAN BEIGEL  Design sketch of the main alleyway yard in Neighbourhood 18, where a slender tower is proposed as a small landmark at the junction of alleyways and shared alleyway yards

FB + PC  One of the most interesting aspects of this project for us is the fact that there is a ready-made landscape infrastructure of retaining walls and alleys that we are asked to inhabit with new dwellings. In some cases, we will need to repair or rebuild retaining walls. We are trying to take a close look at the way the buildings are made, the nature of the existing ceramic tile roofs, the way the entrance gates are positioned, the arrangement of the external patio spaces in relationship to the sun, and the tiny living rooms and ingenious use of every little left-over space. We hope to bring many of these special qualities of the existing houses into the design of the new houses.1 JR  It is often the case that this type of work, in sites that are full of history and emotions, becomes intimidating, especially for young designers. How would you advise one to approach this type of project?

ARU 1:20 design study model of the proportions and spacing of an ensemble of figures: door, window and ventilation flap above, within the regular rhythm of plywood fin walls facing the boulevards at Central House


FB + PC  There is no reason why a site that is full of character, history and cultural significance should be intimidating to an architect. Such a site gives one inspiration and is a pleasure to work with, even if it is a highly significant historical site such as Hadrian’s Villa outside Rome (we usually ask our Diploma architecture students at the Cass to make design proposals on sites like these). Once you have understood that

Collective Memory

with its ‘boulevard’ and its sense of the exterior. The boulevard on each floor is a social condenser within a plan of room studios, meeting /seminar rooms, and open hall studios. This whole tapestry of studio spaces of different sizes and types are all connected by the boulevard. It is quite important that the width of this space varies along its length, and the boulevards on each floor are slightly different from each other. The boulevard does not have any specific purpose or programme attached to it. It is being used for many things such as lectures, exhibitions or a space to talk and work. Many events happen here that we could never have anticipated. In the mid-1980s we designed the Half Moon Theatre further east from Aldgate along the Mile End Road. This was one of the first projects where we tried to make the interior have a sense of the city, a sense of exteriority. We thought of the theatre like ‘a scenic street with a roof over it’. Sometimes in other projects, for example in private apartment interiors, we have given some of the interior space a sense of the exterior – like a garden – and this helps to make the other parts have even more intimacy. JR  One almost feels that the new plywood walls seem to weave amongst the existing columns, establishing a series of rooms, thereby leaving the in-between space open and generous for public interaction. How did this arrangement come to be?

The boulevard on the fourth floor in Central House. Photo: Jonathan Lovekin, Nov. 2012 the context has special qualities, you find it is possible to make proposals that can heighten these collective memories of the place. In the end, you realise that no site is static. Each place that one works with, however mundane or seemingly empty, has had many alterations and changes, so the intervention that you hmake is only one piece of a long story of the site, and this story will continue in the future. JR  You have been practising and teaching architecture for a good portion of your professional lives at the Cass when it was on the Holloway Road in Highbury. When the faculty moved to its new home in Central House, opposite the Whitechapel Art Gallery in Aldgate, you had the opportunity to question what a school of architecture should feel like when Robert


Mull asked you to design the new studio spaces at the Cass. I’m wondering what were the architectural concepts that you considered to make this architecture of meeting spaces, communication and vitality? FB + PC  Most of our works over the years in one way or another can be seen as an architecture of meeting places and gregariousness. We think of the design we have made for the Cass like a small city within the building. There are wonderful views from inside this little city towards the City of London to the west, and to very special local buildings such as Christ Church, Spitalfields designed by Nicholas Hawksmoor to the north. Students and staff of the Cass are by now very familiar with this little city

The Cass Session 2014–15

FB + PC  We like the robustness of Central House. The existing building has a strong character. We have tried to make this industrial quality and rawness visible. For example, a large mushroom column in the south-east corner of the building is given a special place in the fourth-floor boulevard. The existing heavy masonry piers that used to support cast-iron fire shutters in the former textile factory are retained as significant architectural elements in the boulevards. The heavy timber loading doors on the east elevation of the building are another example of a ’time witness’. We hope that a certain sense of balance and friendliness is struck between the new and the old that gives people a sense of time and memory of place, without becoming overly nostalgic or romantic about the past. JR  The ground floor of Central House is now occupied by a gallery and café, connecting the faculty to the wider context. What is the next phase of the development? FB + PC  The little café and the gallery currently on the ground floor of Central

House are temporary installations. The gallery was built within the partially demolished north-west corner of the ground floor, where a bank used to be, as a two-week live project in October 2012 by Diploma Unit 7 students under the direction of David Grandorge. It has been used for several exhibitions, but it should be used more. We have designed a long bar/restaurant and a new faculty gallery that we hope will be built one day. The bar will stretch from the main entrance on the west side of the building all the way to the north-west corner facing the Whitechapel Gallery. Two new gallery rooms for the faculty will also be built on the ground floor, next to the long bar, with large windows facing the High Street. This was going to be built as part of the second-phase building works, but it was decided to concentrate the funds on the teaching studios and lecture spaces. We hope the new faculty gallery and bar / restaurant will be built one day soon, as it will an important public face and social heart of the faculty. JR  Remarkably, there are no corridors. Studios, offices and seminar rooms occupy the space like buildings in a town within the interior. What precedents were used during the design process and discourse of this project? FB + PC  Apart from some obvious references such as the Roman Forum in Pompeii with its public buildings irregularly placed like individual characters along its edges, when working on the design of the studio spaces for the Cass we were not really thinking so much about urban precedents. We were thinking about some paintings that we like very much such as Paul Klee’s painting, titled, (In the Current, Six Weirs, 1929), which is like a tapestry or a cultivation order. But of course there are many references and inspirations that come into play during the design process. We were very interested in the relative proportions and sizes of the windows and doors that face the boulevard. The elegant and delicate architectural structures depicted in the frescoes by Giotto in the Basilica of St Francis in Assisi also give us inspiration and courage.

Note 1. See: AA files 68, ‘Changefulness’, Florian Beigel and Philip Christou, pp.125–128, ISSN: 0261–6823, ISBN: 978–1–907896–39-2


Half Moon Theatre, Mile End Road, London, 1978–85. Florian Beigel and the Architecture Research Unit. Photo: Phil Sayer

ARU To find out more about the Architectural Research Unit visit:

Collective Memory

Brockmann Stierlin Angela Deuber LĂźtjens Padmanabhan Dreier Frenzel Pascal Flammer Raphael Zuber Barrao Hutter

Young Swiss Public 25 June to 6 July 2014 Bank Gallery Seven emerging architects from Switzerland Curated by James Payne Supported by the Swiss Embassy in the United Kingdom International Architecture Showcase / London Festival of Architecture

Image: School building in Thal, Angela Deuber Architect Š ADA / Schaub Stierli Fotografie



White Spot shell briar billiard smoking pipe, produced in Walthamstow by Dunhill, one of more than two thousand manufacturers in London. Mark Brearley and Cass Cities are cataloguing them all. Our students are making projects that test We are suggesting and testing how a fully diverse economy can be incorporated into a fast growing city.


Cass Cities is a snowball, a rolling initiative focused on how cities are shaped, and ways to influence them for the better. We hear heartening stories from people who have studied with us. They’re working for developers; they’re working for local authorities doing planning, regeneration. Some of them are involved in observing and auditing through consultants. Many of them are working for architects, but on an urban scale. MARK BREARLEY   Head of Cass Cities

‘The students that graduate from the Masters course combined with the diploma course are at once trained architects and urban designers.’ Robert Mull

‘The spirit of entrepreneurialism, the mood of creativity and collaboration, is very evident in Aldgate.’ ‘The most pressing issue is that our city is eating itself.’ ‘We come at the matter with a differentthan-usual way of thinking, of approaching challenges, and observing the city.’ Mark Brearley

Conversation between Robert Mull and Mark Brearley, Head of Cass Cities

RM  What is Cass Cities, why does it exist and what does it do? MB  It’s a snowball, a rolling initiative focused on how cities are shaped, and ways to influence them for the better. We push and poke and we reveal, and we point out and propose, and we run a studio. Me, a few core collaborators, others across the Cass and many beyond, plus an ever-evolving group of students. Mostly those students are on the way to MAs and Diplomas, and we all embrace London as our central subject. RM  There are lots of urban design courses and planning courses across London and across the country. What makes Cass Cities special, and why should we pay attention to it? MB  We started because of an observation that more design minds, creative minds, would be good thing in the world of urban change, the world of planners and developers, regeneration officers, engineers and all of that. We come at the matter with a different-than-usual way of thinking, of approaching challenges, and observing the city. It goes back to the origins of planning, radically, cutting away the turgid documents, the legalistic process, and all the other dross that goes along with those, that’s accreted over the decades. A return to the simple, practical and popular. RM  Previously you headed Design for London. How does this agenda grow out of that experience? MB  It’s all the same. It carries on, being part of an effort to influence the city to be good however we define it. Cass Cities has a similar aim, only here we have the bonus of students who are taking an interest while we try to charm them into a long-term focus on city shaping. RM  You’ve got enormous experience of working with different disciplines. Do you think that the traditional role of the planner is over? Are you proposing an alternative to that through Cass Cities?


MB  Well, I believe in the idea, the spirit of planning. It came from somewhere worthwhile. But if you’re honest for a moment, then you have to say that planning is in crisis. The activity lost its way, got stuck somewhere in the forest, beneath a pile of paperwork, became unable to stand up and describe the ideas for what would make a city better, explain the few simple things we can influence, encourage others to act. Planning needs to ask questions. On what do we all agree? Have we got a consensus? Is there political support for that? It’s lost its ability to do all that, and has become a mostly perfunctory occupation. That’s what I mean by radical. Recognising this crisis and somehow going back to the start. RM  Can you say something about the international case studies you’re involved in, or projects you’re a part of, and how they inform London and Cass Cities? MB  One example fresh in my mind is Brussels, where we recently spent a few days in an industrial area called Buda. We liaised closely with the people in the city, with politicians and those engaged in the process, with some of the landowners and businesses. It helped us to see the common ground between the challenges there and the challenges in London. RM  You’ve done a lot of work on high streets, the greenbelt, and other aspects of London. What would you say is the

most pressing issue for London that students should be engaged with as part of Cass Cities? MB  The most pressing issue is that our city is eating itself. London is growing fast and yet we operate within a consensus that there should be constriction of the total land supply. We’re not allowing the city to spread outward, to sprawl. We’re keeping it tight. We’re not allowing anybody to build, for example, on the parks and the woods and the golf courses. So what’s happening is that the city is turning in on itself, devouring assets it needs. The threat at the moment is that, because there is an insatiable demand for housing, the space for the city’s economic and civic life will shrink, and we will all suffer the consequences. It’s already happening. We need to be alarmed. RM  What particular change would you like to see in the new government’s policy in relation to your agenda in Cass Cities? MB  I’d like to see a government that understands the special situation of London, where the physicality of the city matters like nowhere else in the country, because it’s all under so much pressure. London is struggling to grow. What would be really useful is a reassertion of the crucial role of shared intervention to influence the property market, steering of what space there is for different uses, managing their configuration in the city, those fundamental aspects of planning. It would be lovely to see a government

The threat at the moment is that, because there is an insatiable demand for housing, the space for the city’s economic and civic life will shrink, and we will all suffer the consequences. Cass Cities

that actually talked about that, and understood it. RM  Do locally elected mayors have a pivotal role in that process, or are they a distraction? MB  I believe the more that you can strengthen local democratic voices, the better. Of course that requires a refreshing of local democracy, because that, much like planning, has got rather disheartened and stuck in a rut. The way that the institution of the Mayor of London has given new momentum could be applied to great effect at a more local level. We could usefully come to see the whole dynamic of civic leadership as a more interactive, collaborative, we’re-all-in-it-together effort. RM  Can you tell us about a particular project carried out by your students this year that talks about these themes?

Lee and Andi at the MA show

We told the people of Commercial Road about a large problem. Now we must tell everyone else MB  We’ve been busy this year looking at the Middle Lea Valley, around Tottenham, Upper Edmonton, parts of Chingford and Walthamstow. That’s a big dollop of London which faces these city-eating-itself challenges. Some might think that because it’s Outer London, it’s all pootling along slowly, not much happening. But it’s not like that. That area is affected by all those same pressures, the very rapid changes that threaten economic and civic life. Some of those changes are quite brutal, painful to observe. So we engaged in that reality. We did a lot of looking and auditing, mapping and revealing. We collected stories and talked to people, before then moving on to make some propositional suggestions.

Presenting Cass Cities work


The Cass Session 2014–15

You never really get to your grand conclusion on those, but we’re happy with the combination of looking, suggesting and engaging. I’m really proud that we managed to engage with a place like Tottenham. We visited Archway Sheet Metal the week before they were arson attacked. We saw what was going on between them, the council and, football club. We have found that we have an important role in revealing the complexity and sophistication of how a place like that works. That’s an area of town where people are well aware of the troubles, the deprivation, the crime, the entrenched problems, but they also welcome the likes of us going around and revealing the strengths and pointing out that those strengths are not nothing. Shouting out that this locality, for all its challenges, is very special, remarkable, and lucky. RM  So the students that graduate from the Masters course combined with the Diploma course are at once trained architects and urban designers. They’re also neither in a sense. They’re a strange hybrid. Where are you proud to see a student three or four years after they’ve been part of Cass Cities? MB  No one place. There are various situations that I’m delighted to see them in. They have been surprisingly nimble,

Mark Brearley and Richard Rogers at the Cass Cities launch well spread. We hear heartening stories from people who have studied with us. They’re working for developers, they’re working for local authorities doing planning, regeneration, whatever department it’s called. Some of them are involved in observing and auditing, doing that through consultants. Many of them are working for architects, but on an urban scale. RM  Which other ‘Casses’ would you wish to collaborate with, and where would you see the most potent mixes beginning to appear in the next year? MB  There are so many possibilities. To do more with the photography people and the filmmaking people, to work with the folks doing art that is quite out there and assertive, would be great. It would be very good to expand the collaboration with the three-dimensional product and furniture people, further probing how making relates to cities, and to this city.

the mood of creativity and collaboration, is very evident in Aldgate. To also see ourselves as a vanguard of the re-entry of making into parts of the city like this is very positive. To actually have factory-scale workshops in this part of the city is pretty amazing, and for students to be able to experience what that’s like is a miracle. When the Short brothers started making hot-air balloons and then aeroplanes, in a railway arch in Battersea, or when Rolls and Royce got together and started making motor cars, in London, that was pushed ahead by the type of spirit that you can feel around Aldgate and at the Cass. RM  Thank you. So we’ll be talking in a year’s time. What will have happened to Cass Cities? MB  We will have deepened the experiment in engaging long-term in parts of London,

gaining an understanding that no one else has. It seems normal to us, but it’s actually unusual, bordering on unique, to work this way. We’re cooking up a plan at the moment to make a comparison between the Old Kent Road area and the Tottenham area. We’re busy on enriching the relationship with the local councils and others on the ground, so that we can have an impact, get our observations and suggestions to bite. I hope we will have also completed our Made in London website, which is a wonderful project, sharing a list of over two thousand manufacturers in London. We plan to reveal where they all are, who they are, and how they slot into the city. We want to start making that public. I should think we will have further strengthened some of those enjoyable European collaborations, with people in Brussels and Delft, Amsterdam and Rotterdam, Antwerp, Limerick, Belfast. RM  What other people do you use to inspire your students? What parts of architecture and design, planning history? MB  People who have had an impact on the ground are an inspiration. Whether it be Mr Pullen in his top hat up the scaffold, building his late-nineteenth-century housing and workshop developments, or Octavia Hill shouting, ‘this needs doing, I’m going to push it’. Big bruiser developer-friendly architects like Seifert, people who, like all of us in some ways, hovered between good and evil, yet through it all were driving projects that turned out to be worthwhile. It’s people’s actions that enthuse us, people who manage to achieve good within that great collective project, the city. RM  Thank you, Mark.

RM  How important in that respect is where we are. This particular area of Aldgate is absolutely on the front line of that process of the city, as you say, eating itself. How critical is our location? Our relationship with makers, the Whitechapel, Toynbee Hall, the Cass Foundation, the City of London? What is the potential of that? Is it important? Or should we be in a shed on the M25? MB  No, I don’t think so, not in a shed on the M25. Although that would have its own glamour. We are very lucky to be here, now. This piece of city has a deeply carved history, and now and the way it’s evolving, its life, its richness and the strength of the kinds of activity that we’re all engaged in around here, this is all a giant gift. The spirit of entrepreneurialism,


Presenting Cass Cities work

Cass Cities

Cass Cities people in Buda, Brussels.

Cass Cities turned out wonderful work, suggesting a more mixed-up and embracing city. Essays worth reading were produced following fruitful delving and much discussion. Events happened at the Cass, and a building was bought on the Old Kent Road. In preparation for telling all of London, we told passers-by in Aldgate about London’s big urban challenges. We are happy to be moving ahead, encouraging interest in cities, what goes on there and how they change, delving into London, aspects of its overall as well as details, revealing and engaging, observing and shouting out, suggesting and celebrating.

CASS CITIES MA Spatial Planning and Urban Design MA by Project RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :


The Cass Session 2014–15

Thanks to guests, critics, hosts and supporters, my goodness we can’t believe we have so many friends, including Peter Carl, Eleanor Fawcett, Alison Mayer, Mark Smith, Paul Clarke, Esther Everett, Louis Schulz, Finn Williams, Francesca Benedetto, Dann Jessen, Julian Lewis, Jess Ferm, Joachim Declerck, Jan Zaman, Roeland Dudal, Tim Rettler, Lee Mallet, Moira Lascalles, Tom Keeley, Colin O’Sullivan, Amica Dall, Merritt Bucholz, Peter Carroll, Lee Ivett, Katharina Hagg, Aljoscha Hofmann, Lucinda Rogers, Tobias Goevert, Ellis Woodman, Oliver Wainwright, Wouter Veldhuis, Charlotte Kokken, Robert Mull, Michael Corr, Wouter Vanstiphout, Jan Vermeulen, Judith Lösing, Daniel Rosbottom, Melanie Dodd, Eva Herr, Elke Plate, Myfanwy Taylor, Cordelia Polinna, Eleonore Harmel, Mitch Miller, Gerry Grams, Paloma Strelitz, Maria Lisogorskaya, Rowan Moore, Fran Edgerley, Alasdair Watson, David Knight, Holly Lewis, Oliver Goodhall, Shumi Bose, Jack Self, Liza Fior, Geoff Shearcroft, Madelon Vriesendorp, Alasdair Watson, Bethan James, Alex Marsh, Tina Jadav. A special thank you to our superb external examiner over recent years, Graham King, and our new examiner, Fred Manson. Our apologies to all we have forgotten. Thanks also to all or students, including Adam Isaaks, Alex Mann, Alex Spicer, Alice Varlamidi, Amanda Impey, Andrew Catcheside, Charlotte Calver, Daniel Sweeting, Eleanor Pedley, Helmi Valkola, Jennifer Monaghan, Jo Meehan, Jon-Scott Kohli, Jordana Lyden-Swift, Joseph Zeal Henry, Kaiyil Gnanakumaran, Kieran Murray, Laura Lamont, Leon Donald, Nikolai Gomes de Almeida, Funmbi Adeagbo, Rorie Ash, Andi Rupf, Elena Boni, Hadas Even-Tzur, Hannah Davies, Huan Rimington, Jacob Neville, Lee Mallett, Toby O’Connor and many more on single modules and in the dissertation studio.

Cass Cities Unit MA Spatial Planning and Urban Design Masters by Project Professional Diploma in Architecture Mark Brearley (Head of Cass Cities), Lara Kinneir (MA Course Leader), Adam Towle, Fenna Haakma Wagenaar, Mathew Leung, Julia Atkins, Levent Kerimol, Richa Mukhia, Tansy Drake, Tom Keeley, Jane Clossick, Sarah Considine and Graham Harrington

ALEX SPICER  Site strategy

London is eating itself. That’s not good. Housing growth is stripping out the capacity for a flexible and vibrant everyday economy, right across our city. Places like Waltham Forest and Haringey are being hit the hardest. Over the last two years Cass Cities students have catalogued and mapped over seven thousand places, in those parts of London, where people work. As we explored, the fast erosion became evident, and so we have been busy cooking up bold ripostes.


Yes, our city urgently needs more housing, in bucket loads, but we must not let that growth be at the expense of a rich economic and civic life. None of us want to live in a colossal suburb. We want a fully mixed city, we want a city of high streets, a city with industry, a place with abundant capacity, diverse opportunity. This matter has become the focus of the work done by Cass Cities students, in our unit, as part of Professional Diploma in Architecture and

Cass Cities

HELMI VALKOLA  Interjecting new activity to promote the working city

MA studies; a focus as we delve into all those physical, political, social and economic circumstances that affect how our cities are shaped and governed. Our group has grown, more than doubled from last year to this, so now it is able to move small mountains. We have found out, recorded and presented. We have explored propositions for improving London’s Middle Lee Valley, investigated new development types, and come to understand possibilities. As we learn more, delve deeper, we become increasingly vocal, form more links, encourage others to speak up. Our students are now not simply learning, they are also campaigning. Highlights of the year have included workshops with Lee Mallet, David Knight and Finn Williams, making a manifesto entitled Policy for Policies, and producing of a book of Urban Laws for UN Habitat’s urban law global database that improves access to the legislation regulating the urban environment.


The Cass Session 2014–15

In other cities, and in London, we walked, and we walked more. We travelled, looked and discussed. The friends we made in Buda, a big northern Brussels industrial area, came to visit us, and we took them to the Dalston Cola factory and Nectar Patisserie, to Building BloQs and Blackhorse Workshop. Others visited from Rotterdam, Flanders, Hamburg, Versailles and Copenhagen. We were on site when the evictions started in Stonehill, and the expropriation notices landed on the Peacock Estate businesses and along Tottenham High Road. We talked with people on the streets, in shops and town halls and more, businesses, councillors, officers, proprietors, developers, designers, observers. We realised that we can all be any of these, and more, and that design thinking can a highly effective tool. In all of it we concentrate on defining what sort of good city we want, and then come up with ways to get there. It is no small job.

ELEANOR PEDLEY  Working yards

JENNIFER MONAGHAN  Working streets


KAIYIL GNANAKUMARAN  Façade and square study

Cass Cities

HELMI VALKOLA  Momentary pauses for passing trains

LEON DONALD  Physical and monetary scales of intervention


The Cass Session 2014–15

The Collective; Creativity, Identity and the Power of Debate at the Cass Charlotte Gorse, Associate Dean

When I was asked to write a thought piece on the Cass for the year 2015, I reflected upon the largest changes I had witnessed within our community during the last year. 2015 saw a timely review of our collective public and private identities: how we saw ourselves and wished to be represented within the faculty, the university and the world at large. As I looked back over the year, the words of others came to my mind; artists, designers, theorists whose words have helped to articulate my own creative identity and which had come to my attention through tutors and creative friends over the years. These words still seem to present a lens through which the Cass and other contemporary creative practitioners might see our world, local and global. Thank you to the authors and practitioners cited below, whose narrative weaves between my own musings on events witnessed this year. 2015 saw a global and national critical reflection upon the currency of identity and representation within cultural theory and mainstream politics. The loss of two great theorists, Stuart Hall and Richard Hoggart, inspired critics and journalists across the world to reconsider their words and relevance today. Both were theorists gifted to me by my own dissertation supervisor in the 90s (more on Hoggart later). Stuart Hall (1932–2014) led the field of British cultural studies for many decades and is still core reading for many under-

grads. His thoughts ring true to the transformation I have witnessed this year, here at the Cass: ‘Cultural identities come from somewhere, have histories. But like everything, which is historical, they undergo constant transformation. Far from being eternally fixed in some essentialised past, they are subject to the continuous “play” of history, culture and power.’ The Cass is now a toddler (as described by our Dean), three years old this summer (following the merger of two distinct faculties); however we also have a long lineage, three hundred years in the making (following in the footsteps of our founder’s bequest, the eighteenth-century philanthropist Sir John Cass). We embrace our history and core mission, while seeking to play with it. Our recent reclamation of our original faculty name (the Cass) enabled us to ground ourselves in the past, whilst transforming our sense of self. In the words of Marshall McLuhan (1911–1980), leader in communication theory: ‘…we drive into the future using only our rearview mirror’. In isolation, this approach could be dangerous, beset with traps in which we might only be doomed to repeat our mistakes. Looking back must include looking forward, understanding how to reinterpret or critique the very tools or paradigms

‘the most beautiful things cannot be written, unfortunately. Fortunately. We would have to be able to write with our eyes, with wild eyes, with the tears of our eyes, with the frenzy of a gaze, with the skin of our hands.’ Hélène Cixous


The Cass Session 2014–15

given to us by history. McLuhan goes on to say: ‘… we shape our tools and afterwards our tools shape us; everyone experiences far more than he [/she] understands. Yet it is experience, rather than understanding, that influences behaviour.’ This collective and individual experience began a broader debate this year; how does experience inform our very sense of our university? Early in 2015, I watched a brave newly formed alumni team bid commercially for a refreshed brand identity for our university. Our recent graduates from Cass Visual Communication presented their ‘revolution/evolution’ design to our new Vice Chancellor. The group were articulate, ambitious and driven; their proposal had elegance and was also street-smart. They spoke from the heart, evidenced by student vox pops. The values and ambition of their pitch inform our collective university identity today. So, as Hall would describe it, our students were exploring both ‘identity as being’ (one born of a sense of unity and commonality) and ‘identity as becoming’. In essence, the faculty was discussing the similarities and the differences among our own ‘imagined’ cultural community. In the words of artist Yinka Shonibare, MBE: ‘I realised that my identity will always be central to how I am perceived, and that’s why I chose to just look at it head on.’ We worked with our students to define this, seeking to define our collective selves, perhaps implicitly considering the risks as outlined by Frantz Fanon (1925–1961), post-colonial theorist: ‘individuals without an anchor, without horizon, [are] colourless, stateless, rootless.’ This activity took physical form in our expansion of our student-led grassroots initiative, the //shift project. ‘Manifesto//

We shape our tools and afterwards our tools shape us, everyone experiences far more than he [/she] understands. Yet it is experience, rather than understanding, that influences behaviour. Marshall McLuhan shift’ invited students to photograph themselves within their own studios and workshops. The graphic campaign also reflected back to students the words and ambitions of their collective work. ‘Me to we’, ‘smile back’, ‘design capital’ were amongst the phrases that the students and graduates visualised. This began our invitation to students across the faculty to tell us their experience of the faculty, their understanding of creativity, their thoughts on the apparatus or tools which any creative community held. The walls began to talk, every thought and question listened to. The responses were outstanding, directing us to collaborate and play more together. We took the instruction, hosting more talks, parties and networking events than ever before. Over the year under this project, I have had the pleasure of working with around thirty students and alumni on these actions and responses. Their creative problem solving and critical thinking have undoubtedly enhanced both the culture and identity of our community. As feminist theorist, Simone de Beauvoir (1908–1986) says: ‘That’s what I consider true generosity: you give your all, and yet you always feel as if it costs you nothing.’ Working collaboratively to build the community of our choice has been a wonderful development. So today, we have the apparatus in place to discuss the aspects that pull us together, while recognising those tensions that could cause our creative friction to blister. Our distinctive subject needs and ambitions within a collegiate creative landscape do lead to both discursive debate and, at times, intellectual antagonism. However, these polarities are to be expected in any creative community and their expression evidences a communal freedom of speech and confidence in a safe and caring community of people. Long may it continue…


‘To abstain from politics is in itself a political attitude.’ – Simone de Beauvoir The last twelve months have seen widespread political discussion in relation to both national independence in Scotland and the UK General Election. Within this debate, many perceptions and interpretations of individual and collective identity have run, sometimes unchallenged. Here at the Cass, students and tutors have debated, sometimes locally, sometimes nationally. 2015 saw continued arts activism, through both the Art Party in 2014 and latterly the Arts Emergency Response Centre. Students across the faculty joined in demonstrations, talks and performances to debate the impact of art within education, and to tackle issues of funding, privilege and class alongside our Associate Professor Patrick Brill, aka Bob and Roberta Smith. Events and activities drew to mind the pivotal work of cultural theorist, Richard Hoggart (1918-2014). In his key text the Uses of Literacy in 1957, he pre-empts others in the analysis of the potential demonization of the working class and the (then) elitism of university education. His description of the time and the dislocation of class and education is worth recalling: ‘This [the public library] is the special refuge of the misfits… of the hollow cheeked, watery-eyed, shabby and furtively mad… they come in after walking round a bit, watching other people doing things, belonging somewhere.’ It brings to mind, both the work of photographer Richard Billingham, and also one student comment on the Cass ‘walls can talk’ in 2015: ‘the best thing about the Cass is… all the freaks I’ve met’. The relationship of the private, intimate and individual and the broad, public representation of practice are always

there. Richard Billingham’s family portraits, grounded in the autobiographical, have been the subject of many socio-cultural political readings. Yet, he says of his work: ‘it’s not my intention to shock, to offend, sensationalise, be political or whatever, I was just trying to make order out of chaos.’ Video artist and film director Steve McQueen, another contemporary icon for political works writes: ‘Politics will take care of itself. I’m interested in people who are involved in the situations that politicians create.’ Within this landscape, students are asked to develop their critical voice. The diversity of the faculty in all its representation of socio-cultural experience is indeed its strength. The vocal and implicit debate of this is actively encouraged on a daily basis. So what of internal politics, between and across creative disciplines? While perceived hierarchies of power and influence are often discussed within our community, the truth of this is in fact more diverse; subjects move in and out of focus in their positions and rhetoric, and the competitive spirit and the drive of the underdog can often lead to a new undergraduate parrying with a postgrad, or a Foundation student asking the killer question which floors their tutor for an instant, with its absolute purity and naivety of insight. These are the joys of academic debate: we are all subject ‘experts’ joining with the blissfully naive newly born creative, pushing unknowingly into creative territories to discover, challenge and swim in invigorating new creative waters. 2015 is the third year of faculty-wide studios within which thematic, creative, cultural and commercial debates are interrogated. Our academic studio structure brings together, both in friction and in harmony, alternative subject modes of practice: the solo practitioner model (private, potentially introspective or self-referential), cooperative practice (teams working in the pursuit of common, potentially egalitarian principles) and directorial practice (a traditional, potentially more hierarchical mode of creative or art direction). As our unique faculty expertise within these diverse, alternative modes of practice-led teaching extends, so do our students’ bravery and ambition to master a breadth of collective, collaborative modes of making. Each creative model has both significant strengths and potential pitfalls, however our responsibility as creators of our future cultural capital requires us to debate and understand the power of the creative industries to work for, with or simply upon their pre-determined audiences.

The Collective

If we were chameleon designers, we would adapt our language to each environment we are working within, born of the place ... We would be present, in order to discover beauty in unexpected places ... Ross Langdon This year, I have been reminded of Ross Langdon’s words; an architect who previously taught at the Cass, shortly before his and his partner’s tragic deaths in the Nairobi shopping centre shootings of 2013. Below is an excerpt from his TEDxtalk in which he spoke about Chameleon Architecture, his design practice that was in 2013, in Nairobi, designing and building an Aids clinic, pro bono, for the community: ‘… Designers are able to adapt and change and blend with our environment, rather than conquer it. We practise globally, we move from city to village, to country, to continent with ease. If we were chameleon designers, we would adapt our language to each environment we are working within, born of the place... We would be present, in order to discover beauty in unexpected places..’ Langdon’s concern about his own Australian cultural legacy had developed this specific design manifesto, seeking to ensure that his design identity was not that of the colonising pests, the ‘rabbits’ within this children’s book: ‘The rabbits; at first we didn’t know what to think… they ate our grass and scared away our friends… who will save us from the rabbits?’ Langdon’s practice was, for me, the physical embodiment of design activism as described recently by Ann Thorpe, sustainability author and research fellow: ‘Conventional activist scenes – a group of people, often by putting their bodies on the line, hold a strike or a march to resist the status quo, call for social change, and thus influence decision makers and public opinion.’ Yet activism, in isolation from making, may make no physical change. Here at the Cass, we ask students and tutors to apply this thinking to all material interventions, seeking to, in Thorpe’s words, devise:


‘…“Critical artefacts” as those that examine ideologies embedded in products, often providing a proposition against which the audience balances their own values.’ Ultimately, the practitioner activist is one that utilises, according to Thorpe: ‘the concepts of disruption, framing, unveiling,’ of representing neglected groups, becoming a tool for those communities. The thinking practitioner is required for the twenty-first century, locally and globally. In the words of Edward Said, post-colonial theorist: ‘There has been no major revolution in modern history without intellectuals; conversely there has been no major counterrevolutionary movement without intellectuals. Intellectuals have been the fathers and mothers of movements, and of course sons and daughters, even nephews and nieces.’ This is our responsibility, as tutors, students, designers, academics, artists, creatives; as people. One such example of this strength of thinking and cross-disciplinary potential of collective, community action is the Assemble Studio. Recently nominated for the Turner Prize 2015, this collective including Cass alumni, works across the fields of art, architecture and design. Their works seek to address the typical disconnection between the public and the process by which places are made. Their process is interdependent and collaborative, involving the public as both participant and collaborator. We wish them every luck for the show, and of course prize-giving night in December! So how can we guide students into this mindset? Each tutorial, each critique seeks to build this ambition and risk-taking drive in students. Hélène Cixous, literary theorist, explains her own creative process: ‘The only book that is worth writing is the one we don’t have the courage or strength

The Cass Session 2014–15

to write. The book that makes us tremble, redden, bleed. Censor the body and you censor breath and speech at the same time… your body must be heard.’ She also proposes that the artist must embrace the visceral and ephemeral: ‘The most beautiful things cannot be written, unfortunately. Fortunately. We would have to be able to write with our eyes, with wild eyes, with the tears of our eyes, with the frenzy of a gaze, with the skin of our hands.’ The intimacy of private self-expression is both relevant and cognizant in great art. One must work from the personal and particular. 2015 also saw a significant retrospective at the Tate Modern of the painter, Marlene Dumas. The stuff of painting is something almost primordial to her; the making of the work is embodied in the outcome: ‘I paint because I am a dirty woman. (Painting is a messy business.)… It cannot ever be a pure conceptual medium. The more “conceptual” or cleaner the art, the more the head can be separated from the body, and the more the labour can be done by others. Painting is the only manual labour I do.’ Dumas’ retrospective Image as Burden presented public and private identity side by side; the intimate and societal. She describes this as ‘art that makes you cry’, or the dualism of representation: ‘the pornographic tendency to reveal everything and the erotic inclination to hide what’s it’s all about’. At the Cass, we also seek to inspire creativity through the physical act of making. We ask students to learn in this unique manner, to experiment, to experience, to apply and test concepts through material play. Many creative practitioners share this belief as represented here by Louise Bourgeois (1911–2010), the pioneering sculptor: ‘I am not what I am, I am what I do with my hands… you learn for yourself, not for others, not to show off, not to put the other one down… learning is your secret, it is all you have, it is the only thing you can call your own. Nobody can take it away…” In 2015, the Cass exhibited this very notion at Milan Design Festival, in collaboration with Vivienne Westwood. Cass curator, upholsterer and Westwood ‘maker in

I realised that my identity will always be central to how I am perceived, and that’s why I chose to just look at it head on. Yinka Shonibare

CHARLOTTE GORSE, Associate Dean residence’, Jude Dennis exhibited exquisite artefacts, alongside other Cass tutors works, with equal reverence to the tools and materials employed within their making. The process of making was shown as integral to the outcome, the intimate connection between designer, artist and maker to be nurtured and safeguarded in contemporary production. Making also benefits society through its physiological and psychological impact. Our first Cass Westwood ‘Joy of Making’ limited-edition gift (designed by Cass jeweller Mah Rana) embodied this. The DIY kit invited active participation from attending fashion press to engage in an act of careful making. Press experienced through this intervention the personal fulfilment and creative ingenuity of joining a growing craftivist movement, one that seeks to engage communities in the social process of expression and action through making. The act of giving, whether from community to designer, from artist to artist or from tutor to student, is a societal exchange that happens daily at the Cass. As proposed by Lewis Hyde, cultural critic: ‘If we take the synthetic power of gifts which establish and maintain bonds of affection between friends, lovers and comrades, and if we add to these a circulation wider than a binary give-and-take, we shall soon derive society… gift exchange at the level

of the group offers equilibrium and coherence, a kind of anarchist stability.’ So on to my final resonance from 2015: global exchange. Earlier this year, the Cass took its touring show of alumni and tutors ‘Blazing a Trail’ outside Europe and on to a new audience of 30,000 in China. Jewellery and Silversmithing alumni works toured several exponentially expanding Chinese cities, including Beijing and Shanghai. The work presented by the Cass was warmly welcomed for its bravery and unapologetic propositional nature. Artists, designers, architects and academics alike fell in love with the spectral nature of the work on display. Our discovering Chinese audience held, touched and wore the jewellery. They immersed themselves in the work, photographing themselves beside the work for all of China’s social media to see and discuss. However, the cultural adoration was not one way. The profound sociological and political thoughts and subtext evidenced within contemporary Chinese art and design on show was humbling to see, especially given the risks involved. As the local political situation becomes more tense in China, practitioners’ public response and personal narratives remain undiminished and undeterred. An important lesson for us all on the role of creative practice… Thank you to all the students, alumni and tutors in the Cass for inspiring me

in 2015, and thank you for listening to my thoughts. As McLuhan wrote, ‘publication is a self-invasion of privacy’, so I hope that you enjoyed an insight into my rambling reflections and personal views. Thanks also to the referenced authors and practitioners included below: Simone de Beauvoir, author of The Second Sex, 1949; Richard Billingham, artist and photographer; Louise Bourgeois, artist and sculptor; Hélène Cixous, author of The Laugh of the Medusa, 1975; Marlene Dumas, artist and painter; Frantz Fanon, author of Black Skin, White Masks, 1952; ‘Stuart Hall, author and editor of Representation, 1997; Richard Hoggart, author of Uses of Literacy, 1957; Lewis Hyde, author of The Gift, 2012; Ross Langdon, architect and tutor; Marshall McLuhan, author of The Medium is the Massage, 1967; Steve McQueen, video artist and film director; Edward Said, author of Orientalism, 1979; Yinka Shonibare, artist; Ann Thorpe, sustainability author and research fellow.

I paint because I am a dirty woman. (Painting is a messy business.) ... Painting is the only manual labour I do. Marlene Dumas


The Collective

Alchemy Vivienne Westwood Store, Milan 14–19 April 2015

Material Obsessions

The CASS partnered with Vivienne Westwood for Milan’s annual Design Week festival the Salone Internazionale del Mobile. Alongside designer Tiipoi, the team presented an exhibition of contemporary craft and making. Partially made and disassembled items were intertwined with Westwood’s clothing collections, mirrors and tableware showing processes rather than simply products. The Cass exhibitors were inspired by the tradition of making, looking at how raw materials are used to create a final object and the role of the maker during this process. Exhibits included A river runs through it / Refuge by ceramic artist and Senior Technician Fred Gatley; a CNC Windsor Chair by furniture designer and Cass lecturer William Warren and Stackers, a chair series by contemporary upholsterer and Cass technician Jude Dennis which takes a playful look at tradition and institution. Throughout Milan Design Week Jude Dennis – who curated the exhibition – also upholstered a new Stacker chair live in the store’s courtyard.



What makes Cass 3D particularly special is the sense of place, its identity, its cultural position. Cass 3D is a group of courses, but also a powerhouse for the understanding all three-dimensional design. It’s about the way people talk to each other through the objects they use, how objects can inform spaces and how people relate to each other.


‘Milan was an invitation from the Vivienne Westwood showroom to curate a show during Design Week, where members of the Faculty carried out live making. I understand it caused a real stir and was seen as an extremely fresh approach to design, although of course it has its roots in the most archaic activities. It was an enormous success.’

‘I think you should be able to mix processes: holding a chisel by hand to chip away at something that’s 3D printed. At the Cass there are certain skills and processes which have remained and survived the turbulence that has affected those processes elsewhere. We’re like a unique rainforest where there is still strange wildlife.’

Robert Mull

Marianne Forrest

Cass 3D Textiles Studio 1 Editions of you Sam Membery, Gina Pierce and Sam Wingate This studio considers how the designer retains a distinct identity when confronted with the dual constraints created while working for an industry producing massmarket designs and also fulfilling the expectations linked to creating one-off items. Students are asked to reflect upon, and succeed in, ways of continuing to express themselves

in their work, while developing a commercial portfolio that is relevant to the broader industry. The distinctive feature of textile and surface design is pattern repeating endlessly. Editions of you looks at the nature of multiples versus limitededition prints, and one-off design. Students are confronted by the thesis of the perceived increase in

the value of limited-edition prints and the question of how a one-off design can become truly original. In this studio, students have engaged with a range of live projects and competitions. Clients included: Heals, Bay & Brown, Parker Knoll, Batsford, Texprint, Tigerprint, Textile Federation and Bemz (for IKEA).

LUCY FINLAY  Fern print sample


Textiles Studio 1

Cass 3D

LUCY FINLAY  Brush stroke, print sample


The Cass Session 2014–15

KLAUDIA CISZONEK  Chain print on paper

LUCY FINLAY   Print sample




Textiles Studio 1

Cass 3D



The Cass Session 2014–15

Cass 3D Textiles Studio 2 Fabrika Lisa Bloomer, Karen Coughlan and Claire Gill The studio offers workshops in the creation of alternative surface treatments through a developing skills base. Through a combination of taught and self-directed sessions students examine and test the processes of weave and knit, both by hand and machine, in order to create innovative and original outcomes. Key knowledge of industry

technology in the complementary disciplines of weave and knit is embedded within the studies, and we offer the opportunity to visit relevant industry trade shows in the UK and Europe. There is an expectation of self-motivated involvement with important cultural/fashion events. Every student is encouraged to build a personal creative identity

and aesthetic vocabulary, which will be informed by historical, cultural and technical knowledge. Live projects which form an important element of study within this studio have included adidas, Lyle & Scott, Heals, Gainsborough Silks and Edward Crutchley.

Loom zoom


Textiles Studio 1

Cass 3D

MAJEDA CLARKE  Loom detail

MIRANDA TOMGEMAN  Layer Weave, Corners project


The Cass Session 2014–15

BEATA STRYJECKA  Blue weave, detail, wool

Cass 3D Jewellery and Silversmithing Studio 4 Alchemy Mark Bloomfield, Marianne Forrest, Laura Cave, Natalie Hand, Adi Toch and Heidi Yeo

Giving Back to the Thames, Mudlarking ‘A seemingly magical process of transformation, creation, or combination’ Alchemy, Oxford English Dictionary

A vibrant mix of ideas and approaches shows what it means to work in your element, doing both what you are good at and enjoy. The studio acknowledges both individual spirit and the industryessential attributes of successful cooperation and collaboration. With a broad sensory capacity for reading the manmade world, students have explored meanings and messages, and ornament’s capacity to carry critical or narrative commentary, to be playful, to offer complex layers and multiple narratives, embedding memories and seeking connections. Ornament as an inherent part of the world around us acts as a method of translation; as an important mediation between people and things. Thus there has


been a focus not only on designing and making objects, but also on having, documenting and producing human experiences. Harnessing gut instincts and creative impulses, a series of projects have supported students to imagine, design and make or get made, across a spectrum from the bespoke, through limited editions and collections, to multiples. Personal Projects Technically the Alchemy studio has explored the natural holding capacity of casting, and stone setting into the landscape, while addressing issues of process and multiple yet unique methods of production. Students have explored the 3D printing of spectacles alongside printing techniques in more traditional textile idioms, mixing processes to add depth, movement and colour. They have looked at articulation of moving parts, holding on and letting go, catches and hinges, settings and

clasps. Some have experienced an alchemical cross-over of textiles print thinking with etching and anodising, colour and texture. The results are fantastical organic forms, moving parts, snapping together, connecting arms, framing lenses. Low-tech building methods: working in ceramic slabs and glaze, salt-water etching, colouring metals with homemade recipes such as ketchup, and the use of polymorph resin for tool making. Finally, they have explored making in public places – participants pour hot metal into the landscape to create fantastical shapes and stone settings with unpredictable results... Both a performance and a creative approach to making. Project Partners Azza Fahmy School of Design, Cairo, with the British Council Bezalel School of Art and Design, Jerusalem; City Hall, London

Jewellery and Silversmithing Studio 4

Cass 3D

Smelting on the Thames

Soldering and annealing


The Cass Session 2014–15

ALEX O’NEILL SKERDALL  Broken bottle – horn glasses, Found glass and steel

Stone setting, Smelting on the Thames


Jewellery and Slversmithing Studio 4

Cass 3D

ROXANNE REYNOLDS  Brick brooch, brick, steel, white metal, tile and glaze


The Cass Session 2014–15

MARCUS APPLEBY  Dark red, aluminium


Jewellery and Silversmithing Studio 4

Cass 3D

Cass 3D Jewellery and Silversmithing Studio 5 Bespoke + make David Clarke, Steven Follen, Simone ten Hompel, and Silvia Weidenbach From Bobject to Huguenots: Desire and Exhibitions… The Riddle of Making. The Bespoke + make studio has provided a successful and intensive experience for students who have explored and developed their understanding of notions of ‘bespoke’ and how these ‘bespoke objects’ communicate with us in significant ways. Students were also required to research into notions of ‘self’ and explore how to move these understandings out into the world and

within a framework of developing personal practice. This examination has allowed them to distinguish between the inner self and the external one that is presented to the world, and develop methods of investigating this notion of self in others through their work. The studio began with Project Bobject, where the group brief asked students to design a piece of jewellery for Bob, our much-loved and recently retired school-keeper. All the students were asked to identify and define

FRANCES GOULD  Rubber boa, rubber


The Cass Session 2014–15

something about Bob that they could use in the making of an individual bespoke pendant that was presented to him at an evening event. This was followed by the SelfJewel project; here the students’ task was to create their own brief and design and fabricate a piece for themselves. Building on the skills they had used for Bobject, they developed methods that investigated notions of the inner and outer self and enabled them to identify how to use this in their practice.


NOT(E)ABLE OBJECTS   Contemporary Applied Arts (CAA)

JAYNE FOWLER  Self Jewel, Tessellation of Myrtle and CAA Necklace


Jewellery and Silversmithing Studio 5

Cass 3D

The studio then continued with wthe successful Contemporary Applied Arts (CAA) exhibition, ‘Not(e)able Objects’, where students used the inspiration of a piece of music published and printed by EMI at the Hayes vinyl record printing company. For this project, students were required to identify and consider the customer base of the CAA and design objects appropriate for them. Because the exhibition also coincided with Valentine’s Day, students were asked to explore how their piece could communicate something of the Valentine’s Day themes of love and passion. For the next project, students have developed their ideas through the research of historical artefacts held in the Museum of London, with the Huguenots project that will culminate with an exhibition at the Museum of London this year. Because the Huguenots were renowned for their threadwork, the brief asks the students to work with the theme of thread and explore this within their work with research into the textiles and clothing held by the museum. The final show in the summer then allows third-year students to consolidate all that they have learnt and practised, throughout this studio, to design and fabricate their pieces. Alongside developing their skills in presentation and exhibition practice, they are also able to develop their individual potential in their own field of practice, by producing a collection of artefacts from their own devised brief. Understanding these complexities it has allowed students to find their own voice in their practice and develop methods to express complex themes and offer a multifaceted content within a developing personal practice.

Project Partners Contemporary Applied Arts Gallery Projects assisted by PhD student Peta Bush



JANE CROSS  Locket, enamel on silver

CAT HART  Brooch

The Cass Session 2014–15

Cass 3D Furniture and Product Studio 6 London College of Furniture: Next Generation Kate Payne and William Warren Knee-deep in prototypes, floor scattered with technical drawings and material tests, the London College of Furniture studio space is again this year a bubbling pot of exciting ideas. Last week, students had barely touched down after showing work at the Milan Furniture Fair, before they were presenting their ideas to the senior designers from Heals, looking to add to the famous department store’s range and history. Ten designs were selected for further progress, which is evidence of a healthy ongoing bond between

two old and celebrated London furniture institutions. During the year, the students have confidently tackled a raft of challenging subjects like dealing with a death in the family and charity campaigns. They have embraced the idea of making money from design, selling their products direct to the public at markets and taking private and commercial commissions, and a thirdyear student saw her designs for a sofa go into production for Laura Ashley. There have been numerous projects that have explored new

avenues for traditional processes, such as cabinet panel doors with relief engraving that can be used as woodblocks for printing, LED lighting embedded in steam-bent wood, and Yale keys cut into moustache combs and even objects that fly, as well as furniture that folds and eggshells made into table tops. More than just makers or furniture stylists, these students have been shown how and why to design, alongside understanding materials and processes, and they show promise as designers for our future.

MARK WHEELER  Marblis cabinet




Furniture and Product Studio 6

Cass 3D

NARINDER NIMAR  Flexing surface

MARK WHEELER  Door furniture

ISABEL FARCHY  Side tables

JAKE VICKERS  Long lights hanging


The Cass Session 2014–15

Cass 3D Furniture and Product Studio 7 Back to the future Dr. John Cross, Cathy Stack and Out of the Dark Our journey began with the Huguenots. On a sunny October morning, we set off to where the Huguenots once lived to find out who they were and what they did for us, and to observe evidence of their architectural and craft practice on the way. From there, we ventured further to our local museum, the Geffrye, to see how the features and details translated into the domestic environment of those unlucky but talented people. Back in the studio we put together our research to find ways to reconstruct the essence of the Huguenots and reference it in our Huguenot projects. In the workshops, we polished our skills, as the Huguenots were

MARK WHEELER  Door furniture


celebrated and renowned for their advanced technical and craft practice. As we passed through Spitalfields, where the Huguenots made a living selling their crafts, we thought we’d imitate them by taking part and selling our crafts at the Christmas Market. Leaving the Huguenots behind we travelled through a century to visit the London College of Furniture symposium and exhibition, the grandfathers of the Furniture Makers Company finding inspiration from those who supported and continue to support and celebrate the pursuit of excellence in design and craft. Continuing our journey, we stopped off at the Design Museum to investigate what meanings the designed object can

hold for the user and observer, and to kick-start ideas for the Design Factory brief 2015. The history of craft practice was becoming more evident, and we were eager and impatient to see what shape and direction this rich tradition was following in contemporary London design. So, we fast-forwarded through two hundred years of history to the heart of Canary Wharf, and, immediately after, to the Royal College of Physicians. Both locations are shining and bright newly commissioned examples of completed environments using cutting-edge research and technology to build spaces suited ergonomically and functionally to provide state-of-theart work-places for employees and stakeholders. We learnt about space allocation and the importance of fluidity and networking to creative and inventive solutions in the modern world. Our passage over so many time zones was not without trauma, and many of the studio members needed careful counselling on hearing the news that the desk is dead in this new world. It was back to the drawing board for those who were designing the workplace for the future for the FIRA (Furniture Industry Research Association) brief. Through the year, we have had visits from partners and alumni. We have presented to clients and visited them. We have submitted ideas and proposals to national competitions and to local partners. Two brave and intrepid studio members have taken work to the Biennale in Milan, where they were featured on the Italian news. We’ve had a tremendous journey – fun, exacting and exciting – and we are sorry that this voyage is over.

Furniture & Product Studio 7

Cass 3D

BACK TO THE FUTURE  Group stools


The Cass Session 2014–15


Furniture and Product Studio 7

Cass 3D

Cass 3D Year 1 Fashion, Textiles, Jewellery and Silversmithing, Furniture and Product Kelvin Birk, Mark Bloomfield, Jez Bradley, Karen Coughlan, John Cross, Steven Follen, Alex Hellum, James Hunting, Aimee McWilliams, Rentaro Nishimura, Kate Payne, Gina Pierce, Cathy Stack and Heidi Yeo

The first year of Three-Dimensional Design represents the beginning of the creative and philosophical journey for the participants. Projects are designed to bring together the key aspects of researching, designing, contextual awareness and making. Projects engage students in experimentation with different research methods, approaches to design develop ment, materials and object outcomes. Through the year, projects become more self-defined, preparing the students for the studios and bridging the gap between these and earlier, more formal teaching experiences. Each project asks students to think about what each proposition means.

They research the concept, visit galleries, exhibitions, and locations of interest, and observe events, places, people, and things, discussing them with their peers and with industry professionals from the outset. Sketchbooks record their endeavours, identifying and documenting their work as they go. Through these explorations students are shown how to develop ideas and de-construct prior understandings of objects in order to re-evaluate and innovate. Students discover through questioning, playing and analysing, re-inventing purpose and form. Making is a significant element of the first-year programme,

Fashion at our feet


The Cass Session 2014–15

as it forms the starting point for independent exploration and experimental process necessary for the growing independence and the confident integration of theory and studio practice. The final project is both intensive and an opportunity to explore and demonstrate what students have learnt over the year. They are asked to organise their thoughts and programme their studies, leading to independence and autonomy in preparation for the second and the final years of the course, whether they are pursuing Fashion, Textiles, Furniture, Jewellery, Product Design or Silversmithing.

PROJECT RED  Fashion catwalk


Year 1

Cass 3D

HUSH  Prosthetic 2



The Cass Session 2014–15

Table top detail, Textiles


Textiles drawing motion


Year 1

Cass 3D

LAURA ELLERY  Slot light, ply, acrylic, FDA, Furniture


The Cass Session 2014–15

Scale model, Furniture

Masters Design Studio Catalyst Dipti Bhagat, Jez Bradley, Chris Emmett, Sue Ginsburgh, Charlotte Gorse, Aimee McWilliams, Mah Rana and Tom Wilson The Catalyst studio is a cross-disciplinary studio made up of postgraduate students from MA Interior Design, Illustration, Fashion and Textiles, Furniture, Product Design and Jewellery courses. The driving force behind the studio’s philosophy has been design for social change. The students have explored the designer’s responsibilities in the twenty-first century, and how co-design and the engagement in ethical thinking and humancentred design can create design solutions which benefit the many rather than the few. Our client and inspiration, Toynbee Hall, has been a catalyst for social change for 130 years: originally designed by the architect, Elijah Hoole in 1884, with interior spaces and furniture design

by C. R. Ashbee, a designer and driving force in the Arts and Crafts movement. The team at Toynbee invited students of the Cass Faculty of Art, Architecture and Design to contribute to the design debate and to create solutions, which will once again, make Toynbee Hall the heart of the community, celebrate its amazing cultural heritage and provide design solutions that can fight poverty in the digital age. Many of the individuals associated with Toynbee Hall and its university settlement movement went on to bring about national and inter-national social change. Clement Atlee, William Beveridge, Mahatma Gandhi, Jane Addams and Amelia Earhart were all connected

ANNA CARNEVALE  The story catcher, Interior Design


Masters Design


MAYSAA DIAB  Wellness and Legal Centre, Vertical circulation, Interior Design

ANNA CARNEVALE  Research timeline, Interior Design

with Toynbee Hall. Toynbee’s heritage is still so embedded with social change that David Cameron, UK prime minister, launched the government’s Welfare Reform Bill at Toynbee Hall in 2011. The Toynbee Hall organisation has won Heritage Lottery Funding to radically redevelop and renovate its current site and building portfolio. The Catalyst studio has been working with the Toynbee Hall project management team and Richard Griffiths Architects. Students have produced work in response to two design briefs. In semester 1, students were asked to design a self-directed project in response to the brief of Memory, Moments and Senses. In semester 2, the brief was Workplace in the Charity Sector.


The Cass Session 2014–15

All students are now finalising their major projects proposals, which are either sited at or have been inspired by Toynbee Hall. The Catalyst studio has exhibited work at a fundraising lecture and exhibition at Toynbee Hall, and the team at Toynbee are in the progress of organising a further exhibition for the students, scheduled for later this year. A student internship is also being planned for the summer, working on the proposed designs for the site. This is a work-in-progress show for the Catalyst studio, with another 15 weeks of study until their final show, which will exhibit their completed major projects in September 2015, during the London Design Festival.

ANNA LAUFENBERG  Organic farmers’ market, Interior Design

BOWEN YANG  Garden tools for the elderly, Product Design

MAYSAA DIAB  Reserch poster, Toynbee Hall, and research on Toynbee Hall mkemories, Interior Design


MARIA MARTINEZ, Memory moment and senses, Toynbee Hall, Interior Design


Cass 3D

YASMINA JAMEEL  Depression and other work in action, Illustration


The Cass Session 2014–15

Conversation between Robert Mull and Marianne Forrest, Head of 3D

RM  What is Cass 3D? MF  Cass 3D is a group of courses, but also a powerhouse for the understanding of all three-dimensional design. Its about the way people talk to each other through the objects that they use, and how objects can inform spaces, and how people relate to each other. Whether it’s a table or a chair, or a cut of fabric, a piece of jewellery, they all have their cultural place because they’re talking to people. RM  Why 3D? Architecture is 3D, there are a lot of other disciplines in the Cass that are 3D. What is the rationale for the elements that come together under the 3D title? MF  When we talk about a 3D course, it tends to be size specific. You get architecture, which is one scale, and then you get furniture which is another, then jewellery and silversmithing all at different scales. Certainly in my own practice, I’ve always worked across scales, all telling the time – timepieces but small, medium, large – and very large, so I’ve crossed all of those scales and I see all of that as 3D. When it comes to where the division is between 3D and architecture, it’s one of scale: architecture creates spaces we’re moving within and around; it surrounds us physically, whereas we put and use ‘3D’ objects within that world. RM  What makes Cass 3D? MF  it is the sense of place, its identity, its cultural position. We’ve been talking about the Aldgate Bauhaus and I think that’s a really apt description for Cass 3D. The Bauhaus was about integrated design systems and how you deliver them culturally, how you learn about these and explore ideas. We do this more outwardly than the Bauhaus did, by going out and working with local people and businesses. For example Jewellery students have


been working on projects in both Cairo and Bezalel, including cultural exchanges between art students and jewellery students. RM  Within the Faculty, within the University and within Cass 3D, there's an extraordinary diversity of students with very different cultural backgrounds and life experiences. How does this influence the work? MF  One of the things that 3D students tend to want to do is express themselves, how they experience objects, how they experience three-dimensional environments, and using their cultural identities helps them express that in a very personal way. Perhaps they’re trying to express their own culture to other people to seek an understanding and a connection. RM  Within the Cass, and its predecessor institutions such as the London College of Furniture, there is an extraordinary tradition and knowledge of making. What is your position in relation to that spectrum, from what could be characterised as the Luddite through to the most contemporary forms of digital production? MF  All of it is a method of making, and whether it’s the most advanced form of 3D printing or you’re picking up a chisel and chiselling a piece of wood, they’re all tools and they’re all methods of achieving an end. I think it’s good not to lose some of the older techniques which, with the advent of new technologies, could easily be lost and people would then rely just on 3D printing and so on, and that’s not healthy. I think you should be able to mix holding a chisel by hand and chipping away at something that’s 3D printed. RM  What do you think unites your area? MF  The common thing is making and how we communicate that to another

person. We talk about making all the time and I think it’s our strongest social, as well as professional, bond. RM  So you’re a tribe? MF  Oh, definitely a tribe, absolutely, which is why last year we had a studio called Tribal talk. That was part of that whole feeling of being a tribe. RM  Can you guide us as to where we should look in the work of this year for some of these processes or cross-overs that you enjoy? MF  There’s a piece of furniture which you may have seen already on TV, the paper chair; it’s made of pulped Metro newspapers. It is almost a textile technique. In fact, the student that did it was chopping up Metros in G25, which is our woodworking facility, and was causing quite a few shockwaves in G25 because he was using the big band saw to chop up newspapers. Meanwhile in Jewellery and Silversmithing, there is always an alchemical approach to process and material. Also in our Year Zero, we’ve been using metal to weave with and to structure and hold woven objects. So rather than trying to sew something together, you have part of the structure as the metal and then weave in between. RM  Let’s discuss Milan. Milan was an invitation from the Vivienne Westwood showroom to curate a show during Design Week. I understand it caused a real stir and was seen as an extremely fresh approach to design, although of course it has its roots in the most archaic activities. It was an enormous success. MF  Showing off the making process is part of the DNA of makers, because even traditional makers, have always demonstrated and allowed people to watch and maybe even had them taking part. So it is


Cass 3D

3D FDA Furniture  BA (Hons) Fashion BA (Hons) Furniture  BA (Hons) Jewellery and Silversmithing   BA (Hons) Product Design BA (Hons) Textile Design

MA by Project MA Fashion   MA Jewellery MA Furniture  MA Product Design

RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :

part of our history, but it’s interesting that it’s seen as radical. Within the Cass there are certain skills and processes which seem to have remained and survived a lot of the turbulence that has affected those processes elsewhere. We’re like a unique rainforest where there is still strange wildlife. RM  Can you give us a sense of what we’ll be discussing at this point next year – what you are aiming for? MF  This point next year I hope we’ll be discussing a massive show, because I’d like to put on a show next year that starts before and complements the Summer Show. Last year, we had the Aston Martin catwalk show. This year, we’ll have the City Hall event which is going to be a massive event that includes lots of schoolchildren, so there’ll be lots of events happening during the day including a very nice collaboration with Alex Sarafian, an ex-Architecture student, and we’ll be doing a casting on the Thames and we’ll be going down to the foreshore and pouring hot metal into the sand to do some stone setting. RM  The other thing that’s very new within Cass 3D of course, is Fashion? MF  Although Fashion is young here, you won’t help but notice it in the Yearbook because the imagery that they use is very powerful and is really vibrant. The Fashion area is definitely growing at quite a pace. I can see that it’s going to rival some of the more well-known fashion courses. It’s already pushing the boundaries in terms of how it mixes with some of our other courses. For example, one of the Fashion students wants to start weaving in metal


and including that in panels in their clothes. Next year, collaboration is planned with Jewellery and Textiles. RM  You’re an active practitioner in your field; how does your practice inform your teaching and now your leadership of Cass 3D? MF  As you know, I make timepieces. Whether that’s something personal that you wear like a wristwatch or whether it’s something that you use as you rush out of the house in the morning or you drive under it as you’re going to work, whatever way that you do that, and also we’re using them as way markers, life markers and personal focus for body parts. How does that relate to my being here? I don’t see them as separate. When I’m talking to students I’m talking to them about my practice, and I talk to them about how their practice could develop. I see the value of my own experience – as a practitioner and working for companies – as being extremely broad, so that I can help students to see their way forward in terms of how they might live their lives, rather than just making a living. RM  When you were a student, what advice did you receive that you still live by? MF  There was a technician at the Royal College of Art, so-called ‘Thumbs’ Bartholomew, described as such because this thumbs had grown big over the years with silversmithing because you have to squeeze the metal so hard and hold things, so his thumbs had spread. His real name was John Bartholomew and he was a brilliant technician. One day I was sitting beside him, he was helping me with some-

The Cass Session 2014–15

thing and I was slightly embarrassed, so I just said something rather inane like, ‘I wish I knew as much as you did,’ and he said, ‘No, I’m just starting,’ and he was only a few years away from retirement. When he said that, it was like a light switch going on because I felt that is what you do: you learn from life, and you’re always learning, and if you stop learning, you’ve stopped living and you may as well just go and work somewhere else and do something completely different. RM  In terms of heroes in your particular field, who are your maker heroes? MF  Michael Rowe, he is still a tutor at the Royal College of Art, for his sense of scale and surface. I’ve never seen anyone who can make a piece of metal look like it’s sweating in the way that he can, and it just sits there poised, looking beautiful but sweating. It’s just about surface and colour and poise, and the way an object can have a presence even though it’s quite small. RM  One of the really interesting things for me about the 3D area is how there is a very particularly diverse set of students, some students who have found their voice in making in a way that was not possible in other forms of education. We’re very proud of that. How do you see that strength developing and being enhanced under your leadership? MF  I would like to say that one of my heroes is actually one of my students, oddly enough. She’s had a very, very hard life; she’s been here for seven years now and struggling through with very different home circumstances, but she’s made this place her home, and it’s sort of a home from home. She’s been through every single possible route of being here, from short courses all the way through to the degree part time, and she’s going to graduate next year. From the background that she’s had, I think that’s absolutely admirable, and we’ve had several students like that over the years. I think that’s one of our strengths. We can help people to transform their lives. RM  You mentioned short courses? MF  Short courses are a great vehicle for introducing people to different ideas, different ways of doing things, and I think that’s a key area that we could develop further. People come in as a way of passing the time, but then they see how good it is and then they change their careers and lives! RM  Thank you, Marianne.



Thinking Hands: CASS Technology –A Cass in the Making Signy Svalastoga, Associate Dean

The following is a thought piece, speculating on the positive impact Cass Technology can have on the Cass as a whole. Cass Technology is currently being established to further promote the making culture at the Cass, and is set up to raise awareness of the fact that all our courses have material and physical outputs, varying in size from the smallest artefact to the city scale. This is part of where we want be, at the heart of making and shaping London, and to also be part of an international network that is rooted in the humanist traditions of our disciplines with a clear social and cultural purpose. So nearly three years on we are starting to articulate this ambition through a series of refinements to the courses and the practical delivery to our students in all our disciplines, clusters and schools. The digital technologies available to art, architecture and design are becoming affordable; similarly, experimental new materials, composites and methods of fabrication offer the possibilities of collaboration between art and science. We need to critically question the use and reuse of resources and the life span of what we make. The Bauhaus was formed in Dessau in 1925 by the architect Walter Gropius. ‘The Bauhaus was an eminently international project, the nodal point in the worldwide network of the avant garde. It gathered together protagonists from extremely diverse backgrounds, with the goal of jointly striking out new paths in the fields of art, design and architecture, but above all, in order to educate and train a new type of artist who could bring about changes in society by shaping his or her living environment.’ – Dr Annemarie Jaeggi, Bauhaus Archive Berlin, in her Preface to the Bauhaus, art as life publication accompanying the Barbican Art Gallery exhibition in 2012

material, structural and constructional, and should embrace craftsmanship, experimentation and research. Our aspiration is to promote and deliver the making element to our students far more ambitiously and explicitly in our courses, pursuing the practical intelligence of the

CREATIVE DIALOGUE BETWEEN FORM AND ERROR: ‘The good craftsman understands the importance of the sketch – that is, not knowing quite where you are about to go when you begin.’ ‘The good craftsman places positive value on contingency and constraints.’ ‘The good craftsman needs to avoid pursuing a problem relentlessly to the point it becomes perfectly self-contained.’ ‘The good craftsman avoids perfectionism that can degrade into a self-conscious demonstration.’

Cass Technology will involve all aspects of making with both digital and analogue technologies at all scales; environmental,


‘thinking hands’ on an equal footing with intellectual and conceptual thinking. Each of the disciplines within the Cass faculty has its own aspirations and culture of making, and by making these cultures more explicit and visible we are also offering staff and students the range

The Cass Session 2014–15

‘The good craftsman learns when it is time to stop.’ Extracts from Richard Sennett: The Craftsman London: Allen Lane/Penguin Press 2008

Our aspiration is to promote and deliver the making element to our students far more ambitiously and explicitly in our courses, pursuing the practical intelligence of the ‘thinking hands’ on an equal footing with intellectual and conceptual thinking. of cross-disciplinary possibilities by sharing our expertise and insights within and without each of the Casses. ‘… Architectural ideas arise “biologically” from unconceptualised and lived existential knowledge rather than from mere analysis and intellect. Architectural problems are indeed far too complex and deeply existential to be dealt with in a solely conceptual and rational manner. Profound ideas or responses in architecture are not individual inventions or ex nihilo either, they are embedded in the lived reality of the task itself and the age old traditions of the craft. The role of this fundamental, unconscious, situational and tacit understanding of the body in the making of architecture is grossly undervalued in today’s culture of quasi-rationality and arrogant self-consciousness. Even masterful architects do not invent architectural realities; they rather reveal what exists and what are the natural potentials of the given condition, or what the given situation calls for… transforming reality.’ ‘In the arduous process of designing, the hand often takes the lead in probing for a vision, a vague inkling that it eventually turns into a sketch, a materialisation of an idea’ ‘… the main objectives of artistic education may not directly reside in the principles of the artistic making, but in the emancipation and opening up of the personality of the student and his/her self-awareness and self image in relation to the immensely rich traditions of art, and to the lived world at large’ – Juhani Pallasmaa: The Thinking Hand, Wiley 2009 With the development of Cass Technology, we have the opportunity to celebrate and refine our making culture on an equal footing with the rest of our learning,


teaching and research activities. Cass Technology will drive further development of practical, material and technical expertise amongst academic staff, and will work closely with Cass Works. Cass Technology together with Cass Works aims to clearly locate and expand the particular making processes within

each of the studios across the faculty, while also encouraging a creative dialogue with Cass Culture. Cass Technology aims not only to be a faculty initiative, but also to build connections with the makers and fabricators in London; the Crafts Council, V&A, manufacturing/architectural/ engineering practices with material research labs. We aim to keep developing the international dimension through collaborative research projects and live projects such as the Solar Decathlon, the development and building of a new school of architecture in Sierra Leone and live collaborations with Miyagi University in Japan. We aim to prepare new generations of artists, architects and designers not only with a social and cultural purpose, but also with the value of thinking with their hands.

SIGNY SVALASTOGA  Associate Dean & Head of School of Architecture

The digital technologies available to art, architecture and design are becoming affordable; similarly, experimental new materials, composites and methods of fabrication offer the possibilities of collaboration between art and science. Thinking Hands



The Cass Session 2014–15

We have five great studios which take on the issues of today – current issues that designers, makers and businesses can get involved with. Cass Interiors includes interior architecture and design, interior design, and interior design and decoration – each has an individual approach to place and space. We aim to guide the students where they may be going professionally, developing their skills here at the Cass in the workshops and in the studios. KAYE NEWMAN  Head of Cass Interiors

‘I really have to congratulate the students of the Hermitage project who worked with Whitechapel Mission, a homeless charity, and interior design agency BDG. The students built this beautiful, wooden installation, and within it there were smaller installations that told stories about the perceived challenges of homelessnes.’

‘We have a longstanding relationship with Seoul in South Korea. We get our students together to collaborate... so far we’ve had five books, exhibited at the London Festival of Architecture and participated in many, many projects and symposia.’ Kaye Newman

Full interview  p. 271



Cass Interiors Studio 1  School of thought Liz Freemont and Janette Harris Studio Philosophy and Briefs Interiors Studio 1 School of thought investigated environments for education and research that could provide a launch pad for ideas within recognised museums such as the V&A. Students were asked to design for different communities that inhabit defined education environments, encouraging the user to stay for an hour or weeks, depending on the projects. The studio asked students to redefine, innovate and push the boundaries of living practice within creative spaces, outside the confines of existing design. What constitutes an educational space in the twenty-first century? How can the dynamics of the designed environment inspire creative outcomes for a range of ages and social groups? Can a research space be adapted and situated to innovate and question process and practice? RSA Shortlisted Students The studio had three projects shortlisted for the RSA Creative Conditions brief. Nevena Balezdrova was shortlisted for the Design brief and the



Business Case for the Hubbub project. Louisa Cole was shortlisted for the Perch project. Years 2 & 3 Project 1: Cognitive Exchange Students were asked to design and educational space on the sixth floor of the V&A, located in an area of the existing ceramics gallery, to enhance the existing provision within the museum. The brief included a series of exercises to develop primary and secondary research, the outcomes unfolding and building on learning, evolving into a body of cohesive work. In order to support the theoretical and primary evidence, Gensler’s Anibul Cruz Technology Practice Area Leader travelled on our journey. Year 2  Project 2 Mnemonic Suspension The second set of projects, for Mnemonic Suspension focused on designing elements that journey and nest within the museum setting, to enhance learning, research and the collaborative experience.

V&A concept

The Cass Session 2014–15

The project aimed to identify space and opportunities within the existing environments that would enable concepts to be translated to create a shift within personal and collective domains for the user. Mobile Modular Unit A family of flexible elements that can be moved and assembled/docked easily by the minimum number of people. Sleeping and accommodation for short-stay and residential researchers. Year 3 Major Project This focused on an independent project devised from their own brief, working with the themes of, ‘museum education’ and ‘archive’. The aim was to find approaches for the V&A to house, display and articulate their archived materials. Book House in Wandsworth, adjacent to a Huguenot burial site, was the setting for the project; therefore, students were asked to take part in the faculty’s Huguenots project.

MARTINA TERRACCIANO  Huguenot urban garden learning

MARTINA TERRACCIANO  Cognitive exchange


Studio 1

Cass Interiors

GINA GOLDOIU  Model in section

STANIMIRA VELIKOVA  Mobile modular unit

STANIMIRA VELIKOVA  Detailed plan of V&A


The Cass Session 2014–15

LOUISA COLE  Concept section

Cass Interiors Studio 2  Le palace Kaye Newman and Rentaro Nishimura The studio has travelled on a journey, developing ideas for two contrasting scenarios. While the first is situated in a Grade 2 listed location set within the opulence of Mayfair, the second is sited in a characterless concrete grid construction on the busy Kingsland Road highway. Both projects have illustrated the synergy or collaboration between design and context. A successful concept cannot be achieved or realised without a sense of place. The studio has investigated the language of luxury, escape and adventure. Luxury invites rich narratives within the detail, materials of quality, and graceful proportions. It offers value through time, passion, and knowledge. Escape asks for indulgence of the individual, empathising with the pursuits, habits and practices

of an explorer, developing spaces that resonate in a very distinct or even idiosyncratic way. Adventure talks of the journey and the exploration of locations. It sparks curiosity and leads a thoughtful process; linking cultures and histories to meaningful concepts. Both projects relate to and resonate with their environments and the people that inhabit them. The ambition is in the narrative and depiction, and in the detail, which creates luxury, the escape and adventure. Christian Louboutin Project 1: Desirable Retail The studio was asked to take the Christian Louboutin brand and situate it in the Burlington Arcade, Piccadilly. The shop interior is petite and can only accommodate

a fraction of Louboutin’s collections. This constraint enabled the studio to be selective, taking narratives from the brand and the location to consider the characteristics of the customer, inspiring the concept development that enveloped the spatial journey. Luxury is commonly perceived to be ‘all that glistens’; however through investigation, the studio revealed that true luxury lies within refined detail, authentic materials and notions of the individual. The studio empathised with particular customer profiles such as the rebellious bride, the well-heeled dandy and the powerful businesswoman, capturing narratives of behaviour, types of dialogue and the relaxed and measured interaction with the sales personnel that would cultivate the spirit of theatre inherent to Louboutin.

SELENA GRASSO  Louboutin long section


Studio 2

Cass Interiors

Project 2: Haggerston Hotel The Fairground is the name of the street feast festival that currently occupies the space within 260 Kingsland Road. The studio was asked to design a hotel that considered a specific enthusiast or explorer who was here to visit London. The spatial ideas were guided by and responded to the explorers’ baggage, paraphernalia, interests, curiosities and urban itineraries. Hotels are based on facility star ratings that highlight kettles and TV’s as a reflection of quality and provision. The brief required the studio to reinvestigate comfort and luxury within the context of the East End, specifically Haggerston, and the needs and aspirations of the chosen explorer. It disregarded convention and questioned the role that hotels are taking regarding the increasing interaction within the public domain. More and more hotels act as a civic component, becoming gathering places, cultural pivots and also pioneering constructed ‘actors’ in redevelopment areas.

TANISHA SHAFIQULLAH  Sketch of Burlington Arcade

NADIA BERGA  Social space, Haggerston Hotel


The Cass Session 2014–15

TANISHA SHAFIQULLAH  Mapping Burlington Arcade


Studio 2

Cass Interiors

Cass Interiors Studio 3  Community exchange Mohamad Hafeda, Suzanne Smeeth-Poaros and Sigrún Sverrisdóttir Studio 3 investigates the negotiations of community and commercial exchange through site-specific research into smallscale markets, in particular the Whitechapel Road Market in Tower Hamlets, London. We explore the potential of markets as spaces where diverse communities come together to trade and interact. The studio is interested in the negotiation and the link between temporary and transient forms of occupation of space, and permanent and fixed modes of occupation in relation to the traders’ community and commercial exchange. Our investigation includes Toynbee Hall and its outdoor public spaces, a charity that provides free advice services to communities in East London – including legal, educational, employment and

financial. We ask: what are the challenges and possibilities for current market spaces to operate as social, community and public spaces alongside their commercial purposes? Can the nature of the market and its public use propose new events and design interventions into the market’s social, commercial and physical structure? Can we learn from the market and create a collaborative hub for social exchange at the site of the Toynbee Hall estate? Project 1: Whitechapel Road Market – Temporary We start by looking at the nature of the market, its traders, its practices and regulations. We focus on Whitechapel Road Market, which

KOMAL PATEL  Market stall proposal


The Cass Session 2014–15

caters to a local diverse community and presents a versatile territory for observation and investigation. We consider the practices of other users, thinking of issues that are social, cultural and operational and that govern the way the market space is used and negotiated. The project asks students to research the market and discover a narrative/story relating to the market traders’ practices, to use an existing object or element from the site, such as a suitcase, a chair, or a steel structure, and to create a device/object that responds to, or serves, or comments on a particular practice that has been observed and studied during the research. Project 2: Toynbee Hall – Permanent Toynbee Hall has invited Studio and MA students to contribute to the design debate and create solutions to bring the hall back to the heart of the community. The final phase of the studio project requires students to reimagine the site of Toynbee Hall in response to a dynamic programme for the third sector, and propose temporary interventions into its public realm space in connection with proposals for a permanent collaborative hub space, by: Reimagining the public realm space of Mallon Gardens as an active landscape of pop-up events. Proposing a redesign of one of the building’s interiors as a collaborative hub space. Examining the link between these two types of site intervention: A. temporary/transient and B. permanent intervention, how they will co-exist and function together as a social programme.

SPASKA BONDARENKO  Toynbee Hall timeline

SHONALI MURARKA  Market stall explosion collage


Studio 3

Cass Interiors

KOMAL PATEL  Mapping of Whitechapel Road Market

What are the challenges and possibilities for current market spaces to operate as social, community and public spaces alongside their commercial purposes?

SPASKA BONDARENKO  Market suitcase device, photography and collage, photography and drawing


The Cass Session 2014–15

Cass Interiors Studio 4  Dressing the city Steve Jensen, Onur Ozkaya and Olga Reid The Dressing the city studio explored connections between the fashion industry, education, social injustice and desire for profit. With projects located in, and contextualised by, Petticoat Lane Market; drenched in a vibrant history of selling, swapping and making. To this day the market remains busy and alive, reflecting both its diverse history and its continuing popularity with locals and tourists. Dissecting a societal preoccupation with self-image and a desire for the latest ‘look’, certain questions were raised about the industry and responded to by the student research – do the fashion industry values represent moral degradation due to an idolisation of physical beauty and material goods? Are young people brainwashed into this mentality?

Is this the responsibility of the designer, or is it a manifestation and advancement of pop culture and a society of unthinking, uncaring consumers? Interior designers create the mechanism for fashion to infiltrate the high street: the actuator (outlet) for public consumption. The answers to the above were a conduit for design decisions during the formation of this outward display mechanism. As a consequence, students experimented holistically with new ways of making, doing and selling, spread over two projects in the year. Firstly using fashion, and a specific fashion designer, as their medium, students created a mobile device to communicate the message of a selected community or charity. This will be sited in a Liberty, an unused

‘meanwhile’ space within the Petticoat Lane area. Secondly, using the same client, students created a mixed-use commercial enterprise at a former horse and cart market at 106 Commercial Street that also included their offices, and a public space. Both projects focused on architectural qualities, cultural nuances, material distinctions of the city and community aspects specific to the area and the fashion industry. Research informed ways to encourage connectivity between customers and retail structures, while exemplifying a reaction to modern concerns with consumption and retail interaction. Students’ work was realised and demonstrated through an assortment of drawings, constructions and conversations.

LUCY JENNINGS  Dressing the city section


Studio 4

Cass Interiors

CHARLOTTE GIBSON  Dressinging the city Device perspective

ELENA TENGELMANN  Dressing the city perspective

Device process 1:25

Clothes shredder

Steel step Ladder

Leaver to elevate platform

Carding Machine

Spinning wheel

Scissor mechanism to lift device


1. Clothes are collected and put through the shredder to be broken down into fibres.

2. Once the shredding has finished, the step ladder at the side of the device will be pulled out and the workman will climb into the device with the fibres.

3. When the workman is in the device and has sat down, the second workman will close the ladder and sit in the front drivers seat.

IRINI PAPADAKI  Dressing the City device


CHARLOTTE GIBSON  Macramé process


Shelf for yarn to be sold

The Cass Session 2014–15

4. The second workman will now press the relevant button for the machine to elevate. The workman sitting in the top of the machine can now start work by feeding the fibres through the carding and spinning machine by turning the leaver.

5. Now that the fibres have been fed through the relevant machinery to be spun and recycled back into yarn, the workman may once again clime out of the device.

6. The workman will now place the ladder back into an upright position and pull out the small shelves on the ladder, to create a stall where some of the yarn is now sold to local textile makers to raise awareness for Barnardos.

Cass Interiors Studio 5  Out of office Aberrant Architecture: David Chambers, Kevin Haley and Josephine Neill

KINGA WABIA  The workplace journey, AutoCAD and Photoshop

Interior design is not simply the aesthetics of a space; it is about striving to understand the cultural, economic and social structures that surround a project, and exploration of these through design. Focusing on experience, and designing from the individual outwards, Studio 5 has questioned, investigated, analysed and critiqued flexible working lifestyles of various types to then turn this research into interventions at a variety of scales, in an effort to try and ease the issues that come with working in these increasingly popular spaces. Beginning their research with firsthand experience working within some of the most popular co-working spaces in London, students of Studio 5 felt the effects of workplaces without the constraints of the typical office. Positives and negatives with this style of working became increasingly


apparent as students explored the sites that they had been allocated; using primary research as their focus they interviewed, experienced and reflected on the style of working their site promoted. To record the extensive research they were collecting, each student created a diary, which housed their photos, sketches, and thoughts. This analysis was then used to create a large-scale drawing that focused on one particular interest, theme or issue they had found within the building. Learning lessons from the first stages of the year, each student then used their knowledge of the local area, the site and its users, to generate a scripted scenario drawing that aided the production of a unique design brief for an intervention that responded to their research. Working at a scale of 1:20, designs were developed through model making, giving the students the opportunity to explore

their proposals at a near-human scale in order to keep the intimacy they had achieved at the research stage. Ranging from furniture to entire systems and environments dedicated to supporting the needs, wants and desires of a variety of twentyfirst-century workers, students have imagined new ways that our environments can respond to these changing working trends, often by investigating territories beyond typical design concerns. Design proposals are aimed at the real world and move beyond just surface design, addressing areas of everyday culture, organisation, sustainability and identity, demonstrating the ability to eschew a straightforward design approach in favour of becoming problem solvers as well as designers.

Studio 5

Cass Interiors

GOLZAR BOOSHEHRI  The faceless women, hand drawing and Photoshop


The Cass Session 2014–15

‘In earlier years, designers were trained in form, function, materials and aesthetics. Today, culture and emotion are central, plus knowledge of societal issues, techniques for subtle persuasion and the intricacies of complex, interdependent systems.’ D. Norman, ‘State of Design: How Design Education Must Change’ (2014)

KINGA WABIA  Corridors of transition, hand drawing and Photoshop


Studio 5

Cass Interiors

VICKY PAPAZOGLOU  Sound disruption in the workplace, AutoCAD and Photoshop

VICKY PAPAZOGLOU  Sound disruption in the workplace, AutoCAD and Photoshop

VICKY PAPAZOGLOU  The guilds of makerversity, hand drawing and Photoshop

MARIKA HEIKKILA  The architecture of corners, hand drawing and Photoshop


The Cass Session 2014–15

Cass Interiors Year 1  Sue Ginsburgh, Janette Harris, Steve Jensen, Olga Reid, Suzanne Smeeth-Poaros and Tania Lopez-Winkler This year, Interiors Year 1 have explored environments that celebrate, and educate us about, the rich history and skilled craft practices of the Huguenots. The site for the first project, Sensory Overload, investigates the market environments in and around Petticoat Lane. Students undertook primary and secondary investigation in groups, summing up their findings in a short film. This was followed by the Market Stall project that connected the

community with themes linked to the Huguenots. The Stitch in Time project developed research further, focusing on Goulston Street atrium, London Metropolitan University campus. The brief asked students to explore and demonstrate how an archive for the Huguenots could be housed and understood within a public events space. In addition a workshop and small café could be included, designed for the Museum of London.

The design studio, students undertook Interiors Materials and Technology, which looked at the materials and construction of buildings, and the possibilities of new interventions, detailing and understanding drawing conventions. To support the studio, drawing classes were held for sketching and technical drawing, by hand and digitally. Model making formed a key underpinning to explore the students’ concepts.

MARIACHIARA DAL POZZO  Spitalfields, sketch


Year 1

Cass Interiors

MARIACHIARA DAL POZZO  Goulston Street, model and sketch



The Cass Session 2014–15

BLAZHKA MARNIKOVA  Drawing lessons

Conversation between Robert Mull and Kaye Newman, Head of Interiors

RM  What is Cass Interiors? KN  Cass Interiors is a cluster of three interiors degrees, Interior Architecture and Design, Interior Design and Interior Design and Decoration. Each has an approach to place and space and we aim that each student, whilst being professionally trained to be in the interiors industry, already has a niche to work within. So each course has its own specific feel or practice, and when we review the portfolios with students we can see what their type of practice is and guide them where they may be going professionally, developing their skills here at the Cass in the workshops and in the studios. RM  The newest part of that cluster of three courses is Interior Design and Decoration, isn't it?

KN  Yes. It’s quite exciting because now it gives us all the best reasons to work very, very closely with very specific items that give so much pleasure and so much beauty and make sense within an interior, working with the strength that we have in areas such as Furniture, Textiles, Fashion and Silversmithing and Jewellery, the making tradition of the Cass. RM  That’s very exciting. That touches on something we’ve been discussing across all of the Cass, the integration of a wide range of activities within an integrated whole; the Aldgate Bauhaus idea. How do you see Interiors fitting into that sense of the whole? KN  I’ve always called Interiors a jack of all trades. We have to respect many, many professions, work with them, collaborate

with them, understand their needs, work in detailed ways with others, so in one respect it is just developing our practice to work with others alongside all the design trades. The other thing is that the sense of a designer can come about by being very closely in touch with materials, and working with them and really understanding the challenges and the reality of making. It teaches such a lot. It teaches about approach and thoroughness and care, and it also teaches about impact and scale. I think this is wonderful that we get to go and exercise all of these things in the workshops in the Cass. RM  What makes Cass Interiors special in relation to other courses? KN  These three very specific pathways make us very different from the other




Cass Interiors

courses on offer. We are also very keen to allow the portfolios to develop as the student wishes, to bring out their practice and all their enthusiasm, and that they can be active in the workshops and through CAD, however they wish to be, traditional or digital, with their skills. This is all encouraged through the studio approach with a professional-led experience and excellent links with industry. RM  You’re talking about respecting, empowering and allowing students their own voice. What teaching strategies are used within Cass Interiors to mobilise and celebrate the diversity and the life experience of students? KN  We have a very constructive approach to how students develop their practice in that we build upon the skills that they show and we add to them. We don’t have an in-house style; we respect our students’ individuality. They come here with a great portfolio and we build on that with them, on a day-to-day basis. We like to go out on site. We like to walk. We like to visit and we discuss the things that we see and the things that we do. Exchanging ideas is one way to develop ideas and to offer other approaches. That’s what happens in the studios. RM  Can you give us a sense of the work that most exemplifies some of the values that you’ve just been talking about? KN  All the work that we’re showing is excellent. These students have worked long and hard and have been extremely dedicated to create work that is both professional and well considered. We’ve had some lovely comments from the industry and our many visiting critics this year. RM  You speak of a relationship to industry and to practice. A lot of the studios are run by practitioners, and one of the great strengths of the Interiors area under your leadership is the multiple relationships to industry. Can you tell me something about the current links that you’ve forged and the opportunities that offers to students? KN  We have probably up to 75 professional mentors in design and architectural practices from the leading architectural and design practices in London. Gensler, BDG, BDP, Fitch, TP Bennett, and then the smaller practices too. They’re chosen because we recognise something in the student that might lean towards that particular sector, whether it’s an international company, a multidisciplinary company


The sense of a designer can come about by being very closely in touch with and working with them and really understanding the challenges and the reality of making. or a tiny little two-man band... that student will through their portfolios, through their thinking, make contact with that sector. RM  How does the mentoring work? KN  I’ve been in the business for a very long time now, so I have lots of friends and contacts, and through networking you meet people. You talk about the Cass, you talk about how industry and education should have a strong connection, should have a synergy. We’ve built up a network. It helps because we’re next to the City of London, so they can easily see the students, or the students can go to their offices, and work very closely with them. They give up three or four hours at a stretch every time they see them. It’s a great resource. RM  There’s also been a number of live projects and competitions that you’ve led, together with external partners. KN  Yes. We’ve run many, many live projects and also we get invited to come up with concepts for leading brands. This year we worked with BT, working with their exchanges. That was great because BT have eight thousand or so individual buildings, and so the use of the buildings is very important. The very fact that they come and ask our students to come up with ideas that would make them business propositions is a great thing. We’ve worked with the V&A. We’ve worked with Gensler and Fortnum & Mason. We’ve won many competitions this year. The NAS (the National Association of Shop-fitters) is another part of the industry that work with us very closely because they are aligned to the building trades and work with design practices. We’ve won the Young Designer of the Year, Designer of the Future. We also won the Lotus Prize in the category of social innovation, which is an inter-national competition sponsored by Hunan University and other leading manufacturers in China.

The Cass Session 2014–15

RM  Can you say something more, because it is really interesting the number of international links that define Cass Interiors? KN  They’re longstanding. Again, they’re conversations and they're chance meetings. We have a longstanding relationship with Seoul in South Korea. I have now two very good friendships that grew out of a conversation in a corridor here in the university when one of them came here as a PhD student. We talked about how we could get our students together to collaborate, and since then we’ve had five books and many, many projects and had symposiums and exhibited at the London Festival of Architecture. Those colleagues have now gone to other universities and with that they’ve taken the good name of the Cass with them, and we now collaborate in those universities as well. RM  Focusing on your own practice, how does that inform your teaching? KN  The importance of collaboration. As a practitioner now, it’s so important to work as a team. Interiors is all about teams. You don’t build a building on your own. You have to negotiate with so many other agencies, and that’s the same way that we would like to run the Interiors cluster, as teamwork and all working together for the student and the built environment. RM  When we meet in a year’s time, when we talk again next year, what are the developments that will happen over the coming year that we’ll be talking about? KN  I would like to think that we’ve talked about five great studios that have just completed; studios that really take in the issues of today, current issues, things in the newspapers that we as designers and business makers can get involved with. So interior architects looking into sustainable communities, a hotel brief, a first

interior design and decoration studio in collaboration with Jewellery and Silversmithing, and much more. RM  You’re talking about there being closer relationships between what are currently three different attitudes towards the Interiors discipline. Do you ultimately see them as remaining as distinct as they are: Interior Architecture, interior Design, Interior Design and Decoration, or do you think that ultimately, it is one discipline and all of our students will have an equal experience of all three; what’s your instinct? KN  You do move through scales. I personally, because I’ve been in the industry for a long time now, I call it all Interior Design and I think that as each and every student leaves the college they would call themselves an interior designer, irrespective of which degree they’ve got. I think the degree is there to situate a perspective of a focus within their portfolio. There are differences in approach and within the Interiors degrees, there are very different students practising in different ways. We’ve always had our section of architectural students who love communicating through line, and then the more flamboyant student that will be more playful with pattern and texture. RM  Can a student move between these different degrees as they discover their sensibility? KN  Yes, within the studios in second and third year. RM  Finally, the Interiors in its broadest sense, like many of the disciplines in the faculty, is linked to economic, social and

political forces, so in terms of the needs of your students, what would you hope for from the incoming government ? KN  The first thing I would hope is that the government would reconsider the fee situation if that were at all possible, and give industry a little bit more of a responsibility to pay for their future employees as they come through. That’s surely where they’re going. My second would be that there were more integrated, better workedout internships, especially for interior designers. It’s very under-regulated at the moment. There are lots and lots of different practices out there and I think it should be structured, and I think that the employees and the students should work together a little bit better and more collaboratively in a more constructed framework. RM  Is that the same as an apprenticeship programme? KN  I think there are two different things here, where the apprenticeships are committing to a graduate for a long, long time, and an internship could be an industry taster. RM  One aspect of the faculty is a commitment to socially engaged forms of education, and one project that I remember particularly clearly in relation to Cass Interiors was the marvellous Hermitage project in 2014. KN  Yes. I really have to congratulate the students of the Hermitage project, who worked with the Whitechapel Mission, a homeless charity, and an interior design agency called BDG to bring awareness of the plight of the homeless, to discuss

this project in a very, very sensitive way and not to be patronising; to develop a way to allow the local people in Spitalfields and Shoreditch to understand that the mission is there to do a certain type of charity work for the benefit of the homeless, but not to portray it in the wrong way or in a way that just asks for money. What it asks for is time, what it asks for is an understanding towards the homeless people that it helps. It was asking for those things, not just the easy gift of money. They built this beautiful, little wooden installation, and within it there were smaller installations that told stories about the perceived plight of the homeless and who people thought the homeless were but in actual fact when you revealed the story behind them, individuals were really quite different and quite surprising. That was the message, this idea; everybody’s preconceived idea of the homeless, and the whole project was to expose all that and to reveal their real stories. RM  I visited it in Spitalfields and it was a marvellously generous and moving piece of work, and those students who were involved in it were incredibly empowered and motivated by the work that they did. KN  It worked on many, many levels because what it also did, it was a one-toone structure that had to be built in the workshops. I can think of students now who were incredibly helpful, great at developing the whole thing in a workshop scenario. They also achieved great marks. We hope to develop more such opportunities. RM  That’s very interesting. Thank you, Kaye.

INTERIORS BA (Hons) Interior Architecture and Design BA (Hons) Interior Design BA (Hons) Interior Design and Decoration MA Interior Design MA By Project RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :



Cass Interiors



The Cass Session 2014–15

Cass Film is based in a fantastic location right in the heart of one of the most creative and energetic districts in the world. Cass Film offers hands on, practical and challenging courses in Animation, Film and Photography. Our teachers are practitioners, passionate about their subject and love teaching.


‘I think recognising the diversity and challenge of its continually changing environment, Cass Film is committed to social engagement. This ethos is in the bones of our approach in what we teach and how we work with our students.’  The common thing is making and how we communicate that to another person. We talk about making all the time and I think it’s our strongest social and professional bond.

Full interview  p. 299

‘There’s a carefulness to how we produce work and care for the craft in its execution. That might be producing a film that can be confidently projected in the National Film Theatre, animations to dress a public building or photographic work that pushes the edges of analogue and digital practice.’ Charlotte Worthington

Archive: Imagining the East End 3 October – 1 November 2014

Archive: Imagining the East End showcased the work of a diverse range of photographers whose work relates to the East End of London. The East End is understood here as both a geographic location and an intangible space, a perpetually shifting frontier within the urban sprawl of London that is part real and part imagined. The exhibition saw the collaboration of photographers, academics and archives.

Photographers Don McCullin, Tom Hunter, Jenny Matthews, David Hoffman, Steven Berkoff, Ian Farrant, Rod Morris, Heather McDonough, Susan Andrews, Mick Williamson, Brian Griffin, David George, Spencer Rowell, Mike Seaborne, John Claridge, Joy Gregory, Maggie Pinhorn Writers and Researchers David Howells, Katherine Lazenby; Danny Flynn (Found Image Publishing Project); Michael Upton (Estuary English); Nick Haeffner (Shadows of Doubt)



The Cass Session 2014–15

Conservation Researchers Graham Diprose, Mike Seaborne New Projects in Progress, Cass staff and students Pedro Montalvo, Will Vickers, Marcin Krupa, Marie Sleigh, Eric Boscia, Alex Grady, Andy Lawson Local Archives Whitechapel, Autograph, Bishopsgate, Hackney Archives, Tower Hamlets Archives, Theatre Royal, Eastside Community Heritage

Photomonth 2014

Cass Film Studio 3 The stories we tell Elaine Pierson and Charlotte Worthington

‘Sometimes you have to lie to tell the truth’ Robert Flaherty

We all tell stories about ourselves, events and other people – changing the emphasis, structure and sometimes the truth depending on how we want others to see us. How can tall stories be translated to short stories on screen? In this studio, film students explored the themes of Home and Family to research and shoot short,

creative documentaries which interpreted personal experiences or told stories of close friends or family. With unique access, the documentary films brought to the screen real-life stories . Subjects included a personal account of abandonment as a small child, life after a stroke, a stunning visual poem about grief, an intimate story about mental illness, a family of many faiths living under one roof, and a film experimenting with found footage to explore emotional and geographical distance.

Building on these ideas, the studio encouraged students to use these personal experiences to develop short dramas calling on real-life experiences to tell fictional stories. Themes ranged from a comedy about fruit and sexual identity, to a hybrid docudrama about depression, a raw story about an abusive mother, and a short about an individual trapped in a never-ending time loop. There were three studio rules: play with form, experiment with content, and find a truth.

Trapped (above) and Grief, by Nathan Hannawin (film stills)


Studio 3

Cass Film

Cass Film Studio 4 ‘In a world …’ Peter Hewitt and Anita Lewton ‘Stories are equipment for living.’ Kenneth Burke

‘In a world …’ is about characters, their worlds, their stories, and their emotions and feelings. The students in this studio have been encouraged to consider narrative fiction as a way of understanding life by exploring themes and subject matter with personal relevance and resonance. The studio began with students researching their chosen theme(s) in existing film, television and other cultural artefacts. This research was developed into short essay films using combinations of original and archive materials along with voice-over. The essay film represented an opportunity for students to experience a different kind of film making – personal, intellectual, to some

degree curatorial. The resulting work made for fascinating viewing and was wildly diverse in both subject matter and approach, from the manipulation of time in cinema, to portrayals of family, the narrative uses of dreaming and the artifice of Hollywood romance, to give just a few examples. During this period each student also developed a short drama script, and teams were formed to take a selection of these into production. Again a richly diverse combination of subject matter and approach has resulted in a portfolio of thoughtprovoking work with the capacity to captivate and engage. In Stay still a shy young gallery attendant finally connects with another soul, but all is not as it first appears. In Wake a man is tortured by the death of his child, a death he may or may not have been responsible for. Elicit’s protagonist is

held in a cell overnight on suspicion of murder. Initially in denial, a conversation through the wall with the occupant of the adjacent cell reveals the truth. Toiletking is a bizarre satire set in a public lavatory. Finally, the students were asked to participate in an eight-day film challenge, following a live brief in order to experience the rigours of fast-turnaround commercial production. ‘In a World …’ students have worked with the ‘stuff of life’ and accordingly ideas, opinions and hypotheses have evolved. They have explored ways of expressing these ideas through the moving image and have developed their film making practice and technique, learning along the way that technology is merely a tool; its creative application in the service of the story is what counts.

Entrapment, short drama by Jake Christian, Mo Beheshti, Ashley Augustine and Kamila Mackiewicz (film stills)


The Cass Session 2014–15

Three cigarettes, short drama by Natalja Panko (film stills)

Stay still, short drama made by Jonathon Bowers, Antonio Sequeira, Lambert Grand, Andrea Saini, Shahnoor Khan, Sonia Spesova and Rayanne Haddad (film stills)


Studio 4

Cass Film

Cass Film Photography Studio 5 Fantasy and memory Sue Andrews, Ania Dabrowska and Mick Williamson ‘A knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be ignorant of the use of camera and pen alike.’ Laszlo Maholy-Nagy

Many would argue that all photographs, even those primarily considered documentary, are to a greater or lesser extent self-portraits; that photographs are indeed the projection of the photographer’s inner world, revealing personal interests and obsessions and, as such, may constitute more accurately a ‘fantasy’ rather than representing, in Szarkowski’s terms, a ‘window’ or even a ‘mirror’ of the depicted subject

matter. Most would agree that all photographic subjects are mediated to a degree by an array of factors, and it is the understanding of these factors that is key to producing exciting, relevant and challenging photographic work. Sontag suggests, ‘each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen… As Wittgenstein argued for words, that the meaning is the use – so for each photograph…’ Within the photographic field, practitioners are engaged in many approaches to both medium and subject; some use photography as a tool to explore fantasy and cultural



The Cass Session 2014–15

media (Dobai, Calle, Leventhal), others to catalogue or document (The Bechers, Mendel, Billingham, Djistra) and some to explore the boundaries and potential of the medium itself (Goto, Tillmans, Derges). But whatever the approach, the construction of photographic meaning is contingent upon memory (the lightsensitive material retaining the traces of light and shadow reflected at the moment of exposure, while the subject matter of the image is at the moment of making conserved for posterity), and fantasy (the photographer’s, through looking, selecting and making, and the viewer’s in terms of personal and cultural interpretation). Students investigated contemporary

HARRY BRANDRICK  Triptych, photography


RYAN FLINT Photography



ALEX MOYE Photography

issues and photographic approaches, exploring the connection between making and meaning. A range of photographic skills, both analogue and digital, were explored and the students reflected on the function of the technology in constructing meaning. Study consisted of relevant practical and thematic workshops, lectures, exhibition visits, group critiques, seminars and tutorials where students investigated, analysed and reflected upon their

work within the context of current critical photographic debate. This year the studio ran field trips to The V&A Print Room, Four Corners, Printspace and Metro Imaging. The students also participated in running the exhibition ‘A rchive: Imagining the East End’ at the Bank Gallery, the Women’s History Month exhibition ‘On Beauty’, and the symposium ‘Fathom’ in conjunction with Four Corners regarding artists’ residencies. The studio supported a series of talks

from a range of contemporary practitioners including Zelda Cheatle, Jenny Matthews, David Hoffman, Brett Rogers, Dr. Daniel Rubenstein, SMITH, Gemma Padley and Tom Hunter. The Level 5 group are currently running a live project, which draws on portraits of celebrities from the Photography Archive at the Cass, culminating in a charity fund-raising exhibition organised in conjunction with the Terrence Higgins Trust for Photomonth 2015.


Photography Studio 5

Cass Film

LOUIS BURROWS  Photography

ELENA YANG  Photography


The Cass Session 2014–15

EMILY CLACK  Photography

RYAN FLINT  Photography



Photography Studio 5

Cass Film

Cass Film Studio 6 We make film Charlotte Worthington Now in its third year, We Make Film – the innovative student-led production and PR company, continues to thrive. Modelled on media industry structures, the studio encourages students to create work with visual flair and strong storytelling across live projects, drama, documentary, web content and social media. Students gain skills in development, production, distribution and PR. Alongside refining creative and entrepreneurial talent, the studio focuses on giving students confidence and a strong CV ready for graduation. One of our students has already secured a prestigious, year-long paid

internship with a major international TV production company – an example of what can be achieved in this studio. Embedded at the heart of our film courses, We Make Film’s strength is that it provides students with unique, first-hand opportunities to gain invaluable experience of working with clients on a range of media, music, animation and projects. Over the year students have participated on external projects for the Royal Academy of Arts, NACUE, the RSA, and Aduna. They have also worked within the Cass producing

Double jab, documentary (film still)


The Cass Session 2014–15

films with Fashion, Jewellery, Animation and Architecture students. Other projects include Doctor Dark, a sci-fi web series, Latex, a drama about sex, Huey Benedict, a twenty-first-century silent movie and Double jab, boxing documentary. In development are two more documentaries – one examining the sensitive subject of religious persecution, and the second looking at diversity within the TV industry. PR students have improved the social media and web presence, as well as working on promoting the feature film Shongram, written and directed by Munsur Ali.

We Make Film team shooting at the Royal Academy


Studio 6

Cass Film

Cass Film Studio 7  The future is here Peter Hewitt

‘We are the touchscreen generation, Generation Y. Today’s society finds itself in a transitional time of hyper connectivity, the centre of an epochal age driving into the digital future where the edges of technology and humanity swiftly, and for some terrifyingly, begin to blur.’ Taken from:

The future is here studio has seen its membership work together towards the final outcome – a four-part series of short dramas intended for web distribution. Each student has taken on at least two roles, and most have worked across more than one episode. In doing so they have had the opportunity to further develop

specialist skills in production and immerse themselves in team-based projects requiring extensive cooperation across an extended time frame. The central notion of The future is here has been to explore how human experience is irrevocably altered by technological intervention, either through our interaction with contemporary technologies such as smartphones, or by speculatively gazing into a near future where our addiction to gadgetry has literally enslaved us. So I woke up… tells the story of Amy and the potential power of blogging. The protagonist of ORR misuses the internet in the search for love. In Billy

a lonely young man seeks to raise his social status by creating a digital girlfriend. Finally, Remain positive envisages a future in which its characters’ fortunes are intrinsically linked to the ‘scores’ they achieve through interacting with social media.

Remain positive, Annie Vasiliou, Miguel Schertel and Colette Pacini preparing a shot for their film

ORR, short film by Jonathan Bowen, Melissa Bowen, Jonathan Everitt, Jordan Louison, Colette Pacini, Annie Vasiliou


The Cass Session 2014–15

So I woke up, short film by Ysabella Alvarez, David Chandler, Tom Colwill, Victoria Cordoba Lima, Thomas Pritchard, Miguel Schertel

Remain positive, short film by Ysabella Alvarez, David Chandler, Colette Pacini, Thomas Pritchard, Miguel Schertel, Annie Vasiliou


Studio 7

Cass Film

Cass Film Animation Studio 8 Realism and modernism Mark Collington It is all too easy to under-utilise the narrative function of a set design in animation, given the amount of time required to design and build it. A set design determines the context (time and place) for a narrative, the mood and theme, or the deeper semantic meaning and psychological function of a scene. A well thought-through set can even be used to tell a story without the inclusion of any actors or characters. Cultural and Contextual Studies is fully integrated with the Animation curriculum through a programme of Animation studio seminarworkshops. These sessions apply theoretical ideas directly to a series of one-day practical exercises that culminate in a complete researchinformed practical project. This studio is based on a series of seminar-workshops that look at the modernist principles of film montage and the theme of suspense; which combined with the iconic mise-enscène techniques associated with

film noir and its precursor, German Expressionist film, can be used create realistic, atmospheric and deeply psychological set designs that tell a story. The first year of this vertical studio explores these ideas and techniques through a stop-motion set design sequence edited together with sound effects. Students begin by recreating real spaces from design decades relevant to film noir. An initial field trip enables students to visually research authentic spaces from different design decades at the Geffrye Museum of the Home. The second and third year of the course extend these skills to 3D previsualisation and compositing exercises. Low-render 3D techniques used in ‘previz’ enable filmmakers to visualise complex scenes before filming, in order to resolve a range of challenges for the camera and reduce the range of costly time constraints. Compositing or visual effects are added in postproduction to add

JOHN TABER  Film noir storyboard exercise


The Cass Session 2014–15

scenery or action that would not be possible to shoot through live action. At these more advanced levels project work requires students to re-interpret a film noir sequence, synchronising acting with the soundtrack of the original film. The second and third year also look more closely at narrative structure, borrowing narrative conventions from film noir; and also the Russian formalist folk tale ‘morphology’, which underpins many modern genres through more modern interpretations known as the Hero’s Journey or the Writer’s Journey. Once again the studio provides a platform for third-year and Masters students to apply these techniques to their own major project ideas. Major projects in 2015 included a film noir stop-motion animation, and also a progression reel that breaks down the pre-production stages from storyboard, to animatic and previsualisation reworking of a noir film.

ALICE BARLOW  Film noir progression reel, 3D major project

MICHAEL EVANS  The lady in white, stop-motion major project


Animation Studio 9

Cass Film

Cass Film Animation Studio 9 Rethinking animation Mark Collington Cass Animation studio projects are designed to be at the forefront of rethinking how to apply this unique skill set to a whole new range of cross-disciplinary technologies and applications, from rapid prototyping to projection mapping. The projects also revisit the origins of animation, redeveloping concepts behind formats such as the zoetrope and shadow puppetry. Studios are run vertically across all year groups and engage with more in-depth concepts at each level. The animation studio has been developing a number of client projects with heritage, entertainment and industry partners. The key aim has been to develop a professional studio environment that enables organisations and students to take creative risks in their work, while at the same time understanding how to engage ethically and responsibly with communities and consumers.

In 2014 the animation studio worked with the Museum of London to curate an exhibition for its collection of Thomas Becket pilgrim badges. Laser-cut reproductions of the thousand-year-old badges depicted scenes from the famous saint’s life, formed a storyboard that was mounted on a 3D zoetrope and used strobe lighting to bring sequences of real objects to life. 3D zoetropes have become a popular promotional format at industry expos and exhibitions. In 2015 the animation studio worked on a viral and exhibition with the London-based, Africa-inspired, social business Aduna as part of its Make Baobab Famous campaign. The campaign was designed to raise awareness among Western consumers about the health benefits of the baobab fruit; as well as its economic benefits to the communities who own the baobab trees, and process the naturally occurring dry fruit powder

within the shell for global export from West Africa. This studio project was also designed to challenge Western preconceptions and tropes surrounding African culture and identity. This was underpinned by a Cultural and Contextual Studies programme that included subject matter from media representation to animated documentary. Mini client projects were contained within the studio to explore and develop innovative animation formats. These included a projection-mapping project for South West Trains as part of a community event – turning on the town’s Christmas lights. For third-year and MA students the studio acts as a testing ground for students to develop their major project ideas.

APRIL SLOCOMBE  Looming marvellous: living with Asperger Syndrome, hybrid animation techniques


The Cass Session 2014–15

GROUP PROJECT  Surbiton Station Christmas lights, projection mapping mini-brief

GROUP PROJECT  Museum of London, Thomas Becket pilgrim badge exhibition, 3D zoetrope

TANISHA FOSTER  Make Baobab Famous viral, Adobe After Effects


Animation Studio 9

Cass Film

Cass Film Year 1 Animation, Film and Photography Mark Collington, Peter Hewitt and Mick Williamson

This year Animation ran two vertical studios across all year groups – Re-thinking animation and Realism and modernism. Re-thinking animation was organised as a professional studio experience and allowed students the opportunity to work with a range of clients, including London-based social business Aduna on their Make Baobab Famous campaign . Meanwhile the Realism and modernism studio is rooted in a series of seminar-workshops that explore the modernist principle of film montage, the theme of suspense, set design and iconic mise-en-scène

techniques associated with film noir and its precursor German Expressionist film. Students have been exploring these ideas and techniques through a stop-motion set design sequence edited together with sound effects. BA Film and Broadcast Production students are immersed in the world of production from the start of the course and throughout the academic year with Cass TV. From making short films about food, inspired by the seductive M&S food campaigns, to short documentaries based on ‘This is Me’ or ‘London’, and studio-based TV magazine programmes, our talented students have been inspired by challenging , hands-on

EMEKA UZOH, Make Baobab Famous viral, Adobe After Effects, Animation


The Cass Session 2014–15

production experience. Finally, Photography students have experienced an exciting year with a new programme of talks and tutorials from a team of internationally established experts in contemporary photography, comprising visiting tutors, lecturers, photographers, editors, gallerists, publishers and writers. Personal development and experimentation with techniques were nurtured through studio, location, darkroom, analogue and digital assignments. Included in the programme was a masterclass from specialist darkroom printer Stuart Keegan, with all materials sponsored by Ilford.

RUBEN GONZALEZ  Studying abroad, short documentary, Film

Year 1 students Tom Slade, Billy Turner, Ella Coxhead, Leon Moore and Johnny Manning work on an insert for Screen one, their TV studio project, Film


Year 1

Cass Film


ZOE YAZMIN CURA  Photography

ZOE YAZMIN CURA  Photography



The Cass Session 2014–15




Year 1

Cass Film

Cass Film Masters Animation, Film and Photography Susan Andrews, Mark Collington and Charlotte Worthington

Cass Film offers three practice-based, taught MA courses in Animation, Film and Photography – each delivering exciting opportunities for students to focus on individual projects and to work collaboratively across subject areas. The MA Animation course encourages graduates from non-animation backgrounds to use animation skills for cross-disciplinary problem solving and to expand the paradigm of animation itself. MA Animation student Valentina Azzolin grasped the opportunity to use her prior Interior Architecture skills

AMEL MAHFOUF  Photography


The Cass Session 2014–15

to design an interactive exhibition space, as to well as explore the potential of projection mapping on to an Art Deco station. She worked in parallel with undergraduate animation students to explore how emerging technologies from projection mapping to rapid prototyping, used in the micro world of animation, can also be applied to real-world, macro solutions. She is developing a sensory museum installation as part of her final project. MA Film and Broadcast Production runs within the We Make Film production company. This year Silvia Sousa

CORAL HOWARD  Photography


has been developing her own practice, alongside working on a range of projects, from directing a short film on materials in architecture shot at the Royal Academy of Arts to producing a short drama. Her final project is a film installation which immerses the viewer in the mental and physical displacement experienced by an outsider in a strange city. The MA Photography course supports a broad range of photographic enquiry. Students develop their self-generated project work through a variety of activities: practical


and themed workshops, exhibition visits, lectures, seminars, presentations, individual tutorials and group critiques. This year the group participated in a range of external and outward-facing activities such as the Photomonth exhibition Archive: Imagining the East End, the Women’s History Month exhibition On Beauty, and the symposia Fathom (in conjunction with Four Corners Film) and Passion and Photography: the Idea and the Instinct (for London Independent Photographers).


Cass Film

Latex, produced by Silvia Sousa, directed by James Collins (film still)

The absence, directed by Stelios Georgiou (film still)


The Cass Session 2014–15

Conversation between Robert Mull and Charlotte Worthington, Head of Film

RM  What is Cass Film, and what does it do? CW  Cass Film offers hands on, practical and challenging courses in Animation, Film and Photography, We have the BA and MA in Animation, the BA and MA in Film and Broadcast Production and the BA and MA in Photography. Across Film and Photography levels 5 and 6 there are year-long studios which explore ideas and approaches. Animation has vertical studios where all the year groups work across projects at different levels of complexity and conceptual engagement. Our teachers are practi-tioners, all very passionate about their subject and love teaching. RM  Tell me about your background; you didn’t start in Film … CW  I had wanted to be an artist (a painter) since I was very small child – so I went to art school and emerged a few years later as an animator and filmmaker. RM  It’s interesting; interdisciplinary practice is a recurring theme at the faculty, but what prompted your shift towards media? CW  I discovered the Canadian artist and animator Caroline Leaf, who paints directly on to glass under the rostrum camera – she calls it direct animation.I loved the idea of making paint move. I worked in the TV industry for many years as an assistant producer progressing to producer/director of documentary and factual programmes. As well as working on productions for BBC two and independent TV companies, I had my own production company which made major documentaries for Channel 4. Before getting into telly, I cut my teeth in the Soho animation studios as a runner and then progressing into commercials and short animated film production. RM  How does your professional practice inform your teaching? CW  As a teacher I think it is really important to continue producing and making films. I produce and direct


shorts, promos. Last year I directed the ‘Football League 125-year celebration’ film. I also produced a feature documentary, Normal which was in the official selection at Raindance Film Festival and was screened internationally. It’s these production experiences which feed back into howI engage and work with students, allowing me to understand their own ambitions, challenges and projects. I know first-hand how tough it is to get ideas off the ground, especially with minimal budgets, and how much energy and commitment it takes.

Photo-month exhibition Archive: Imagining the East End; the Women’s History Month exhibition, On Beauty; and the symposia Fathom (in conjunction with Four Corners Film) and Passion and Photography: The idea and the Instinct (for London Independent Photographers). Also this year we enabled a record number of our final-year film students to get accreditation to attend the Berlin Film Festival in February alongside film tutor Anita Lewton – they came back exhausted and inspired.

RM  What would you say makes Cass Film special?

CW  Our students. They always amaze me – their talent, ambition and energy. Our alumni – we have shining stars! For example in the Film area there is BAFTA breakthrough film director Destiny Ekaragha, who is about to direct Lenny Henry’s script for BBC One, director/writer Jesse Quinones, who is in development with his second feature film set in Birmingham; Joe Sharpe, who has secured finance from Film London to film his script; and Virgin Media shorts winner Chris Chung – we have track record of nurturing real talent. In Photography, the many inspiring events I’ve already touched on, but it was great to see alumni like Geoff Titley and Heloise Bergman return and discusstheir practice.

CW  I believe we encourage students to be innovative; to be entrepreneurial; to participate and collaborate on projects across the varied output of the art school. We have staff who are talented, ambitious and genuinely want to push boundaries. For example Sue Andrews, our Reader in Photography, is the driving force behind the East End Archive – an archive for the future which brings together not only historic bodies of work but contemporary collections from photographers currently working in the field. The archive ranges from traditional documentary to works of the imagination to reflect ‘our East End’: which is an ever-changing frontier of dreams, dissent and transformation. Which leads neatly on to the fact that Cass Film is based in a fantastic location right in the heart of one of the most creative and energetic districts in the world. We have it all! RM  What has been the highlight for Cass Film for you in the past year? CW  I think it has to be the formation of the Casses and Cass Film at the start of the year. It has allowed us to have a distinctive identity and direction. It has given us the chance to start to develop and realise the opportunities on offer and to build on the strengths and innovative ideas of our staff across the three courses. For example Course Leaders Mick Williamson and Sue Andrews in Photography have organised inspirational exhibitions such as the

RM  What are you most proud of?

RM  What are your plans for the coming year, and what will we discussing this time next year? CW  To continue to collaborate across all the courses in Cass Film and across the art school, as well as attracting outside partnerships. I aim to have in place a highprofile and inspirational Visiting Professor to join Cass Film, hopefully by the start of the academic year. What will we be discussing this time next year? Our success! RM  The Cass is committed to socially engaged forms of education. How does this inform your work in Cass Film? CW  This ethos is in the bones of our approach in what we teach and how we work with our students. Recognising the diversity and challenge of its continually changing environment, Cass Film is


Cass Film

committed to social engagement. Its wider community is reflected in the stories, images and content produced by all our students. For example tutor Elaine Pierson in the documentary-based studio The Stories People Tell, worked with students to develop films with extraordinary access to contributors and their stories – such as dealing with mental illness and life after prison. We are also in discussion to be part of a new film festival which will engage with the local Bengali community and filmmakers both from the UK and Bangladesh. This is an exciting opportunity, and will enable our students to get involved in the running of a festival, participate and get hands-on experience. RM  We often talk about different forms of care here at the Cass; how does Cass Film contribute to this conversation? CW  I’d like to think that Cass Film not only nurtures and develops raw talent in our students at all levels – we also nurture confidence in our students. Not every student arrives on to our courses bursting with creative and academic self-confidence – but our staff understand that, and work hard to get the best out of everyone. Confidence is everything. There’s also a carefulness to how we produce work; care for the craft in its execution. That might be producing a film that can be confidently projected in the National Film Theatre at the end of the year, animations to dress a public building, or photographic work that pushes the edges of analogue and digital practice.

RM  And within the East End Archive, one sees that direct engagement with the local social agenda. What would you say is the biggest challenge facing Cass Film in the coming year? CW  Ensuring that Cass Film gets noticed – that we have have a strong presence and voice both inside and outside of the university. This will only happen with a lot of hard work and getting out there to attract interesting projects and collaborations for students to be involved in. RM  What is the biggest opportunity? CW  To build on the successful projects and studios that staff have been delivering this year, such as the fantastic possibilities of projection mapping being explored in the animation studios by Course Leader Mark Collington. Their studio projects are designed to be at the forefront of rethinking how to apply a range of skills to a whole new set of cross-disciplinary technologies and applications such as rapid prototyping. Also We Make Film – the student production company which is now in its third year is going from strength to strength. I feel that we can really develop it into something very interesting and useful for our students, alongside the strong narrative strand with films produced in Peter Hewitt’s studio. Photography are exploring experimentation with techniques nurtured through studio, location, darkroom, analogue and digital assignments. It’s these initiatives and experiments which help to make Cass Film distinctive.

RM  What is your proudest university moment? CW  If you mean on a personal level, it would be graduating and being the first in my family to go to university; it was very important to my parents – they were very proud of me. If you mean at the Cass, it would be being part of Patrick Brill’s (Bob and Roberta Smith’s) Art party feature film produced last year. We Make Film took a crew of seventeen film students up to Scarborough to work alongside a professional crew to film the conference, as well as the scripted element with actors. It was an extraordinary experience which could only happen at the Cass! RM  Who inspires you? CW  Hollywood film star Bette Davis, especially as Charlotte Vale in Now, voyager. Artist Cindy Sherman (Untitled Film Stills series) made a big impact on me. And Max Wall for being a genius. RM  What’s the best advice you received as a student? CW  Be yourself. RM  Thank you for being yourself, Charlotte.

FILM BA (Hons) Animation BA (Hons) Film and Broadcast Production BA (Hons) Photography MA Animation MA Film and Broadcast Production MA Photography MA by Project

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The Cass Session 2014–15

12–20 June 2015 The Cass Hothouse will be exploring four big questions:

What makes your studio different?

What’s it like working in the design industry?

What does success mean?

What enables you to make your best work?

The Cass Hothouse enables dialogue between design education and industry. It is a space that sits outside of the curriculum, yet feeds into it. A place for students, staff, alumni and industry to explore the multifaceted area of graphic design and illustration through partnered research and practice.

Students from BA Illustration and BA Graphic Design visited four leading design studios in London

Colophon Foundry/The Entente Kin Nous Vous Someone as a springboard for thinking, talking about and making design. We are sharing our experiences here on our blog, and within the Hothouse space at the Summer Show from 12–20 June 2015. Throughout the show Hothouse is running live workshops with industry experts and practitioners. Please explore and join in.

It informs and evolves teaching and learning practice through ongoing dialogue, publishing and events. The Cass Hothouse is part of the Visual Communication cluster and //shift project.

Follow the debate on Twitter and Instagram




The Cass Session 2014–15

My passion is about the relationship between education and industry. It’s really about demystifying the process within design.

SUSANNA EDWARDS Head of Cass Visual Communication

‘Visual Communication is an ever-changing area, but fundamentally it’s graphic design and illustration, though it’s very cross-pollinated and collaborative. The industries range from print-based editorial work, to future- facing interactive digital discoveries and narrative-based illustration for branding and app design. Visual Communication is a very broad area that embraces specialist approaches and also collaborative working methods. ’

Full interview  p. 329

Visual Communication has a respect for craft, making and the ancestry of the tools that we use, but it also has a future-facing ideology. It’s about community and ownership; tutors and students owning their experience at the Cass and contributing to the overall culture. It’s a natural momentum from pop-ups to events to the culture.

‘We like making sure that students have a real experience and a chance of functioning well in the real world after they graduate.’ Susanna Edwards

Cass Visual Communication Studio 1  Loving the alien Kieron Baroutchi and Matthew Hobson

Close encounters with still/moving sequential image, text & sound. Loving the alien – engages our continuing fascination with alien narratives – as expressed in film, fiction, TV and media and myth as a rich ‘site’ for the exploration of sequential image/text/sound. Through 2D print, storyboarding, ‘the comic strip’, pop-up shows and on to stop-frame animation [Dragon Frame] and/or moving image/text/ sound sequences – particularly how non-linear sequential image/text & sound might influence 2D print. Alien narratives offer a rich body of material to play with but also pose

many interesting questions, i.e. what do alien narratives say about us? Alien/sci-fi narratives often play upon both utopian and dystopian visions of the future; are metaphors for our own fear and fascination with ‘The Other’; ideas of space and escape, and through that open up a very current preoccupation with the literal dictionary definition of the term ‘www’: 1) Belonging to a foreign country; 2) Unfamiliar and disturbing or distasteful – the ‘alien’ as metaphor. Yet they can also represent more positive ideas of exploration, technological progress, The Sublime, adventure and self-realisation.

TYRONE MAZARURA  Alien, screen print


The Cass Session 2014–15

Graphic design, illustration, moving image, the boundaries/borders, image/text/& sound, a 24-diary/ sketch-book; a 45-minute image/text & sound sequence You & The Other; a boustrophedon/snake-book linear/ non-linear narrative print piece; a pop-up show showing workshop zines; personal projects; RSA briefs [shortlisted student from this studio], a final sequential image/text/sound piece – The Other[s]. :BFI; Jealous Gallery, John Timberlake – artist/ writer; artemis alexiou – academic writer/designer; g511ery, Seven Sisters; Helmo Studio, Paris; Longplayer [Art angel] Trinity Buoy Wharf …

DELFINA DAVARO  Rome & Paris, medium-format photographs

INA PASILYTE  The heart and Thus


Studio 1

Cass Visual Communication


Zine Pop-up show



The Cass Session 2014–15




IRIS ALMENDRA Presentation



Studio 1

Cass Visual Communication



The Cass Session 2014–15


Studio 1

Cass Visual Communication

Silk screen printing


The Cass Session 2014–15

Cass Visual Communication Studio 2 Moments and markers Bill Brown, Heather McDonough and Spencer Rowell

In October 2014, a group of Graphic Design and Illustration students started working together in our studio, Moments and markers. Some already had a creative interest in photography and varying levels of experience, some had none. All shared an enthusiasm to explore photography and were open-minded about how it could inform and advance individual creative practice. Now, as we near the end of the studio, the results are exciting, creatively varied and indeed, in many ways, remarkable.

Creative Themes As a starting point, Moments explored the idea of marking and making history. Early assignments drew on locations and ideas about London including the Dickens Museum, several ‘city walks’ and films such as Julien Temple’s London: the modern Babylon (2012). Level 5 student Michael Ahrain’s observationalbased work, among the artefacts and visitors at the British Museum, develops a very particular viewpoint and led Michael to expand his personal projects to look at

Paddington Bear in London, and eventually an ongoing project encompassing London as a city, in Safari Zone. The pivotal place of photography in all its forms within graphic communication is now widely acknowledged in discourses on visual culture and communication. As Moments is a mix of graphic and illustration students, however, the group was invited to experiment with non-photographic techniques such as screen printing, letterpress and mono-printing, to create new hybrid forms of image creation.

AMELIA FARRER  Gerry’s Wine and Spirits Soho


Studio 2

Cass Visual Communication

In addition, the group explored a range of lens-based work techniques, such as digital/film, location and studio lighting and the darkroom. The group worked with photography specialists theprintspace London to realise some of these outcomes. Studio practice was informed by talks and discussion on work such as La Jetee (Chris Marker, 1962), graphic design and key writers including Sontag, Barthes, Berger and McLuhan. On Location From week one, Moments and markers was an active and participatory environment. The group often left the comforts of the studio and took drawing materials and cameras on location, to create new visual ‘documents’ of the city. In this way, the camera became a visual research tool for students, while enabling them to explore a key aspect of photographic practice – location photography. In Conclusion This can only be a brief overview of Moments and markers. The images shown attempt to illustrate the varied nature of design outcomes from Studio 2 – and also provide an insight into the high creative ambition and innovation of students’ work.

EDITE POLNEVSKA  Tallinn series


The Cass Session 2014–15

MICHAEL AHRAIN  Rebooting Paddington, Safari Zone


Studio 2

Cass Visual Communication

AMELIA FARRER  Lights of Soho

AMELIA FARRER  Skater man, Soho


The Cass Session 2014–15

ANTJE MAROUSSI  Movement one

AMELIA FARRER  Magic disco Soho


Studio 2

Cass Visual Communication

Cass Visual Communication Studio 3  Tales of the uncanny Adrian Beasley and Michelle Salamon

This studio is designed to enable students to freely explore their personal visual language, to map connections and directions equally between the two subject areas of Graphics and Illustration, and to provide a theoretical context to their understanding of ‘(shock) advertising’ within popular culture. Das Unheimliche (Stage 1) This studio began with the examination of the term ‘the uncanny’, the feelings of uncertainty, the strange and the intellectual hesitancy in the unusual. The notion of the uncanny is the Freudian concept of an instance where something can seem both familiar yet unknown at the same time; a more personal feeling of unease within what is their normal understanding of ‘reality’. Repressed (Stage 2) Having questioned the ambiguities of ‘the uncanny’ through the predictable motifs primarily associated with Gothic horror (and its many interpretations), students began to provoke a more refined interpretation of strangely mesmerising, or jarringly suppressed. They began to explore the absurdity of the uncanny through the perception of their own thoughts, the lost, the repressed and the forbidden: the oscillation between their understanding of right and wrong, attraction and repulsion, their conscious and subconscious. To provoke these feelings of the unconscious and subconscious, students were exposed to more unorthodox art movements, such as the lesser-known, darker alternative to ‘conventional’ surrealism.



MARTA ALVIM  House of Illustration

The Cass Session 2014–15





Studio 3

Cass Visual Communication

Psyche (Stage 3) Students began to question the notion of the conscious and subconscious mind, and examine their own psyche through the Freudian concepts of id, ego and super-ego. The se relate to the theory whereby individuals repel or control their own desires to exclude impulses by ‘holding’ them within the unconscious. The Concept of Abnormality (stage 4) Having begun to examine their own thoughts and awareness of (repressed) memories, the students were able to interrogate the notion of the unusual by first questioning what is considered ‘normal’. Any behaviour which is not seen as typical or usual tends to be perceived as abnormal. This way of thinking gave students the opportunity to develop more emotive advertising graphic, and illustrative motifs. The Uncanny Motifs (Conclusion) The uncanny is the key to understanding modernity and postmodernity; it teaches us to be uncertain, to question society but also; to experience in new ways; unease, to be unnerved, to embrace the repressed. Students using these ‘motifs’ began to challenge current beliefs within advertising and explore the different, the unexpected. MARTA ALVIM 

MELISSA HILL  House of Illustration


Psyche (family)


The Cass Session 2014–15


LUKE THOMAS  Concept of Abnormality


Studio 3

Cass Visual Communication

Cass Visual Communication Studio 4  Digital muse Dipti Bhagat, Ricardo Eversley and Maya Oppenheimer

Digital muse sits between traditional methodologies and future visual communication investigations. Students are encouraged to explore beyond the norm and seek out new ways of researching and formulating their creative ideas. Classes, visits, workshops and talks look at the creative potential of digital media, via case studies into current practice, with an intention to prepare students for an ever-changing digital economy. Inevitably, we all encounter new, highly popular forms of digital

and social frameworks that facilitate a fascination with personal and fictional personas, as expressed in digital products such as websites, apps and, more recently, video sharing frameworks like Vine and Instagram. Students who have journeyed within the Digital muse studio are well versed in and equipped with the confidence to deploy a large array of digital outcomes via well-researched, intellectually grounded, industry focused and design-led content.

HUDAK JAKUB  Map version


The Cass Session 2014–15

The studio flexibility has fostered exploration into still, sequential and moving image/ text/ sound for paper/ screen/ spatial outcomes: through 2D visualisation then through storyboarding and finally into UI and UX and/or screen-based image/ text/ sound/ interactive outcomes. Students are also exposed to a series of key insights throughout the year from leading UK studios such as Studio Output and Grand Visual Theory.

MINGAILE BAKEVICIUTE  Type image, type form




Studio 4

Cass Visual Communication

DIEAM SAN  Final major project

DEBORAH VIRELLI  Final major project

HUDAK JAKUB  Map version

DEBORAH VIRELLI  Floating heads project

DIDEM SAN  Floating heads project


The Cass Session 2014–15

Cass Visual Communication Studio 5  Open house Cecilie Barstad, Susanna Edwards Emily Evans and Gilles Jourdan Open house is a collaborative space. A large communal table is placed in the middle of the room to invite students to collaborate, discuss, interact and share. At studio Open house project briefs are set to guide students through all stages of the design process from ideas generation to visual testing and final execution. Themes are open for students to choose their own routes through project briefs. Students are actively encouraged to think about their

own interests and passions, to identify problems or current issues in their life or in society and use these as a backdrop to their creative solutions. Open house studio have completed five mini block projects with outcomes ranging from books, posters and moving image to 3D models. Through varied activities including practical workshops, selfcurated work in progress shows, collaborative wall-painting, visits to studios (Monotype, HORT and

Büro Otto Sauhaus), museums and galleries; students discover step by step how to be a practitioner within design and illustration while finding their own path and style. Studio Open house encourages students to use design skills to improve their own life, their surroundings and the world around them through thoughtful visual communication. They are engaged in individual and collaborative work that creates a contagious creative culture at the Cass.

FAISAL SYED  Sketch book


Studio 5

Cass Visual Communication

Hallway project sketches

Handmade type


The Cass Session 2014–15

Berlin trip, HORT visit

Berlin trip, bookstore

ELSHY JAYAPAL  Self portrait

Berlin trip


Collaborative alphabet

Studio 5

Cass Visual Communication

Cass Visual Communication Year 1 Illustration and Graphic Design pastfuturepresent Cass Visual Communication tutors Under this heading, BA Graphic Design and BA Illustration undertook a year of experiment, development, research, making, thinking, divergence and convergence. While two distinct courses, Year 1 explored briefs together from different perspectives. Learning to see where the disciplines are separate, but also where the line between Illustration and Graphic Design practice dissolves or communicates; where typography becomes image; where an illustration can be informative graphics; where both can complement each other … where the conceptual skills of manipulating

image/text/sound are vital to both. The three main briefs were: Cautionary Tales: Warning stories have a rich visual history, usually aimed at children as a disguised way of outlining very real dangers – but what contemporary dangers should children be warned about? And in what way? (Single image) Alien Abductions: Using testimony from those ‘kidnapped by aliens’ to produce a ‘snake-book’ or ‘boustrophedon’ – a multi-layered, two-sided form which encourages non-linear narratives. (Image + text)

REANNE BOLAH  Typographic workshop


The Cass Session 2014–15

Archetypes in Flux: Customising industry ‘archetypes’ to fit an individual direction – as the basis for an editorial publication and a digital/ motion piece reflecting on the year’s ‘body of work’. (Image + text + motion) These were supported by twenty-six weeks of workshops, including screen printing, Adobe Suite, InDesign, life drawing, photography; text-play and image creation, amongst others, along with trips, studio visits and one-day projects.

MARIA KLIMKO  Archetypes in Flux

JAMES NOTARIANNI  Archetypes in Flux


Year 1

Cass Visual Communication

SIMON HENDLEY  Archetypes in Flux

NICOLE CHAPMAN Darkroom photography

MARIA KLIMKO  Archetypes in Flux


The Cass Session 2014–15

LUKA MORKYTE  Archetypes in Flux

Conversation Between Robert Mull and Susanna Edwards, Head of Visual Communication

RM  Susanna, you started recently as Head of Cass Visual Communication – tell us a little about yourself. SE  I come from graphic design and illustration background, with years working in academia but also developing my own practice. I’ve worked with clients such as the School of Life and the Hayward Gallery, and my work spans the Visual Communication area, with a real interest in craft and new modesof practice. RM  What is Visual Communication, and what does it do? SE  It’s an ever-changing area, but fundamentally it’s graphic design and illustration, though the way that practice is going, it’s very cross-pollinated and collaborative. The industries range from print-based editorial work, to futurefacing interactive digital discoveries and narrative-based illustration for branding and app design. So it’s a very broad area that embraces specialist approaches and also collaborative working methods.

discovering new ways of thinking and new modes of practice. In terms of engaging with community, that’s something that Visual Communication does; it’s a service. For example, one of the initiatives that I’m building at the moment is the Hothouse initiative, which is all about industry partnered research. We’ve just collaborated with a big branding agency called Someone, and they’ve invited us to participate in a live Cancer Research brief. It’s looking at branding, but also the ethics behind branding and looking at the idea of serving community, local and international. RM  I understand that there’s going to be a version of the Hothouse in the Summer Show?

SE  My passion is about the relationship between education and industry. It’s really about making sure that students have a real experience and a chance of functioning well in the real world after they graduate. It’s about establishing very good debates and ongoing dialogue with industry practitioners that can work both inside and outside of the curriculum, in a research context but in teaching context, as well.

SE  Yes. We’ve collaborated with Grafik, which is an international design publishing platform. Angharad Lewis is a very established design writer and publisher, and we came up with the idea of a live editorial installation. It’s really about demystifying the process within design. We’ve invited leading industry experts to run workshops which are based on key studio visits that span the discipline area. There’ll be live workshops that range from drawing to zine making, prototyping, typography and editorial, the Cancer Research branding project, and this will be all happening live in the space, and there’ll be live publishing through blogging, making publications, and so on. We’re going to promote it online so members of the public, somebody’s grandmother, could come along and work alongside a famous designer and they can actually experience a working design studio. The idea is that people can get a sense of Visual Communication as it functions.

RM  At the Cass we talk a lot about doing things that are useful, being socially engaged, and that leads to quite close partnerships with local and international communities that we serve and are a part of. Is that what you mean by industry partners, or are you talking about commercial entities primarily?

RM  One of the ‘live-est’ projects you’re involved in at the moment is the yearbook in which this interview will appear. You’re working together with a recent graduate and another designer based in architecture. Do you see Visual Communication getting involved in that way as a visual theme track of the Faculty?

SE  Both. I’m talking about the commercial application of partnerships but I’m also talking about research potential and

SE  Absolutely. One of the key visions that I had when I first came was to set up a in-house publishing (as part of the

RM  We do some of those things at the moment. Under your leadership, what is your vision for Cass Visual Communication, and what will make it special?



Hothouse) which could potentially collaborate and publish material across the faculty in all of the cluster areas. VisComm is about making connections across the faculty. The other thing that I’m very keen on nurturing is the idea of creating collaborative working relationships between students, staff, alumni and industry, which we’ve started to do with the yearbook and by getting a professional photographer to mentor students and through the image collection process. I’m very, very keen to create cross-disciplinary projects. RM  So far, what is your instinct as to which of the other ‘Cass’s’ within the faculty you will collaborate with? SE  Initially, Animation, Film and Photography, because visual communication is about storytelling, it’s about visual narrative. Photography and sequential narrative are very key processes. However, there are also connections with Architecture, Music, Culture, Fine Art, Interiors and 3D. I’ve been in conversation with different areas about shared induction, shared workshops, really to look at the idea of sharing skills and mixing students across disciplines. RM  A key part of what we’ve done within the faculty over the last two and a half years, is to introduce studios. What are your thoughts about the studio offer that will be made to students, in say two or three years’ time – what character would it have? SE  Studios led by practising industry professionals. They should allow students to experience working together within the university environment, but also outside. They should reach into the real world and perhaps connect with other studios across the faculty. I’m interested in investing in our research, society, technology and culture as an umbrella, future branding, publishing and illustration. There’s a certain flavour of the studios which is current in industry practice, but also key aspects of research that plug into the Hothouse, so they could be developed as future research projects or publishing projects; elements extracted and maybe combined that could be output in different ways. I’d like there to be regular pop-up events, and people that I have good

Cass Visual Communication

connections with are very interested in this cross-pollination. Studios deliver key fundamentals of their subject but are also flexible, to create ‘hybridity’ of working. RM  What should one look at in the current show and yearbook to get an indication of where VisComms is moving towards? SE  There’s a real diversity of work that’s been produced. There’s been some really excellent animation and sequential narrative endeavours. There’s a lot of very conceptual heavy thinking and researchdriven work. There’s a lot to appeal to a lot of different audiences coming from each of the studios. RM  What will we be discussing this time next year in relation to your area? SE  We’ll be discussing dissemination of work, particularly through various publishing ventures. And we’ll be looking at partnerships to see how they have developed. RM  The Aldgate Bauhaus is a recurring theme in these conversations with Cass Heads. Graphics was a very, very strong element of the original Bauhaus. SE  Visual Communication has a respect for craft and making and the ancestry of the tools that we use, but it also has a future-facing ideology. It’s about community and ownership. Tutors and students owning their experience at the Cass and contributing to the overall culture. It’s a natural momentum, from pop-ups to events to the culture.

learning purely on a digital platform. It allows you to ruminate and develop abstract thinking. RM  Will all students in VisComms learn across all of those different platforms? SE  Yes. I think that there’s a place for people in industry utilising these craft skills, not just in terms of the knowledge that’s gained, but there are niche areas in which people can specialise. It’s crucial for art colleges to keep craft-based learning alive. It’s very interesting because, for example, in branding now, it’s not only about producing logos or solutions, it’s about producing ongoing dialogue and problem solving. Graphic Design and Illustration are about iteration, testing and re-testing, and making sure that what you’re producing is right for the audience. RM  You mentioned being a student, so thinking back to those days, can you share two things – who inspires you in the sense of ‘heroes’, but also any advice that you received whilst in education that you think was useful. SE  When I was at college I was inspired by a really broad range from contemporary artists, fine artists, designers, illustrators and typographers. I was quite inspired by the Brit artists, by people who set up initiatives, like Tracey Emin’s shop with Sarah Lucas back in the 1990s, that really stuck in the mind. I was also really inspired by Jasper Johns and Joshua Reichert, a German typographer who made typography with tyre track prints from his car. At college, I remember one tutor saying, ‘Don’t start compromising, don’t give up.’ The education I had, it was very competitive, but it was

RM  You talk of craft, in your area, as much as any other area within the faculty; there is this span from very traditional techniques, such as letterpress, right the way through to the most sophisticated form of digital representation and modelling and animation. Would you see that span as problematic – or is it a strength? SE  That’s my whole ethos. In my past I have academic papers about the relevance of keeping craft-based learning, alive alongside digital. At university in the 1990s when I was there, I was one of the few to use letterpress because everyone was enamoured by Apple, so for me, it’s crucial that the two run side by side. If a student is learning about typography and they handle a piece of lead type, they understand what leading is, they understand what spacing is, they understand what kerning is because they physically interact with it and it’s a very different learning experience to


alsoa playground. I think that students mustn’t forget that art and design schools are a place where great ideas can happen – it can be a very rewarding, playful experience. RM  What’s the one thing that you would like to see happen following the General Election to support your area and your students? SE  I think an acknowledgement that the creative industries are extremely important, culturally, socially and economically, to this country. Art and design practice and thinking should be nurtured from primary school right through to higher education. Some of the great studio visits that we’ve done in the last two weeks, Illustrate This or the Colophon Foundry, who designed a typeface for a primary school. It’s called Castledown and it’s a beautiful typeface that’s intended to replace the use of Comic Sans in the schoolroom, looking at design as a vehicle to improve environments and learning environments. The visit that we made to Kin, who are known for interaction design; they redesigned the Singapore – style maths curriculum textbooks which are now being adapted in primary schools in the UK, and their approach to learning maths that was a practical, physical style involving ‘making’ activities. It would be criminal if the creative industries weren’t acknowledged in the importance of design education to society. RM  Thank you so much.

VISUAL COMMUNICATION BA (Hons) Graphic Design BA (Hons) Illustration MA Graphic Design  MA Illustration MA by Project

RECRUITING NOW / Call: +44 (0)20 7133 4200 / Visit :

The Cass Session 2014–15

Letterpress, Cass Works

Letterpress, Cass Works



Cass Visual Communication



The Cass Session 2014–15

The music area had previously been quiet, but Cass Music students have provided the soundtrack to the Cass


‘We have students working with choir music or recording acoustic music, and I am teaching orchestration and music for film, which is not taught elsewhere.’ Elaine Thomazi Freitas

Full interview  p. 354

We have four diverse music degree courses, we are giving shape to Cass Music and finding a more prominent and clear identity for it; making it lively and vibrant. We have music producers, computer programmers. We also have musical instrument making and this group has an entirely different profile. Finally: those who are more like multimedia artists and sound designers. So it’s difficult to prescribe just one identity, it’s multifaceted.

‘I try to make students detour from the common paths that they may be taking.’

Cass Music Studio Music production (studio and live) Javier Garavaglia, Doug Maddison and Elaine Thomazi Freitas This studio is designed for Music Production students. The main aims are to develop the skills to compose and produce a mini-album with five tracks of music of any style, which could involve experimental music and music for film or TV, as the concept of the course is to educate students for a very broad field of music production. Students are encouraged to collaborate with one of the studios in Film and Broadcast Production. The studio includes a considerable portion of time dedicated to live sound production; one of the distinctive characteristics of this course at the Cass, making it different from similar courses in the Greater London area. Students are engaged in a series of day-long workshops taught by a tutor with extensive experience in the production of live sound events, bringing them the live experience from the music industry. This year is very special for us at Cass Music because it sees the first Music Production graduates. A list of selected tracks illustrates the diversity and excellence of this remarkable group.

Carlotta Piccini’s Stereotypes experiments with the connections between visual art and sounds. The composer realised a painting and used it as a musical score. The idea is to manipulate and organise recorded sounds in such a way that they can represent and reflect the painting, inspired by the theme of stereotypes. The composer aims to transmit her tension and anger against gender stereotypes by translating strong lines and colours into music. Tamara Elliott’s Concrete amity is an experimental piece inspired by the sounds of the city; the heart of London. It is a composition of recorded sounds from many locations, including the composer’s home. Combining ‘concrete’ urban sounds with domestic ones, it creates an acousmatic amity out of the bustling, loud and sometimes harsh and grey surroundings experienced in city life. Fern Bryan’s Home safe is an experimental piece that revolves around short samples, most only a few seconds in length, building up a rhythm and adding layers as the music progresses. Processing has been used

CARLOTTA PICCINI  Stereotypes, painting score, experimental


The Cass Session 2014–15

as an effect instead of a tool to improve audio quality. Production techniques turned familiar sounds into less recognisable and layered noises to produce the effects found in the piece. Will Shaman’s Jubilation is a choral setting of a poem by Theolyn Cortens. Each of the five parts was recorded separately, and the singers only had a MIDI version of the piece and a metronome for guidance. The composer provided them with hints about performance style and dynamics, but inevitably, a lot of editing was required to bring them together into a convincing ‘virtual ensemble’. Dries Swartele’s Reckoning is a metalcore song with vocals and lyrics by Jon Henning Orten (from Norwegian metal band Cognition). A Fender Stratocaster was double tracked, using a Mesa Boogie Dual Rectifier and an Engl Powerball II amplifier. At times, a third layer is added using an Orange Tiny Terror and an Ibanez Tube Screamer. The main purpose of choosing this genre was to revisit metal music, aside from this being Dries’s first metalcore production.

Cass Music Project 1 Video 5.1 surround sound Alexander Wendt This practice-driven project culminates with the realisation of a 15–20 minute short film or video project with 5.1 surround sound. The produced works feature film/video material exclusively captured and edited for the project. The sound component is conceived and postproduced with all the layers of sound stems mixed to the picture, including voice/dialogue, environment/ field-recording/atmo, music/ incidental/score, and sound design/ effects. The final submissions are presented as HD video on an authored DVD encoded for Dolby 5.1 surround sound system. Students work in groups, assembling a production crew, according to the project’s requirements. Similarly to a major film production, tasks and responsibilities consist not only of Director, DOP, Editor, Sound Re-recordist and Sound Effects Designer, but also Location Scout, Casting Director, Technical Manager, Production Assistant, Runner, and other minor roles where applicable. The members of the group dedicate responsibilities with regard to production and postproduction in each and every area of the project, thus allowing everyone to contribute with the knowledge acquired in the previous years in the areas of music technology and the moving image. Projects comprise a collection of intense dramas and experimental narratives. Crux (by Callum Bigden, James Ddamba, Kyle Donald and Nickel Lemba) looks at how three people’s lives continue to affect each other after an event most of them wish to forget. A murderer, a prisoner and a man running from something are all connected through bad decisions and choices made in their past. Individual plots allow for


experimentation in various elements of production, primarily including a rich soundtrack. Two characters’ plots are heavily script-based, with the other offering creative chances to experiment and explore with visuals, sound and non-conventional production elements. The concept of Void (by Luke Jacobs, Nicholas Granville-Fall and Adam Pietrzyk) is focused around the protagonist’s coma-induced state, with visuals reflecting an experimental lucid reality around her. After suffering a traumatic seizure while at home, Anna fades into a

coma-induced state. Her unconscious life is guided through memories, and she experiences abstract sensory perception through the new realm around her. The distinction between the present and the unconscious becomes blurred, as Anna’s world falls into disorder. Through disconnecting the sound to the image and creating visuals subsequently, the film proposes a differing aesthetic to conventionally shot film. Perception (by Ross van Leeuwen, Brian Alderson, and Moses Mukoyi) is the story of an unknown musician

VOID  Short film by Luke Jacobs, Nick Granville-Fall, Adam Pietrzyk (film stills)

Project 1

Cass Music

based in London, who one day while working on a song at his home is knocked unconscious by an energy surge which pulses through his headphones. He awakens to find that his hearing is not as it was before the energy surge. Although not deaf, he is now only able to hear certain frequencies. He then stumbles upon an article on the internet about two sound therapists doing experiments with people who have hearing disabilities. Feeling he has nothing to lose, he decides to meet them and see whether they might be able to help his situation.

Perceptions, short film by Ross van Leeuwen, Brian Alderson and Moses Mukoyi (film stills)

CRUX  Short film by Callum Bigden, James Ddamba, Kyle Donald and Nickel Lemba (film stills)


The Cass Session 2014–15

Project 1


Cass Music Project 2 Audiovisual installation Elaine Thomazi Freitas This project proposes the making of an interactive audiovisual installation, featuring audio and visual content, exclusively produced for the project. The proposed software to be used is Cycling ’74 Max/Jitter. The concept of the installation is free inasmuch as it fulfils the requirement of utilising both audio and visual materials, and having at least one of them assigned as the main element of the interface. The final installation should be presented as a standalone application, which implies the complete design and programming of the interface. Students are expected to plan for the physical environment within which the installation will be placed. Therefore, the conception and realisation of the work expands to the visual artist and the setting of a gallery/exhibition space. Students work in groups of two members who might share the roles of visual artist, sound artist and Max/Jitter programmer.

The process of recording and producing the entire visual and audio content of the installation is not the main core of this studio, even though it is a very important part of it. The main core is developing a creative and enquiring mind, looking for new ideas of connecting sound and image, and moreover, being able to find quick logical reasoning insights, whilst programming the software. Another differential is working with a program that does not involve pure coding, but rather uses a more organic approach called patching. A graphic visual display couples with objects that allow for new ways of adding technology into the artistic expression. Projects adopted the interactive game format, exploring completely unrelated scenarios. Jump glass (by Kristupas Sniras) combines dynamic GoPro HD video footage with binaurally recorded audio, to produce the immersive audiovisual content of the game.

The player relives memories of the protagonist with an option to alternate the path of the unfolding game or eventually to change the ending. The interface is visual by movement tracking, allowing the player to make his/her choices without physically touching any devices. Can you find him? (by Mona Jacobs) adds a film narrative to the game environment. We follow the story of Emily, who wakes up in the morning and finds a very disturbing letter from her boyfriend. Acting on the assumption that he is going to commit suicide, she desperately tries to find him. During the story she has to face decisions that could either help or impede her in continuing the search, depending on the path chosen. The silhouette of the player appears on screen in an allusion to being placed in the protagonist’s position. The program identifies the location of the player and interprets which direction is taken.

KRISTUPAS SNIRAS  Jump glass, interactive game (screen shot)


Project 2

Cass Music

MONA JACOBS  Can you find him?, interactive film (film stills)


The Cass Session 2014–15

Cass Music Project 3 Audio Systems Javier Garavaglia, Allan Seago and Richard Walters

Audio systems students are presented with a very flexible specification for their major final project. Students are invited to present an individual proposal within a given framework about topics they would like to cover in practice over their last year before graduation. Therefore, projects in audio-electronics, software programming, electronic music instrument design or music mixing and mastering are most common. Typical projects in electronic hardware could be exemplified by an amplifier, or some kind of MIDI controller. Software programming might result in an app for the iPad or

a Max/MSP program patch. Mixing and mastering projects involve the production of an agreed number of music tracks similar to a mini-album or EP production. Projects are expected to meet high standards to firmly position graduates in their specialist areas. In addition to providing students with the technical and artistic skills required for the completion of the program, this studio serves to raise awareness in the students of the market and other cultural/industry contexts in which their work will be located. Reporting on the project, students have the chance for a deep

reflection on their work, and are expected to demonstrate a clear understanding of the work’s context within their field of specialism. Projects include a valve amplifier by Andrew Gibbons. This stereo power amplifier is based on vintage thermionic technology instead of the solid state circuitry contained in most modern amplifiers. Using a mixture of new and salvaged parts it provides up to 15 watts per channel with a frequency response of 10 to +30kHz (+/-1dB). This technology, used up until the 1960s, is experiencing something of a revival in audiophile circles.

ANDREW GIBBONS  Valve amplifier


Project 3

Cass Music

Musical Instrument Project 4 Musical instruments Nick Pyall

This project gives final year Musical Instruments students the opportunity to conceive, plan and produce a major, summative piece of work that brings together learning and serves as a graduation piece at the heart of their graduate portfolio. It allows students to reflect deeply on their practical work in a report about the project, which should show clear understanding of the work’s contextualisation in the field of specialism, in the artistic and technical skills involved in the project and in the excellence of the usage of the technologies required to achieve the final outcome. The project shall be of a high standard, yet leaving students the necessary room for experimentation, for enhancing skills and for defining themselves in the path of their specialism. Projects have seen some fine instruments being produced. These include examples of Grand Auditorium and even larger-sizedsteel string guitars inspired by the designs of C.F. Martin & Co. from the middle of the twentieth century. A specialist Gypsy Jazz guitar, a Dobro – or resonator guitar, smaller parlour instruments, and the Dulce Melos, an early-stringedkeyboard designed by HenriArnault de Zwolle in c1440. This project showcases the skills acquired by the BSc Musical Instruments students in the making of musical instruments with the traditional use of hand tools. A sample of this work, representing the long legacy of great craftsmanship in the Cass, was recently viewed by HRH Prince Andrew on a visit to the Cass earlier this year.


ADAM SHAKESPEARE  Dobro-or resonator guitar



The Cass Session 2014–15

CHARLES ORME  Steel string guitar

Cass Music Project 5 Nocaster electric guitar Mick Battley, Mathew Dart, Andy Hills, Peter Hufton, Robert Naylor and Nick Pyall This year, the Musical Instruments course has seen the introduction of the Nocaster electric guitar project, within which students made copies of the iconic 1952 Fender Telecaster electric guitar (for a short time unbranded and known as the Nocaster), a revolutionary design still as popular today as when it was first introduced. Although intended to be cheap to manufacture, original examples are highly collectable and fetch eye-watering prices. In keeping with its conception as a factory-made

instrument, the musical instrumentmaking students came together as a team to reproduce the techniques required to manufacture these instruments in a production run. Drawing on the expertise of the Cass technical staff and the specialised facilities available in the Mill at Commercial Road, these guitars were made within a week. In further sessions, they have been spraypainted and lacquered with the support of the finishing department, and were later fitted with their electrics.






Not only has making Nocasters been a hugely rewarding endeavour in its own right; as a vehicle for induction to specialised production techniques notably available at the Cass, it has also proved a success. This has been used as a vehicle to introduce students to the skills of modern spray finishing, a welcome additional tool for their practice, enabling them to better market and present their finished instruments in an exhibition context.

ALEXANDER DIACOS  Nocaster spray finishing

Project 5

Cass Music

Musical Instruments, guitars

Musical Instruments, guitars


The Cass Session 2014–15

Cass Music Project 6 Postproduction audio video design Alexander Wendt

This project engages students with the production of a short film, with a focus on audio and video and the usage of non-linear editing software and advanced postproduction techniques. The films reflect chosen editing styles (e.g. continuity or montage) and demonstrate various sound styles (e.g. realism or surrealism) in their soundtracks. Students work in small groups to produce an original (or an adaptation of an existing) script. Video and sound are recorded on location, and in interior and exterior scenes. From creating a narrative structure to visualising a story line and mapping out editorial decisions, students discuss ideas for sound implementation, dialogue, musical score and effects. Further rough and

final cuts are subject to creative treatment, such as colour grading, compositing and video and audio effects processes. The final product includes fully edited video and sound to a professional standard with stereo mixdown – including track laying (stems, sound FX, dialogue and music). Productions include Piece of mind (by Karl Martin, Matt Richards, Jesper H. Andersen and Andie Brown), the story of the loneliness and frustration of a man who suffers a constant barrage of thoughts from those around him, often hearing things he would rather not. As a result he feels unable to forge friendships and deal with his own inner dialogue, which is constantly interrupted by the banality of others' lives.

Guns don’t grow on trees (by André Smith, Olivia Sully-Karlis, Zoë Collinson and Natalie Gornell) is a dramatic thriller set in the mid-1990s backdrop of grim London. While tending to his crops, a farmer stumbles upon a gun that has been buried in the earth. The goal is to get rid of the gun, but which path will he choose? Behind the closed eyes (by Evelina Meirovic, Diana Dublewicz and Bianka Dublewicz) is a short thriller about a twenty-year-old girl, who changes from an ordinary girl to a killer, while she’s ‘asleep’. Scarred (by Mohamad Eddie Abdullah, Hassan Kayemba, and Rafal Arciszewski) portraying a life that is full of joy… and difficulties. As the protagonist runs his journey, the past follows.

Scarred, short film by Mohamad Eddie Abdullah, Hassan Kayemba and Rafal Arciszowski


Project 6

Cass Music

Piece of mind, short film by Karl Martin, Matt Richards, Jesper H. Andersen and Andie Brown (film stills)

Guns don’t grow on trees, short film by André Smith, Olivia Sully-Karlis, Zoë Collinson and Natalie Gornell


The Cass Session 2014–15

Behind the closed eyes, short film by Evelina Meirovic, Diana Dublewicz and Bianka Dublewicz (film stills)

Cass Music Project 7 Advanced music composition Andrew McDonnell and Elaine Thomazi Freitas This project consolidates the practice in composition and production of music, expanding the work in harmony (twentieth-century harmony with links to experimental music), digital music (computer music, studio recorded and produced music), orchestration and film music, establishing the link to a higher-level approach in music composition. The work with MIDI arrangement is also more elaborate, enabling students to present finished versions of their compositions before proceeding to their final projects. The study of orchestration and film music provides the grounds for another studio from Applied Music Technology (Music for film). The compositional process is initiated with a small group project

(to be worked in pairs) in which students compose and produce a short song of about two minutes in length. The final project is individual and consists of the remix of the original song, allowing each student to produce a remix according to their personal musical ideas. On this second stage, we can observe more closely the application of the new concepts and materials (mostly experimental music, which reflects on the production of new sounds and the development of more creative musical ideas). A thorough analysis of reference works permeated the whole year in strategic moments. An invited music producer worked with the group over three weeks, adding to their practice

the knowledge from music industry studio productions. This year saw an emphasis on the production of electronic experimental remixes. Two of the works here presented clearly illustrate the process of group/individual interaction. Abigail Redmond-Best and Elliott Keen imprinted their individual sound worlds on the collaborative composition, each taking on a personal path and bringing new colours and shapes to the new song on their remixes. Leonardo Mezza produced a refined electronic remix out of an experimental track in which the ‘old’ materials are beautifully restated with new sounds.

Remix workshop, Gideon Nartley, Leonardo Mezza and Elliott Keen.

ABIGAIL REDMOND-BEST, ELLIOTT KEEN  In the city, Elliott Keen Remix


Project 7

Cass Music

Cass Music Project 8 Lyon & Healy Washburn parlour guitar Nick Blishen and Nick Pyall

Musical Instruments, Year 2 Creative Studio Practice 2 and Applied Music Technology – are combined into one practice-led workshop: making the Lyon & Healy Washburn parlour guitar. This instrument’s design characterises the evolution in American guitar making at the end of the nineteenth century. The making techniques and workshop practices already learnt are expanded on to produce a classic model of acoustic

guitar, made using hand tools, to demonstrate the craft of the luthier. In some cases, where the student’s skills are better presented or where they are more advanced and can already work confidently with more independence, other models of guitar are included in the project. This year sees the incorporation of a larger steel-string Gibson J45 design, which gained popularity in the American guitar culture of the mid-twentieth

JONATHAN SMITH Work-in-progress


The Cass Session 2014–15

century and which continues to this day. This Washburn project brings together all learning, including instrument design and history, materials science, acoustic principles and theory, to realise each subject’s learning context in a player's instrument. The experiential knowledge gained further equips the student with the skills to progress to more complicated and refined making, pursued in their final-year workshop.

Cass Music Project 9 Advanced audio recording technologies Ben Burns and Alexander Wendt

Audio studio

This project engages all Music Technology students in studio recording techniques for music production. The practical outcomes consist of 3–5-minute songs /music productions that are mixed down and mastered for stereo delivery and also arranged in 5.1 surround sound using Dolby Digital. This project allows students to acquire a variety of skills as music producers and sound engineers in the digital recording studio environment. Multi-track recording of live


performances, track-laying/comping and extensively processing for audio works for contemporary acoustic and electronic compositions. Performances are captured in a dedicated studio environment for highestquality source material and combined to 5.1 surround sound compositions and mastered stereo versions to a professional standard. Students learn various microphone techniques by recording a song/ composition in groups. Musicians are invited and/or selected from the cohort

of students. Each group of students is responsible for planning and carrying out the recording sessions and the production. The teaching and learning is divided between lectures on practice and theory, and demonstrations of practical music production and engineering in a recording studio. The lectures of this studio explore different creative techniques apart from conventional approaches to sound recording, and include noise reduction, restoration and processing of recordings.

Project 9

Cass Music

Sound recording suites


The Cass Session 2014–15

Cass Music Module 1 Applied music technology Elaine Thomazi Freitas, Javier Garavaglia and Allan Seago This is a large subject-specific module for Year 2 students, with a focus on practical independent work. The first half includes established projects within the area of Music Technology; the second half is organised as workshops dedicated to programme specialisms. The projects for the first half should to be chosen from the following list: Dynamic Processors Practical work including different dynamic processors, mainly to learn how to use compressors and, if required, expanders. The project includes the recording of the sounds to be treated, all of which present different sonic characteristics, requiring different approaches.

Unity Project The aim of this project is to design and build a scene in Unity, a platform for 3D and 2D games and interactive experiences, together with its associated soundscape/soundenvironment. Marks are awarded for original and imaginative scene and interaction ideas, for the realism and effectiveness of the soundscape/ sound-environment, and the correct usage of audio technologies. Audiovisual Project The purpose of this project is to learn the software package combining both MSP audio objects with Jitter graphic objects, creating a simple patch for an interactive installation that would allow either the audio elements to be

controlled via video interface, or the visual elements to be controlled via audio input. DJ Project The purpose of this project is to use the software package Cycling ’74 Max to create a program for a DJ-style remixed song. The program should allow for the live mixing of solo riffs (drums, bass, guitars) with vocals by means of adding effects and changing different parameters on the audio playback. The project involves the composition/production or selection of instrumental solo riffs and vocals. Two projects are devised for the second half:

Music technology

Radio Drama (Sound for Media) Students undertake a special exercise in pure sound design in order to tell a story (for which they must write a storyboard), using sounds created by them, and avoiding the usage of worded narrative. The story must be understood by listeners throughout, with the quality of the sound designed for this purpose. This is in preparation for the more challenging creation of sound for the moving image in the last year of the course.

LEONARDO MEZZA  The artist, original music, Logic Pro X session

Music for Film (Music Production) In this project, students learn through analysis and practise the creative processes of composing music for film in a series of workshops on composition, orchestration and production of a film music track. Ideally, projects could be developed in collaboration with students from Film and Broadcast Production. A series of short cuts are provided by the project supervisor. Alternatively, students are free to assemble their own choice of film excerpts.


Module 1

Cass Music

Cass Music Module 2 Project development: music technology Elaine Thomazi Freitas, Nick Pyall and Allan Seago

ADAM SHAKESPEARE, ALEXANDER DIACOS Restoration of an early-nineteenth-century European guitar


This generic module is tailored for Honours Level students, according to their particular specialisms. It runs in parallel with each course’s major final project and therefore it has practical outcomes specifically designed for each programme. For Sound for Media graduates, the project consists of the audio postproduction in 5.1 surround sound of a short film (or extract from a feature film), featuring existing film materials (for example, commercial films or TV series). The sound component is the only element the student has to work with at this stage, which includes all aspects of sound in film: recording quality of sounds; the design and edition of sound effects, dialogue, atmo, foley and music (if any); frame accuracy, audio–video synchronisation; track mixing; and spatial /stereo and surround images are the main focus in the assessment of the projects. This project is carried out individually, demonstrating the

create web apps which generate, process and play back audio; students make use of web audio technologies currently being rolled out in new versions of Safari, Firefox and Google Chrome. For Musical Instruments the studio is divided into two separate but distinctly related areas: namely Repair, Maintenance and Instrument Set-Up, and Conservation and Restoration. The techniques used to address maintenance issues with instruments being used for everyday playing are practised during the first half of the module, while ethical concerns of conservation and preservation of old instruments in museum or private hands are considered in the second, both through study of papers in the museum community and workshop practice. At times, as in the students' current restoration of an earlynineteenth-century European guitar, these areas cross over.


acquired skills and understanding of concepts, processes and digital technologies aimed at creating, structuring and mixing the 5.1 and stereo soundtracks. The project might eventually include an original musical composition (film score); however, its use should neither replace, nor mask the main audio track. Modern audio technology is increasingly software based, and the generation and processing of sound and music is done in program code. In this studio, Audio System graduates extend their understanding of digital audio acquired in the previous years, providing them with the skills to develop algorithms, which perform functions such as reverberation, filtering and vocoding. These can be implemented in Max/MSP, a visual programming language for audio. In addition, the studio introduces students to web coding in JavaScript, HTML and CSS, enabling them to

The Cass Session 2014–15

Cass Music Year 1  Music Technology (audio systems, music production, sound for media), and Musical Instruments Cass Music tutors Year 1 in Cass Music embraces an important period of scientific learning and critical experimentation. Subjects covered over the four pathways in Music explore a significant amount of theory and investigation that provides the basis for further studies and the grounds for the successful realisation of practice-based projects. Basic Audio Recording Technologies explores the basic terminology, processes and equipment required by contemporary analogue and digital multi-trackbased audio recording. Given the scientific topics that it includes, subjects such as the concepts of loudness, pitch, timbre, duration and localisation are investigated and practically mapped to audio specifications and equipment such as mixing desks, microphones, audio/ MIDI interfaces, computers, sequencers (e.g. Pro Tools, Logic Pro

and Nuendo) and interactive/ programming software. This studio relates to the three pathways, Audio Systems, Music Production and Sound for Media. The emerging technologies of the internet raised the demand for skills in the interfacing of audio electronics with other hardware and software. Audio electronics studio introduces Audio Systems students to a set of theoretical and practical skills involved in the building of an effects pedal, further developed by working with Arduino hardware and processing programming language. Music Production students explore the theory aspects of composition and notions of instrumentation and arrangement in Music Composition and MIDI Arrangement. The application of learnt theory to practical projects is brought to life, enabling students to present a demo production of their original works.

Sound for Media students are introduced to a range of audiovisual equipment at both operational and technical levels, while working with video cameras, lighting equipment and editing tools. The studio Basic video techniques and sound for moving image deals with the fundamental aesthetics of moving image and media production. They acquire a clear understanding of linear and non-linear editing, and the grammar of film language and its conventions. To represent the workshop activity of Musical Instruments first-year students, a collection of Martin Backpacker travel guitars by Mark Barclay, Christopher Little and Francesca Trucco has been assembled. The self-designed Cigar Box guitar of Marine Pacaut is included as an example of extra workshop activity by L4 students.

MARINE PACAUT  Cigar box guitar   FRANCESCA TRUCCO  Martin Backpacker travel guitar


Year 1

Cass Music










" T H E SY M P H O N I C J O U R N E Y "




The Cass Session 2014–15













Cass Music

Robert Mull in conversation with Elaine Thomazi Freitas, Head of Cass Music

RM  Cass Music is very new. Tell me, what is Cass Music and what does it do? ET  We have four different music degree courses, so it is quite diverse, but I think we are trying to give a shape to it and to find a more prominent and clear identity for it and to make it more lively and vibrant. We have all the elements and I’m trying to work this out. By diverse I mean we can have a music producer and a computer programmer in the same group. Sometimes in other universities you would either have one or the other. We also have the musical instrument-making course, and this group has an entirely different profile. And finally, the sound for Media cohort, who are more like multimedia artists and Sound designers. So it’s difficult to give us an identity; it’s quite multi faceted. RM  You said something very compelling when Cass Music was formed. You said that the music area had been quiet and that Cass Music was going to provide the soundtrack to the Cass. How do you see that happening? ET  Slightly more slowly than I had hoped. But we are intending on being and sounding more audible. Many people in the Cass music area are practising music in various and quite diverse forms. Part of this is actually surfacing that and sharing that with the Cass; we’re working on partnerships with specific places in the area to perform our music, to make the music happen. That would help us to be more noisy, and that should come with time as well. RM  One thing you’ve spoken a lot about is the fact that we’re in a very particular part of London, which is very active in all sorts of creative disciplines including music in all its forms. How do you see Cass Music collaborating with and having conversations with that wider, local London culture? ET  For many of the new students on the Music Production course that’s one of the things that attracts them. They want to


be in London and they want to be in east and central London, and this area is very interesting for them. So I think there is potential in working with local communities. It’s still quite young as an approach, of course, because the course itself is quite young. It comes along with the Cass Music identity. I want to develop ideas with local communities in the tradition of Cass live projects. RM  Is there work this year where students collaborate with external partners? Can you give us an example? ET  The Music Production graduates have done a few live sound productions and they have brought musicians from outside. I have seen some of my students in recording sessions in the studios and the live room. But rather as producers, and this is where we need to have contact with the local communities to bring musicians from the area and give them back the work from our students. RM  So your students play the role of curating, orchestrating and managing those collaborations? Over the course of the next year, as Cass Music becomes established, which other ‘Casses’ do you think you will begin to talk to or find common ground with? ET  The Honours Level students are already collaborating with Cass Film. So we have music producers working with Film and Broadcast Production students, which is a natural collaboration. Some of the films that will be screened in the National Film Theatre will have music from our students. New students, and secondyear students, are already enquiring about this. So I think it’s a matter of making this a more natural partnership at every level. Animation is another course where there is also potential for that. I think that musical instrument-making and design could also share knowledge and practices. RM  For the very short period of time that you’ve been thinking about Cass Music on

The Cass Session 2014–15

the whole, what do you think is the most successful thing that has happened in the music area in the last year? ET  We have introduced a very positive experience for students; inviting guest speakers and visiting lecturers. One of them has signed a longer contract with us now, and is doing live sound production with students. These are seven weeks of daylong workshops. It has been highly praised by the students. We want more events like that and more external voices coming in in the future. RM  What makes Cass Music distinctive? ET  I have students working with choir music or recording acoustic music and I am teaching orchestration and music for film, which is not taught elsewhere on similar courses. So the students who come here get some good grounding in composition and other genres and styles of music that in most of the places they would never see, except as study, but not as a practice. RM  That’s really interesting. There have been conversations over the last few years about Cass Music actually teaching composition directly. What’s your thinking on that? ET  I would love to. It’s my speciality; I would love that. RM  So is it teaching composition as part of this wider framework, or is it about having very specific courses focusing on composition? How do you see it? ET  Currently it’s just a two-year approach that we have to it. If we were to focus entirely on composition it would be by creating a new programme. Because the students will need different practices and some current subjects will not be so necessary for them. We would need a little bit of revision of the structure of the courses we offer. But it is doable. Or we could also have this maybe as a Masters, which would involve a shorter period and may be easier to manage than

putting together an entire undergraduate programme. That’s a possibility too. We will see. RM  So when I walk into the Cass in a year’s time, how do I hear the soundtrack of the Cass? I’m not a music student. I’m not part of the music area, I’m an architect. So how do I begin to experience that which has been silent, being loud? ET  We will have more works to be made public on the website. That’s one thing. We will promote more live projects. So that could be a more constant happening. Nothing prevents us from having evenings of music. Thursday evenings we have an hour of music. This type of getting together between staff, students and community will grow. RM  That would be marvellous. ET  Already sometimes when you walk into the music area, you can hear students practising. RM  In terms of your own history and your own background, what is the relationship between your own practice and your teaching? ET  My background is as a music composer and media artist. So I began by studying music. As I proceeded through Masters and PhD, I began to get closer to the computers and digital music, which brought me to video and image processing, which created this person that I am today. So my practice in teaching I apply everything that I always learnt and practice into the teaching into the classroom all the time. Because sometimes you might even be

explaining something so simple as how to use a new piece of software and you will refer to something that you studied ten, fifteen years ago, because you have that background to explain for them. I try to make students detour a little bit from the common paths that they would be taking. So in a sense I try to think as if I were them, realising that yes, when I was in their place, it was an entirely different universe. But I keep nudging them forward. RM  What’s the best bit of advice you received as a student? ET  When I was moving to New York, the first time I left home, one of my previous professors, he had lived in America as well. He just told me ‘do not ever miss home wherever you are. Try to be a part of the place you go and try to learn as much as you possibly can from them and to integrate their good aspects into your life. Do not make yourself a stranger; integrate with the place you are going.’ First you do that as a person, on the personal side. Then you do that as a student. Then as an artist. Then finally you do it as a tutor. So I think that’s more or less the pathway I have followed. RM  Who would you point them to in terms of your inspiration? In terms of practitioners and theorists and people involved in your subject area? ET  Well in sound design one of the big references is Walter Murch, the work he did with George Lucas and many of the early experimentations in constructing sound for a film. Also, I like to show them the work of less well-known sound designers such as Oriol Tarragó. In composition if we are

studying experimental works I would refer to the 1950s, the 1960s and I like to point them towards John Cage, because he wrote several books on his music. Students like this idea of having a non-musical reference which inspires them. I always like to point them to Steve Reich and minimalist music. And also La Monte Young and Brian Eno are very inspiring names. In film music, besides studying the classics I always include new films in our discussion. The work of Alexandre Desplat, Trent Reznor and Atticus Ross, for example. In other cases, when you have a student doing something which is entirely new, I prefer not to point them to one person. But I prefer to point them to communities, research groups. Some websites have their own community of users and there you find a good discussion environment. Because you will see what people are doing currently using those tools. Sometimes it’s just the fact that you can do something beautiful and meaningful, even, regardless of reality. If you can find your word and your signature, then I think that that’s inspiring enough. RM  What’s the last thing you would like to say about Cass Music? ET  I’d like to say watch our students closely because there is this very interesting identification growing among them with what we do here. So watch them, because I think there will be a certain reference to the Cass as being ‘where I got my degree’. I think we are beginning to transform our area, building up a stronger identity. That’s something that makes me proud of being part of this. RM  Thank you, Elaine.

MUSIC BSc (Hons) Music Technology (Audio Systems) BSc (Hons) Music Technology (Music Production) BSc (Hons) Music Technology (Sound for Media) BSc (Hons) Musical Instruments MA by Project

RECRUITING NOW  Call: +44 (0)20 7133 4200  Visit :



Cass Music

Musarc Materialising the social Joseph Kohlmaier Musarc is one of London’s most progressive amateur choral ensembles. The group is at the heart of a multi-disciplinary teaching project that originally emerged from the architecture school of the Cass in 2008. Over the last seven years, the choir has worked with a wide range of national arts organisations, and commissioned composers and artists to create unusual and provocative work that explores new processes in composition, and tries to define an expanded framework in which music and performance can happen. In contrast to traditional discussions about the relationship of music and architecture (in terms of acoustics, structure or technology), Musarc’s original engagement with the city and the built environment

was more concerned with the materialisation of social and political processes that are not immediately visible in architecture. This aspect of the ensemble’s work has been growing in importance, and finds a fertile and complex environment among all the other creative disciplines that are brought together at the Cass today. It is not necessarily straightforward to define what constitutes ‘music’. In 1920, a little-known figure of early modernism and a contemporary of Schoenberg, Josef Matthias Hauer, framed this question with an interesting paradox. For Hauer, music was essentially a mental and spiritual event. The actual realisation of music – that is, the performance itself, when the idea of music is transferred

between people – is a kind of disturbance. What we call ‘music’ is just a temporary appearance; imperfect and uncertain, always different, in progress, an approximation of something that is of a very different nature and substance. Some of the most important aspects of Musarc’s work are normally found at the periphery of making music and performance. Field Studies, one of Musarc’s most successful teaching programmes, originally started as a field recording course for architects and artists. Today, it is simple acts like eating together, the ‘performance’ of establishing a temporary society in an immersive learning environment, and the unusual contributions from artists, tutors and speakers who come from anthropology, choreography,

Musarc performing at MK Gallery in response to the gallery’s exhibition How to Construct a Time Machine, March 2015


The Cass Session 2014–15

MATERIALISING THE SOCIAL  Musarc performing Terry Riley’s In C and Lin Chi-Wei’s Tape music. Score for Musarc (2015) at the Round Chapel, Clapton, June 2015. Lin Chi-Wei's score is 200m long and reeled into a tight spiral of singers



Musarc Christmas concert, Christ Church Spitalfields, December 2015. The audience weaving on a loom constructed in between church columns by artist and choir alto Jessica Smulders-Cohen


The Cass Session 2014–15

performance art and improvisation, which draw an international audience to the programme. Musarc’s performances too are structured in ways not traditionally found in concerts. These include olfactory elements and sharing food; sculpture, participatory gestures, and unusual spatial configurations that break down the barriers between musicians and audience, and sometimes respond to specific spaces and what we find in them, particuarly when the choir works with museums and galleries. In July 2014, Musarc performed Synonyms: Five or six noise-making rifts with Ed Atkins at the Serpentine Pavillion. The choir’s Christmas concert took place at Christ Church Spitalfields, and included the premiere of three new commissions through Sound and Music’s Portfolio

project, and a screening of Laure Prouvost’s How to make money religiously, which features Musarc’s voices and was first presented as part of the artist’s show For Forgetting at the New Museum, New York, 2014. In March 2015, Musarc returned to MK Gallery with Melanie Pappenheim, where we performed a programme in response to the gallery’s exhibition How to Construct a Time Machine. In April, Musarc performed Lin Chi-Wei’s seminal Tape music at Cafe OTO. For Musarc’s final concert, Musarc Folk Meet on a Midsummer Day Until Dusk, in June at the Round Chapel, Chi-Wei produced a new version of the piece which involves reeling a 200m-long score into a tight spiral of singers. The concert also included a performance of Alvin Lucier’s I am sitting in a room; a choral version of Terry Riley’s In C, which

the ensemble first performed at MK Gallery in March; and Any’s responses, a recent commission from performer/ composer Neil Luck. In October 2015, Musarc will be going to Antwerp with Melanie Pappenheim and the choir’s music director Cathy Heller Jones for a weekend of workshops and performances, and to record four of Neil Luck’s works written for the choir between 2010 and 2015 with avantgarde music label Entr’acte.

MUSARC To find out more about the choir and how to join the ensemble, visit:

THE NONSENSICAL REALM  Seminars with David Toop, Stefan Kraus and Joseph Kohlmaier at Field Studies, Easter 2015. Musarc’s work explores acts outside, or at the periphery of, conventional teaching and learning methods such as improvisation, performance, or eating together



Joseph Kohlmaier and Cathy Heller Jones performing Distance montage (Farbenlehre) at the Forge, May 2015. Photos on this page and pp. 356–358 by Yiannis Katsaris



Each time we grow we still seem to be developing courses that are very much based around, not only what we in the Cass are about, but also what the creative community in the East End is about. The potential for Cass Projects is always more projects. That’s exciting. When I say more projects, not just the ability to do them. But actually to initiate and generate more projects for students.

ANNE MARKEY  Head of Cass Projects

‘A very big part of the work of the projects office has been to nurture contact and associations with the local community that we’re part of and to a certain extent we serve.’

‘It’s there to support projects that are led by students, with or without their tutors.’ ‘We create that liminal space where maybe new, exciting things can happen.’

Robert Mull

‘I’m quite excited I think about maybe the flux just ceasing for a moment for us all to consolidate here in Aldgate and go forward.’ ‘Our students can work, with guidance and with professional support to produce something that is worth having.’ Anne Markey

Conversation between Robert Mull and Anne Markey, co-directors of Cass Projects

RM  Anne, what is Cass Projects and what does it do? AM  Cass Projects enables Cass staff and students to participate in live projects and external commissions that they might otherwise be prevented from doing, because of a lack of the profes-sional infrastructure that Cass Projects can give them. RM  What is that professional infrastructure? AM  Well very simply there is a studio, a space within the faculty, which is equipped with workstations, and we have a number of full-time, permanent staff for support. They range from more experienced project coordinators, who are alumni of the faculty, to graduate interns. We also then, partly through experience, partly through having been there all along, we’ve found ways of maximising the potential of being part of what a bigger university can offer. So that ranges from the prosaic, such as accessing insurances, through to possible collaborations with other disciplines. RM  We were both involved in setting it up now some ten years ago. At that point it was quite unique within the UK context. Is it still as special and unique as it was then? AM  I like to think so. Because we’ve tried very deliberately to avoid falling into a number of traps that I think we were aware of from previous attempts at setting up project offices back in, I think it was long ago, in the 1970s. Also more recent models emerging in the US and some in Europe. The traps I’m talking about are not taking it seriously enough, not devoting enough staff time, and expecting staff to deal with it as an adjunct to their day job. So in this faculty you have deliberately invested in


a proper support infrastructure. So there are a number of full time staff. We have an agenda that somewhat mirrors the faculty’s ethos. But it’s not about me, it’s not about particular projects, it’s not about trying to forge our way, perhaps like you could argue Rural Studio has done; where the students are just very transitory members of a bigger thing. We’ve set it up so that it’s there to support projects that are led by students, with or without their tutors. Sometimes led by members of staff who will sometimes bring their own agenda to the table. Latterly, what has been happening a lot in the UK on the back of universities being asked to generate more third-stream income, other schools of architecture, other universities have spotted this gap and are offering quite commercial versions. Or some architecture schools are offering very much a community-based service. But that’s very much about a projects office mimicking and mirroring what industry is doing, rather than trying to offer what I think is a unique opportun-ity to deal with the gap between the world out there and the world of academia. We create that liminal space where maybe new, exciting things can happen. RM  Our Projects Office was formed as part of the then Faculty of Architecture and Spatial Design. For the last three years or so it’s been part of the Cass Faculty of Art, Architecture and Design. What some have described as the Aldgate Bauhaus, which has a very specific agenda in relation to socially engaged forms of practice, often for local communities. Give me some examples of how Cass Projects has responded to and is contributing to that larger Cass agenda? AM  Our first project where we tried to provide the Bauhaus-type experience was the Aldgate Project. That was quite an exciting project because it enabled staff

and students across the faculty to see one another and understand what each other did. On the back of that we were then able to for a couple of years work in a very strong, very productive way in a particular area of London, in Hayes, where we were invited to do so by the local MP. What for me was really enjoyable was just watching how some of the other disciplines within the faculty totally embraced that way of working. I think particularly Silversmithing and Jewellery, Fine Art and Photography, who worked in parallel with the Architecture students, rather than necessarily working together on projects. So everyone worked on their own projects, but we were able to think of them as part of a larger project. RM  I remember it was something like over six hundred students worked on the Aldgate project, from all areas of the faculty. The Projects Office has also traditionally led many of our relationships with overseas partners. Notably the work we’ve been doing in India and latterly in Sierra Leone and Nepal. What is the potential of international collaboration? AM  The potential for Cass Projects is always more projects. That’s exciting. When I say more projects, not just the ability to do them. But actually to initiate and generate more projects for students. So we can either run academic projects based in those areas of work with local NGOs and communities in trying to initiate maybe further phases of the project, completely new projects, and also potential then for academic collaboration in the spirit of partnerships that perhaps universities are doing with a view to generating income and student recruitment. We, for example, in Sierra Leone see the potential to work closely with local institutions to reinforce the project side of our faculty to actually work with schools,

Cass Projects

We have the potential to offer local practitioners opportunities to come and not only reflect on their own work and acquire new skills, but change career, which happens a lot. with universities to find and identify opportunities for our students to work on academic projects. RM  What do you think our students get from working in contexts like India or Kosovo, Nepal or Sierra Leone? What does that allow them to bring back to working within the more local context of the UK? AM  It enables them to take themselves outside of themselves, as well as outside the academic institution. So for example for perhaps a Fine Art student, they can actually use that very strange unknown territory to actually ask themselves what they are about. I think that’s very important. It forces the student to appraise themselves, as well as their own work. RM  Recently your role has grown to embrace not just the projects area but also a huge range now of short courses. What is the relationship between those short courses and the academic agenda and direction of the Cass and the work of the Projects Office? AM  Well I think one of the things that has been interesting for me in the development of the short course portfolio is the rootedness in the East End that still comes through in a lot of our offer. As you say it’s been growing, and each time we grow we still seem to be developing courses that are very much based around, not only what we in the Cass are about, but also what the creative community in the East End is about. I think that’s very interesting because what we I think have the potential to do is offer local creative practitioners opportunities to come and not only reflect on their own work and acquire new skills, but change career, which is what happens a lot. For example we’ve a very well-subscribed upholstery course, where that’s exactly what happens. Someone perhaps slightly more mature in a creative career, enjoying their career but looking for something different, can come on that course and completely reinvent themselves. But also, and this is something we’re working on


all the time, to try and get to the stage where we have a very comprehensive offer for professional development for creative practitioners. RM  So Cass Projects is a registered continuing professional development provider? AM  It is for the one area where that’s all quite formally measured, which is in Architecture. That has an obvious appeal to architects. But by being part of the university we can also provide practitioners in any field with CPD certificates. RM  So if you were to focus on what was the highlight of the past year or the greatest success of Cass Projects in the past year, what would that be? AM  Yes. That’s a tricky one because I can maybe go back over a few years, but not specifically... RM  Well do, then. AM  I think part of the problem… I think as well as developing the Projects Office and developing short courses we’ve also been distracted by a lot of in-house stuff. So there’s been lots of little moments, but probably not big moments in a while. Which is something I think we want to turn around, and we’ll do so now. I did see that question and I glossed over it. I think Hayes is a nice moment. But I don’t know what you feel, it’s been very organic. Whereas previously I could point to the schools programme we did that we were very proud of. I think there’s been so many things I’m not even sure I know anymore what I should be most proud of. I mean it’s an interesting question because… RM  If I were to concentrate on something we’ve done in the projects area together in the last year or so it would be Sierra Leone where we are setting up a new architecture school. AM  Yes, for me it was our signing of an agreement with the University of Sierra

The Cass Session 2014–15

Leone and Sierra Leone architects to form Sierra Leone’s first school of architecture. Which seemed to me to be the bringing together of a series of contacts which were coming out of academic collaboration, coming out of building a school that was built within a primary school in Sierra Leone with support of the Projects Office. All of that maturing into something that has the capacity to fundamentally change the architectural culture of an entire country. Of course since then, there’s been Ebola and that’s stalled it. But we hope to do that again from next September.I would say it’s now much more critical and important, and I think that’s what makes it personally very satisfying for me too. We thought, we were shocked at, how few architects there were. RM Twenty-seven. AM  I think there were only something like ninety registered doctors in the country. So you can get by without architects in one way. But it shows that it’s part of a bigger thing. They need architects, they need doctors, they need a whole infrastructure. RM  Because the interesting aspect is that in having students and staff who carry out live projects with the support of Cass Projects in various contexts, I suppose we generate trust and we generate enthusiasm for activities in various places. Which then matures into more formal activities or more formal associations, or even new schools or courses. I think that’s a very important mechanism. So Anne moving forward, in a year’s time, when we’ll talk again in the next yearbook, what developments will take place within Cass Projects within that year, and what would you anticipate that we’ll be talking about at that point? AM  I’m hopeful that this coming academic year will be the year that Cass Projects matures. That’s an odd thing to say for something that’s been going for over ten years. But I think we had reached a certain point of maturity and we were really clear about what we were doing before we became part of a larger faculty with other disciplines. I think we’ve been trying to find our way through that over the past few years. Plus, and I alluded to this earlier, we’ve been trying to deal with aspects of the day job that are very inward-facing to support the faculty in its new spaces. RM  To be clear, Cass Projects has played a key role in effectively being a client for the reworking of our spaces in Central House, designed by the Architectural Research Unit. It has played a pivotal role in rethinking the spaces that Design and other aspects might move

Theatre of conctruction, Lincoln’s Inn Fields, The Free Unit, Diploma in Architecture

Primitive Hut proposal sited in Lincoln’s Inn Fields, digital montage, Unit 4, Diploma in Architecture

RE-INTERPRETING THE PRIMITIVE HUT  Abraham Thomas, The Director of the Soane Museum and Robert Mull invited seven Cass Architecture Diploma units to reinterpret the Primitive Hut. The students were granted access to Soane’s collection relating to the theories of the Primitive Hut, including Marc-Antoine Laugier’s 1755 Essay on Architecture. They were also able to study first-hand the drawings, books and models that Soane used to teach his own students. Each unit designed and made vertical section models at 1:1 scale for exhibition outside the Soane Museum as part of the London Festival of Architecture 2015. The models showcase seven different responses to the Primitive Hut, taking ideas about craft and simple manufacturing techniques to create contemporary concepts about shelter. To select an overall winner the projects were judged by an expert panel including Abraham Thomas, Director of the Soane Museum; Ellis Woodman, Director of the Architecture Foundation; and Joseph Rykwert, architectural historian and authority on the Primitive Hut. Unit 10 – tutored by Signy Svalastoga, Jonathan Cook and Edward Simpson, was awarded first place. Through their design, the students from Unit 10 aimed to explore the fundamental and timeless relationship that shelter makes in negotiating the ground and external environment, using the directness and intimacy of the Primitive Hut as a starting point. The students proposed to construct a full-size version of their design by reusing material from demolition companies around London, with the aim of getting the materials sponsored by the companies in order to reduce building costs. Primitive Hut in Lincoln’s Inn Fields, hand drawn, Unit 10, Diploma in Architecture shown above


Cass Projects

HUGUENOTS OF SPITALFIELDS  This cross-faculty project was inspired by a conversation at the start of the year with Gina Pierce, Course Leader for BA Textile Design, about the rich history of the Huguenots in Spitalfields. Tutors from across the faculty were invited to respond to a brief developed by Cass Projects to focus on the relationship between the Huguenots and making in our faculty’s local area. MA by Project students have produced objects about which they have written stories and which form the subject of a series of films made by Cass Projects; first-year Architecture students studied crafts and making skills that the faculty specialises in that can be traced back to the arrival of the Huguenots in London; Interiors students have developed proposals for a site overlooking the Huguenot cemetery in South London. This year - long project will culminate in an exhibition curated by Gina Pierce, The Fabric of the City, where work by contemporary textile and fashion designers that responds to Huguenot Spitalfields silks in the Museum of London collection and created specially for the exhibition will be on display. The students’ projects will also be showcased as part of the SohoCreate festival in the French Huguenot Protestant Church in Soho Square to in Calcutta House. So that’s been a huge task. That is now largely finished or been taken over by others. So you’re talking about how Cass Projects begins to service and mobilise all the disciplines within the faculty. What would be the mechanisms by which that might happen? AM  I think the annual cross-faculty project is a very effective, but actually quite low-key and quite economical way of increasing our reach all the time. So I think we should definitely continue with that. I think as people through that mechanism begin to understand how we work and can support them, they are more prone now to come to us with ideas of projects in their embryonic stage and that’s precisely the moment we need to be involved. Because that’s when we can guide staff and students towards making them into projects that can be delivered through our various mechanisms. I think, I suppose greater visibility


has helped too. So the project staff being invited to crits, I think having the graduate interns this year has been really refreshing. Somebody said, they’re a breath of fresh air. They totally are because I think they’re very approachable too. I think staff and students will come in and see them and say come and maybe film our... RM  They come from a range of disciplines including Fine Art, don’t they? AM  They do, Fine Art and Film. So again, there’s a way that they can contribute to the life of the faculty. I suppose one of the misconceptions I’ve always tried to get over is it’s not just about external projects. It’s about the life of the faculty in its many shapes and forms. RM  So obviously a really, and you mentioned it earlier, a very big part of the work of the Projects Office has been to

The Cass Session 2014–15

nurture contact with and associations with the local community that we’re part of and to a certain extent we serve. Again, can you give me a sense of how that operates? Give me some examples of that and again how you see that operating in such a fastchanging environment. AM  What we have this weekend for example, we’ve got Refashion East, which we are part of along with the Whitechapel Gallery and Toynbee Hall. That’s very much about putting Aldgate on the fashion person’s radar. So that’s something where we will be getting the public to come into our building to work on some craft and fashion activities over the weekend. I mentioned Toynbee Hall and the Whitechapel Gallery. Along with them we’re observers on the Aldgate Partnership, which is a business-led partnership which is all about making Aldgate a destination. There’s an obvious attraction for us as

I suppose a member of this community, one thing. But also just all that networking helps to generate opportunities for our students. So we had billboard art opportunities. We’ve had design competitions for the Corporation of London, where one of our furniture students has been successfully commissioned to produce some street furniture as part of the Aldgate public realm project. So that’s, I suppose, we are just constantly reaching out and inviting people into... RM  So in this area of London, Aldgate, there is the Cass Foundation, Toynbee Hall, the Whitechapel. There’s a real tradition of a particular type of socially engaged activity. How critical to the emerging identity of the Cass is the Aldgate location? AM  I think it’s absolutely vital that we remain here now that we have established ourselves as a key member of the community. I do know from my attendance at various local stakeholder meetings and

the Aldgate Partnership meeting, which was actually generated by the Corporation of London, that we’re seen as a vital part of the life of this community. Our students are out on the streets, they’re serving local businesses. They’re buying their coffee from local businesses. As I say we invite local people into us. I do know from seeing students cross Whitechapel High Street on interview day that the minute they emerge from the tube station they immediately look very excited because they are in the heart of a metropolis. But also right at the very edge. So it’s also not like emerging on some faceless corporate high street. They know they’re on the edge of something really exciting. RM  There are obviously very big forces at play in this area. It’s described as where the City meets the fringe. Very large developments are taking place adjacent to Central House. Those are very important factors. We’re in the week of a General Election. By the time people are reading this

discussion there will be a new government. In terms of the work of Cass Projects and the way it serves our students, what changes or initiatives would you welcome from any incoming government, regardless of its political complexion? AM  Investment in young people, which need not always be economic. Not just in this country, but in, particularly, European countries. I think acknowledging the importance of what young people do and what they contribute to our society and respecting that. I think by putting the work of young people on the agenda, they can do that. So how would they do that? I think by commissioning students to work on projects. They can do so for a lot less than the price of a consultant. We have had instances where we’ve had students working on master plans for areas. We have worked with the mayor’s office in London for example. We engage with the local developers. We have engaged with local developers as well as local charities

POCKET PARK AT CENTRAL HOUSE  Cass Projects have been instrumental in securing Pocket Park funding from the Mayor of London for their design for a new roof garden on the roof of Central House. The garden will become a space for growing and making and will be a resource for students and staff of the Cass as well as for our local community. It will host a number of structures designed and made by students, and the first one of these, a lamella structure by Unit 6 Diploma in Architecture students, was erected as part of a project to explore the potential role of lamella structures in facilitating local community engagement. The roof garden will also be home to a giant text-based piece of art by Cass Professor Patrick Brill, aka Bob and Roberta Smith


Cass Projects

Prototype Bamboo Structure Kathmandu, Nepal November 2014, Unit 6 Diploma in Architecture

ALDGATE PROJECTS  As a direct result of our first cross-faculty project as the Cass, the Aldgate project, we have been commissioned by a number of local key stakeholders such as the City of London, Aldgate Tower and St Botolph without Aldgate. Cass Projects facilitated a student design competition for new street furniture for the City of London Corporation as part of their plans for a reworking of the Aldgate public realm. The winning design by 3D student Charles Mugisha will appear soon on local streets and public open areas. The Church of St Botolph without Aldgate invited postgraduate students of Cass Architecture to submit ideas for a new church hall adjoining the church to serve the needs of their congregation and the local community. The first prize, by Eleanor Grierson and Liam Ashmore, Diploma in Architecture, is shown here


The Cass Session 2014–15

MADE IN HAYES  Following an invitation by local MP John McDonnell, Cass students have for the past three years engaged in multidisciplinary projects that seek to re-address the relationship between local residents and businesses and their high street. This year’s projects included the development of a brief by Jewellery and Silversmithing students for a mobile information point in collaboration with YMCA residents, funded by the local ward. Architecture students have engaged with the local community, using a 1:1 model to test how spaces for making or music performance could offer a new reading of the city centre with the high street at its core

SIERRA LEONE  Following the signing of an agreement with the University of Sierra Leone and the Sierra Leone Institute of Architects we started work last summer on developments for Sierra Leone’s first school of architecture. The new school grew out of our involvement with live projects and research in Freetown since 2008. In 2011 we completed a new school building for the Ivor Leigh Memorial Primary School. Since then Cass Architecture researchers and students have surveyed three historic Freetown neighbourhoods and documented these in an exhibition at the British Council, where the conversation about developing a new school of architecture started. The recent tragic events arising from the Ebola epidemic in Sierra Leone have postponed the opening of the new school, but have also demonstrated the acute need for architects to design a new resilient healthcare infrastructure as the country recovers. Proposals for a school of architecture by Joe Davis, Diploma in Architecture graduate, are shown here on projects. So they might have to spend some money on our out-of-pocket expenses. But they get a lot of bang for their buck by engaging with these clever young people. RM  There’s lots of debate about the boundaries between professional life, ‘real life’ and academic life. Conversations about apprenticeships and ways in which students can be involved in earning and learning while they’re studying. I would see Cass Projects to a certain extent being at the forefront of that sort of development. I suppose looking forward in five, ten years’ time, if one were to extend the Cass Projects model to its logical extreme, students would almost entirely be involved in activities that are outside the traditional boundaries of academia. What would be the strengths, but also I suppose the weaknesses, of that? AM  Strengths, I can readily think of, weaknesses I might have to work on. Because I can see for a relatively low fee compared to an expensive consultant, a large group of students could be commissioned to work on an outcome that a local government body or a business requires over a period


of time. That could be research, that could be design, that could be community engagement. There’s no reason then why the students could not be, as I say, that fee would cover a wage of some description. It’s embedded firmly within their academic study, so they were also getting credit. They’re not conflicting forces. They’re not trying to find the time to go off to make a pizza in a pizza restaurant. They’re actually doing it together. So the only weakness for me… it doesn’t become a weakness if everyone starts buying into this... which is trying to get the world outside to understand that we can do that. That our students can work, with guidance and with professional support, to produce something that is worth having. So they see, they look at us and they go, but they’re a bunch of students and I’ve got an expensive consultant. I’ll take the expensive consultant. Then for some academics that’s very difficult too. Because for a lot of academics they like the protection of the academic institution, they like the fact that they can do things within the academic institution that perhaps real life doesn’t permit. Interestingly, I think for students that’s less of an issue than for

their teachers. Whether that’s because the teachers are old school, for want of a better word, and were largely trained in an era when there were large grants. They didn’t have to try and combine real life with study. They could commit full time to their studies. I think our students, very few of them, can commit full-time to their studies. So they’re battling with real life anyway, so why not battle with it in a meaningful and creative way rather than in a way that is conflicting? RM  You talk about payment, and one of the questions that is always asked around projects offices, and our Projects Office is no exception, is are students paid for their activities? Are staff, recent graduates paid to be part of the Projects Office, and if not, why? How does that work? RM  We generally do try to make sure that students get paid. If for any reason a client comes to us with a project that we think has academic merit and perhaps they don’t have the funding... That would have to be a not-for-profit organisation. We wouldn’t for a moment consider that for either a private individual or a company

Cass Projects

that is there to make money. But if we could see where there was a synergy, where the students do get so much academic benefit then we will take it on. But we will stress that there must be no conflict. The student’s academic needs are paramount. So it’s the client who takes the risk of perhaps not having the desired outcome. If the client wants to control the outcome, they quite crudely have to pay a fee that covers paying the student’s costs.

was no precedent. Having said that, I was taught by practitioners. Taught by very successful practitioners. So for me there was no ... from day one I assumed there would be no conflict between the world of practice and academia. For me there was no such thing as ... I didn’t even hear the word, I think, ‘academic’ in a school of architecture until I came here. So that’s interesting. RM  Because you went to...

RM  Personally, you’re an architect and you’ve obviously trained as an architect. In terms of your education and your experience, what experience did you have of similar mechanisms in your education, if any? AM  None whatsoever. I think again I mentioned earlier there was an awareness that there were other attempts, not necessarily… I trained in Ireland, but certainly in the UK to set up projects offices where staff were trying to do it very much in a part-time way. Or even worse, using it as a vehicle to just exploit those students. So working on projects that were really their own projects and using free student labour. So I was aware. But in Ireland there

Cass Projects 2014–15 are: Abi Baker Anna O’Brien Anne Markey Danielle Hewitt Elian Hirsch Jen Ng Julie Asis Maeva Khachfe Natalie Simmons Vanja Bazdulj Zoe Berman

AM  I went to UCD and we didn’t use the term. They were tutors. They were architects who taught. RM  Finally, what do you think is the biggest opportunity for Cass Projects over the coming year? AM  I think it’s the opportunity to mature. The time. I think the time, the breathing space, for the first time I think in three years. I’m quite excited, I think, about maybe the flux just ceasing for a moment for us all to consolidate here in Aldgate and go forward. RM  Thank you, Anne.

Recruiting Now Over 200 Short Courses and Continuing Professional Development Courses covering all Cass Disciplines Call: +44 (0)20 7320 1842 Visit :

Patrick Brill aka Bob and Roberta Smith, Art makes people powerful signage test on Central House roof


The Cass Session 2014–15


ARTS EMERGENCY RESPONSE CENTRE ARTS EMERGENCY KIT! PRESCRIPTIONS FROM JARVIS COCKER, JAKE AND DINOS CHAPMAN, SAMANTHA MORTON, RICHARD HERRING, VAMPIRE WEEKEND AND MORE! Arts Emergency Response Centre was an innovative immersive exhibition in the Cass Bank Gallery curated by Bob and Roberta Smith, attracting hundreds of visitors during the run-up to the General Election. The exhibition was presented in collaboration with Arts Emergency, a new charity co-founded by Josie Long and Neil Griffiths helping low-income teenagers get into university and art school. Arts Emergency Response Centre confronted the critical challenges facing education, the arts, and those young people hoping to study them. The exhibition brought together diverse artists, students and organisations with the crucial common interest: to defend the arts and make a difference to individuals.

Visitors entered a ‘hospital ward’, created by Arts Emergency, and were seen by the ‘Arts Emergency Pharmacist’ (with the occasional celebrity appearing throughout the show) and picked up a prescription for something to make, see or do. They were also provided with an ‘Arts Emergency Kit’. The advice prescribed for visitors was provided by creative individuals and Arts Emergency friends including Jarvis Cocker, Jake and Dinos Chapman, Samantha Morton, Richard Herring, Vampire Weekend and many others. Participating organisations included NSEAD, Deptford X, Artists Union, Q–ART, Cultural Learning Alliance and Craftivist Collective.



The Cass Session 2014–15

The Cass has a natural affinity and talent for material histories. We work with actual artefacts of culture and the situations and institutions that they’ve come from and inhabit. The core of Culture is what used to be called history and theory across the whole faculty. The music, the jewellery, the metalwork, the design, the graphics, the architecture, the cities, the art. How all of these relate to each other is an enormously interesting issue and question. It is like a city in miniature. HELEN MALLINSON  Head of Cass Culture

‘We are a city with the biggest treasury of cultural resources the world’s ever seen. The cross-currents of culture that exist here, their extraordinary variety, complexity and richness, are a paradigm in their own right. So how we understand and work with and make best use of London as a faculty I think is a fantastic opportunity.’

‘What Cass Culture comes out of is both a necessity and a dream. I’m not interested in importing standard ways of doing things per se. I think it’s about paying attention to what we can do really well.’ Helen Mallison

A conversation between Robert Mull and Helen Mallinson, Head of Cass Culture

RM  The first question is, because it’s so new – what is Cass Culture? HM  An opportunity. It’s a real opportunity to create an unbelievably successful faculty with a very particular agenda – and opportunities like that don’t come very often! The core of it is what used to be called history and theory across the whole faculty. But I am a natural interdisciplinarian. How things connect is what I’m interested in. I think architectural culture, like the arts in general, is a prodigious discipline. But what architecture brings to the table is a philosophical background and a social engagement that I think is very particular. The music, the jewellery, the metalwork, the design, visual communication, the graphics, the architecture, the cities, the art. How all of these relate to each other is an enormously interesting issue and question. It is like a city in miniature. RM  You’ve spoken about the idea of London as our archive. Can you say more about that? HM  This idea of London works on a number of different levels. We are a city with the biggest treasury of cultural resources the world’s ever seen. The crosscurrents of culture that exist here, their extraordinary variety, complexity and richness, are a paradigm in their own right. So how we understand and work with and make best use of London as a faculty I think is a fantastic opportunity. I think we’re privileged to have access to it, frankly. RM  In the yearbook we’ll see your collab-orations with others, such as the Courtauld Institute and London Walks. Is that sort of collaboration something that you’re going to cultivate and extend? HM  These are very deliberate developments. One of the things we have a natural affinity and talent for is material histories in the broad sense. So rather than starting off with a mathematical, theoretical approach we are working with actual artefacts of culture and the situations and institutions that they’ve come from and


inhabit. So how we work with an institution like the Courtauld, or the Soane, or the V&A, which are if you like the top end, celebrity institutions, is one part of it. But you can walk down a London high street and that is also an institution. So what skills do you need to understand how to work with drawings which cost millions and need special lighting conditions? Or, at the other end to work with a street and understand how to read its different layers of architecture and culture and habitation? These are all really important skills. They build on the strengths and interests that we have, whilst bringing different parties to the table. That’s the huge joy of working across the faculty; whole new portals open up. RM  This attitude towards the teaching of history and theory, and culture, has at its root an implied criticism of the way in which history and theory has been taught and I suppose is taught elsewhere. How would you define that? What is your attitude towards the orthodoxy of teaching history and theory? HM  I’m not setting out to be critical particularly; I’m setting out to be positively creative. What Cass Culture comes out of is both a necessity and a dream. I’m not interested in importing standard ways of doing things per se. I think it’s about paying attention to what we can do really well. RM  One thing we do really well is make. There is an enormous tradition in the Cass of making in a very direct way; a craft tradition if you like. There’s often a tension between the role of theory in relation to craft. How do you see that? HM  What the Bauhaus understood was that making is where learning begins. It doesn’t start in theory, it starts in making. So the whole process of thinking and learning starts with making, which in a sense models a process of making decisions and making choices and engaging both with the material, and the constituency of the makers. So I would put making at the absolute heart of our

The Cass Session 2014–15

pedagogy. In a sense, all the different ways of cultural enterprise relate back to that primal thing. We make friends, we make dinner, we make buildings, we make cities, we make political decisions, we make governments. They are all things that we make. RM  In relation to culture generally and in relation to the Cass in particular, what would you hope for when it comes to the next phase of government in this country? HM  Well I’ll give one example as a symptom. Whichever government comes in they must not reintroduce museum charges. Museum charges are totally toxic to the culture of this country, because museums are our prime public spaces. They should be seen as public spaces and they should be developed as public spaces. Trafalgar Square and the National Gallery are totally equivalent as public spaces. The idea that you support roads, roundabouts, high-speed trains and that is the limit of government subsidy and support is ridiculous. So museums in a sense are the kind of litmus paper of how we understand what public means in terms of culture. RM  In relation to culture generally, obviously within the Cass we have students from incredibly diverse backgrounds with incredibly diverse life experiences… HM  The student diversity is the reason I’m still here, several centuries later! I think it’s a fantastic privilege to be able to work with a real diversity of students. You really notice it when you go elsewhere and it suddenly collapses back into a very specific group. So I’ve been always very conscious of how to work with different students. RM  In relation to this idea of celebrating and empowering the diversity of our students and staff, is it too simplistic to say that the moves you made last year to go towards over 20 dissertation studios or groupings is part of that idea of giving students a wider choice? HM  The dissertation studios are the natural culmination of the design of the

undergraduate programme as a whole. Because what we decided right at the beginning was that we were going to treasure the dissertation as an outcome. But that if we are realistic about the diverse range of kinds of dissertations that students could produce, then the preceding courses, foundation, one and two, were about developing all the skills they needed and the ideas they needed to be able to do that properly. Because inherently the dissertation is an individual piece of work; it means that they can in any case work in any area. The studios allow that to happen in a structured way. In the new dissertation studios, students still do their own piece of work; but they can choose a particular orchard or plot to do it in. RM  What are you most proud of in the past year? What’s the highlight of Cass Culture? HM  It came when I saw the twentyfour studios appear on the Cass website. Three years ago that wasn’t imaginable. Just over three years ago some of the bits of the faculty didn’t even have a dissertation. Some of them had huge dissertations. We have tried to establish a common practice that allows all the subject areas to breathe and flourish and at the same time share best practice. The studios are the fruit of this. RM  Whose view of the world determines the boundaries of the studios; what is on offer? Where do those come from? HM  Well, it’s a bit more gardening. On the one hand, all the people running studios know how to teach dissertations, so that’s a kind of baseline. Another layer of the structure is that all of the groups of interest are roughly proportionate to the number of students in that area. So there are enough studios for architecture, enough studios for design, enough studios for art. Then within that you’re trying to get studios which are offering a range of different choices. As a student you could choose someone

All the different ways of cultural enterprise relate back to that primal thing. We make friends, we make dinner, we make buildings, we make cities, we make political decisions, we make governments. They are all thingsthat we make. who you think is a good teacher, because you want to work with them. You can choose a topic that you think is fantastic or a subject area that you want to get involved in. There’s no one reason for choosing a studio. RM  Is it possible for new research interests and formal research areas to grow out of an undergraduate dissertation studio? HM  Yes. For example the ‘drawing matter’ studio could result in an area within the MA by Project developing next year. It is one of the things we’re looking at, which will be completely new. The MA by Project is a natural extension of the potential for individuals to develop specific dissertation areas. RM  What will we be discussing at this point next year? HM  Well, having sorted out the undergraduates, I think the obvious thing to do next year is to focus on postgraduates. What we need is a much richer, finergrained, more specific climate around courses that recognises the limited time and money of our natural constituency. So young practitioners, people who are between degrees, people who are interested in the topic, want to stay up to date with something, want to find out what someone’s doing.

The student diversity is the reason I’m still here, several centuries later! I think it’s a fantastic privilege to be able to work with a real diversity of students. 375

RM  We’ve spoken about Cass Culture also developing a portfolio of short courses, CPD, lifelong learning – could you give me an example of the kind of short course or experience that people could subscribe to? HM  Well they might have taken a course with a very inventive way of looking at some issues in architectural practice. Or they might have spent an afternoon with Peter Carl looking at some philo-sophical issues around the city. Or they might have done a masterclass with Simone ten Hompel on metalwork. Or they might have done a workshop on looking at some aspect of the Anthropocene in the green belt, i.e. the equatorial belt that goes around the middle of the Earth, and how that might get preserved. RM  Is there anything to stop the same person doing all of those things? HM  No, nothing at all. It’s a different approach to boundaries between disciplines. I think you have to both respect and transgress all the time in order to understand what any discipline is. RM  Tell us something about your particular research area which has the extraordinary title of The forgetting of air. Why air? HM  It’s the material antidote to ‘space’, which architects and everybody else talk about nonstop. So if you think about air rather than space, what different reading does it give you of the world? I chose to explore that through a PhD, which turned out to be history of science. Because it was in the seventeenth century that our understanding of air changed so fundamentally. So it’s caught up in the origins of modernism or the modern world, and technology and science and so on. What was interesting about it is that it gives you a view of how cultural values change and what stays the same in a way.

Cass Culture

RM  What’s the best advice you received from someone like you when you were a student? HM  I’ve always had unbelievably good teachers, right from the age of seven, when Mother Crowley made us all do Latin and Greek myths. What brought me up very short was my first year at Newcastle University doing fine art; I was struggling with gluing my final presentation together. The studio tutor came down and sat down beside me and showed me how to use cow gum properly. That was the moment when I realised that technique really mattered. Anyway, the studio tutor turned out to be Sean Scully, who is rather a well-known painter. I think it’s the depth. It comes back to my interest in making and this notion of it actually being the detail of how you do things that counts; it isn’t just about ideas. RM  What was the biggest challenge facing Cass Culture, and I suppose the world outside of Cass Culture more generally, over that period of time?

Another layer of the structure is that all of the groups of interest are roughly proportionate to the number of students in that area. HM  Probably marketing. In the sense that reaching out to the constituency, creating the footfall and gathering together that community is really challenging. I don’t know if we can do it that quickly, because you have to invest quite a lot of effort to make it work. So I think that’s going to be our biggest challenge, how to do that imaginatively. I think we can provide the stuff! RM  What’s the greatest opportunity? HM  Developing a new model of postgraduate study in the arts.

Cass Culture Short Course Programme Research Degrees across all Faculty Disciplines: MA By Project MPhil/ PhD Call: +44 (0)20 7320 1842 Visit :

You have to both respect and transgress all the time in order to understand what any discipline is.

CHARLOTTE WARNE THOMAS  Freedom, part of Limitaction, MACC Windowspace residency, 2015


The Cass Session 2014–15

BEN CAIN  ‘After the legacy of Conceptual Art, the “experience economy” and the virtual, how will and how can the viewer respond to modes of work in which the context of creativity is to be found no longer in the work, but in the way of working? This question suggests the prominence of processes, services, exchange, histories, cultures, in short networks of production above products.’ Extract from artist’s statement.


Cass Culture

Helen Mallinson AB + CD → AD + BC Cass Culture has grown out of the question ‘What is the Cass?’ It is an interesting question. What makes relationships work – or fail – whether at the scale of the individual or society, remains something of a mystery. What we know from experience is that relationships are as organic as they are chemical, and as freely chosen as they are given. Some two hundred years ago Johann Wolfgang von Goethe published his novel Elective Affinities. He explored the parallels between the discoveries of the new science of chemistry and romantic relationships. Why do people attract each other; what breaks them apart; are chemical formulas real or metaphorical in human relations? Goethe crossed science and literature and inspired Max Weber to formulate the discipline of sociology in the image of ‘elective affinities’. Weber combined economics and religion to help explain the growth of capitalism circa 1900. The Cass encompasses several disciplines, but what constitutes their mutual attraction, and how might they flourish? At one level it seems obvious: the Cass represents a group of arts disciplines – what is there not to love? As everyone knows, however, hostilities are just as likely, or profound indifference. Like their alter ego, the ecologies found in the natural world, human cultures can be rich and buzzing with life or as barren as the Moon. The idea of Cass Culture is pro-life(ic). As part of a university, Cass Culture is inherently a pedagogic enterprise. It began life in the newly constituted faculty with the idea of the dissertation, and the agreement reached between the several Cass disciplines that all our undergraduate students should be able to write one – at the time not everyone did. The dissertation represented an ambition and a set of core values that complemented the studio work. We agreed that students should know something


The Cass Session 2014–15

of the history, theories and forms of governance that constituted their discipline and its practice; they should also have the skills to investigate and articulate a topic of interest within this field, and write about it. The undergraduate structure of CCS (Critical and Contextual Studies) took its bearing from this agreement. This year has seen the flourishing of the topics in the shape of the new dissertation studios. There are twentyfour of them working with some four hundred students. The students can choose between any of the studios, all of which cut across the disciplines and offer themes of mutual interest or ways of thinking. Each studio begins with the construction and definition of a specific topic: readings, visits, workshops, discussions, forms of writing; upon which the students can build or depart from. The dissertation studios spring from the shared structure and ethos of CCS and the discipline-specific curricula of the earlier years. But they also represent a step jump: they reveal the common areas of interest within the Cass. These transcend the differences between levels of teaching; between taught and research modes of study; between what is history, theory or practice. This essay identifies six: London, Making, Material Histories, Word and Image, Performance, and World Building.

London The inspiration for Cass Culture as a ‘culture’ is London. Few if any cities can match London for the richness of its cultural resources, the diversity of its inhabitants or its abundance of cultural ecologies. On our doorstep we have everything from World Heritage Sites to circus

JOSEPH KOHLMAIER   Edible metaphors: Cooking with students of MA HTI course The Soundscape of Modernity

EKTORAS ARKOMANIS  The Green Dock in Thames Barrier Park, still from Another London (2015)


Cass Culture

fleas, bell foundries to opera houses, some two-hundred and fifty museums, libraries and twice as many galleries, over five hundred local-ities, not to mention all the extraordinary artefacts, buildings, artworks, people, events and situations we encounter every day. So, if Cass Culture represents a city- like context within the Cass, the context of Cass Culture is the city we live in. How we develop the relationship can be expressed in any number of ways: we are curating London; London is our library; the city is our salon, our seminar room, our laboratory, our gallery; that culture in the Cass is not an armchair discipline; that we work where we find it, in the archives and museums, on the streets and in our homes, where people create and produce. This year London appeared in our work in many guises. Ellis Woodman and Matthew Turner set the pace by walking their dissertation students across sections of London. Students were invited to structure their dissertation by curating a walk of their own. Ektoras Arkomanis screened the film he made with Robert Harbison,

Another London, a feature documentary about architecture, urban space and the stories at the centres and peripheries of our consciousness of London. The film opened at the Rio in Dalston and the film festival in Lisbon. Sue Andrews and Nicholas Haeffner published Archive: imagining the East End, a ‘highly accessible and inspiring introduction’ to the Cass East End Archive, our very own collection of contemporary and historic, documentary and art photographs. In the West End Patrick Lynch completed his PhD on his architectural practice’s work on Victoria Street, a project that involved soul surgery on the urban structure of Westminster. Helen Thomas and Markus Lähteenmäki, meanwhile, got to grips with the fabulous variety of archives and collections in London. Their dissertation students found themselves learning how to collect oral histories, or up close with Canalettos, Piranesis and Le Corbusiers, or finding out how curators curate, how famous architectural practices plunder their favourite archives. The varieties of people of London

SUSAN ANDREWS  Image from series Up and down Whitechapel High Street – photographs from the car


The Cass Session 2014–15

SIMONE TEN HOMPEL  Metalsmith. ‘“I work with the metal and I taste its edge,” is what synesthetic, Simone ten Hompel says, an experience that remains a mystery to me. Still when contemplating and touching her objects and vessels, spontaneously in my mind, I have a notion of a new term and form – a neologism, “silversmeltingsweetness” and I feel how a delicious ice cup melts on my tongue. – Not exactly a concordance of sensations, but a parallel maybe. Meanings shift.’ Meaning and interpretation, Barbara Maas.

matches the fabulous array of things. Ines Weizman’s dissertation studio and postgraduate Concepts of space students joined forces to investigate London’s émigré artists and architects who in the 1930s escaped the national-socialist regime in Europe and made London their professional and private home. Their combined research project From the Second Life: Documents of Forgotten Architectures’, is being presented at the Cass Summer Show and at the London Festival of Architecture 2015. Gina Pierce’s dissertation studio Weaving contributed to the wider Huguenot project across the Cass and the Huguenots of Spitalfield’s Summer Festival, while Mark Brearley’s and Jane Clossick’s studio built on the work of Cass Cities, introducing students to over two thousand manufacturers in London making everything from sandwiches to Super 7 cabriolet roadsters. At the same time, Maria Kent completed her PhD, which traced the fortunes of the eighteenthand nineteenth-century lesser-known pianoindustry workforce.


Making Making is the paradigm, if not the origin, of all learning. Making sets out a constructive decisionmaking process, the abstraction of which leads to political thought and the ability to contribute to and engage with culture. Paul Harper’s dissertation studio, which follows on from his recently completed PhD, looked at how this works in the craft industries and as polemicised by William Morris. Patrick Brill, aka Bob and Roberta Smith, RA, is interested in much the same thing. Art making provides a rationale for his ongoing campaign to save arts education in schools, and his election-busting Arts Emergency Response Centre in the Cass Bank Gallery. This exhibition was presented in collaboration with Arts Emergency, a new charity confronting the critical challenges facing low-income teenagers wanting to study the arts. Making is part of the Cass DNA, and has been since the inception of its parent institutions. One aspect of how this history plays into the present appeared in the autumn with the exhibition and

Cass Culture

symposium on the London College of Furniture. The work of the LCF, its influential alumni, its contribution to the way the world sat down, was celebrated alongside its renewed life in the Cass and its furniture studios. The exhibition gave thought to the dissertation students of its curator, John Cross, as they pondered the relationship between artefacts and memory. A different take on how to read furniture was provided by the launch of Dirty Furniture, a brand new limitededition journal which raises the bar of intellectual enquiry in the interior design publishing industry, and a dissertation studio in its mould: ‘Each issue takes a piece of furniture as its theme and uses it as a springboard to explore topics spanning politics, design, history, technology, psychology, manufacturing, art – and the plain weird’. The current V&A exhibition What is Luxury? includes Simone ten Hompel’s spoons. Among the very best in her field, Simone is working on a major retrospective of her work with the leading curator of contemporary silver, Amanda Game. Her work and way of working shows the deep connection between making and thinking. Simone supervises PhDs and runs one of the exemplary studios in the Cass. This programme is something like a dissertation studio in terms of structure, but is for independent researchers who want to embark on a major project of their own in good company. The resonance between how something is made and the thing itself is nowhere closer than in a musical instrument. Javier Garavaglia made it the focus of his research in his audiovisual performance with Claudia Angel, Wooden worlds; the thing itself, the performance, is in the making. Over the past year three PhDs supervised by Lewis Jones have been completed that explore this relationship and its broader consequence for the industries of instrument making; their social and cultural contexts. José Salinas made a microtonal percussion instrument as part of his PhD. Nicholas Pyall examined the emergence of the steel-strung guitar from Vienna to North America. Heidi Yeo examined this relationship from another quarter in her dissertation studio, looking at how ‘things make us just as much as we make things’. A concept that rolls back to places of industry


The Cass Session 2014–15

and how we live and work – the theme of Frances Holliss’s groundbreaking research and newly published book, Beyond live/work, which investigates the architecture of home-based work in a new ‘rich and authoritative study’.

Material Histories London and making appear in the work of Fred Gatley, artist and senior technician for Cass Works ceramics. He also introduces the third theme, material histories. His historical material evidence is literally transformed and given a new lease of life in smooth-skinned bone china. It certainly seems to be the case that the primary material evidence of histories provides a strong starting point for a myriad of research and creative activities across the Cass, as well as different modes of thought. Matthew Hobson’s exuberant dissertation studio Archaeologists of the now in fact follows a similar path to dipti bhagat’s meticulous approach to design history. dipti is a leading figure in the design history world, including in the Society and Journal of Design History, and a key figure in the commissioning of CCS and the new Cass Research handbook. Her approach characteristically starts with image and/or object as a way of unpacking its cultural freight. This year her dissertation students looked at the ‘elision of image and identity’ using a range of astutely contextualised primary sources. Material culture is the starting point of the MA Architectural History, Theory and Interpretation, which sponsors a range of different types of investigation, topics and essay work. The ‘Histories’ course with Ektoras Arkomanis starts with visits to a range of London buildings from key periods in order to question our constant interference with history in pursuit of the ideal. Also under the glass were the museums and the role they play in constantly re-shuffling the past. Ektoras pursues a rich, insightful method of observation, clearly evident in the film Another London that he shot with Robert Harbison, the well-known writer and inspiration behind the Cass’s architectural histories. Capitalising on a lifetime’s interest, Nicolas de Oliveira co-curated an exhibition, A Book

of Burning Matches: Collecting Installation Art Documents, at the me Collectors Room, Thomas Olbricht Foundation, in Berlin. It looked at how to chronicle, archive and display the artefacts and documents that capture the fugitive, ephemeral presence of installation art and its intimate involvement with its audiences. In an approach evocative of R. G. Collingwood’s re-enactment doctrine of history, the exhibition set out to reactivate or rematerialise the original work in the spectator’s imagination and thus extend aspects of the work’s life. Working with archives to curate and create exhibitions is a characteristic feature of the MA Curating the Contemporary programme co-taught between the Cass and the Whitechapel Art Gallery. A different kind of historical commitment is reflected in the work of Peter Carl, who runs the architecture wing of the PhD programme. Here history helps foster philosophical depth. Five of his students completed this year, their work rising to the challenges set by his deceptively simple rubric of ‘practical wisdom’. The seminars this year looked at the reciprocity of civic spatiality and ethics, drawing upon a range of anthropological and philosophical

material, including the virtue ethics of Alasdair MacIntyre, and a widely attended lecture by Tim Ingold. Peter’s essay ‘Convivimus ergo sumus’, which developed out of the seminar series, has just been published in Steinberg and Steiner’s Phenomenologies of the City. Peter’s forthcoming publication of Daniel Libeskind’s Sonnets in Babylon addresses the modernist drawing, using Libeskind’s invocation of Shakespeare and Babylon. Another of his articles, written with Wendy Pullan, compares two political rooms – the Sala dei Nove, Siena and the Parliament, Chandigarh – arguing the importance of the conditions for a rich political culture over concepts like space, form, economy and aesthetics. The architecture PhD completions this year included Tomaž Pipan, The capacity of industrial topographies for civic culture, studying recent and potential transformations in the Pearl River Delta; Julia King, Incremental cities, drawing on her work transforming collaborative installation of a sewage system into an urban politics in the resettlement colony of Savda Ghevra, Delhi; Patrick Lynch, Practical poetics, which developed an argument concerning urban depth in relation to rhythmic

FRANCES HOLLIS  Japanese upholsterer’s workhome, Tokyo.


Cass Culture

spatiality; and Lucy Bullivant was awarded a PhD by Prior Output based upon her award-winning book Masterplanning futures and her extensive international work consulting and lecturing, creating a new mode of urban creativity.

Word and Image The fourth thread that runs through the Cass concerns images and writing. These none-tootransparent media mediate between us and the things we make or do. They provide for the rich gaming world of theorists: a world that has flourished in academia since language became self-conscious; since the nineteenth-century invention of subject and object; since the more recent chimera of the virtual. Nonetheless, images and writing are also things in themselves that require making and doing; they demand crafting; even the virtual demands crafting. The very idea of ‘crafty’, however, alerts us to the politics involved. Consider the difference between drawing, designing, making and

writing. And how they pan out in the different disciplines – architecture, film, photography, art, metalwork, textiles and so on. The room for play is immense; ironies abound. Linden Reilly’s students in her dissertation studio, PhDs and MAs by Project, spend time figuring out the differences as part of their critical armoury. Drawing in AD 1200 is defined by the Old English word drawen, or dragan from the proto-Germanic dragana, to drag, and before that by the Indo-European d’reg, ‘to draw; pull’. Hence the idea of drawing a line by pulling an instrument that leaves a mark. At about the same time drawen gets used ‘to pull out a weapon’. Fast forward to 2015 and we see drawing with multiple meanings, the majority of which derive from the verb but there is also the noun, a drawing, a fixed item to collect, bin or draw inspiration from; alternatively it presents as a model for making or fixing something else. IKEA and Leonardo (da Vinci) both produce(d) drawings. The verb, meanwhile, proliferates from the gesture of pulling any number of situations into or out of shape, from medieval disembowelment to the most arcane of conclu-

FRED GATLEY  River Series: the work contains fragments collected from Deptford Creek, tiny particles of iron oxide and crushed crumbs of bricks, and the bases are made from timbers and metals found in the river. Exhibited in the A.P.T Gallery exhibition ‘Trace’ and selected by Vivienne Westwood for a collaboration with the Cass and Tiipoi during Milan Design Week.


The Cass Session 2014–15

sions. You can draw together or draw apart. It all depends on orientation; the result follows the action. Drawing Matter, a new cluster of projects under the the auspices of Niall Hobhouse, including a dissertation studio run by Markus Lähteenmäki, registers the ambiguities, the wit, the connoisseurship, the beauty, the ideas and the drawings in themselves. The forthcoming Drawing Matter journal will feature articles by several of us on drawings by Alvaro Siza, Michael Graves, Joseph Gandy and Robert Adam. Design comes with a different freight of meaning to drawing; an altogether more intentional word. Here we start with the Latin designare, ‘to mark out, devise, choose, designate, appoint’. The way we use design today, with an eye towards beauty and function, is a specific metaphorical extension but it still intimates purposefulness: to design is to mark out our intentions. Like drawing, design extends its authority from an action into the world of objects: the act of designing produces designs. But where is the object of ‘design’? Unlike drawings that are essentially concrete,

design exists as an abstract noun, that is, as a thing without mass, like democracy, belief or sadness, as well as inhabiting concrete forms, like jewelled nose rings, upholstered chairs and elegant bridges. Design in the abstract constitutes a world of ideas awaiting translation, the process is a means to an end. Even the material result might not matter if the ‘idea’ can be read or considered more important than the thing that embodies it. Conceptual art takes its bearing here. It also underpins the formal beauty of ARU’s architectural work. Their new lining of wood stairs and wooden walls doesn’t just look like wood or feel like wood, it renders the interior of the Cass into a landscaped city. Design is something we read. Making, in contrast, has an etymology that refers back to the visceral practice of kneading and mixing, fashioning and fitting. Making creates a whole new material world. The maker is a demiurge (the trail here starts with Plato’s Timaeus). Simone’s most recent metallurgy is as old as the hills. Orapavadee Serewiwattana’s completed PhD looks at the ancient making of tin chok textiles, a weaving technique whereby

NICOLAS DE OLIVEIRA  A book of burning matches combines material in the form of analogue and digital photographs, videos, sound recordings, texts, models and objects of installations commissioned from the late 1980s to the present, and new artworks made in response to the archive in a Total Environment.


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DIPTI BHAGAT  Dissertation Studio 10: Images of ‘woman’, images of ‘man’: interrogating representations of gendered and racialised bodies in visual and material culture

DAVID GRANDORGE  Laugas Purvs peat bog, 2015 © David Grandorge


The Cass Session 2014–15

the yarn is picked out using a porcupine quill, in the Mae Chaem area of Chiang Mai Province in northern Thailand; a way of life, making and natural ecology under threat. So what about the dimension of time? Like cities, bodies of knowledge are constantly being rebuilt. There are constant choices to be made around what stays the same, what is renewed and what should be new and start afresh. To every generation, however, even the past is new; telling the past has to begin again, but in what form? Socrates famously gave short shrift to writing as a way of preserving memories, recounting the legend of the gift of writing from the Egyptian god Theuth to King Thamus. Thamus observes that writing is a device for reminding not remembering; the appearance not the reality of wisdom. Socrates argues for speech and the art of dialectic or reasoned discussion in pursuit of truth. Plato’s critique notwithstanding, a concern with writing is one of the characteristic features of Cass Culture. It is foundational to CCS and runs through the dissertation studios, surfacing as a creative enterprise in its own right, for example in David Price’s studio, Words in space, which looked at writing and art practice, and also exhibited in the Book of Burning Matches exhibition. Writing, particularly the art of descriptive writing as an investigative tool, is key to the MA AHTI. Emilio Distretti’s programmes on Writing about architecture and The question of technology focus not only on outstanding examples and genres of architectural writing, their craft and practice, but also on the way writing affords intellectual bridges between architecture and disciplines such as art, science, technology and genetic engineering. Writing affords a topography. Aleks Catina worked with theories of architecture and irony as specific topics in the discourse of writing and reading between texts and buildings. Irony undermines dogma, authority and certainties; creates fragments and complexities that point towards a larger picture. He argues that since the age of Romantic poetry, irony has been a spark-plug of ideas in the philosophy of art, reaching beyond representation and reference. Irony also features in the work of Pil & Galia Kollectiv. London-based

JAVIER GARAVAGLIA AND CLAUDIA ANGEL  Wooden worlds, decontextualised image of wood as part of a layered audiovisual experience, based on concept of ‘haptic’ in Deleuze

MEL BRIMFIELD  The palace that Joan built was commissioned by Art on The Underground in partnership with Theatre Royal Stratford East to mark the centenary of radical socialist theatre director Joan Littlewood; co-authored with composer Gwyneth Herbert. The project is based on the production of an epic one-hour episodic musical documentary film in the form of a ‘collision montage’ Living newspaper, exploring her life, work and politics installed at Stratford Station for one year Image: Antony and Cleopatra is – ‘Participants in Brimfield’s National Theatre Studio/Live Art Development Agency The palace that Joan built devising workshop pose for photographic tableaux conjuring fictional Theatre Workshop stills’


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DENIS MAERZ  Irony, courtesy of the artist (Neuers Sehen Gruppe)

artists, writers and curators who work in collaboration, they explore the legacy of the avant-garde in the changing context of creative work and instrumentalised leisure. They play with the relationship between art and politics and the role irony and belief play in their current articulation. Their discourse is rooted in performance.

Performance The fifth element in Cass Culture is captured by our involvement with performance. Time can be ‘captured’ in film and photography or may be encountered as ‘real’ in live performance, which also transcends time, becoming atemporal in the mythic sense. These potentialities are increasingly part of art practice as well as remaining fundamental to disciplines that involve sound and music, or notions of meaning, use and endurance in architecture, and the world of designed artefacts. But performance also picks up on the way we learn. Making, drawing, singing, speaking, writing, even thinking, are all embodied activities in time. All our creative disciplines, even the most virtual or digitally refined, require physical


The Cass Session 2014–15

levels of engagement. This has a bearing on how we cultivate our ‘bodies’ of knowledge. Indeed, back in the day, most of the technology of drawing, making or designing was quite literally in the body of the draughtsman, the maker, the artist; it was expressed through their physical mastery of their means, their techniques of practice. Technology as such was an aid not a substitute, a means not an end. Today the technology we design has become an end in itself; we ponder its extent and our desires; it has become our milieu rather than our helpmate. The long apprenticeships associated with learning how to use tools, work with the grain of material, the alchemies of mixing and applying, the secret recipes and the spell-like order of techniques, have vanished into the land of Harry Potter. Emilio examines such questions in his The question of technology. But actually, Stratford Station now has its magic moments with Mel Brimfield’s installation. The pedagogy of performance threads through Joseph Kohlmaier’s works, from his dissertation studio The nonsensical realm that looked at hospitality, to his MAAHTI course Soundscapes of Modernity that worked with aural landscapes, to his venture MUSARC, a performance pedagogy ensemble that can be heard or experienced in a variety of extraordinary venues and events. Joseph also participated in Nick Haeffner’s Framing Contemporary Practice’ programme this year, that among its hosted events, featured a cooking class and students performing their practice presentations.

World Building World building is the last topic in this section. We are part of and inhabit a fully designed world. A question arises: how far can modern man take over this responsibility, redesigning even nature itself (read Bruno Latour), or is God / Nature still the ultimate author? Are there rules in this game of design, or just consequences? From where, after all, does reality take its bearing, if not from its design? David Grandorge’s recent photographs seem to ask this question all by themselves. He is currently researching the geopolitical context of the Baltics through the photographic

documentation of the energy infrastructure, land-based resources and Plattenbau of Lithuania, Latvia and Estonia. The work will feature in the Baltic Pavilion of the Venice Architecture Biennale in 2016. At some level almost everyone across the Cass is engaged in questioning what they are doing and why and whether it is the best thing. And if they aren’t asking pertinent questions, someone else will be. It is the basis of the studio ‘crit’ system, the first of the ‘c’s in Critical and Contextual Studies, and the agenda provoking intention behind any number of the dissertation studios, their postgraduate peers, right through to the PhDs and all the research that is going on. Jeremy Collins’s studio started with Risk, uncertainty, choice and how the idea of risk is managed, in the press for example, or the political issues involved in acceptable risk. Ines Weizman’s Critical transformations reflected on individual case studies on urban sites in the United Kingdom, Nepal, Rwanda, Brazil and Russia, employing different methods of critique, research and narration. They looked at historical and contemporary processes of migration and mapping; episodes of architectural and urban

theory were examined in the context of the changing geopolitical conditions. The programmes taught by Nabil Ahmed were oriented towards critiques of the man-made, starting with his module ‘Interpretations’ that worked with the things architects use every day for design and construction: alloys, concrete, glass, plastics and electronics. Using case studies, the module explored material history and politics around resources that help to shape and interpret urban spaces and the environment. His dissertation studio Anthropocene shared territory with the MA module ‘The Forgetting of Air’ that offered a critique of space and theories of ocularcentric modern perception. Climates, atmospheres and weather are providing new histories, theories, geographies and anthropologies – as explored by Helen Mallinson’s most recent article ‘Clearing the Air’, for the forthcoming issue of Architecture and Culture dedicated to ‘Urban Atmospheres’. Finally, the protocols for how to be involved in the design of one’s own and other people’s worlds, what to value and to what end, is one of the abiding topics in the Architecture PhD programme and the work of its award-winning students.

DIR. JIA ZHANGKE  I wish I knew, China, 2010 (public domain). Cinema and the City: explores temporal urban realities – physical, virtual, experienced and imagined – as depicted on film: Berlin in the ideologically uncertain 1920s, Rome during the Italian economic boom of the 1960s, Taipei and its postmodern youth culture, Beijing at the dawn of the millennium


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Future Building The paradigm of assiduously building the disciplines and simultaneously working across their boundaries is now the leitmotif of Cass Culture. Work might originate in the disciplines and be highly subject-specific, but we are also looking at how we share more broadly, particularly our research and postgraduate forms of study. Plans are afoot to construct a different kind of offering that is inherently less monolithic and exclusive than the current degrees structure. The details have yet to be confirmed, but suffice it to say the new programme will begin in the autumn and will represent another step jump in the ecology of the Cass. This programme will take its bearing from the range of work represented in the dissertation studios, their close cousins in the postgraduate programmes and our current

research activities. But it will also instigate another level of play: working with more institutions and partners, introducing new ideas and topics, finding new people and situations to work with. Cass Culture aims to work outwards and grow its community out of its common interests. What after all defines a body of knowledge? They get roughly treated in universities – of all places, one might think. Modules, programmes, schools, courses, faculties, studios – there are any number of ways used to organise or subvert, divide or define, draw on, honour or ignore the disciplines we associate with subjects under the rubric of teaching and learning. And yet it is the universities that cherish them as they cherish their own life. The seminar room is the distant cousin of Plato’s academy, where under a grove of trees in the ancient city of Athens, Plato, like Socrates before him, walked and talked with his students. Learning, like love, is all about elective affinities.

Drawing matter Our interest is in architectural drawings that fall under the rubric of architecture and prompt us to think again: about the practice of drawing, about the intentions and conventions created by drawings, about the real and imaginary architectures they produce; what drawings might be ‘for’ and what the designer’s hand might be showing, or doing, that the building cannot. Image: Ugo La Pietra, collage drawing for the La Cellula Abitativa, 1972. Reproduced courtesy of the artist


The Cass Session 2014–15

NICHOLAS HAEFFNER AND DAMIAN SUTTON  Ruins: A Grand Tour, research project looking at the role ruins play in the life of contemporary cities. Photo by Nicholas Haeffner

PIL & GALIA KOLLECTIV  The Future Live, performance at La Rambletta, Valencia, 19 April 2015. ‘Concrete gown for immaterial flows was a sculptural installation and performance, commissioned for the exhibition Mirrorcity at the Hayward Gallery. In an age of increasingly abstract power, ideology is disavowed as a twentieth century relic. We are instead told that we are governed by pragmatic decisions based on charts and figures. Responding to this notion, the piece comprised a concrete materialisation of abstract financial charts. It formed a stage upon which a series of live music performances take place. Musicians were commissioned to produce new interpretations of an old Zionist love song to the state, promising to clothe it in concrete and cement. Thus, the immateriality of financial transactions is made physical and given the monumental language it lacks in a patriotic offering for our times’


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DISSERTATION STUDIOS 1  MATTHEW HOBSON ARCHAEOLOGISTS OF NOW Our studio cast the archaeologist’s eye over the ‘image-repertoire’ of contemporary culture – excavating the present, as it were. Subjects: deconstructing U2’s latest release image – a man hugging a part-naked boy and all that might engender; the internet as a ‘mega-brain’; retro – how ‘now’ is often styled after ‘then’; the plausibility of ‘green-signifiers’ in health-food packaging; the ‘Moleskine’ diary as designerchic; riots; Chion’s sound theories applied to documentary; the ‘Madonna/whore’ complex in The Sopranos; graphic grids, desire-paths and the grid of the city; ‘rebellion’ as a waning sign – and much else besides. Actions: ‘live-writing’ sessions on paragraphology, talks on etymology as a way of unpacking the word, on ‘the line’, on semiotic deconstruction, we saw Marina Abramovic at the Lisson Gallery; journey and show were equally part of the exploration – this ended in an impromptu ‘reading’ of the residue from authentic Turkish coffees – yet another form of deconstructing the sign.

2  NABIL AHMED ANTHROPOCENE The Anthropocene studio invited students interested in environmental thinking, ecological and political awareness, architecture, and design practices. The Anthropocene is a proposed geological period that is marked by human activities and their global impact on Earth. This places humans responsible for global planetary changes such as climate change, extreme weather events, deforestation, and conflicts over resources/rights from oil and minerals to water and air. How to deal with these global changes is one of the most urgent questions we face as a species.


The Cass Session 2014–15

The interdisciplinary studio set out to understand and examine how art, literature, architecture and the sonic, and visual cultures as ‘practices’ are contributing to and shaping current debates on the anthropocene. Space and scale-making functioned as methodology as we moved from the Arctic to the Amazon, and played with notions of micro and macro, centre and periphery, urban and remote.

3  HELEN THOMAS ARCHIVES We spent every minute of our six-week seminar course visiting archives together. At the V&A we got a feel for categories, while at the Museum of Domestic Design and Architecture we opened up the archive boxes and learned how to take the measure of objects. Niamh and Cathy at the British Museum showed us how to carry out interviews and collect oral histories, and at the Autograph Collection in Rivington Place we saw how archives can define histories – or, as Stuart Hall put it: ‘an archive is a relationship between present and past, but whose past and whose present?’ We discussed a living archive in a working architectural practice, and went behind the scenes at the Tate Archive. Contrary to our expectations, each custodian welcomed us in.

4  INES WEIZMAN ART AND ARCHITECTURE IN EXILE The experience of exile, dislocation, or disarticulation is deeply inscribed in the aesthetic structure of modernism, challenging the site, appearance and meaning of the architectural object. Émigré architects did not only question the way architecture responded to site, but also changed the modes, methods and temporalities of its production. However, the figure of the émigré has to be both reframed historically and actualised in the age of globalisation.

The reconstruction of the numerous paths and often undocumented histories will necessarily remain incomplete – a work-in-progress. The dissertation projects in this module produced an archive of portraits of artists and architects who were persecuted and forcefully displaced under the Hitler regime. The research produced in this module will be presented in the exhibition From the Second Life: Documents of Forgotten Architectures during the Cass Summer Show and will be part of the London Architecture Festival 2015.

5  EKTORAS ARKOMANIS ART, ARCHITECTURE AND THE CITY THROUGH FILM What can film reveal about art, architecture and the city? There are a multitude of possible answers – and possible dissertations – depending on the discipline and works examined: how cinema has used architecture for its symbolic power (Jia Zhangke), or to convey ideas about individual and collective memory (Allain Resnais), or as an artificial setting which imposes moods and alters the course of stories (Michelangelo Antonioni). On the other hand, filmmakers have for a long time refrained from filming paintings, but recent films, like Jem Cohen’s Museum hours, have begun to break this taboo and to recognise some of the hidden possibilities in this relationship. In Dissertation Studio 5 we set out to explore some of these relationships and use film as tool to penetrate deeper into other art forms. Image: Stills from dissertation film by Emanuele Guelfi. San Cataldo Cemetery by Aldo Rossi, Modena

6  NICOLAS DE OLIVEIRA CURATING THE CONTEMPORARY In the contemporary art world, the distinction between making and showing has been elided. Art has become a matter of public production and experience, and curating plays a vital role in these processes. In the academic year 2014–15 the dissertation studio Curating the contemporary has looked at the impact of curatorial practice on art in particular, and sought to help students to contextualise their own practice within the field of display. We began by looking at a short history of curating, followed by a close reading of texts by different curators,


and encouraged the group to visit Frieze Art Fair in Regent’s Park; later, we developed a number of workshops in which students from different disciplines were encouraged to work collaboratively on a short project concerned with selecting, describing and displaying artefacts on a given structure, which they had to build. The group discussions on the practice of exhibition making were productive and led to the development of students’ own topics towards the full dissertation. For the PechaKucha event we combined presentations with Studio 24: Words in space, led by David Price, which allowed students to exchange ideas with a different peer group.  Image: xyz, Ole Jorgen Ness, Page from the Book, Teknisk, Oslo, 2012

7  ANNA BATES AND ELIZABETH GLICKFELD DIRTY FURNITURE Dirty Furniture, an independent design magazine, approaches the artefacts and objects of design as a lens through which to understand the wider world and bigger picture. The magazine’s editors ran this module with the aim of exploring the possibilities for writing about design and the material world. Through considering different methods of research and reading different examples, students were asked to consider their own approach to writing about design. As a group, we undertook workshops to explore different ways of researching a single artefact including excursions and interviews. We looked at the artefact from a number of perspectives – such as history, manufactuing, politics and psychology – and used this as a jumping – off point for fleshing out a dissertation topic.

8  MARKUS LÄHTEENMÄKI DRAWING MATTER The studio sought to explore questions on the status, authority and uses of drawings within different contexts such as design practices, the archive, the digital, exhibitions, and collections, both public and private, and to provide the students with the ability to critically assess historical drawings both in their own contexts and in relation to contemporary practices and the students’ own work.

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Dissertation Studios

Together with the studio leader the students set out on a quest to take over and exploit the possibilities of drawings in different collections and contexts through discussion, research, interpretation, iteration and reiteration. The group saw dozens of drawings from Piranesi and Canaletto to Sir John Soane and Le Corbusier, visiting a number of institutions and discussing with a number of curators; starting from the basics at the Courtauld, moving to reflections around design drawings at the V&A and ending with a workshop at the Soane Museum. Image: François-Joseph Belanger, Studies for a wall painting, 1790

9  LINDEN REILLY ON BEING CRITICAL This dissertation studio has focused on developing the skills needed to write a dissertation. Critical thinking skills are the key to developing a dissertation topic, and developing a good argument. Lectures, seminars, tutorials and workshops focused on the skills needed to develop work of high quality: advanced reading skills; critical engagement with a text and efficient and effective note taking; a range of methods for planning an argument, and painlessly developing the plan into a first draft. Engaging critically and analytically with work on the topic in a range of media including writing, images, text, installation and sound, and developing clear, incisive, well-researched and evidenced positions, enhanced and assured the development of quality. Critical thinking in fine art practice and the role of position and argument were explored in a guided visit to Nobody Spoke, an Art and Language show at the Lisson Gallery, London. Image: Art and Language – Nobody Spoke, installation view, Lisson Gallery London

10  DIPTI BHAGAT AND MAYA OPPENHEIMER  IMAGES OF ‘WOMAN’, IMAGES OF ‘MAN’: INTERROGATING REPRESENTATIONS OF GENDERED AND RACIALISED BODIES IN VISUAL AND MATERIAL CULTURE This studio title makes reference to Judith Williamson’s essay ‘Images of Woman’ (Screen, 1983), which interrogates the ‘elision of image and identity’ – how variously iterated images of ‘woman’ form the picture of ‘femininity’. Expanding on Williamson’s essay, students identified images of gendered, and


The Cass Session 2014–15

sexualised and racialised, bodies as primary research, drawn from a range of sources: fashion magazines, media, television, cinema and its industry, art, architecture, and the high street. Harnessing gender, queer and critical race theories, and semiotic approaches, along with astute contextualisation of their primary research, students have developed highly analytical and sharply critical dissertations that alert us to the ways in which images in our visual and material culture establish and perpetuate gender, sexual and racial stereotypes. Students will enter the creative industries with an expanded critical eye turned reflexively on their own subjectivities and their professional practice so that their work might be intellectually and ethically sound.

11  ANURAG VERMA INTERIORITY The studio explored the interior as a predominantly subjective category with a bias towards the experienced world and human agency. Students shared their memories of situations which altered their perspective on the world and were encouraged to recognise subjectivity as an encounter of the self with the phenomenal world and its ideas. Our familiarity with the interior was explored in seminars that discussed the location of the subject within discourses on the body, power, alterity, memory, representation and technology. A visit to the Soane Museum provided an opportunity to experience the home on the threshold of the modern world. Finally, students were encouraged to use the content of the seminars to articulate subjective positions of their choice and to construct credible and critical arguments on their chosen subject matter. Image: Sir John Soane’s House, Lincoln’s Inn Fields

12  ELLIS WOODMAN AND MATTHEW TURNER LONDON WALKS There is a long history of artists, architects, filmmakers and writers employing walking as a means of creatively appropriating the city. Studio 12 looked at this phenomenon with particular attention to our own city, London. We led extended walks through London and studied texts and films which are structured in the form

of guided walks. The role that walking might play in the formulation of an artistic practice or design methodology was a central concern. The studio aimed to encourage ways of looking at the city, ranging from the architectural to the literary, the economic to the biographical, and to explore ways in which those different kinds of observation might inform each other.

13  MARK BREARLEY AND JANE CLOSSICK MAKING IN LONDON The group delved into the world of London’s diverse manufacturers. We visited and investigated, enjoying the breadth and the depth. The week after our tour of the Archway Sheet Metal Works in Tottenham, it suffered an arson attack. The battle for survival of several thousand businesses, in an inadvertently ruthless city that is hungry for space, gave it all immediacy. The students unearthed the stories of how we get the millions of sandwiches we eat each day, how the East End furniture industry flourished and then fell, why Colin Chapman started making his Lotus 7 cars in Hornsey and how a factory making the same car has ended up in Slade Green. Now we know a bit more about how Percy Bilton, who helped popularise and build industrial estates across London, and how Fairey Aviation influenced the shape of Hayes and built an airport at Heathrow. Now we are all more certain that a good city includes industry, and that London needs to shape its future with care. Image: Super 7 cabriolet roadster, produced in Slade Green, by Caterham, one of more than two thousand manufacturers in London that Cass Cities are cataloguing. Leon Bartholomew found out all about Caterham and the story behind this car when preparing his ‘Making in London’ dissertation

pieces together, thus allowing us to recreate the original intention of the designer, architect or person. Alternatively, this process provided the opportunity to create a new narrative from our scant evidence. Image: Pitfield Street staff

15  LEWIS JONES, ALLAN SEAGO AND CHRISTINA PAINE  MUSIC, TECHNOLOGY AND CULTURE This studio is not identified with one individual; it pools the complementary expertise and enthusiasms of three supervisors who, between them, encompass a wide range of music-and sound-related disciplines and modes of work. Nor does the studio attract students solely from the BSc Music Technology and BSc Musical Instruments courses; this year the studio was joined by those interested in music and associated visual arts, technologies of music, and their relationship with and place in culture. Several initial themes were proposed. After the first two weeks, in which the individual topics proposed were considered and discussed, members of the studio were clustered into groups broadly according to themes and mode of work. Shared or closely parallel activities included: laboratory experimentation, field recording trips, site visits, archive visits, and training in particular methods and techniques. Themes and groupings / Musical instrument design: form, acoustics and ergonomics /Audio user interfaces: usability and ergonomics / Quantitative methods: capturing and analysing data / Music, time and place / Soundscapes of the air and mind / Sound and sustainability/ Sound and vision / Psychologies of sound and music / Music, performance and identity / Musical instrument histories: technical, social, cultural and political / The creation and dissemination of music in the digital era. Image: Allan Seago

14  JOHN CROSS MATERIAL AS EVIDENCE The studio ethos was based on the premise that lives, cultures, architecture and objects are ghosts of our past. Each leaves a vestige of its existence for the future to find and explore. By investigating and looking for these fragments can we piece together a person’s life, a building lost, a process forgotten, or a cultural norm that has faded in memory or perhaps is now only to be found as a footprint or footnote in an archive or gallery? We endeavoured to gather this material from a rich and diverse range of sources and to put the surviving


16  JON BALDWIN NARRATIVE The studio set out to focus on modes of narrative and storytelling and how these might inform creative practice. Issues explored include realism and classic Hollywood narrative, definitions and models of narrative, ways of researching narrative (semiotics, content analysis, focus groups, representation), the narrative theories of Todorov and Aristotle, alternative narratives, mythology and Campbell’s hero’s quest, postmodern narrative, alternative narrative and the function of storytelling.

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Dissertation Studios

We investigated the Gothic as a specific genre and narrative style and visited the exhibition Terror and Wonder: The Gothic Imagination at the British Library. Students chose topics to explore such as Japanese anime, the mythology of the dragon, transgender in film, Gothic imagery, the superhero genre, gender in Disney animation, digital cinema, psychoanalytical narratives, photographic manipulation, alternative economic narratives, the films of Scorsese, and so on.

17  JEREMY COLLINS RISK, UNCERTAINTY, CHOICE We take risks every day. In an increasingly uncertain world, we make choices between different risks based on our cultural understandings of the dangers and benefits involved. But who is qualified to make decisions about risks, especially those that affect groups rather than individuals? What risks are acceptable, and how are they defined? How might better choices be encouraged? Risk has become a key concern in Western societies; these concerns have emerged due to the increasing complexity of, and occasional failures, of the technologies we use in everyday life, as well as the realisation that these risks are contestable: they are political issues which raise questions about consent, acceptability and power. Issues of risk construction, mediation, perception and management can occur across different subject areas within the Cass faculty. Students were encouraged to explore any topic from their own discipline in terms of how the risks it generates can be constructed, understood, and communicated.

the light and textural detail. The students then investigated ideas of space by analysing places where they felt disappointed or disregarded, or which seemed to lack any human touch. They focused on hospital waiting rooms and derelict and forgotten communities. They asked whether gentrification and technology had affected the sense of spatial community and exaggerated the sense of detachment in the individual. Image: Nora Kurayshi, Charing Cross Hospital waiting area

19  HEIDI YEO THE CHOCOLATE TEAPOT ‘Things make us just as much as we make things.’ (Stuff, Daniel Miller, 2009). This studio set out to explore a reading of objects focusing on the deceptively simple-sounding subject of materials, as a significant aspect in understanding the objects that we are responsible for introducing into the world. As value and meaning pass back and forth between people and things in their everyday use, our remit grew to explore the designer’s role in contributing to identity and social interaction. In doing so we questioned what the things we left behind would say about us, and the times that we live in, when encountered by future generations. With an emphasis on this ‘Me to We’ perspective our investigations highlighted the exciting potential for designers in a shifting zeitgeist of contemporary practice and elicited diverse topics to inform that practice, embracing issues of ethics, culture across continents, well-being, gender and identity.



The studio was inhabited by those who sought to understand what remarkable elements create spatial significance and personal connection, instigating memorable interiors. Discussion surrounding perception, awareness, intrigue and discomfort was initiated through a series of walks to dark, open, colossal and underground spaces in London. Our focus was concerned with the human scale and how we understand our place within the built environment. We explored spaces that rely on the senses of touch, sound and smell; trying to minimise our ocularcentric dominance and connect with the air,

The studio was designed to support students wanting to do research on the image, especially the photographic image. It offered a variety of perspectives on the aesthetics of the image and its relationship to a variety of contexts. It also looked at the role played by fantasy, desire and social memory when we look and create. The image dealt with how and where to find appropriate research materials on which to base the dissertation, how to make notes on an image and how to deal with this material in the dissertation. This year, students worked on a very wide range of topics including tattoos; selfies and self-portraiture; photographers from the Middle East


The Cass Session 2014–15

working in the West; photographic representations of nature; East End photography and architecture; Art Nouveau poster images; cameraless photography and post-photography in the digital era.

21  JOSEPH KOHLMAIER THE NONSENSICAL REALM The nonsensical realm is a cross-disiplinary dissertation studio open to students from all subject areas and home to a variety of topics. Concerned with the things that happen at the periphery of learning, the studio has no specialised field of enquiry. Rather, it sets up an atmosphere of study, loosely centring around the idea of the creative process as something that happens ‘in transit’, and the question of ambiguity in modern culture. This year, students in Studio 21 cooked together, went out for ‘performance’ walks, and explored how simple, social acts transform the way we think about knowledge. Students wrote about paper architecture; ‘the gift’ as a paradigm for making cities; ruins; or informal settlements. Image: Studio 21 students planting crocuses on a ‘performance walk’ with artist/curator Helen Frosi

22  PAUL HARPER THE VALUE OF MAKING This studio set out to consider the value of making in itself, independent of the product or outcome, and exploring the idea of craft as meaningful work. Craft was considered not as a category of object, or a discrete set of practices, but as a particular approach to making things and a kind of experience. Making was examined as a form of meaning-making in which meaning is understood as situated, embodied and evolving. These ideas were given an historical context in the theoretical and ideological writings of William Morris, who celebrated craft making as socially useful and individually fulfilling creative work; a politicised form of work which was proposed as part of an alternative to industrial capitalism. Students were also introduced to contemporary discourses that examine the nature of craft knowledge and that support an understanding of making as a human activity which is both intrinsically rewarding and outwardly directed.


23  GINA PIERCE WEAVING Running as part of the facultywide Huguenot project, this dissertation studio focused on the Huguenot legacy, particularly in the local Spitalfields area. This is part of the Huguenots of Spitalfields Summer Festival, and the exhibition and symposium being held at the Cass this July. The dissertation studio looked at the heritage of this successful immigration and its contemporary resonance. The effects of their success and their innovations can still be seen in design, architecture and our society today. The methods of communicating the legacy to a wider audience was discussed within the studio. With visits to see archive material, locations and surviving industry, students engaged with interpreting the legacy of the Huguenots through case studies that examined the skills, designs, lifestyles and living conditions of the time. Image: House in Fournier Street

24  DAVID PRICE WORDS IN SPACE What happens when language interacts with space? What kind of a medium can writing be? What kind of things are words? How do words behave in spaces? How can a practitioner write ‘with’ their work? This dissertation studio revolves around questions such as these. The first seven weeks of programmed teaching involved visits and study sessions reflecting on the role words play in the visual world, in performative space and in the urban environment and on words inside and outside of writing. These visits stimulated conversation and critical discussion within the group. Dissertation topics gained something vital and subtle from paying attention to writing as a medium, and to the forms of language that belong to its subject matter. The studio was joined by students from a range of disciplines interested in notions of: Writing per se / Writing as a medium / ‘A rt writing’ / Narrative / The display of text /  Typography and the transmission of language / The language carried by buildings and the idea of writing and reading the built environment / The role language plays in performance / The ‘practice of theory’/  Text as a form of illustration  / Interdisciplinary discourse. Image: The ghost of work (after Marcel Broodthaers)

Cass Culture

Dissertation Studios

MA BY PROJECT The MA by Project is a multi-disciplinary research degree designed to support research projects in creative practice and professional and academic fields, and is embedded in our research groups. Students this year worked across five of them, adding architecture and poetics to the well-established groups around Art, Music Technology, Silversmithing, Metalwork and Conservation. The main focus of the degree is the development of an individual research project that is often practice-based and developed in the studio or workshop, supported with taught modules on research methods and contextual and theoretical studies. The project is developed across different stages, from initial articulation, through a development stage, to a body of work developed for final submission. MA by Project Fine Art, coordinated by Linden Reilly, focuses on the development of method in studio practice. Alumni include Afshin Naghouni (Hay Hill Gallery), Wen Wu (Shine Artists, London), Jenni Burrows, Mike Coffee (theartonlinegallery) and Jason Sumray. MA by Project Silversmithing, Jewellery, and Metal, coordinated by Simone ten Hompel. Enables students to develop a body of work in preparation for setting up as a designer/maker, or proceeding to an MPhil/PhD. Alumni include David McCaul, Chein-Wei Chang, Vladimir Bohm and Tabitha Frost, and have won


The Cass Session 2014–15

numerous awards including the Goldsmiths Award for Setting, for Design, and Best New Merchandise; the RDS Award for Fine Jewellery and the Talente 2013 Prize for Metal. MA by Project (ARCSR) builds on thirteen years of experience working with NGOs and low-income communities in urban and peri-urban situations. It offers a new and exciting opportunity for architectural engagement within a rich urban physical and cultural environment, in India, Nepal, Sierra Leone, Kosovo, London or Rwanda. ARCSR bursaries are supported by the Water Trust. MA by Project Course in Poetics, coordinated by Joseph Kohlmaier, is a new Masters programme that started in October 2014. The course radically extends the idea of ‘theory as practice’. Rather than focusing on a specific subject area, the course is concerned with atmospheres, and the creative and social processes that happen at the periphery of learning. MA by Project Music and Technology, coordinated by Lewis Jones, focuses on sound, music and the design and technology of string and wind instruments – designing and building new forms of instruments, acoustic characteristics, and researching and recreating old and no-longerextant ones.

COURSE IN POETICS  Teaching on the MA by Project: Course in Poetics emerged from thinking about the relationship between performance, practice and knowledge

JULIA JANE HECKLES  A London peculiar: the everyday experience of the London commuter – a fine art exploration in poetry, photography, collage and sound


Cass Culture

MA by Project

JULIETTE BIGLEY  Metal and domestic objects: forming and transforming the everyday

AMARA ROCA IGLESIAS  Working on urban farming and food security in Kathmandu. Photos Maurice Mitchell. Dharamsalah market gardens and domestic growing bags, Kathmandu 2014


The Cass Session 2014–15


Christmas Concert Christ Church Spitalfields

20 December 2014, 7.30pm Marc Antoine Charpentier O ANTIPHONS (1690) Francis Poulenc QUATRE MOTETS POUR LE TEMPS DE NOËL (1951–2) Three new works, commissioned through Sound and Music’s Portfolio Scheme 2013–4 Clay Gold, BIAS Eloise Gynn, ONLY BREATH Lee Westwood, THE ARCHITECT Laure Prouvost HOW TO MAKE MONEY RELIGIOUSLY (2014)

TOMAŽ PIPAN  Industrial topographies for a civic culture



The Cass Session 2014–15

Cass Doctorates 2014–15

Julia King Incremental City: sharing as a basis for creating ‘town’ in resettlement schemes, Delhi

Paul Harper Doing and Talking: the value of video interviewing for researching and theorizing craft

2013 Sanitation Project (The Potty Project), nominated for a World Design Impact Prize | 2014 Emerging Woman Architect of the Year by Architects’ Journal | 2014 SEED Award for Public Interest Design | 2014 shortlisted for Deutsche Bank Urban Age Award Delhi | 2015 British Council ‘Ones to Watch’.

Marie Kent Exposing the London Piano Industry Worksforce (c. 1765–1914)

Bo Tang Negotiating Shared Spaces in Informal Peri-Urban Settlements in North India 2014 RIBA Research Award 2014 – shortlisted: Outstanding PhD.

Lucy Bullivant From Masterplanning to Adaptive Planning: understanding the contemporary tools and processes for civic urban order 2014 Masterplanning Futures Book of the Year Award at the Urban Design Awards, London

Patrick Lynch Practical Poetics: rhythmic spatiality and the communicative movement between site, architecture and sculpture

Nicholas Pyall The Viennese Guitar and its Influence in North America: form, use, stringing and social associations

José Antonio Martin Salinas Pitch Resources for New Music: an integrated approach to instrument development and composition Orapavadee Serewiwattana The Tin Chok Textile and Weaving Tradition of Mae Chaem, Thailand

Tomaž Pipan The Capacity of Industrial Topographies for a Civic Culture: a case study and reinterpretation of the urban order in Shipai Dongguan Guangdong, China


Cass Culture

Doctoral Research



The Cass Session 2014–15

The diversity of technical resources gives wonderful opportunities for making at all scales. CassWorks is the central resource within the faculty for making. We have a team of very able technical staff, we have a wide range of technical resources, workshop facilities and expertise.

MARCUS BOWERMAN  Head of Cass Works

‘CassWorks is the unique resource for making within the Cass. Our technical resources are amongst the best in Europe. ‘We have the capacity and the knowledge and experience to make things manually and digitally. It’s understanding the patterns of the way that those two aspects of making are connected.’ ‘The depth and breadth of teaching, the exploration of links between design and making is the thing which stimulates me most.’ Marcus Bowerman

‘I was at the final crit and remember extraordinary pieces, fragments of upholstery that were placed in the city as objects. They were marvellous.’ Robert Mull

Cass Works

Fine model making, Cass Works


The Cass Session 2014–15

Conversation between Robert Mull and Marcus Bowerman, Head of Cass Works

RM  Tell me, what is Cass Works and what does it do? MB  Cass Works is the central resource within the faculty for making. We have a team of very able technical staff, we have a wide range of technical resources, workshop facilities and expertise. All of these are here to support students to explore making within their academic programmes. RM  And the forms of making that you support, what are the extremities of the different types of activity that are possible? MB  There’s a huge range. In proto-typing, for example, we take student files, put that information into CAD software, export to the machine, and the machine makes it for the students. At the other end of the spectrum, we work with a group of students, let’s say in Print, where they learn physical processes, from silk screen printing, to letterpress, to intaglio. The diversity of technical resources gives wonderful opportunities for making at all scales. RM  And how special is that mix of making possibilities, in the London context? MB  From my knowledge and experience, really precious and really special for our students. What’s important is enabling access appropriate to their education, and as a means of giving them the grounding in skills and expertise to go and spread their wings within their future career. RM  Can you give me some of your highlights in the last year around the use of workshops by student projects, and live projects? MB  There’s quite a few, but two that stand out. At the very beginning of the year, we worked with students on our Musical Instruments course who traditionally work in wood, using hand crafting skills to make (alongside the technical, scientific academic programme for understanding technical aspects of sound). We set up a


project, at the start of the year, to make a series of electric guitars. Students went into a workshop which was unfamiliar to them, spent a week working with technical and academic staff and collaborated together on quite an astonishing project, which everybody enjoyed; the students were incredibly happy. Not only that, but they also learnt a large range of skills which will benefit them in the future, but aren’t directly attributable to their current academic programme. So it was a wonderful example of just how people can work together to do great things. Another wonderful example would be the first-year architectural students who worked on a project to make furniture, initiated by their lead tutor, Aleks Catina. He wanted the makers within the faculty to collaborate with the first-year students to enable knowledge exchange by talking to them, demonstrating and showing them the kind of work that they do. This gave the students an idea of the resources in terms of knowledge and expertise, as well as some experience of diverse workshops, beyond the 3D workshops. That informed a series of talks and conversations. Students started to design, and at a significant point, technicians were involved in commenting; giving constructional and design feedback to the group of students. It was another example of something that was very hard work, but everybody enjoyed it, the outcomes were wonderful, and I’m sure that the learning experience at the start of their course will be invaluable for the rest of their time here. They had literally ‘met the makers’. RM  I was at the final crit and remember extraordinary pieces, sort of fragments of upholstery that were placed in the city as objects that you could lean against or put your forehead to. They were marvellous. MB  It is a perfect example of how you can construct a project. It’s about how you make it happen, and about how we as a faculty collaborate. RM  Traditionally, there has always been a separation or a distinction between

technicians and academics. But, of course, technicians teach and academics, in our faculty, make. MB  I would like there to be a seamless integration between all the staff within the faculty, providing support to students in their studies, working with them so there isn’t any barrier that says, ‘This is what I do. I don’t do that.’ That we share in giving our students the very best knowledge and expertise that we have. Embedding some of the technical aspects of making more formally into all courses is a logical extension of that. RM  You’ve mentioned many of the forms of making that we currently support. Looking forward three, four, five years, what do you think would be the range of skills that we will offer? How many would be similar, and what do you anticipate would be new areas or new processes that we might look to in that period? MB  We have the capacity and the knowledge and experience to make things manually and digitally. It’s understanding the patterns of the way that those two aspects of making are connected, interconnected, separated, the value in contribution they have, at a very small scale (Jewellery) or a large scale (Architecture). It’s understanding how they can work together, and what that means in terms of the future of making, informing our students for their relevant career paths. I’d like to see us developing an area within the faculty that is more about interaction, including interaction electronically within the physical environment, because I think that’s an area which I’ve seen has been missing. It offers some really exciting opportunities for taking areas like Film, Animation, Graphics or Music and linking outputs in various different experiential ways. An awful lot of what I see these days is driven by the notion of content and how we access it over the internet, or via personal communications. I’d like us to be building these kind of technological changes into everybody’s experience to make sure that as a ‘creative

Cass Works

CassWorks is the unique resource for making within the Cass. Our technical resources are amongst the best in Europe. industries’ faculty, we’re supporting those areas of technologies further. RM  In supporting the work of the faculty, Cass Works not only supports work that takes place within the buildings; we have a commitment to live projects, to doing things that are socially important and engaged. This ranges from support we give to students building a house out of foam in China (they’re building one this year in Colombia out of mushrooms), to the Lord Mayor’s Float, and so on and so forth. What do you see as the value of those sorts of projects to students? MB  The value’s huge. They have intended outcomes, they have a design phase, they have a construction phase. Because such projects are going to be visible, and there is a tangible outcome, there’s a wealth of

opportunity to make that a really valuable learning experience. The Solar Decathlon, for example, has the outcome of designing and constructing a house. That’s what architects are trained to do, so when running these live projects, there's a brilliant opportunity to find ways to engage with all the facilities of the faculty and for students to be able to experiment, to test, to prototype, to evaluate. Through this means of live, hands-on experience, feeding their final design for construction, as well as enabling understanding, where possible, to support the actual construction itself. So I see live projects as both brilliant for students to engage with learning and showing the world just what they can do. RM  You were trained as a designer. Is there a particular piece of advice that you received which really informs the way that

Digital Manufacturing, Cass Works


The Cass Session 2014–15

you do your job now and the way that you interact with students? MB  I studied between 1982 and 1986. Only years later did I fundamentally understand the true value of my degree. It provided an enormous range of benefits to me in my career, my understanding of the value and contribution of what we do (as practitioners and here in the faculty), which is to make, and having an acute awareness, and a will for the world we live in to be better designed. This is why I’m here now. The very best advice I received was just after I graduated. After I had made a whole series of mistakes, I was be patted on the back by my employer who said, ‘It doesn’t matter if you make mistakes, Marcus. What matters most is that you learn from them.’ RM  What would you like to see from the new government in relation to the support of your area of making, of craft, of production? MB  Some stability in the way that Higher Education is funded. I’d like to think, in the future, that there were dedicated spaces for making (beyond the Cass), much as we have libraries and places for learning. Institutions should be applying pressure,

Photography, Cass Works

Metalwork, Cass Works

Woodmill, Cass Works

Laboratories, Cass Works

wherever possible, to ensure that the creative industries are properly and adequately supported by government, because of the cultural benefits, financial benefits and intellectual property that we generate for the nation. It is something that is of benefit to society as a whole. RM  One of the initiatives, or conversations, that is very current at the moment, and I think will now continue, is the idea of certain subjects being taught through apprenticeship, rather than the university model. That implies that much of what we do is unnecessary, in that it can be taught in practice. What is the added benefit in a making discipline that the university environment can provide? MB  One of them, we touched on earlier, is the fact that there’s such a wide range of different courses here. Students being able to see the work of others, being able to collaborate with others, isn’t something that you would get within apprenticeships. The depth and breadth of teaching, the exploration of links between design and making, is the thing which stimulates me most, and I think it’s the connection between the two that ultimately differentiates us from traditional forms of


We have the potential to offer local practitioners opportunities to come and not only reflect on their own work and acquire new skills, but change career, which happens a lot. apprenticeship training. I think there’s still a very strong place for that kind of apprenticeship training. These can give strength back to local manufacturing industry, which can often can be in decline. So both are very important for different reasons.

about how well we as a faculty capitalised and built on what have been three busy – but astonishing – years’ worth of integration between the School of Architecture, the School of Art, the School of Design, and facilities, like Metropolitan Works. RM  Thank you, Marcus.

RM  What would be you ideally like us to be talking about at this point next year? MB  We touched on it earlier, but having collaborated more on technical aspects, academic delivery would be one thing. I’d also like to be discussing our new factory workshops, how well preparations have gone – and that we’ll soon be ready to move in. But I think ultimately, it should be

Cass Works

Media hire shop, Cass Works

Fashion and Textiles, Cass Works

Workspace, Cass Works


The Cass Session 2014–15

Phototyping, Digital Manufacturing, Cass Works

CASS WORKS Specialist workshops include:

Digital Manufacturing Rapid Prototyping CNC Routing Waterjet Cutting 3D

3D Printing Woodmill Furniture Making Musical Instruments Upholstery Soft Furnishing Finishing Area Metal Fabrication Plastic and Model Making Ceramics Silversmithing and Jewellery Restoration and Conservation Media

AV/TV Hire Shop Recording Studios Audio Laboratories Editing Suites Darkrooms Photographic Studio Print

Printroom Textiles (Constructed and Print) Letterpress Dye Lab Pattern Cutting


Letterpress, Cass Works

Screen Printing, Cass Works

CASS WORKS ADDITIONAL PROJECTS: Project Red Runway Show, by first-year Fashion. Primitive Huts project, a collaboration between the Sir John Soane’s Museum and Professional Diploma in Architecture – RIBA Part II (1:1 prototype sections utilising 3D making). Nocaster project, a collaboration between Musical Instruments students and technical staff. Making It, a collaboration between first-year Architecture and technical staff. Cass Works

Photograph by Kofi Paintsil. Displays produced by Kemp London


The Cass Session 2014–15

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The Cass yearbook 2014-15  

The Sir John Cass Faculty of Art, Architecture and Design yearbook 2014-15.