LSBU Architecture End of Year Catalogue 2023

2023 ARCHITECTURE

Dear Readers, We apologise for any errors or omissions within this book and assure you that they will be corrected in the digital edition. We greatly appreciate your feedback on any issues you may come across.

Thank you for your understanding.

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COVER DESIGN & ILLUSTRATIONS BY TIMOTHY PERCIVAL WWW.TIMOTHYPERCIVAL.COM JUNE 2023

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CONTENTS DEAN’S MESSAGE 6 Professor Chris Harty WELCOME FROM THE HEAD OF ARCHITECTURE Professor Igea Troiani PART 01_Undergraduate courses BA (Hons) Architecture (ARB/RIBA PART I FT/PT/APP)

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BA Year 01 14 Preludes & Nocturnes BA STUDIO 01 22 Adaptive Civicness BA STUDIO 02 30 Transpositional Plasticity BA STUDIO 03 38 Growing Homes BA STUDIO 04 46 Rising above Recession BA STUDIO 05 54 User Experience & Regenerative Urbanism BA STUDIO 06 62 Captured Visions Communications 01|02 70 Technology 01|02|03 74 Cultural Context 01|02|03 78 Professional Practice 82

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PART 02_Postgraduate courses MArch: Master of Architecture (ARB/RIBA PART II FT/PT/APP)

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MArch STUDIO 01 90 Super Structures MArch STUDIO 02 98 ReMIX Architecture MArch STUDIO 03 106 Structure As Space Technology 05 114 History & Theory: Critical Thinking

118

Architecture and Theory: Dissertation

122

Energy and Resource Efficiency in Design

126

Professional Practice & Design Economics

130

PART 3 (ARB/RIBA PART III) 134 Architecture Research (DARLAB, The Raid Lab)

138

Architecture Community 142 Studio Trips & Events 144 Studying at LSBU 148 Architecture Lecture Series, Talks & Exhibitions

152

London’s Common Gardens 156 London South Bank University Architecture Staff

158

Student List 160

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DEAN’S MESSAGE

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Welcome to the LSBU Architecture 2023 Catalogue!

As the new Dean of Built Environment and Architecture I am delighted to be able to write my first welcome to you to London South Bank University’s Division of Architecture End of Year Show.

I am equally delighted that this showcase of our students work and celebration of their achievements is taking place in our newly refurbished Student HUB exhibition space for the first time.

End of Year shows are signature events for architecture schools and pivotal moments for their students, marking the end of long and often challenging journeys and standing as testament to their quality, dedication and resilience.

I would take this opportunity to thank colleagues, not just for their role in bringing the show to life, but also for their work across the academic year.

Finally I thank our fantastic students and apprentices who have worked so hard to bring this wonderful showcase of creativity and new talent together. We are immensely proud of your achievements and look forward to following and supporting them as they move to the next stage of their professional careers.

Professor Chris Harty Dean, Built Environment and Architecture LSBU June 2023

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WELCOME

Head of Division of Architecture

This catalogue celebrates an extraordinary year of accomplishment and change in the Division of Architecture, so I want to open by thanking everyone involved for their hard work. Since joining LSBU in May 2022, the students, staff, external reviewers & critics have worked collaboratively over the year to produce the high-quality work we celebrate in this catalogue. My congratulations goes to the students and their teachers.

2022-2023 has been an important year of change. Key changes to the Architecture Division has involved gaining more studio space, appointing new staff and moving staff into teaching and research to expand their potential, improve our modes of communication and teaching & our apprenticeship experience and relationship with apprentice employers, generating research active events to become experts in theoretical and practice-based research to improve our production of world-leading architects, researchers and thinkers and overall, (Phew!) Quite simply we’ve been building an LSBU School culture that is lively, dynamic and satisfying.

First, we were able to expand our Architecture studios space to occupy another floor, so in addition to occupying the 6th and 7th floors of the Keyworth Centre, we also have the 8th floor of the building. That has allowed us to have a dedicated studio space for each of 3 x BA Year 1 studios, 6 x BA Studios and 3 x MArch studios, allowing students to have their own desk. We want to build our studio culture so that apprentices, full-time and parttime students in a studio can be in the same space for greater peer-to-peer exchange. We have also expanded our facilities with printing available in the Keyworth Centre but also in the new LSBU HUB. We continue to offer 3D printing, laser cutters alongside an expanded use of the Wood workshop and next year Metal Workshop on Borough Road.

This year we welcomed new staff including Dr Asem Al Bunni, Dr Hamed Khosravi, Eva Sopeoglou and Kathy Gal. Each of

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these people have added expertise, energy and innovation to our teaching and leadership of studios, modules, or courses. They complement our existing staff who have shown vigour in demanding times of teaching.

We’ve finetuned and continue to finetune our communication and teaching, our timetabling and setting of standards of quality and marking of work. We have undertaken a full overhaul of all our courses and use the VLE Moodle platform for parity of communication with all our students, knowing apprentices are in only one day a week.

The unique feature of LSBU Architecture is no doubt our Apprenticeship courses in the BA (undergraduate course) and MArch (postgraduate course). We continue to strengthen the way we integrate and learn from the work of our apprentices (and their employers) in their on-the-job training and what our traditional fulltime and part-time architecture courses can offer our apprentices academically. This is an area we work on further next year.

In terms of research, Architecture was returned for the first time in the REF and we are working to expand our research expertise and contributions for the next REF round. We continue to obtain funding and produce significant leadership in areas of digital innovation and socially and environmentally responsible architecture. We ran a guest lecture series delivered by world-leading practitioners and academics, held symposia and workshops and have been busy publishing and producing exhibition outputs.

2022-23 has been an outstanding year for the Division of Architecture at LSBU. We are well placed to improve the quality of our teaching and research to help our students produce even higher quality work next year.

Professor Igea Troiani Head of Division of Architecture June 2023

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BA (Hons) Architecture

(ARB/RIBA PART I) 11

BA (Hons) Architecture (ARB/RIBA PART I) Course Directors:

Angela Vanezi - BA Hons Architecture FT& PT (Sem 1) Spyros Kaprinis - BA Hons Architecture FT & PT (Sem 2) Monika Jociute - Level 6 Architect Apprenticeship BA Year 01 Design Tutors

Carlene Prince, Steve Bowkett, Yakim Milev, Andrea Tiberi, Calista Stewart, Carlos Sanchez, Elisavet Hasa, Larry Allison, Malgorzata (Gosia) Starzynska-Grzes

BA Design Studio 01

“I realize that an interaction between the design for a new building with associations of the past is a dangerous tightrope to walk, with compromise and sentimentality on either side.”

James Stirling, “Stirling Connections,” Architectural Review, Issue 157 (May 1975): 273-76.

Asem Al Bunni, Adamos Papakonstantinou, Kira Ariskina

BA Design Studio 02

Spyros Kaprinis, Daniel Wing Hang Tang

BA Design Studio 03

Valerio Massaro, Ioanna Petkova

BA Design Studio 04

Monika Jociute, Liam Bedwell

BA Design Studio 05

Elham Valikhani, Tony Okoluko, Elisavet Hasa

BA Design Studio 06

Bandele Olubodun, Jonathon Bush

Communications 01-02

Adamos Papakonstantinou, Andrea Tiberi, Bandele Olubodun, Carlos Sanchez, Daniel Tang, Steve Bowkett, Yakim Milev

Technology 01-02-03

Vincenzo Caputo, Maria Echeverri, Ruggero Bruno Chialiastri, Joao Bravo da Costa, Milo De Luca, Maria Aceytuno Poch, Poppy van Dijk, Teo Andonov, Wynne Leung, Matthew Lacey, Andrea Tiberi, Larry Allison.

Cultural Context

Carlene Prince, Stephen Lovejoy Steve Bowkett, Elizabeth Hasa, Valerio Massaro, Ioana Petkova

Professional Practice

Monika Jociute, Asem Al Bunni, Stephen Hadley

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It is now more evident than ever that a specific formula for the education of an architect does not exist. The architectural profession is becoming increasingly multi-faceted and complex, and the contemporary position of the architectural student and architect is facing unprecedented challenges. These challenges are also faced by contemporary architecture schools, which undertake the demanding task of positioning themselves in the context of our present reality, but always bearing in mind the importance of the past and the future, as well as the need for maintaining an architectural vision.

Our BA (Hons) Architecture programme is one of a suite of courses run by London South Bank University which are professionally validated by the Royal Institute of British Architects (RIBA) and prescribed by the Architects Registration Board (ARB) at Part 1 Level of the professional pathway to registration. Our course offers students the opportunity to study and develop within this rigorous and professionally recognised educational framework. We offer a course that emphasises architectural synthesis and design underpinned by studies in core subject areas such as Technology, Communications, Cultural Context, and Professional Practice.

We are also extremely proud to have always supported part-time study, something which is complemented with an apprenticeship programme as well. Our aim is to educate resilient and reflective graduates who can respond to the challenges of the future.

Our pedagogic model gives great emphasis on studio and workshop activities, and engagement with the design process through critical analysis, drawing, and model making through both analogue and digital means. Our main aim is to create and foster critical thinking skills through our BA studio culture, which encompasses several

distinct aspects of design teaching, a balanced merging between the individual and the collective. Students are encouraged to design buildings that are responsive to both the physical context - the climate and the site in its wider and immediate context - and the social, economic, and cultural context of the location under study.

An understanding of the context is developed through various site visits and study trips, in which students are expected to immerse themselves within the culture, environment, and climate of the location. The challenge of achieving a balance between the future needs in a city and the maintenance of cultural traditions, community values and local identity is one which students are asked to confront in their various design activities.

Finally, design practice and research-informed teaching is further reinforced in the studio format through opportunities to engage in staff practice and research interests, and in teaching teams that include practitioners, specialists, visiting architects and critics, public talks and events, field trips and the RIBA Mentoring Programme. This yearbook showcases the best studio results produced by our BA (Hons) Architecture and MArch students in the past academic year.

Spyros Kaprinis Course Director, BA Hons Architecture June 2023

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BA Studio Year 01 Preludes & Nocturnes Year Lead

Carlos Sanchez

Design Tutors

Carlene Prince, Steve Bowkett, Yakim Milev, Andrea Tiberi, Calista Stewart, Carlos Sanchez, Elisavet Hasa, Larry Allison, Malgorzata (Gosia) Starzynska

Year 01 Students

Abi Retter, Adam Bouaoune, Adam Willard-Spencer, Adedoyin Daniel Adeyelu, Agnesa Bikliqi, Aleena Mahmood, Alex Szal, Ali Sangare, Amal Looby, Amariah Lawal, Amelia Edwards, Aqsa Shahid, Ashley Reid, Ashrakur Rahman, Azhaar Abdikadir, Basira Ahmadi, Blerta Elezaj, Catalina Butucel, Charley Williams, Charlie Dadson, Charlotte Elliott-Ford, Corin Bateman, Daniel Pinto Rodrigues, Danni Ager, Darian Benavides Sarango, Dumitru Ghinda, Enkela Sadikaj, Ewelina Remiszewska, Fahim Hussain, Faisal Alaskar, Friba Ali, George Thorpe, Ghofran El Marioud, Giles Jost, Hamzah Varachhia, Hansan Ahmed, Harrison Forde, Hussain Shamaian, Ian Buzdugan, Ilmiye Ergiden, Isha Ahmed, Ishaq Ssenyonga, Jairo Camposano Orihuela, Jolanta Wojtala, Joseph Halls, Joseph Cross, Joshua Freeman, Julia Bednarek, Juliana Congil Goncalves, Julie Janisch, Jyothirmayee Mannar, Kaaya Goncalves-Gosai, Kallie Redgewell, Kamber Tintas, Katherine Correa, Keyan Arap, Lauren Day, Louise Le Maire, Mahnoor Paracha, Maisha Tahid, Maisie Odom, Maleeha Rashid, Manuela Goncalves, Mariam Riane, Mark Austin, Matthew Hofman, Matthew Deely, Merieme Alimerina, Micah Fleary, Michael Pecyna, Mikolaj O’Brien, Mohamed Haddi, Mohammed Sami, Muneera Junaid, Myles Garrett, Natascha Benitez Villafuerte, Navidaa Musa, Nikita Fevralovs, Peter Horvath, Rose Thomas, Rustam Rahmatulin, Salman Hafeez, Sami Almond, Samuel Olajide, Sana Shabir, Sarun Premachandran, Shelayne Dowman, Syed Ahmed, Tasnia Siddique, Thomas Raymen, Tooba Zahid, Uzair Lacewala, Vanessa Kandracova, William Perkins, William Roberts, Yi Chiew.

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Preludes & Nocturnes This year, BA1 focused on the theme of Balance. When something “feels” balanced the sum of its pieces and parts collectively forms an evenly designed composition.

When referenced in architecture, the term Balance is considered an essential factor in the use of its principles. One of its core values ‘stability’ is central in the demonstration of construction assembly and structural integrity for a building to ‘stand up’.

Through its common aims ‘Equilibrium also plays its part, in the equal distribution of components from foundation to roof. These components are skilfully connected by the informal balance (asymmetry) and interconnected by threshold openings (doors and windows), creating details of all proportions and scales; together forming a unified and stable environment from this Architectural Orchestration.

A balanced architectural orchestration embraces design by using all our senses, i.e. haptic (touch), optic (see), and acoustic (hear).

While doing so, enables our built environment to encompass an urban fabric that accommodates a greater understanding of people’s material needs and our well-being. These everyday requirements are integrated into our whole sense of balance, by integrating the active need for Rest, the need for Work, and the need for Play. These individual entities either harmoniously support or equally work against one (each) another, while striving for a balanced existence.

With the above in mind, the entities of Rest, Work and Play Play,, this year served as the main lens to study and understand the different areas/configurations of the architecture surrounding us, the intention was that the individual design briefs will gradually introduce students to what an ‘architectural design process’ entails throughout the different stages of the projects and the course programme.

Central to the discipline, lies the understanding that we, as creators and designers of architectural spaces, are instrumental in the change and quality of our own built environment, the notion of understanding the multi-layers of our surroundings and the communities within, will constantly unravel new challenges. It is these challenges that required a balanced and reactive design solution.

01:

Fig 01: Adedoyin Daniel Adeyelu

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BA Studio Year 01 Preludes & Nocturnes

Coll02age

03:

:

04:

• The 2D collage I created is created by light and shadows of the attic 3D model and my movement in the attic.

• •

CDs represent light and reflection Bottom left corner shops a combination of my work, play and rest in the area.

•

Cut up pieces of paper have the glass ceiling in Trafford centre which is overlapping the sketch of the attic with its reflections.

•

The piece shows an open place with lots of light Proposed Side (South) Elevation Proposed Rear Elevation

05:

06:

Proposed Side (North) Elevation

Chapel / Reflection Space

View

Internal Visualisation

Concept Model – Existing vs New

Proposed Front Elevation Ken tish

BUILDING TYPOLOGY Current Distribution

07:

Tow nR dA cc ess

CAMDEN ROAD

CAMDEN TOWN

Exi sting

Exi sting

Exi sting

Exi sting

Concept Model – Existing vs New

New New Proposed Side (South) Elevation Proposed Rear Elevation

New Proposed Side (North) Elevation

New Proposed Front Elevation

Ca

mley

St ac

cess

KEY Site Highline Residential Council/ Ex-Council Residential

Exi sting

Exi sting

Exi sting

Commercial

Exi sting

Educational Pub Under Construction Supermarket Place of Worship There is a good variety of uses across the immediate area with several sites currently being developed nearby.

The site is situated in somewhat of a residential bubble encapsuled by a number of small high streets.

New

New

New

New 8

08:

Fig 02: Joshua Freeman Fig 03: Aleena Mahmood Fig 04: Joseph Cross 16

Fig 05: Lauren Day Fig 06: Isha Ahmed Fig 07: Alex Szal

Fig 08: Matthew Deely

Name: Jolanta Wojtala Student ID: 4141135

Architecture BA (Hons) Year 1 Semester 1 Design Module 101 Module code: EBB 4 501 2022/23

Collage 02 09:

FORM STUDY + COLLAGE

RELIEF RELIEF RELIEF 12: RELIEF

Collage Relief

10:

11:

The collage is a meant to have a shape of stained glass with the The base represents flowing wood and the sticks at the Colour elements as zoomed in pictures of my room.

Colour The colouring of stained glass : 13: is achieved byof adding different The colouring stained glass top represent the squares my furniture14 makes in my Colour metallic compounds todifferent the glass is achieved byof adding The colouring stained glass Colour when molten. catholic churches metallic compounds todifferent the glass room. This is to contrast the texture of the wood versus is achieved byIn adding The colouring of stained glass these molten. colours also have different when In catholic churches metallic compounds todifferent the glass is achieved byalso adding meanings: these colours have different when molten.

In catholic churches metallic compounds to the glass its shape.

Red - represents the blood of meanings: these colours In also have different when molten. catholic churches Jesus Red - represents the blood of meanings: these colours also have different Blue Symbolic ofthe sincerity, Jesus Red -- represents blood ofpiety meanings: and hope often associated the Blue - Symbolic of sincerity,with piety Jesus Red - represents the blood of the Virgin and hope often associated Blue - Mary Symbolic of sincerity,with piety Jesus Yellow - Seen the halos of saints Virgin Mary and hope ofteninassociated with the Blue - Symbolic piety to represent power,ofor Yellow - Seendivinity, in of thesincerity, halos saints Virgin Mary and hope often associated with the glory. to represent power,of orsaints Yellow - Seendivinity, in the halos Virgin Mary Green - growth, rebirth and life, as glory. to represent divinity, power, or Yellow Seen in the halos oflife, saints seen in-- nature allrebirth around us.

Green growth, and as glory. to represent divinity, power, or White symolises innocence and seen in- nature around us.life, as Green growth,allrebirth and glory. purityin- symolises White innocence and seen nature all around us.

Green growth, rebirth and life, as Purple---symolises mirrors the suffering and purity White innocence and seen in-nature allthe around us. endurance of jesus during his Purple mirrors suffering and purity - symolises innocence and White crucifixion. endurance of jesus hisand Purple - mirrors the during suffering purity Violet - canof bejesus seenduring to represent crucifixion. endurance hisand Purple mirrors the suffering truth, suffering, passion or love Violet - -can be seen to represent crucifixion. endurance of jesus during his Brown representative of truth, suffering, passion orthe love Violet --can be seen to represent crucifixion. renunciation of worldly things Brown - representative of truth, suffering, passion orthe loveand Violet - can be to represent pleasures. renunciation of seen worldly things and Brown - representative truth, suffering, passionof orthe love pleasures. renunciation of worldly things Brown - representative of the and pleasures. renunciation of worldly things and pleasures.

Projection Projection In Catholic churches stained Projection glass windows were installed In Catholic churches stained to spread the churches gospels a visualto glass windows wereininstalled In Catholic stained Projection

Proposed Drawings

manner making them accessable spread the gospels ininstalled a visualto glass windows were In Catholic churches stained to everyone.

Thisthem was manner making accessable spread the gospels ininstalled aespecially visualto glass windows were important in aThis time when most to everyone. was especially manner making them accessable spread were the inand a visual people unable important ingospels ailliterate timewas when most to everyone.

This especially manner making them accessable to read were the themselves.

The people and unable important inbible ailliterate time when most to everyone.

This was especially relief is were made in athemselves. wayand thatunable means to read the bible The people illiterate important in a time when most theread design can projected onto relief is the made inbe athemselves. way that means to bible The people were illiterate and unable another wall or surface so can the design can be projected onto relief is the made in athemselves. way thatitmeans to read bible The be shared with larger audience. another wall or a surface so it can the design can be projected onto relief is made in a way that means After projecting the reliefso it itwas be shared with larger audience. another wall or a surface can the design can be projected onto realised that it can have ait more After projecting the reliefaudience. was be shared with a larger another wall or surface so it can dynamic nature.

Byhave changing realised that it can ait more After projecting the relief was be shared with a larger audience. the shape of itthe slot in the back dynamic nature.

By changing realised that can have ait more After projecting the was of the boxnature. thethe projection also the shape of slotrelief in the back dynamic By changing realised that can have aalso more changes shape.

Perhaps could of the box theitthe projection the shape of slotchanging in thethis back dynamic nature.

By represent the dynamic nature of changes Perhaps this could of the boxshape. thethe projection also the of slotprovides in nature the back the shape spaceshape. a church represent the dynamic of changes Perhaps thisand could of the boxcan the projection also how this be mirrored when the space a church provides and represent the dynamic nature of changes shape.

Perhaps this could designing an envelope. how this can be mirrored when the space a church provides represent the dynamic natureand of designing an be envelope. how this can mirrored when the space a church provides and designing an be envelope. how this can mirrored when designing an envelope.

15:

Fig 09: Adedoyin Daniel Adeyelu Fig 10: Joshua Freeman Fig 11: Jolanta Wojtala

Fig 12: Charley Williams Fig 13: Giles Jost Fig 14: William Roberts

Fig 15: Ashrakur Rahman ASHRAKUR RAHMAN 3622549

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NODES.

residential and visiting

om the initial site visit where i ow of people through the local k and conducted a site survey to ays in which people were taking people visiting area / working in ed to the residents.

shows people that were passing included people out on a run the area down the canal side

eople noted

s returning home / going out for at this is considerably lower than sing through, however as the ducted in the middle of the day it ecause people were out at work

ways I felt were key I have noted sed string to map these out as to influence the design of the way.

1

BA Studio Year 01 Preludes & Nocturnes

Initial Form and Massing

Tradition Celebrating Bengali Culture

Material

Green space and Gardening

2

16:

17:

18:

19:

Façade Retained

3 Public entrance

HE HIDE

Private entrance

Water Collection

Sustainable Transport

32

21:

20:

4

05 04

F

DEVELOPMENT: EVOLUTION

D

A

DELIVERABLES: FINAL DESIGN + MATERIALITY

OUTER SHELL A bamboo weave, 50% solid to provide some protection in light rain but also allow dappled sunlight through, creating a calming and organic atmosphere.

F E D A

G F E D

INNER FRAME

C

Bamboo construction with hemp fibre wrapped joints for minimal carbon impact and a comfortable, natural ambiance.

B A

G

Circulation 22 :

F E D C B

Circulation

ASH COLLECTORS & BENCHES Featuring 2 bins and 2 ash/ cigarette butt collectors cast with curved bars and benches of varying heights to promote wider use. The construction materials reflect those of their surroundings; the concrete from the borders and the wood of the existing benches for a sense of belonging.

2A @ 002:1 NOITAVEL E E

A

G F E

E D

ed in the initial submission on 31st n highlighted in pink. All other work en re-worked.

C

PLANTING

THE HIDE

IEW ATION NALYSIS OPMENT ERABLES HBOOK

2 3 6 9 14 27

The final design of hide comprises of 4 elements: - Outer shell: Densely woven panels - Inner frame: Truss frame - Benches: Seating and tables - Planting: Alkali favourable plants

CANOPY DEVELOPMENT I began exploring the idea that the smokers’ ashes could fertilize the soil as a metaphor for growth. Whilst searching for plants that thrive in alkaline soil I came across the hydrangea. It’s individual flowers evoked a soft canopy with 4 petals reaching down to stabilise.

The final canopy was evolved bu extrapolating this concept.

A small cluster of alkali-friendly plants including Dogwood and Hawthorn with a central Euonymus Alatus tree in the centre.

Sized so that users can still walk around the central area on the inside of the bench.

SEATING DEVELOPME

I took a similar approach the seating beneath the my design was to use th the canopy as points for disposal.

The cirular layout encou reatining the concept of to talk about their smok stigma of walking into a

A place to gather and talk about your quitting journey.

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Public Circulation Private Circulation

Fig 16: Amelia Edwards Fig 17: Matthew Deely Fig 18: Isha Ahmed 18

A

B

Fig 19: Ilmiye Ergiden Fig 20 & 21: Alex Szal Fig 22: Mikolaj O’Brien

Public Circulation Private Circulation

Alexandra Szal

Module:E

REFERENC TO KAZIMI MALEVICH SUPREMATISM 3 DRAWINGS, 192

DESIGN / MATERIALS EXPLORATION — REFERENCE TO MINI PROJECT N

42 St Pancras Way, London, NW1 0QT, England

SITE ADDRESS

PROJECT NO.

Soot Studios: Artist Co-living Space

103

PROJECT

JMF

EN TS CA NA L RE G PROCESS OF COMBINING WATER WITH GROUND ASH, MIXTURE IS APPLIED AND BRINGS OUT GRAIN IN TIMBER

14

15

17

18

42

UP

16

40

Roof Plan

1:100 A2

PUBLIC ACCESS

29:

30:

1:100 A2

Floor Plan Ground Floor

ISSUE

29/04/2023 DRAWN BY

JMF

PROJECT

Soot Studios: Artist Co-living Space

SITE ADDRESS

42 St Pancras Way, London, NW1 0QT, England N

&

DRAWN BY

REFERENCE TO KAZIMIR MALEVICH— SUPREMATISM 34 DRAWINGS, 1920

PROCESS OF COMBINING WATER WITH GROUND ASH, MIXTURE IS APPLIED AND BRINGS OUT GRAIN IN TIMBER

TIMBER SAMPLES MIXTURE OF SCORTCHED AND STAINED WOOD

N W DO

BURNING TIMBER — SHOU SUGI BAN

29/04/2023

ISSUE

8

7

GROSS FLOOR AREA EXTENDS TO OVER 900m²

IC E BL NC PU RA T EN

SOOT WOOD STAIN

13

11

9

2

SOLAR PANELS

1

GREEN ROOF

ST PANCRAS WAY

Fig 23 & 24: Joshua Freeman Fig 25: Ashley Reid Fig 26: Charlotte Elliott-Ford

12

10 6

5 RESIDENT ENTERANCE

ROOF ACCESS

SITE ACCESS

STUDIO SPACE & CAFE

28:

RESIDENTS ACCESS

44

LOADING AREA

RESIDENTS ENTRANCE

BIKE STORE

BIN STORAGE

WORKSHOP STATION

CAFE SUPPLIES STORE

ELEVATOR LIFT

STUDIO KITCHENETTE

3

26:

STAIRS DOWN TO BASEMENT

4

TOILETS

STUDIO TERRACE

STUDIO WORKSPACE

BRIDGE TO BARGE ROOF

COFFEE BAR

EXHIBITION SEATING AREA

25: STAIRS UP TO FIRST FLOOR

ADMIN OFFICE / HELP DESK

98.5m²

154.7m²

7.8m²

19.2m²

280.2m²

27:

CAFE SEATING / WORK SPACE

24:

GROUND FLOOR PLAN

GROUND FLOOR

01

02

03

04

05

06

07

08

09

10

11

12

13

14

15

16

17

18

COMMUNAL AREAS

STUDIO WORKSPACE

STORAGE

TERRACE

TOTAL

e and the variformation, work nents could mple, during simultaneously days to inspire s of inspiration st. These views a view that me has many

23:

PROJECT NO.

103

Fig 27 & 28: Joshua Freeman Fig 29: Giles Jost Fig 30: Alex Szal 19

Proposed Plans

BA Studio Year 01 Preludes & Nocturnes

PROPOSED GROUND FLOOR 1:100 @ A2

31:

32:

Proposed Long Section

ed Elevation In Context

First Floor

Second Floor

Communal Kitchen Dining Area Allotment and Growing space

33:

0m

Proposed Elevations Proposed Elevations 2m

5m

10m

Third, Second and First Generation Living Bathroom

34:

41

N

Sangari - For Khodu that only grows in summmer

Scale 1:100 @ A2

Green House Sangari - For Khodu that only grows in summmer

Green House

Hiding in Plain Sight William Roberts

South Elevation - Summer South Elevation - Summer West Elevation West Elevation

Design 103

South Elevation - Winter South Elevation - Winter East Elevation East Elevation

Market Open in the Summer Months (May-August) Market Open in the Summer Months (May-August)

35: 45

43 43

Design 103 Hiding in Plain Sight

Fig 31: Alex Szal Fig 32-34: Isha Ahmed Fig 35: William Roberts 20

34

Fig 36: Mikolaj O’Brien Fig 37: Ashrakur Rahman Fig 38: Charlotte Elliott-Ford

Fig 39: Joseph Halls

JWH - 2023

RE-CONSTITUTION

36:

37:

38:

39:

Appendix

40:

41:

THE SITE - THE CONSTITUTION PUBLIC HOUSE 24.4 EXTERNAL VISUAL- NIGHT

42:

43:

model, transparency of spaces Design 103 Hiding in Plain Sight

44:

Fig 40: Giles Jost Fig 41: William Roberts Fig 42: Mikolaj O’Brien

45:

BASEMENT 02 PRIVATE DINNER Fig 43: Matthew Deely Fig 44: Fahim Hussain This45 is :the Fig Ashrakur Rahman

46:

Fig 46: Alex Szal

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BA Studio 01 Adaptive Civicness

Adaptive Civicness

Design Tutors

Asem Al Bunni (Lead), Adamos Papakonstantinou, Kira Ariskina

Year 02

Arthur Wood, Kimberley France, Alketa Sadikaj, Caitlin Mitchell, Taylor Locke, Zara Bostan, Reem Mohammed, Haaris Nabibux, Camelia Friptu, Ozlem Yeter

Year 03

Tilly Brown, Kai Martin, Gina Virdi, Carmel Simmonds, Houda BenHamadi, Atef Mohammed Monnan, Kate Rutland, Joseph Olatunbosur, Misha Naseem, Yeliz Bozkurt, Kelsey De Sousa Freire, Drashti Parsana

Guest Critics

Sam Harvey (PDP) Alan Yakoub (rg+p)

BA Studio 01 continues its interest in the community and urban context. The studio studied the impact of local and global issues through civic spaces. We are interested in analysing and speculating on the social, economic, and spatial consequences of the new relation between users and the highly technological environment we live in.

This year we will focus our attention on Adaptive Civicness; Architecture adapting to critical global issues as a consequence of environmental, social, political or economic changes, affecting the community we live in and studying the contextual and social impact it can have in architecture.

Students are required to research and propose a civic piece of Architecture which responds to the community needs while considering its adaptation to an environmental, social, political, or economical crisis scenario developed through their research and own narrative. While our methodologies vary from geometrical, technological, and theoretical approaches to design development, we aim at practical solutions in the execution of a design proposal, we encourage students to experiment with materiality and physical modelling in the development of their designs, understanding scale and contextual relationships.

The aim of the adaptable civic space would be to accommodate the safety of the community and user i.e.. Environmental scenariosudden flooding, political- riot safety zone, socialhousing crisis.

Can we design civic spaces which can be adaptable to societies needs in urgent circumstances without diminishing the user experience and contextual relationship?

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Fig 01: Alketa Sadikaj

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BA Studio 01 Adaptive Civicness 02:

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Fig 02: Atef Mohammed Monnan Fig 03: Tilly Brown Fig 04: Tilly Brown 24

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Fig 05: Kimberley France Fig 06: Arthur Wood Fig 07: Tilly Brown

Fig 08: Taylor Locke Fig 09: Camelia Friptu 25

BA Studio 01 Adaptive Civicness 10:

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Fig 10: Arthur Wood Fig 11: Arthur Wood Fig 12: Carmel Simmonds 26

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Fig 13: Carmel Simmonds Fig 14: Haaris Nabibux Fig 15: Haaris Nabibux 27

BA Studio 01 Adaptive Civicness 16:

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Fig 16: Alketa Sadikaj Fig 17: Houda BenHamadi Fig 18: Kai Martin 28

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Fig 19: Joseph Olatunbosur Fig 20: Atef Mohammed Monnan Fig 21: Gina Virdi

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Fig 22: Taylor Locke

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Fig 23: Alketa Sadikaj

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BA Studio 02

Transpositional Plasticity

Transpositional Plasticity Design Tutors

Spyridon Kaprinis (Lead), Daniel Tang

Year 02

Ezra Barwin, Aamina Moheuddin, Ellis Smith, Xhovana Sejdia, Mohamed Musa, Marios Rustemi, Daniele Ferrentino, Pedram Nejad, Sundeep Bhudia, Jonah Howley

Year 03

Louis Soubeyran, Swathee Atputhasigamany, Taneen Hossain, Ilyayda Yaldaram, Ibraheem Farooq, Mirza Hussain, Afif Khalid, Akay Ozturk, Kirupa Raja, Ted Elliott, Robert Atkins, Jervin Tiongson

Guest Critics

Dimitris Akritopoulos (Upton-Hansen Architects) Gonçalo Pinheiro (Upton-Hansen Architects)

The theme of Transpositional Plasticity has two basic aspects: the notion of transposition has to do with the ability of analysis existing precedents and sites and developing operational methods of architectonic synthesis for other contexts and modalities. The notion of plasticity has to do with the capacity to receive form (e.g., clay) and the capacity to give form (e.g., plastic arts). Talking about the transpositional plasticity of a site thus amounts to thinking of the city as something modifiable, ‘formable’, and formative at the same time, while considering previous contextual conditions and historical typologies that might influence and instigate new architectonic possibilities.

BA Studio 02 aim to focus on a radical critique of the typical approach to form, that is completely divorced from a morphological and Cartesian design approach. This studio will explore the concepts of transposition and plasticity, their malleable and modifiable properties, and apply them to the aptitude of the given sites to respond, remodel, reorganize, and continually change for better ability to adapt to new situations.

The proposition is an investigation to the possibility of a new urban morphology that is responsive to the complex network of systems within the growing contemporary urban landscape. Mapping, drawing, and model making (utilizing graphic, physical, digital, analogue, and time-based registers) will be used as methods of investigation and design speculation.

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Fig 01: Daniele Ferrentino

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BA Studio 02

Transpositional Plasticity 02:

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Fig 02: Jervin Tiongson Fig 03: Jervin Tiongson Fig 04: Jonah Howley 32

Fig 05: Sundeep Bhudia Fig 06: Daniele Ferrentino

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Fig 07: Aamina Moheuddin Fig 08: Sundeep Bhudia Fig 09: Kirupa Raja

Fig 10: Robert Atkins Fig 11: Swathee Atputhasigamany 33

BA Studio 02

Transpositional Plasticity 12:

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Fig 12: Ellis Smith Fig 13: Swathee Atputhasigamany Fig 14: Pedram Nejad 34

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Fig 15: Daniele Ferrentino Fig 16: Jonah Howley Fig 17: Daniele Ferrentino 35

BA Studio 02

Transpositional Plasticity 18:

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Fig 18: Louis Soubeyran Fig 19: Robert Atkins Fig 20: Ted Elliott 36

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Fig 21: Robert Atkins Fig 22: Kirupa Raja Fig 23: Jonah Howley

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Fig 24: Jervin Tiongson Fig 25: Robert Atkins 37

BA Studio 03 Growing Homes

Growing Homes Rethinking Architecture Through Community Gardening

Design Tutors

Ioana Petkova (Co-Lead), Valerio Massaro (Co-Lead)

Year 02

Kimberley Cornejo Ortiz, Alysha Hussain, Emily Kajdi, Angela Hernandez Bonna, Tanya Mcnally, Rhys Riddle, Manuel Gonzales Tapia, Alex Webb, Lillian Bartella, Dylan Finch

Year 03

Rory Ward, George Arcino, Rex Galanta, Jenna Daher, Alexandra Blanaru, Arika Pal, Sahar Maryal, Kameron Grant, Aimie Cheetham, Stephen Jell, James Kernot

Workshop Partners:

Nooma Studio, Vanessa Lastrucci, Loughborough Farm

This year BA Studio 03 re-imagined domestic spaces and practices through the idea of situated ecological thinking. Historically, architects have conceived of the environment by using formal and visual structures to specialise their ideas of ‘nature’. The studio tried to challenge this premise by embracing a plural and open definition of ecology, and by nurturing new understandings of architecture serving humans and non-humans alike. London’s environment is contested by many overlapping claims, simultaneously facing a global ecological breakdown. In this hyper-local setting, we aim towards a deeper rethinking of the built environment as a set of wider ecological relationships. Housing, as its largest fraction, is the most socially and ecologically critical. For that reason, Studio 03 proposed to rethink domestic space experimenting with new situated definitions of ecology.

In the first semester, the studio explored existing growing practices on a local community farm. Gardens and gardening offered the formal, spatial, social, and practical starting point for research.

201-301 focused on developing creative visual tools to map human and non-human stakeholders and their relationships with the built, natural, and social environments. The semester concluded with a proposal for a real London urban farm built upon the research findings. This project has then been expanded into a technological, ecological, and social concept for a residential proposal. The studio emphasised the development of artistic illustrations and physical modelmaking through which design ideas are explored, conceptualised, and tested.

BA Studio 03 questioned how to make use of community farming to develop socio-ecological design approaches to housing.

Urban gardening and gardens became references to investigate the different relationships between the city, nature (in its many definitions) and local stakeholders. The legacy of community gardens and situated ecological thinking allowed us to explore several relevant themes, such as urban land ownership and governance, food production and urban farming, well-being and regenerative design.

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Fig 01: Aimie Cheetham

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BA Studio 03 Growing Homes 02:

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Fig 02: Angela Hernandez Bonna Fig 03: James Kernot 40

Fig 04: Angela Hernandez Bonna

and Tanya McNally

Fig 05: Emily Kajdi Fig 06: Alexandra Blanaru

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Fig 07: Emily Kajdi and Lillian Bartella Fig 08: James Kernot Fig 09: Steve Jell 41

BA Studio 03 Growing Homes 10:

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Fig 10: Aimie Cheetham and SteveJell Fig 11: Emily Kajdi Fig 12: Rhys Riddle 42

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Key: Atrium Sanitising room Heated room Extraction/ honey packing Candle making room Product cooling storage Safety check room W/C Bedroom 15: Kitchen/dining/living Services & Circulation

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Fig 13: Rhys Riddle Fig 14: Alysha Hussain Fig 15: Emily Kajdi

Fig 16: Aimie Cheetham

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BA Studio 03 Growing Homes 17:

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Fig 17: James Kernot and Rory Ward Fig 18: Rory Ward Fig 19: Kimberley Cornejo Ortiz 44

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Fig 20: Sahar Maryal Fig 21: Jenna Daher Fig 22: Alex Webb

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Fig 23: Dylan Finch Fig 24: Aimie Cheetham 45

BA Studio 04

Rising above Recession

Re-imagining Architecture in Uncertain Times Design Tutors

Monika Jociute (Lead), Liam Bedwell

Year 02

Oliver Davies, Norran El-Attar, Thomas George, Agon Gjakija, Tselmeg Erdembileg, Anxhela Jaho, Matilda Jaho, Sara Krasniqi, Dejzi Laze, Sara Mihaila, Savannah Williams-Duberry

Year 03

Luke Sadler, Thomas Dickason, Kian Hales, Karen Uribe Orozco, Rayan Sarafian, Xhesika Rama, Owen Faunt, Emily Foster, Joseph Hannaghan, Rudy Logue, Ellie Spencer

Guest Critics

Maxim Sas (Hawkins Brown) Oliver Beetschen (Charcoalblue) Lauren Shallice (Hale) Stephen Hadley (Stanton Williams) Kevin Coello (Stanton Williams)

46

In BA Studio 04, the key theme and focus of investigations were tailored towards how architecture and infrastructure could be used as a tool to reimagine, change, and regenerate. It was here where Studio 04 was encouraged to consider creative and innovative forms of infrastructure as an architectural tool to unlock a site’s true potential and be fully integrated into the holistic approach of a project.

This approach encouraged Studio 04 to research and think beyond the boundary of a building’s footprint alone and cast a wider net of architectural thinking and discourse. This was undertaken through a series of research and brief creation exercises, which were developed specific to each student’s findings within the local physical context of a chosen site, as well as influences arising through current social and economic scenarios.

BA Studio 4 investigated how ultimately architecture played a role in bringing people together in a socially, economically, and environmentally sustainable manner. In turn, the students began to propose and develop their ideas and briefs around the above.

The students developed their ideas through a mix of analogue and digital representations with an onus on design through model making.

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BA Studio 04

Rising above Recession 02:

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Fig 02: Thomas Dickason Fig 03: Owen Faunt Fig 04: Thomas Dickason 48

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Fig 05: Owen Faunt Fig 06: Ellie Spencer Fig 07: Ellie Spencer 49

BA Studio 04

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Fig 08: Kian Hales Fig 09: Kian Hales Fig 10: Luke Sadler 50

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Fig 11: Rudy Logue Fig 12: Rayan Sarafian Fig 13: Rayan Sarafian 51

BA Studio 04

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External Drawing

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Fig 14: Norran El-Attar Fig 15: Sara Krasniqi Fig 16: Emily Foster 52

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Fig 17: Joseph Hannaghan Fig 18: Agon Gjakija Fig 19: Anxhela Jaho

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Fig 20: Matilda Jaho

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model in plan

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model in perspective

model

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Fig 21: Oliver Davies Fig 22: Xhesika Rama Fig 23: Xhesika Rama 53

BA Studio 05

User Experience & Regenerative Urbanism

User Experience and Regenerative Urbanism Design Tutors

Elham Valikhani (Lead), Elisavet Hasa, Anthony Okoluko

Year 02

Victoria Walker, Shaimae Binani, Jasmin Eloubaidi-Saunders, Adrian Konik, Louis Lefroy-Brooks, Reshawn Harding, Chelsea Goodman, Youssef Jib, Malvern Nyawiri, Wasim Bensaifa, Elis Klinger Asura

Year 03

Nazahah Iqbal, Nuha Chowdhury, Marianne Hernandez Bonna, Viktoria Petkova, Dorothea Donnely, David Bekiareli, Mhd Naji, Hannah Wallis, Georgina Kidd, Anthony Thrower, George Rose

Guest Critics

Eftychios Savvidis (Kennedy Woods), Julia Skeete (SOM) Kenet Bakamovic (Architectural Association),Theo Svoronos (Studio McLeod)

BA Studio 05 investigates the incipient transformations of communities and lifestyles to propose innovative architectural responses to new spatial and material demands arising from rapid population growth, technological shifts, the climate emergency, and the global pandemic.

Our studio requires students to conduct research and design for user experience, new urban communities, and urban regeneration.

To achieve this, we propose specific sites within the “Areas of Opportunity” in Waterloo (Semester 1), and the Boroughs of Tower Hamlets and Newham (Semester 2). In Semester 1, students explored and designed based on the theme of “A User’s Experience in the City,” addressing the needs and vulnerabilities of their chosen users. The focus was on the regeneration of existing buildings/ areas, requiring students to demonstrate an understanding of the global and local context and to develop sensitivity and knowledge of “Sensuous Architecture” and “Material Reimagination.” In Semester 2, we continued to explore the same subjects but this time focused on designing for a collective of users. Under the themes of “Coliving” and “Co-working,” students designed projects to provide architectural solutions for the spatial needs of diverse and complex communities of artists, makers, and craftspeople. The studio seeks projects that take a realistic approach while also incorporating a complex social diagram and embracing new developments in sustainable and innovative building technologies.

This year, the main focus of the studio was to encourage students’ imagination in designing projects that can pave the way for co-living and co-working, anticipating environmental and societal changes and dilemmas in the coming decades.

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Fig 01: Anthony Thrower

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BA Studio 05

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Fig 02: David Bekiareli Fig 03: Georgina Kidd Fig 04: Georgina Kidd 56

Fig 05: George Rose Fig 06: Georgina Kidd Fig 07: George Rose

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Fig 08: Georgina Kidd Fig 09: Georgina Kidd Fig 10: Shaimae Binani

Fig 11: Jasmin Eloubaidi-Saunders Fig 12: Jasmin Eloubaidi-Saunders Fig 13: Louis Lefroy-Brooks 57

BA Studio 05

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301 User Animation

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Fig 19: Reshawn Harding Fig 20: Anthony Thrower Fig 21: Adrian Konik

Fig 22: Malvern Nyawiri Fig 23: Jasmin Eloubaidi-Saunders Fig 24: Victoria Walker

By David Bekiareli

Fig 25: David Bekiareli Fig 26: Adrian Konik & Louis Lefroy-Brooks 59

BA Studio 05

User Experience & Regenerative Urbanism 27:

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Fig 27: George Rose Fig 28: Marianne Hernandez-Bonna Fig 29: Dorothea Donnely 60

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Fig 30: Viktoria Petkova Fig 31: Georgina Kidd Fig 32: David Bekiareli

24:

FIRST FLOOR PLAN

FIRST FLOOR PLAN

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MASTERPLANNING

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H ANNAH W A L L IS - D E SIGN PO R TF O L IO - 3 8 2 1 1 1 2

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HANNAH WALLI S - DESI GN PORT FOLI O - 3 8 2 1 1 1 2

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Fig 33: Anthony Thrower Fig 34: Reshawn Harding Fig 35: Hannah Wallis

Fig 36: George Rose Fig 37: George Rose Fig 38: Georgina Kidd 61

BA Studio 06 Captured Visions

Captured Visions

Design Tutors

Bandele Olubodun (Lead), Jonathan Bush

Year 02

Andi Abdullahi, Zach Baldwin, Ada Bartholomew, Enoch Koomson, Cem Bektas, Manal El Fardi Bakkali, Shanai Keddo-Campbell, Gerard Mortimer, Carla Myawiri, Chelsee Oliveira, Sharad Suman

Year 03

Najla Ahmed, Tasnima Ahmed, Iman Amir Heidir, Shanislav Brezden, Owen Gosden, Jacob Hughes, James Low, Zahra Rana, Emma Sidey, Rory Thrush, Christine Ylagan

Guest Critics

Adrian Hill (Hill Patru) Folake Ekundayo (Drake and Kannemeyer)

BA Studio 06 embarked on an enlightening journey, exploring the fascinating fragments of rich and intricate observations across history. This process highlighted how, at times, architecture experiences phases aptly described as ‘concentrated progress.’

Such substantial advancements often result from breakthroughs in unrelated domains, pushing our design thinking beyond traditional boundaries. In line with our educational goals, we sought to enlighten our students about the critical intersection of climate change and the significant role played by the building and construction industry in taking responsibility for this global issue.

Photography, Cinema, and Cinematography Our exploration delved into the crucial part technology has played in the rapid expansion of urban environments. We began by scrutinizing photography, analysing its fundamental significance to human history and the ongoing influence of the film industry in enhancing people’s comprehension of bygone eras. This impact is particularly prominent in shaping public perception and driving societal transformations.

Using cinematic case studies, we furthered architectural theories while embracing emerging visualization techniques. Leveraging these mediums, the studio conducted research on various strategies to tackle today’s climate challenges, draw lessons from the pandemic, and underscore the accelerated pace of technological progress.

As we commenced the year, we ignited discussions inspired by case studies, historical graphic mediums, and field research. We pondered the principles of light, color, materials, and technology to holistically incorporate our findings into our designs. These designs embraced a diverse array of forms, such as artefacts, sculptures, installations, collages, photography, darkroom photo manipulation, and VR technology, among others. This collective effort ultimately led to an architectural resolution by the end of the year.

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PROPOSAL | AXONOMETRIC 01:

FRAMEWORK

FIRST FLOOR GROUND FLOOR

GROUND FLOOR PLAN

PROPOSAL

6. 4 Fig 01: Christine Ylagan

63

elopment: Old Cinema

BA Studio 06

Films viewing

Captured Visions 02:

03:

Working 3D Model

Design Development

/Collage Development: Atrium Space

ly design phase of the project centred around defining space though a series of physical s, sketch models and drawn sketches. This process aimed to architecturalise the massing ed in the previous project, drawing inspiration from existing, published, architectural designs e the spaces in the final design outcome.

hat

Stage 1: for the design development

Stage 2: Here i have moved both of

Stage 3: I moved staircase on the

i had an idea of moving thecollection of different the old staircases court yardoffered area to watch couple opposite of the building Ronald Grant andstage Martin Humphries have a great movies. to Wethe were kindly of thesides movies from their to make exhibition space films to thethat exterior of has the shown us andfor add.can Also it more symmetrical.

I introduced collection. The different between martin thebetter films view that ialso havei have watched bei seen with naked but the atmosphere was it will moreexperience sunlight was pleasant have started to couple work out the journey possible divided between exhibition different in a newbuilding sort04 of as The get viewing but there were things which has become a distraction as i was watching :way.

05 : thelack visitor. area. it. Those distraction were echo coming from the side where cafe wasofand of spacing between the seats. Also the front row of seat is too close to the screen making the watching experience uncomfortable thus most of the people sat at the middle or the back.

Stage 4: Main changes that happens in this stage of development was the addition of new exhibition spaces on the bottom of the page and more clear divide between public private.

Also the outlines of the dividers between exhibition spaces has become clearer the changes were made to improve the circulation of the building

06. Detailed Design /Final Site Axonometric

/Contemporary Cinema Atrium Collage

06:

Stage 1: I worked out the position of building at the rear and tried to work around it with having cinema in the main area. Also i have sketched out the route that i would like people to take

that

Stage 2: in this design i have worked out that i would like to counter leaver the rear by approximately 1500mm to increase the size of the building. Also i have started laying out the internal partitions

Stage 3 the idea for my cinema has changed into me having a box inside of a box of cinema itself will be inside of the main building and all of the exhibitions will be around it

Stage 4: some changes were made to the for example I have added televised room on the rear of the building also internal flow became more coherent

/Contemporary Museum Massing Development Sketch

Fig 02Realm/ : Stanislav Brezden /Public Atrium Concept Collage Fig 03: Stanislav Brezden Fig 04: Jacobn Hughes 64

26 / Captured Visions // The Cinema Museum

Fig 05: Owen /Research Development Sketch Gosden

/Atrium Stair Development Model

Fig 06: Jacob Hughes / Studio 6 / BA Architecture Y3 / 2022-23 / 5

The Cinema Museum campus assimilates into the local area though the control of scale and the use of regional materiality. The project provides high quality internal spaces for entertainment, education and research while creating an oasis-like public realm in the centre of the city to be enjoyed by visitors and passers by alike.

/ Studio 6 / BA Architecture Y3 / 2022-23 / 27

Stage 5 was fin both flo area ha

08:

PHASE II

Research_ THE CINEMA MUSEUM

Research_ THE CINEMA MUSEUM Studio-6

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Studio-6

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CAPTURE THE MOMENT

E II

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Design 302

3823668

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Design 302

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FigSYNOPSIS 07: James Low Fig 10: Rory Thrush Fig 08: James Low Fig 11: Najla Ahmed For my case study I looked at WandaVision, the premise of the show is about the main Figcharacter, 09: Rory Thrush Wanda making a town for herself from magic. With all the magic she has she

creates her ideal town in America, 1950s suburbia and as the show progresses through the episodes she jumps through the decades up to the present. I wanted to look into more detail on why she chose the 1950s suburbia. The 1950s suburbs were on a rise; people were moving out of cities and to suburban towns. There was the baby boom, people were coming back from WW2 and having children, there was an increased demand for houses.

In the show Wanda has a family of her own creating this nuclear family further pushing this narrative of the American dream and gender role in the 1950s. This idea of moving to the suburbs and having the nuclear family was heavily pushed by media and film with numerous coming out centred around how great suburban life is, that is of course if you are a white man living in america. Unless you had money to buy a car to go to work or buy food it would be very difficult to live there. Minorities couldn’t even think about moving to the suburbs unless they wanted to be met with violence and intimidation, it also didn’t help that banks refused to give out loans to minorities such as African Americans and highlight areas

65

BA Studio 06 Captured Visions PHASE II

Research_ THE CINEMA MUSEUM

Studio-6

SECTIONS

12:

CAPTURE THE MOMENT

Proposed section AA

Proposed Section BB

SITE MODEL Design 302

3823668

13:

Fig 12: Rory Thrush Fig 13: Zahra Rana Fig 14: Tasnima Ahmed 66

12

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19

Full Site Perspective Views

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Fig 15: Emma Sidey

58

67

BA Studio 06

Cafe space

Captured Visions 16:

18:

17:

Fig 16: Gerard Mortimer Fig 17: Cem Bektas Fig 18: Cem Bektas

ctures cut out to form a space. They visualise the possible materials or features that 68

19:

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Axonametric A

Axonametric A

21:

23:

Fig 19: Shanai Keddo-Campbell Fig 20: Shanai Keddo-Campbell Fig 21: Gerard Mortimer

B

B

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Fig 22: Manal El Fardi Bakkali Fig 23: Chelsee Oliveira Fig 24: Chelsea Oliveira 69

Communications 01|02

Communications 01 Module Lead Carlos Sanchez

Communications 02 Module Lead Steve Bowkett

Communications 01 Tutors

Adamos Papakonstantinou, Carlos Sanchez, Steve Bowkett,

Communications 02 Tutors

Andrea Tiberi, Bandele Olubodun, Daniel Tang, Yakim Milev

This module, supported by the short courses, is centred on how we communicate architectural concepts through Digital forms of Communication.

The composition of the Communication modules consists of introductions to a variety of digital representation techniques. This year we delivered four workshops to choose from, each that ran for a duration of 5 weeks. The software that was used included: Grasshopper and Revit Dynamo as individual workshop studies and along with the introduction to Robotics short course and a course on Digital Representation formed the four options.

The main objective of this module is the introduction to an understanding of the transformative nature of architecture through digital communication, ensuring that the training of professionals within architectural studies is a central component to the new developments in technology and manufacturing methods within the industry.

Students were introduced to specific techniques in parametric and interactive design. They were shown how to develop skills in making and testing both physical and virtual prototypical performative objects, and through those activities were able to develop a range of design and technical skills, including: coding, use of electronic controllers, parametric design, robotics, virtual reality, and a variety of other approaches to architectural design.

70

should initially take a number of short journeys within a set area in the city and photographically record these routes with your camera or Iphone. These journeys may be done randomly, or they ould initially take a number of short journeys within a set area in the city and photographically record these routes with your camera or Iphone. These journeys may be done randomly, or they iew each of these journeys and decide which one which is spatially and architecturally the most interesting. Having chosen your route, produce around 8 to 10 photographs of your sequence w each of these journeys and decide which one which is spatially and architecturally the most interesting. Having chosen your route, produce around 8 to 10 photographs of your sequence sheet as a sequence of corresponding framed drawings. As you can see with the worked example in the presentation you will have to make a decision about how much detail and colour (if any) eet asinitially ainitially sequence corresponding framed drawings.

As you can see with thephotographically worked example in the these presentation you will have to make a decision about howmay much detail and colour or (iforthey any) should ould take takeaof anumber number ofofshort short journeys journeys within aset set area area in inthe thecity city and and photographically record theseroutes routeswith withyour your camera camera ororIphone.

Iphone.

These These journeys journeys maybebe done done randomly, randomly, they vious frame within the sequence to be able towithin read alla of these drawings together as a story. record ous frame within the sequence to be able to one read all of these drawings as a story. iew w each each ofofthese thesejourneys journeys and anddecide decide which which onewhich which is isspatially spatially and andtogether architecturally architecturally the themost mostinteresting. interesting.Having Havingchosen chosenyour yourroute, route,produce producearound around8 8toto1010photographs photographsofofyour yoursequence sequence sheet eet asasa asequence sequenceofofcorresponding correspondingframed frameddrawings. drawings.AsAsyou youcan cansee seewith withthe theworked workedexample exampleininthe thepresentation presentationyou youwill willhave havetotomake makea adecision decisionabout abouthow howmuch muchdetail detailand andcolour colour(if(ifany) any) vious ous frame framewithin withinthe thesequence sequencetotobebeable abletotoread readallallofofthese thesedrawings drawingstogether togetherasasa astory. story.

01:

02:

02. Interior Perspective View - Expressing Craftmanship, Beauty and Simplicity of Zumthors work

HACKSAW RIDGE - JOE HYDER

02 03 - Materials and Concepts :

04:

02.1 - Concept models.

As a group we wanted to develop a basic concept model of our wall. Therefore, using a variety of recycled materials including paper, card, foam board and each produced an initial model. This proved a useful exercise which allowed us to share visual ideas and discuss the pros and cons of each. It enabled us to our thought process, and develop a plan to move forward with the construction of our model wall.

Close up on detail; adding mirror film flames to sine wav

Concept Option 1.

Concept Option 2.

Concept Option 3.

Concept Option 4.

Conc

02.2 - C 05:

Opt.1. Pre

Opt.2. Fib

Opt.3. Lay

Opt.4. Fib

Opt.5. Foa

Group Concept Models Fig 01: Holly Mclean Fig 02: Adedoyin Adeyelu

Charlie Dadson, Joe Cross, Matt Deely, Rustam Rahmatulin

Fig 03: Amy Goldthorpe, Asma Parker,

Beth Norris, Jessica Fuller, Molly Brown, Olivia Pickup Fig 04: Harry Flack

Fig 05: Basil Anuar, Fahim Hussain, Joe Garnett, Joe Hyder, Max Martin Zihan Musthafa

71

01. Exterior Approach View & Landscape Setting - Emphasising The Dramatic Landscape, Atmospheric Climate and Human Scale

eference, to . The physical which would

Drawing not to scale

13

Fig 06: Harry Flack Fig 07: Basil Anuar Fig 08: Harry Flack 72

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Drawing Title: Roof Block Site Plan Style: Render + Post Production Drawing Scale: 1:500 @ A3 Drawing No. 03

07:

s

2d Roof Block Site Plan Render Drawing

Case Study of The Barcelona Pavilion by Mies Van der R o h e

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09:

Name : Alketa Sadikaj Student ID : 4011317 Communication 2 : Digital Representation Communications 2 - Revit Dynamo

Alternative Design Facade

Final elevation and axonometric of Alternative Facade using the same panels from E2 Tower 1 top 5 floors consisting of 4 families.

10:

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Sketch Figure Drawing

Sketch Figure Drawing

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Amy Goldthorpe 4030183

Fig 09: Cem Bektas Fig 10: Alketa Sadikaj Fig 11: Amy Goldthorpe

Fig 12: Harry Flack

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Technology 01|02|03 Technology 01 Module Lead Vincenzo Caputo

Technology 02 Module Lead Milo De Luca

Technology 03 Module Lead Andrea Tiberi

Technology 01 Tutors

Vincenzo Caputo, Maria Echeverri, Ruggero Bruno Chialiastri, Joao Bravo da Costa,

Technology 02 Tutors

Poppy van Dijk, Milo De Luca, Maria Aceytuno Poch, Teo Andonov, Wynne Leung, Matthew Lacey,

Technology 03 Tutors

Andrea Tiberi, Larry Allison

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The Technology modules aim to provide students with a comprehensive understanding of the intrinsic role played by technology in the realm of architectural design. These modules delve into the interplay between design and building systems, encompassing fundamental principles pertaining to structural integrity, environmental strategies, and the construction of building components. By means of precedent studies and informative lectures, students are exposed to a diverse array of construction techniques, ranging from conventional methods to contemporary and emerging practices, all with a steadfast commitment to sustainability.

Significantly, these modules underscore the profound interconnections existing between the conceptualisation of design, the process of decision-making regarding technological alternatives, and the practical application of construction knowledge, thereby informing their influence on the final outcomes of design proposals. Intended for undergraduate students, Technology modules 01-02-03 facilitate an extensive analysis and synthesis of construction technology, environmental design, and the web of interdependencies that bind them together.

01:

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Fig 01: Alexandra Szal, Amelia Edwards, William Roberts Fig 02: Harrison Forde Fig 03: Ashley Reid

Fig 04: William Roberts Fig 05: Matthew Deely 75

Material Palette

6

Chosen Materials

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A combination of re-constituted roach bed and re-constituted Portland stone, grit blasted to expose the aggregate, will form the fins and the solid surfaces of the building. Splayed fins, reveals and cills will be treated to maximise the light reflective qualities of these surfaces. The re-constituted stone surfaces will have a depth, designed to also provide horizontal and vertical shading. The windows are set into this depth and framed in aluminium.

Reconstituted Portland Stone

Bronze

Reconstituted Roachbed

Natural Bed Limestone

Stainless Steel

Aluminium

Structural System

3

Structural System

3

Transfer Structures

Transfer Structures

Ferrentino 08 DueStudent: to the Daniele requirement to vary the column grid to respond Isometric view of tree transfer structures from Portugal Street Transfer Structures Structural 1 : System Due to the requirement to vary the column grid respond Student ID:to4021016 1 Isometric view of tree transfer structures from Portugal Street

3

to changes of usage/layout in different levels, it is necessary

1

to changes of usage/layout in different levels, it is necessary toground, introduce at ground, level 1 and level 3 to introduce transfer structures at level 1transfer and levelstructures 3

Due to the requirement to vary the2).column grid to respond (Figures 1 & 2).

(Figures 1& to changes of usage/layout in different levels, it is necessary to introduce transferAstructures at ground, level 1 and 3 ‘Tree’ transfer system has beenlevel to suit the need to A adopted ‘Tree’ transfer system has been adopted to suit the need to (Figures 1 & 2). adapt to changing functionality of the structure. Both concrete

Isometric view of tree transfer structures from Portugal Street

adapt toand changing functionality of the structure. Both concrete and steel solutions have been considered whilst both are

A ‘Tree’ transfer system has been adopted to option suit thehas need to structurally viable, each itssteel benefits and drawbacks. and solutions have been considered and whilst both are adapt to changing functionality of the structure. Both concrete structurally viable, each option has its benefits and drawbacks. and steel solutions have been considered and whilst both are First order transfer trees structurally viable, each option has its benefits and drawbacks.

First order transfer trees

The first order transfer trees, situated at the underside of first First order transfer trees floor, support the superstructure above on a 15.2m grid. Each

treetrees, effectively supports 232m2 The atofeach level, and are therefore The first order transfer situated at the underside first first order transfer trees, situated at the underside of first carrying significant axial loads grid. down to the foundation structure floor, support the superstructure above on a 15.2m Each floor, support the superstructure above on a 15.2m grid. Each below. tree effectively supports 232m2 at each level, and are therefore effectively supports 232m2 at each level, and are therefore carrying significant axial loads down to the foundationtree structure Second order transfer trees below. carrying significant axial loads down to the foundation structure

below.

Second order transfer Thetrees second order trees, situated at level 3, support the office

floors above. Each second order tree effectively supports

The second order trees, situated at level office Second order transfer trees 117m2 at each level3,upsupport to roof,the again carrying significant axial floors above. Each second loads. order tree effectively supports 117m2 at each level up to roof, again carrying significant axial The second order trees, situated at level 3, support the office loads.

floors above. Each second order tree effectively supports 117m2 at each level up to roof, again carrying significant axial loads.

2

2

Isometric view of rotating transfer structure

Isometric view of rotating transfer structure

2

3

3

Plan view of rotating transfer structure

Plan view of rotating transfer structure

Isometric view of rotating transfer structure

3

Plan view of rotating transfer structure

Fig 06: Thomas G George Fig 07: Daniele Ferrentino Fig 08: Thomas G George 76

nt: Daniele Ferrentino

Structural Columns

A key aspect is the lack of interior columns to maintain free open space. Thus, the engineering teams opted to transfer the vertical loads along the perimeter of the exterior walls with 6 m spaced columns further supported by stiff connections. Moreover, the columns are linked with brackets that support the platform/shelves used to exhibit the cars along the walls of the museum.

Structural C

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Fig 09: Robert Atkins Fig 10: Aimie Jane Cheetham Fig 11: Robert Atkins

Fig 12: Ellie Spencer Fig 13: Ellie Spencer 77

Cultural Context 01|02|03

Cultural Context 01 Module Lead Carlene Prince

Cultural Context 01 Tutors

Carlene Prince, Stephen Lovejoy Steve Bowkett

Cultural Context 02 Module Lead Stephen Lovejoy

Cultural Context 02 Tutors

Elizabeth Hasa, Stephen Lovejoy Valerio Massaro

Cultural Context 03 Module Lead Stephen Lovejoy

Cultural Context 03 Tutors

Elizabeth Hasa, Ioana Petkova Stephen Lovejoy, Valerio Massaro

Cultural Context 01 - The introduction to History and Theory in Architecture. This year’s lecture series and module assignment incorporates the BA.Yr1 Design Studio theme of Rest, Work and Play, Life in Architecture. The emphasis is aimed at the many ways we are already deeply familiar with architectural history and theory with its presents within all the spaces we use on a daily basis - in the architecture of our homes, where we work, the spaces where we study, socialise, and reflect; these spaces today have all derived from key architectural ideas and theories of the past. The lecture series will examine each of these spaces in turn, charting the development across history and highlighting notable architectural ideas and built projects in various cities within the world of architecture. It will demonstrate to the students that architectural history and theory is not something abstract or arbitrary, but something that is all around us in our daily lives.

Cultural Context 02 is a comprehensive overview of how architecture has evolved in response to the changing needs of society, from the very first nomadic shelters through to the complex multi-purpose value-driven architecture of today. Key architectural styles and movements are discussed and placed in their historical context, from the aesthetic styles that developed from the need of organised religions to communicate through their buildings, to the rise of future-oriented modern architecture following the industrial revolution and the trauma of the World Wars.

Cultural Context 03 challenges students to question the role of the architect by exploring the different ways in which architecture can be perceived. By doing so, students engage with many of the critical debates currently taking place in the profession. The edges of architecture are also explored, looking at where architecture begins to overlap with adjacent disciplines, from planning, urban design and heritage to psychology, economics, and politics.

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01:

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Fig 01: Alison Scott Fig 02: Joe Hyder Fig 03: Matthew Deely

Fig 04: Holly McLean Fig 05: Basil Anuar 79

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Cultural Context 02 Balkrishna Doshi Ahmedabad

HAUSSMANN’S PA R I S

Architecture

“Architecture is a political act, by nature. It has to do with the relationships between people and how they

Cultural Context 02 – Balkrishna Doshi - Ahmedabad

15 16 12

Meaning:

Sixth floor / servants homes Fourth floor / regular homes

Wrought iron balconies

CULTURAL CONTEXT 02 Wrought iron balconies

Limestone facade

Ground floor / shops

Figure 24

08:

Zinc mansard roof

First floor / shop storage

which leads to an architecturally successful solution which incorporates the local context, local culture, and lifestyles as well as the natural environment. The buildings strengthen ties between physical structure and social/lifestyle activities with areas on all levels for social activities and privacy where necessary, artist impression right.

India is very socially diverse, so each block accommodates all 3 income groups on different levels leading to 3 storey buildings which aim to create connections in the community and bring all income groups together, below. This project, the most of all Doshi’s previous projects, relates most closely to Doshi’s ideologies. This project made a real difference to many families and lives and has been so successful as the buildings celebrate Indian culture, allow for the lifestyles of those living there and create a strong sense of community which is successful according to Doshi who said ‘They are not houses but homes where a happy community lives. That is what finally matters. ‘(Awasarkar, M. 2019).

Third floor / regular homes

Figure 22 Doshi’s most celebrated design is the Life Insurance Corporation development where the intelligent design allows modern architecture, low-cost construction, and Indian life/culture to coexist, model above. The development offers 324 units over 4 hectares of land. Doshi said ‘Ties between social activities and physical structures translate into specific elements: shared landings, tiny balconies, open terraces and the plinth with its added steps and ledges’ (Mollard, M. 2019) which highlight the Figure 23 solution orientated thinking of Doshi

Fitfth floor / regular homes

their conditions of living” Georges-EugènedecideHaussmann’s transformation of Paris -Lebbeus Woods

Haussmann dictated that all buildings should be made from a light limestone with a zinc mansard roof. This formula creates a sense of order and visual harmony, within the capital.

Typically, the usage of space is the same in each of these Haussmann buildings, with wealthier Parisians living on the lower floor and poorer Parisians living on the upper floors. While today’s contemporary attitude would say the upper floors would higher value, in a time where lifts and elevators did not exist, living on the lower floors was a luxury as you would have less stairs to climb to reach your home.

Ground floor: Typically reserved for shops, featuring large windows and tall ceilings.

First floor: Also called the entresol or mezzanine, was often used for the storage of goods, for the shops below.

Second floor: Called the étage noble, or “noble floor” was reserved for upper-class Parisians. The exterior of the étage noble is characterised by its inticate wrought iron balconies.

Third and Fourth floors: Usually reserved for middle-class Parisians. Windows on the second and third floor are typically less decorative than the étage noble and these floors do not feature a balcony.

Fifth floor: This floor features a balcony, though this is mainly an aesthetic feature to maintain visual balance in the facade. Without this balcony, the front facade could be seen as too long.

Sixth floor: The final floor was typically used to home servants.

This floor features the distinctive zinc mansard roof. Earlier Parisian buildings would have had a slate roof; Haussmann opted for zinc as it was cheap, easily workable and recyclable.

Second floor / étage noble

11

Sacred Space

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| Lecture 04

Pre Lecture: Activity:

Haussmannian apartment (Sirisvisual, 2023) Haussmannian apartment elevation (Arch 100/110, 2023)

Figure 15

WEEK 5 - MEANING

Floor 5th : Space/void.

Architecture is constantly evolving due to new technologies and ideas that are introduced to societies which are then spread across the globe. Although it may be apparent that exciting new technologies discovered in today’s society are quick to be implemented into new designs, it simply reflects the same pattern of ‘the spread of ideas’ that we have seen throughout the course of history.

The architecture that informed the Gothic period drew upon a number of influences, such as the Romanesque, Middle Eastern and Byzantine.

All of which point towards a use of vertical emphasis to design through semi circular arches, vaults and columns.

S t r u c t u r e / P l a c e o f W o r s h i p : C h i n e s e o r J a p a n e s e P a g o d a Te m p l e Religion: Buddhism Floor 4th : Wind

Gothic architecture was mostly used as a way of communicating striking power and beauty. The architecture is constructed very practically using ribbed vaults, arches and flying buttresses to hold the structure together and support the loads of these typically very tall buildings. This way of designing enables the exaggeration of height creating an emphasis on the importance of these places, which were often used as places of worship or as a representation of power.

Floor 3rd: Fire The five-storied pagoda represents the five elements of nature and elements o f B u d d h i s m : 1 . e a r t h , 2 . w a t e r, 3 . f i r e , 4 . w i n d a n d 5 . s p a c e / v o i d . T h e P a g o d a levels symbolize a journey or pathway to heightened awareness and heightened perception (the final 5th floor).

The layered wooden grooves ascending in stages towards the sky evoke a spiritual connection. The metal spire at the top completes the structure and its symbolism. The building held Buddhist artwork, relics, statues, and religious o b j e c t s f i l l e d w i t h w i s d o m , p e a c e , a n d h a r m o n y.

F l o o r 2 n d : Wa t e r

Typically seen within ecclesiastical buildings, Gothic architecture is also accompanied and identified by sculpture, textiles and paintings.

Places designed using the Gothic style force people (typically spiritual congregations) to appreciate the scale and importance of Holy sites.

Floor 1st : Earth

Brutalist Architecture Brutalism, is characterised by harsh monolithic forms cast from exposed concrete. This style of architecture serves as one of architectures more polarising form of design. As a consequence to the war, brutalism is majorly seen in examples of social housing due to the post war reinstating of the United Kingdom. It began to frequently emerge as a result of its practicality and simplicity in form. It became popular and therefore most common during the 1950s following the post-war movement, however, peaked circa 20 years later during the 1970s.

Reflect:

Post-Lecture Observation: - THE SPREAD OF IDEAS

Pre-Lecture Activity: Gothic Architecture was first developed within the early 12th century in northern France which continued to spread across western and central Europe establishing the type Gothic architecture that we know today.

The term ‘Gothic’ was first introduced by Italian writers during the late Renaissance period. It was used as a word to imply a ‘barbaric’ undertone, of which, relates to this style of architecture due to it’s rather hard exterior and common use of stone. It served as a new way of design, for its time, that incorporated intricate detail developed through the observation of nature and exploitation of elegance.

Result:

13

Aesthetics & Taste Gothic Architecture

- Choose a place of worship of any recognised religion. Analyse the ways in which the Architect has designed the building to respond to the belief system and rituals of the religion.

- Sketch and annotate these different features on a drawing or photograph of the building.

Figure 16

The Roman Empire ruled from circa 31BC - 476AD, and made massive advancements on architecture and infrastructure during this period. They introduced a vast use of columns, domes and arches made from new found materials such as concrete, all of which we know still are in use today. The Roman Empire has had a very profound influence on Architecture, even centuries after it’s fall. Many iconic buildings of status and national monuments since have continued to have been designed to imitate this historic period of Architecture.

In 1804, when Napoleon was crowned Emperor of France, he commissioned works to renovate Paris following very similar traits to Rome. The Arc de Triomphe and the Place Vendome are two examples of how French architects have reused certain aspects of Roman design to bring a sense of importance and beauty to the space.

Reflection: Although very different in aesthetic, undeniably, both Gothic and Brutalist Architecture will have carried through elements of design from historic influences. For example, the use of concrete is a technology has been used within both Roman and Brutalist Architecture.

References:https://www.theartstory.org/movement/gothic-art-and-architecture/ https://www.architecture.com/knowledge-and-resources/ knowledge-landing-page/gothic#:~:text=Associated%20 with%20the%20Middle%20Ages,is%20an%20emphasis%20 on%20verticality. https://www.architecture.com/explore-architecture/brutalism

`Brutalist Architecture

https://architecturecompetitions.com/how-roman-architecture-influenced-modern-architecture# https://www.mpm.edu/research-collections/anthropology/ anthropology-collections-research/mediterranean-oil-lamps/ roman-empire-brief-history#:~:text=Imperial%20Rome%20 (31%20BC%20%E2%80%93%20AD%20476),-Rome’s%20 Imperial%20Period&text=During%20this%20period%2C%20Rome%20saw,Africa%2C%20and%20most%20of%20 Europe.

Images - Google Images

Brutalism is commonly known to be related to Concrete, which was a popular resource at the time. This was due to the practical characteristics of the material alongside it’s economic efficiency, being cheap to purchase and build. This is what introduced name ‘brutalism’ originating from the French words ‘beton brut’ meaning ‘raw concrete’.

We see beliefs and religion evolve from a shared belief system but most of the P l a c e s o f w o r s h i p f r o m a l l r e l i g i o n s a r e c e n t r e d a r o u n d t h e d i v i n e a n d a s e q u e n c e o f s p a c e s f o r m i n g a j o u r n e y t o t h e h e a v e n s , s k y, a n d g o d s . I n t e r e s t i n g t o s e e t h e r e i s t h e same emphasis on the 5 elements of Buddhism and also the five pillars of Islam.

Gothic Architecture

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Technology: 2/2 - Pre-Lecture Activity Modernity

Pre Lecture Activity Choose one design feature of the modern architectural movement. Explore how it can be seen as a response to the desire to create plentiful, healthy, hygienic housing. Find an image from a built project that shows this design feature. Annotate (or caption) the image with the ways in which this design feature can be understood as a response to the desire to create plentiful, healthy hygienic housing.

Roof Terraces & Solarium Villa Savoye, Le Corbusier, 1931, Poissy, France A solarium is any room that is exposed to the sun and is an example of a Modernist design feature. The Villa Savoye is a great example showing this. It was very important to Le Corbusier to design with health giving factors. Roof gardens became fundamental to him bringing nature, sunlight/daylight and fresh air into houses. Le Corbusier believed in the health benefits of fresh air and sunshine and considered leisure time spent outdoors to be one mark of a modern lifestyle.

Observation: how have building design alter to overcome different personal experience people have with the building?

Sunlight reflecting off the south facing walls

The Villa Savoye’s integration of indoor and outdoor spaces on all floors allowed the family to spend time outdoors in the most efficient way possible - the house was like a machine designed to maximise leisure in the ‘machine age’. A recurring concept of Le Corbusier’s designs was elevating buildings off the ground on slender columns allowing the air to circulate beneath. In Villa Savoye, the sunken first floor courtyard surrounded by sliding glazed screens blurred the distinction between inside and outside spaces, bringing nature indoors. He treated the courtyard terrace as a room without walls, reflecting his desire to fully integrate the landscape and architecture.

Photograph of the framed view of the landscape from the roof terrace

South facing suntrap solarium roof terrace

Fully glazed sliding screens integrating inside and outside spaces bringing fresh air and nature indoors

Framed views of landscape from roof terrace

Continuous windows providing panoramic views and constant awareness of the surrounding countryside are left unglazed in key areas between columns. This enhances the visual connection between the secluded courtyard and surrounding woodland.

Extensive glazing and sliding screens

Full height glazing maximising sunlight / daylight

Some windows left ungalzed linking courtyard with surrounding landscape

Panoramic windows

Photograph of the solarium and roof terrace 13

Roof lights providing natural light to inner rooms

Natural airflow beneath living Living accommodation elevated on accommodation slender stilts allowing air to circulate beneath and the building to hover above the landscape Drawing by myself. (2023). Axo sketch of the Villa Savoye [Drawing].

Cultural Context 02 | Journal

Fig 06: Oliver Langner Fig 07: Basil Anuar Fig 08: Harry Flack 80

Sunlights and large areas of glazing provide natural light to rooms that would otherwise be gloomy

Fig 09: Holly Mclean Fig 10: Asher Oxborrow Fig 11: Alketa Sadikaj

Definition Definition22--Stages Stagesfor forLife Life

12 12 12: ::

14 14::

Point 2 -2Comfort Point - Comfort

Point 11 - Fitting with context Point - Fitting with context

Point 3 3 -- Lighting Lighting Point Point 3 - Lighting

The The Development Development 13 13 13: :: asas aa more nuanced and personal approach to to thethe design, listening to to thethe stories told byby thethe existing more nuanced and personal approach design, listening stories told existing architecture and translating them to to suitsuit aa modern context (Littlefield && Lewis, 2007).

The resultant architecture and translating them modern context (Littlefield Lewis, 2007).

The resultant architecture can, therefore, bebe seen asas aa continuous conversation between thethe past and thethe present ofof architecture can, therefore, seen continuous conversation between past and present thethe structure; speaking thethe same architectural ‘language’ butbut with each being shaped byby their historic structure; speaking same architectural ‘language’ with each being shaped their historic and societal contexts.

The sense ofof continuity within thethe building can bebe seen in in thethe manner in in which thethe and societal contexts.

The sense continuity within building can seen manner which oldold and new interface.

The accuracy with which thethe new materials have been matched to to thethe existing and new interface.

The accuracy with which new materials have been matched existing concrete ofof thethe power station enables aa seamless transition between oldold and new, where it isit is often concrete power station enables seamless transition between and new, where often impossible to to determine where one ends and thethe other begins (Fig. 5,8). impossible determine where one ends and other begins (Fig. 5,8).

AsAs well asas linking to to thethe past ofof thethe Bankside power station, thethe use ofof brick and concrete have further well linking past Bankside power station, use brick and concrete have further connotations with thethe wider industrial age ofof Britain.

Throughout thethe Victorian era, countless industrial connotations with wider industrial age Britain.

Throughout Victorian era, countless industrial buildings were constructed across thethe country, often sharing thethe common materiality ofof brick and conbuildings were constructed across country, often sharing common materiality brick and concrete.

Due to to thethe ubiquity ofof these structures, particularly when applied at at aa large scale, these materials crete.

Due ubiquity these structures, particularly when applied large scale, these materials carry connotations ofof anan historic era that saw Britain asas thethe leading global power, undergoing aa vast carry connotations historic era that saw Britain leading global power, undergoing vast economic boom (Hall, 2019).

The sense ofof nostalgia forfor thisthis era ofof ourour history remains deep rooted into economic boom (Hall, 2019).

The sense nostalgia era history remains deep rooted into ourour society.

Today, many right-wing politicians idolise thisthis era through their rhetoric, longing forfor aa time society.

Today, many right-wing politicians idolise era through their rhetoric, longing time in in which Britain was thethe largest political power in in thethe world.

Conversely, left-wing politics often reveres which Britain was largest political power world.

Conversely, left-wing politics often reveres thisthis era forfor thethe economic opportunities it afforded many working-class communities, particularly in in thethe era economic opportunities it afforded many working-class communities, particularly north ofof thethe country.

The sense ofof restorative nostalgia that is is created byby these rhetorics wilfully ignores north country.

The sense restorative nostalgia that created these rhetorics wilfully ignores thethe negative impacts ofof imperialism, class division and thethe wider societal issues ofof thisthis age.

While forfor negative impacts imperialism, class division and wider societal issues age.

While some in in Britain, thethe Victorian era has connotations ofof manufacturing, innovation, economic boom and some Britain, Victorian era has connotations manufacturing, innovation, economic boom and power; equally valid are its associations to colonialism, classism, subjugation and control seen durpower; equally valid are its associations to colonialism, classism, subjugation and control seen duringing thisthis era.

ByBy specifically choosing to to reflect thethe architecture ofof thisthis time, thethe architects can bebe seen era. specifically choosing reflect architecture time, architects can seen to to validate thethe views ofof thethe people who idolise Britain’s industrial age.

It isIt is impossible to to separate thethe validate views people who idolise Britain’s industrial age. impossible separate negative connotations ofof thisthis era from thethe materials used in in thethe extension.

AsAs such, to to many, thethe building negative connotations era from materials used extension. such, many, building can bebe seen asas thethe modern idolisation ofof anan era that saw great societal injustices.

This can bebe viewed can seen modern idolisation era that saw great societal injustices.

This can viewed asas particularly problematic when considering that thethe building was envisaged asas aa dedicated space to to particularly problematic when considering that building was envisaged dedicated space house thethe artworks produced byby artists from marginalised groups.

Conversely, thethe fact that thethe archihouse artworks produced artists from marginalised groups.

Conversely, fact that architects adapted their material application, utilising thethe bricks asas aa semi-permeable façade, could bebe seen tects adapted their material application, utilising bricks semi-permeable façade, could seen asas anan attempt to to break away from thisthis past.

The actact ofof changing thethe materials rather than directly mirattempt break away from past.

The changing materials rather than directly mirroring them displays that thethe designers weren’t deifying thisthis historic era.

The nuances in in thethe application roring them displays that designers weren’t deifying historic era.

The nuances application ofof materials in in thethe oldold and new building can bebe seen to to lessen thethe connotations that thethe new extension materials and new building can seen lessen connotations that new extension has to to ourour nation’s dark history. has nation’s dark history.

01 01––Existing Existinghouse house 02 02––The TheCattle CattleShed Shed 03 03––The TheRuin Ruin 04 04- -Extension Extension

15 15::

CULTURAL CULTURALCONTEXT CONTEXT33

Tate Tate Modern Modern Switch Switch House House Herzog Herzog && De De Meuron Meuron Critical CriticalCase CaseStudy Study

Figure 8: 8: Figure (Herzog & De (Herzog & De Meuron 2015) Meuron 2015) 1010 / Critical Essay //// TateTate Modern Switch House: Herzog & De Mauron / Critical Essay Modern Switch House: Herzog & De Mauron

16 : :: 16 16

NEO BANKSIDE

Architecture as Ideological Form and the Stage for Life Architecture Architectureas asIdeological IdeologicalForm Formand andthe theStage Stagefor forLife Life

BARBICAN BARBICAN CENTRE CENTRE

111

Chamberlin, Powell, and Bon Chamberlin, Chamberlin,Powell, Powell,and andBon Bon 1965-182 1965-182 1965-182

Rogers Rogers Stirk Stirk Harbour Harbour ++ Partners Partners Cultural CulturalContext Context0303- -Critical CriticalEssay Essay BA BA(HONS) (HONS)Architecture Architecture2022-23 2022-23

8 8 8

Stage Stageofoflife life

DEFINITIO 1 –1 A–RACRHCIH TECTURE AS ISDIEDOELOOLG ICAL FORM TN IN O1N DEDFEINFIITNIIO – ARCHITEITCETCUTRUERAESAID EOLOGOICGAICLAFLOFROMRM Architecture as anan ideological form is a complex definition which relates toto thethe political oror cultural Architecture ideological form a complex definition which relates political cultural Architecture as as an ideological form is aiscomplex definition which relates to the political or cultural ideas and narratives that are contained and communicated within built structures.

In In terms of ideas and narratives that contained communicated within built structures. terms ideas and narratives that areare contained andand communicated within built structures.

In terms of of the Barbican, the building can bebe explored through the links to philosophy, psychology, and artart Barbican, building explored through links philosophy, psychology, thethe Barbican, thethe building cancan be explored through thethe links to to philosophy, psychology, andand art studies. studies. studies.

In order to to provide thethe project thethe most adaptability, thethe architects In order provide project most adaptability, architects of the Neo Bankside development adopted thethe ‘served andand servant’ of the Neo Bankside development adopted ‘served servant’ space theory.

TheThe floor plates areare kept stiffstiff andand areare resistant to lateral space theory. floor plates kept resistant to lateral loads from thethe wind thanks to to external diagrid bracing.

Because of of loads from wind thanks external diagrid bracing.

Because thisthis structure, thethe interior arrangement andand layout areare more flexible structure, interior arrangement layout more flexible because internal shear walls andand cores areare no no longer required.

This is is because internal shear walls cores longer required.

This notnot thethe case with thethe Willow walk development as as they have opted case with Willow walk development they have opted to to useuse conventional columns andand cores to to help to to distribute loads conventional columns cores help distribute loads throughout thethe structure in ainmore inexpensive manner to keep costs throughout structure a more inexpensive manner to keep costs down andand make thethe scheme financially viable forfor affordable housing down make scheme financially viable affordable housing tenure.

Even though thisthis reduces thethe flexibility andand adaptability of the tenure.

Even though reduces flexibility adaptability of the internal spaces, there is aiswide enough mixture of housing types that internal spaces, there a wide enough mixture of housing types that cater forfor thethe needs of the housing crisis. cater needs of the housing crisis.

UtotpoiapniaVnisViiosnion UtU opian Vision The flats in the Barbican estate were originally leased by the City of London however became The flats Barbican estate were originally leased City London however became The flats in in thethe Barbican estate were originally leased by by thethe City of of London however became privately owned in in the 1980s following the introduction to the ‘Right toto Buy’.

There are over 80 privately owned the 1980s following introduction ‘Right Buy’.

There over privately owned in the 1980s following thethe introduction to to thethe ‘Right to Buy’.

There areare over 80 80 flat types in in this scheme, where the idea was that residents would be able toto work their way up types this scheme, where idea was that residents would able work their way flatflat types in this scheme, where thethe idea was that residents would be be able to work their way up up the economic ladder by moving to different apartments within the estate.

Described asas “a“a home economic ladder moving different apartments within estate.

Described home thethe economic ladder byby moving to to different apartments within thethe estate.

Described as “a home for young professionals, likely to have have a ataste for Mediterranean Mediterranean holidays, French food, and youngprofessionals, professionals,likely likely have taste Mediterranean holidays, French food, forforyoung to to a taste forfor holidays, French food, andand Scandinavian design” (Barbican Jon Astbury, n.a) the Barbican was development designed Scandinavian design”(Barbican (Barbican - Jon Astbury, n.a) the Barbican was a development designed Scandinavian design” -- Jon Astbury, n.a) the Barbican was aadevelopment designed with intentions toto bebe more than typical council housing scheme. with intentions more than a typical council housing scheme. with intentions to be more than aatypical council housing scheme.

With thethe utilisation of of Richard Rogers’ signature external bracing, With utilisation Richard Rogers’ signature external bracing, it can be be argued that thethe layout cancan be be easily adapted to to facilitate it can argued that layout easily adapted facilitate affordable housing on on sitesite with thethe addition of partition walls to divide affordable housing with addition of partition walls to divide thethe spaces intointo smaller average sized homes to to house families that spaces smaller average sized homes house families that have been staying in in temporary housing, waiting forfor a permanent have been staying temporary housing, waiting a permanent home.

However with thethe average price perper square foot significantly home.

However with average price square foot significantly higher than that of areas likelike where willow walk is located, it would be be higher than that of areas where willow walk is located, it would financially unviable forfor thethe council to introduce affordable housing on on financially unviable council to introduce affordable housing thethe sitesite of an already established andand built up up area where thethe price perper Figure 5: (Rogers Stirk Harbour + Partners, 2020) of an already established built area where price Figure 5: (Rogers Stirk Harbour + Partners, 2020) square foot hashas reached £12,110 perper metre squared, thethe highest in the square foot reached £12,110 metre squared, highest in the While comparing thethe spatial layouts of both thethe Neo Bankside project with thethe Willow Walk development, there areare many stark differences in the While comparing spatial layouts of both Neo Bankside project with Willow Walk development, there many stark differences in the spatial requirements forfor thethe user of the space andand thethe wayway thethe spaces have been arranged to to suitsuit thethe different demographic use.

Neo Bankside spatial requirements user of the space spaces have been arranged different demographic use.

Neo Bankside apartments andand penthouses have grown outout thethe spaces andand included amenities wewe typically findfind in in common areas or or in in thethe public domain, apartments penthouses have grown spaces included amenities typically common areas public domain, designed intointo thethe layout of of thethe apartments to to increase thethe square footage of of thethe apartments andand standard of of living, while also driving up up thethe designed layout apartments increase square footage apartments standard living, while also driving prices forfor investors to to park more money intointo what they perceive as as assets.

Cinema rooms, private libraries andand galleried reception spaces inside prices investors park more money what they perceive assets.

Cinema rooms, private libraries galleried reception spaces inside these homes eliminate thethe need forfor social interaction with thethe outside world.

Even though thethe spaces in layout andand spatial arrangement of of thethe these homes eliminate need social interaction with outside world.

Even though spaces in layout spatial arrangement Neo Bankside apartments areare open plan andand easily adaptable, they have been designed to to prescribe certain modes of of living andand orchestrate Neo Bankside apartments open plan easily adaptable, they have been designed prescribe certain modes living orchestrate restrictive activities andand routines forfor thethe inhabitants.

A large proportion of apartments have private elevators opening directly intointo thethe apartment restrictive activities routines inhabitants.

A large proportion of apartments have private elevators opening directly apartment which eradicates thethe connections andand relationships wewe typically form with ourour neighbours.

TheThe choreography of of spaces enables spatial agency which eradicates connections relationships typically form with neighbours. choreography spaces enables spatial agency through thethe design decisions determining thethe activities andand andand utilisation of the spaces by by thethe user.

This contrasts thethe spatial layout of the Willow through design decisions determining activities utilisation of the spaces user.

This contrasts spatial layout of the Willow Walk development in which thethe apartments only consist of the necessary spaces a house needs which include bedrooms, bathrooms, living, dining Walk development in which apartments only consist of the necessary spaces a house needs which include bedrooms, bathrooms, living, dining andand kitchen space with little wastage of space with thethe arrangement of public living spaces interlinked together andand private living spaces arranged kitchen space with little wastage of space with arrangement of public living spaces interlinked together private living spaces arranged adjacent to the public living space while divided with partition walls in a rectilinear format.

The apartments open up to a lift lobby area where the adjacent to the public living space while divided with partition walls in a rectilinear format. The apartments open up to a lift lobby area where the residents of each apartment have a chance to interact, socialise andand form connections with their neighbours.

In the short stay housing component of of residents of each apartment have a chance to interact, socialise form connections with their neighbours.

In the short stay housing component thethe development, wewe seesee areas which encourage thethe residents to socialise andand develop connections with oneone another.

With shared kitchen spaces development, areas which encourage residents to socialise develop connections with another.

With shared kitchen spaces andand properties opening directly onto an an open courtyard green space with seating forfor thethe residents to come together andand interact with oneone another. properties opening directly onto open courtyard green space with seating residents to come together interact with another.

Low rise blocks consist ofof and bed flats while the towers comprise ofof and bed homes Low rise blocks consist 1 and 2 bed flats while the towers comprise 3 and 4 bed homes Low rise blocks consist of 11 and 22 bed flats while the towers comprise of 33and 44bed homes creating this idea ofof built, and perhaps social hierarchy. creating this idea a built, and perhaps social hierarchy. creating this idea of aabuilt, and perhaps social hierarchy.

Figure Figure1:1:(Sumner, (Sumner,2015) 2015)

Primary photo taken on an architecture tour ofofthe the site Primaryphoto phototaken takenon onan anarchitecture architecturetour tourof thesite site Primary primary photo thethe view framed bythe thethe primary photo of the thethe courtyard thethe FFigiguFuriregeu1r11e1–1–1AA–primary A primary photo of view framed by photo ofofthe view framed by – primary A primary photo of courtyard in FFiigguFuirrgeeu1r1e001––0 AA photo of courtyard inin the columns. utopian feelfeel created through thethe stark Barbican Centre showing anoverview overview ofthe the architectural columns.

A utopian is created through stark AA utopian feel isis created through the stark Barbican Centre showing an overview of the architectural columns.

Barbican Centre showing an of architectural contrast between thethe brutalist architecture, itsrepeated repeated features andand thethe design elements adopted by by thethe contrast contrast between brutalist architecture, its repeated between the brutalist architecture, its features design elements adopted features and the design elements adopted by the features, andand thethe softsoft colours andand reflections the water. architects toachieve achieve utopian feel. features, colours reflections of the water. features, and the soft colours and reflections ofofthe water. architects to achieve a utopian feel. architects to aautopian feel.

Mediterranean characteristics areare seen the palm trees Mediterranean characteristics are seen ininthe palm trees Mediterranean characteristics seen in the palm trees onon thethe balconies, thethe redred tiled flooring, andand thethe blue on the balconies, the red tiled flooring, and the blue balconies, tiled flooring, blue coloured body ofwater. water. coloured body of coloured body of water.

Fig : :Jenna Daher Fig : David Bekiareli Fig 12 Daher Fig 15 :: David Bekiareli Fig12 12 : Jenna Jenna Daher Fig15 15 David Bekiareli Fig : :Swathee Atputhasigamany : Carmen Calugar Fig 13 Atputhasigamany Fig 16 :: Carmen Calugar Fig13 13 : Swathee Swathee Atputhasigamany Fig Fig16 16 Carmen Calugar Fig 14 : Jacob Hughes Fig Fig 14 14:: Jacob Jacob Hughes Hughes

81

Professional Practice

Professional Practice Module Lead Monika Jociute

Tutors

Monika Jociute, Asem Al Bunni, Stephen Hadley

Our Professional Practice module is designed and structured to lay the foundation for ‘life-long learning’ in the architectural profession, and its primary purpose is to enable our students and apprentices to show competence in practice.

All students and apprentices are introduced to professional practice through a series of lectures and workshops, some of which have been delivered by external guests as a way of demonstrating a range of in-depth project case study examples which reveal various legal and economic aspects of architectural practice, construction procurement routes, and skills necessary to practice effectively in the architectural profession.

The understanding of the professional practice of architecture, its co-relationships, and the concepts of ethical professionalism together with the roles and responsibilities of the architect have been demonstrated by our students and apprentices by delivering group role-play and independent project case study submissions which demonstrate the content learned through the course of this module.

82

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86

MArch: Master of Architecture

(ARB/RIBA PART II) 87

MArch: Master of Architecture

(ARB/RIBA PART II) Course Directors:

Professor Igea Troiani - MArch: Master of Architecture FT & PT Kazeem Awotunde - Level 7 Architect Apprenticeship

Year 04 & 05 Design Tutors MArch Studio 01

Federico Rossi (Lead) Marco Vanucci, Anna Muzychak

MArch Studio 02

Teoman Ayas (Lead), Seda Zirek

MArch Studio 03

Kazeem Awotunde (Lead) Andrea Tiberi, Yianna Moustaka (Sem 1), Adamos Papakonstantinou (Sem 2)

Technology 05 Thesis:

Margarita Germanos (Lead), Larry Allison

Technology 05 Lectures: Kazeem Awotunde (Lead), Stephen Hadley

History and Theory: Critical Thinking

Igea Troiani (Module Lead Sem 1), Hamed Khosravi (Module Lead Sem 2), Valerio Massaro, Ioana Petkova, Hakan Yildiz Guest speakers: George Jepson, Steve Bowkett, Stephen Lovejoy, Katerina Zacharopolous, Hongxia Pu

Architecture and Theory: Dissertation

Prof. Igea Troiani (Module Lead), Steve Bowkett, Stephen Lovejoy, Valerio Massaro, Ioana Petkova, Federico Rossi

Energy & Resource Efficiency in Design Eva Sopeoglou

Professional Practice & Design Economics Stephen Brookhouse

88

In 2022-2023, the MArch: Master of Architecture (Full-time 2-year course and Part-time 3-year course) and the 3-year apprenticeship route of study, MArch: Master of Architecture Postgraduate Diploma in Professional Practice course are the RIBA Part II courses offered at LSBU. This year, for the first time, the RIBA Part II students had the opportunity of having their own floor on the 8th floor of the Keyworth Centre in which each of the three studios had their own studio spaces.

MArch Studio 01 taught by Federico Rossi, Marco Vanucci, and Anna Muzychak ran a studio entitled ‘Super Structures’. Inspired by Herman Hertzberger’s theories of structure, it studied architecture as a kit of parts where components can be playfully assembled, disassembled, re-used, recycled and up-cycled at will. It focused on architectures of prefab, pre-serviced, off the shelf, reclaimed components and how they can be produced and constructed with non-standard and custom assembly processes. Centering on the growing social inequalities and environmental crises the studio sought net-zero, scalable and circular strategies to produce a more sustainable and inclusive built environment. The site of the project was Pesaro in Marche, Italy. It was visited by the students as their field trip. The studio employed component prototyping and expanded the research into digital fabrication done in the DARLAB (The Digital Architectural and Robotics Laboratory) Group, which is led by Federico.

‘ReMIX’ was the title of the MArch Studio 02 taught by Teoman Ayas and Seda Zirek. The studio responds to the climate emergency as a critical aspect of our era and architecture’s implicit involvement in material use. MArch Studio 02 contend that ongoing attempts to focus solely on technological solutions is insufficient to create the necessary cultural and architectural response. Studio 22 explores the means to go beyond techno-fix approaches by exploring methods of up-cycling which are designed with limited inventories.

Like the ever-expanding criteria of sustainability that includes

material, social and economic aspects, the studio expanded the concept of pre-used inventory to include architectural spaces, diagrams, materials and more. The site for the project was the empty Fosters+Partners City Hall building near Tower Bridge. The field trip was to Amsterdam where students were exposed to radical strategies of reuse.

MArch Studio 03 was taught by Kazeem Awotunde, Andrea Tiberi, Yianna Moustaka (Sem 1) and Adamos Papakonstantinou (Sem 2). Described by some as a Lebbeus Woods style studio with a biomimetic focus, the work of the studio was explored through free-hand and digital drawing and model-making. The MArch Studio 03 entitled ‘Structure as Space’ was a place for research and exploration, not only of the current social challenges but also of ourselves, finding our own expression. A key research element of the studio was the examination of specific global communities where social interaction and collective living as the basis for models of urban design. Aesthetics and history of place-making are central to the studio’s focus. The field trip was to Marrakesh, Morocco where students undertook cultural place-making studies to inform their design work.

Professor Igea Troiani Course Director, MArch: Master of Architecture June 2023

89

MArch Studio 01 Super Structures

Super Structures

Design Tutors

Federico Rossi (Lead) Marco Vanucci, Anna Muzychak

Year 01 Students

Dan Alexandru Dunca, Florence Golding Harris Jeyaputhiran, Ioana Rus José Matheo Taguiang, Martyna Stolarz, Renee Banks Delvecchio, Siobhan De Souza Johnathan Herath, Ege Tarlakazan Amar Singh Sidhu, Danny Perrier Joshua Carter, Maisie Coomber Thomas Blount

Year 02 Students

Javier De Leon Gonzalez Mohamed Al-Doury, Chloe Tayali Alexander Warne, Benjamin Booth Evelina Rodrigues, Jack Cottrell Jack Taafe, Jake Wilson, James Hickford, Samuel Bailey Seyhmus Acis, Upinder Bahra

Thanks to:

Andrew Ascroft, Kazeem Awotunde, Teoman Ayas, Ruben Baiocco, Simone Capra, Tony Hopes, Yianna Moustaka, Manuel Orazi, Matteo Ricci, Marcello Smarrelli, Jack Theobald, Andrea Tiberi, Igea Troiani, Daniele Vimini, Seda Zirek.

90

“Structure is how things work or fit together. Structure creates freedom, in the way that rules of play enable the game”.

(Herman Hertzberger) MArch Studio 01 understands architecture as a kit of parts where components can be playfully assembled, disassembled, re-used, recycled and up-cycled at will. An architecture of generic parts (prefab, pre-serviced, off the shelf, reclaimed components) can be produced and constructed with non-standard and custom assembly processes. Today, the growing social inequalities and environmental crisis demand a radical change in the way we design, procure, and deliver buildings. We need net-zero, scalable and circular strategies as a way to produce a more sustainable and inclusive built environment.

This year, MArch Studio 01 work on the city of Pesaro, a seaside town along the Italian North Adriatic coast. The Adriatic was historically considered the ‘gate to the Levant’ and, today, the terminal of the Belt and Road Initiative, a strategic masterplan of the Chinese government to develop new trade routes between Asia and Europe. This is an opportunity to rethink the cities and ports of the Northern Adriatic. The urbanization along the coasts of Emilia Romagna and Marche region has grown over time following the ‘Emilian model’: the diffusion of small to medium enterprises, often clustered by industrial specialization, has produced the ‘diffuse city’, a territory that is neither urban or rural and where the leisurely coastline coexists with the inland industrial districts. In 1972, Carlo Aymonino elaborated a master plan for Pesaro that introduced large-scale interventions connecting the city and its territory.

Manfredo Tafuri described these projects as urbatecture, a rubric that described the turn from architecture as an object to the merging with urban planning. Following in their footsteps, Studio 01 will develop a super block, a large-scale structure acting as an urban node, infrastructural or logistics interchange. How can the super block challenge the sprawl and mitigate the unrestricted growth of the city? How can prefabricated super structures adapt to local conditions and be the catalyst of urban regeneration?

01:

Fig 01: Jake Wilson

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MArch Studio 01 Super Structures 02:

03:

04:

Fig 02: Thomas Blount Fig 03: Alexander Warne Fig 04: Martyna Stolarz 92

05:

06:

07:

Fig 05: Samuel Bailey Fig 06: Upinder Bahra Fig 07: Florence Golding 93

MArch Studio 01 Super Structures 08:

09:

Fig 8: Dan Alexandru Dunca Fig 9: Joshua Carter Fig 10: Thomas Blount 94

10:

11:

12:

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Fig 11: Joshua Carter Fig 12: Maisie Coomber Fig 13: Florence Golding 95

MArch Studio 01 Super Structures 14:

15:

20:

16:

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Fig 14: Jake Wilson Fig 15: Upinder Bahra Fig 16: Ege Tarlakazan 96

Fig 17: Alexander Warne Fig 18: Danny Perrier

19:

Fig 19: Martyna Stolarz

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MArch Studio 02 ReMIX Architecture

ReMIX Architecture Urban Upcycling, Material and Fabrication Hacking, Respatialization of Urban Space

Design Tutors

Teoman Ayas (Lead), Seda Zirek

Year 01 Students

Margaret Crick, Nadia Delaimy, Mosbah El Khalil, Rebecca Greenway, Rohan Kalsi, Ibrahim Saeed, Syful Islam, Luke Baggott, Ken Yeung, Thomas Newsom, Luis Ceita, Meabh Minnus, Kamil Perzanowski, Todd Fletcher, Max Rayner

Year 02 Students

Jedidiah Boateng, Parth Damani, Sara Katunaric, Ian Sunjhoreea, Anoop Thilak, Karoline Koch, Thomas Koren, Benjamin Miller, Niks Piliens, Jonathan Stevens, Rafael Teixeira, Zahra Zare, Luis Rodrigues Guedes

Climate emergency as a critical aspect of our era is a highly complex and overwhelming reality that has proved hard to come to terms with.

“Climate change has yet to be conceptualised as a cultural and political reference around which our discourses on architectural imagination can take shape” Neyran Turan Ongoing attempts to focus solely on technological solutions is insufficient to create the necessary cultural and architectural response. MArch Studio 02 will explore the means to go beyond such techno-fix approaches.

There is no “away”. Most things created and used in our world are here to stay. Almost 10 percent of annual global carbon emission is linked not only to the construction but also to the demolition of buildings. Considerations around the full lifecycle and consequences of the built environment lead to opportunities for new architectural language that optimises, reclaims and reimagines. Engaging with found conditions challenges the top down hierarchies, whilst technological advancements enable us to imagine new bottom-up strategies to organise and build.

This studio is inspired by the methods of up-cycling that promotes design using limited inventories. Similar to the ever-expanding criteria of sustainability that includes material, social and economic aspects, it also expands the concept of pre-used inventory to include architectural spaces, diagrams, materials and more.

98

01:

02 :

Fig 01: Luis Ceita Fig 02: Luis Ceita 99

MArch Studio 02 ReMIX Architecture 03:

04:

Fig 03: Luis Ceita Fig 04: Sara Katunaric 100

05:

06:

07:

Fig 05: Luis Ceita Fig 06: Ian Sunjhoreea Fig 07: Ian Sunjhoreea 101

MArch Studio 02 ReMIX Architecture 08:

09:

10:

Fig 08: Meabh Minnis Fig 09: Nadia Delaimy Fig 10: Niks Piliens 102

11:

12:

Fig 11: Thomas Newsom Fig 12: Niks Piliens 103

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14:

15:

16:

Fig 13: Nadia Delaimy Fig 14: Studo Trip Fig 15: Kamil Perzanowski 104

17:

Fig 16: Rafael Teixeira Fig 17: Rafael Teixeira

18:

19:

20:

Fig 18: Rafael Teixeira Fig 19: Rafael Teixeira Fig 20: Rafael Teixeira 105

MArch Studio 03 Structure As Space

Structure as Space

Design Tutors

Kazeem Awotunde (Lead), Andrea Tiberi, Yianna Moustaka (Sem 1), Adamos Papakonstantinou (Sem 2)

Year 01 Students

Ashanti Onike Catherine Darby, Ilinca Rusu, Tinca Rusu, Juliana Mara Presente Gomes, Oliver Kaye, Reece Harrison, Sofia Browning, Syed Ali Akbar, Aiya Khabbush, Ayesha Beazley, Robert Beer, Chloe Gladden, Russell George Brown

Year 02 Students

Albert Boborodov, Anthony Mumagi, Anas Osman, Daniel Brudkiewicz, Juliana Amorim Antunes, Jumana Rand Katar, Khaled Salameh, Negin Moradi Gheisvandi, Nicole Oliveira Miranda, Nornesto Fernandez, Oluwatobiloba Adeogun, Oumaima Kabak, Uran Jerlija, Victor Velev, Zakaria Tehami, Zaki Abdelshah

Guest Critics

Tudor Cristescu (ECD Architects) Ema Benzar (Lees Associates) Carmelo Loris Campo (Loris Campo)

106

A Trip to the Moon (French: Le Voyage dans la Lune) - 1902 French adventure short film directed by Georges Méliès. “Magic tricks and illusion became my speciality. The world of imagination” Georges Méliès 1861 - 1938.

MArch Studio 03 is the place for research and exploration, not only of the current social challenges but also of ourselves, finding our own expression. This year, we are focused on the key themes held within our longstanding research area titled “Structure as Space”.

Architecture could be seen as the art of designing buildings and structures for convenient human habitation and utilisation, considering such factors as the variation in norms and social values for attaining social comfort in different societies. (Astrolabe, 2002; Cited in Rikko et al. 2011).

MArch Studio 03 explored design values and their depiction in architecture to promote social interaction and well-being in the built environment, creating improved residential, civic, or community spaces. This initiates discussions on how built environment professionals address issues of social isolation and their impact on human well-being through embracing sustainable design. A key research element focused on examining specific global communities where social interaction and collective living successfully formed the basis for models of urban design; the synthesis of this research demonstrates how these findings may be integrated into design methodology to improve the specific knowledge of architecture in creating environments actively contributing to human well-being through socio-cohesion that promote community and ethical representation in our contemporary cities.

01:

Fig 01: Albert Boborodov

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Fig 10: Nicole Oliveira Fig 11: Oluwatobiloba Adeogun, Nicole Oliveira 109

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Fig 12:Juliana Amorim Antune Fig 13: Zakaria Tehami Fig 14: Sofia Browning 110

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Fig 15:Ayesha Beazley Fig 16: Reece Harrison, Oumaima Kabak Fig 17: Oumaima Kabak 111

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Male and female bathrooms

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The Music World Centre is designed for a long period of time and will be visited by thousands of people every day, which makes a reinforced concrete construction inevitable, but also necessary in terms of sustainability. For time and cost reasons, I plan to have the reinforcement for the floor slabs and the concrete stair elements as well as the segments of the lift prefabricated and delivered and installed just in time on the construction site.

64

3

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Fig 18: Anthony Mumagi Tinca Rusu, Zain Akbar Fig 19: Oumaima Kabak Fig 20: Illinca Rusu 112

DESIGN 402 STUDIO 3 ASHANTI DARBY

INDEX

Narrative Drawing 1 Site Analysis 2, 3, 4 Precedents 5 Sketches 6 Design Development 7 Plans 8 Sections & Elevations 9 Final Perspectives 10 Case Study: Fes 11 The Mechanism 12, 13 Architectural Film 14

Fig 21:Illinca Rusu Fig 22: Victor Velev, Negin Moradi Gheisvandi Fig 23: Negin Mora,di Gheisvandi ,Zakaria Tehami, Junana Rand Katar

25:

Fig 24: Chloe Gladden, Ashanti Onike Darby Fig 25: Uran Jerlija, Zaki Abdelshah 113

Technology 05 Semester 1 Lead Kazeem Awotunde

Semester 2 Lead

Margarita Germanos

Tutors

Margarita Germanos, Larry Allison, Stephen Hadley, Kazeem Awotunde

High technology is revolutionising architectural design. The shift is altering both the process and end- result of a new breed of innovative architecture that is disrupting the industry and heading in unexpected and exciting directions.

Structure, material, and construction, all form a part of the intellectual process that help to enhance the themes and narratives of architecture. From generative design mimicking nature evolutionary approach to additive design, 3D printing, and robotics.

At postgraduate level, graduates must be able to demonstrate successfully and clearly the ‘ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals.’ (RIBA procedures for validation and validation criteria for UK and international courses and examinations in architecture; September 2011).

This year, the Technology 5 -Technical Thesis, help students develop and express their conceptual and technical skills. It enhances their ability to reflect on different architectural design ideas and its implementation, embracing aesthetics, formal and spatial qualities, and resolution to their final Design 503 project.

Embracing emerging technologies, students will also develop an understanding of the user requirements, safety and comfort when completing their report. Issues associated with professional practice, health and safety and use of space will all be key to their understanding. They will demonstrate their understanding of the theoretical and practical and of the technical requirements for construction of a final year masters design project.

114

Temple Of Knowledge

Albert Boborodov

01:

London South Bank University

02:

--

MArch - Technology 5: Technical Thesis

03:

Fig 01: Albert Bobordov Fig 02: Zakaria Tehami Fig 01: Uran Jerlija 115

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05:

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Fig 04: Khaled Salameh Fig 05: Anthony Mumagi Fig 06: Thomas Koren 116

Fig 07: Seyhmus Acis Fig 08: Samuel Bailey

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Fig 09: Upinder Bahra Fig 10: Daniel Brudkiewicz

Fig 11: Rafael Texieira Fig 12: Karoline Koch 117

History & Theory: Critical Thinking Sem 1 Module Lead Prof. Igea Troiani,

Sem 2 Module Lead Dr Hamed Khosravi,

Tutors

Valerio Massaro, Ioana Petkova,

Guest Lecturers

Hakan Yildiz, George Jepson, Steve Bowkett, Stephen Lovejoy, Katerina Zacharopolous, Hongxia Pu

History & Theory module develops around thematic lecturers by the tutors and guest lecturers. Core readings and extended bibliography are provided for each theme that is discussed in seminar sessions on a weekly basis. In 2022-23, Semester 1 is structured along the themes of Development & Criticality, Labour & Gender, Conservation & Regeneration, and Critical Practices.

Semester 2 is focused on Research Methods that is themed around the notion of drawing as an investigatory tool.

The lecture series undertakes a close reading of artistic and experimental methods and practices as well as precedents that have historically shaped the foundation of architectural representation. It reads architectural drawing as an assembled form; a mode of thinking and design, that reflects the intellectual, cultural, political, and technological ethos of the time. It aims to bring together various experimental and scientific methods, analytical devices, and artistic practices to explore the use of media and representation of space as a form of multi-scalar investigation; one that expands from architecture to the territory and the urban as well as collective and individual imaginaries.

From analogue tools, and modelling techniques, to curatorial projects or publications, the lectures and seminars will address key projects that use architectural media (drawings, paintings, collages, films, and models) beyond the pure representational purposes but instead as a systematic form of enquiry.

118

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Fig 01: Luke D. Baggott, Villa Harris Fig 02: Thomas Newsom, Petite Maison Fig 03: Tinca Rusu, Villa Meyer

Fig 04: Amar Sidhu, Villa Goldenberg Fig 05: Ilinca Rusu, Villa Meyer 119

06:

08:

Fig 06: Aiya Khabbush, Maison Locative Ponsik Fig 07: Chloe Gladden, Maison Locative Ponsik Fig 08: Margaret Crick, Maison Ribot 120

07:

09:

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Fig 09: Juliana Presente Gomes, Maison Minimum Fig 10: Rob Beer, Maison Canale Fig 11: Russell Brown, Maison Cook 121

Architecture and Theory: Dissertation Module Lead:

Professor Igea Troiani

Dissertation Supervisors:

Steve Bowkett, Stephen Lovejoy, Valerio Massaro, Ioana Petkova, Federico Rossi, Prof. Igea Troiani.

‘Architecture and Theory: Dissertation’ is a module that addresses the research, analysis, interpretation, and communication of architecture, in the form of a written dissertation (10,000 words max. in length + or – 5% excluding bibliography) on a topic of the student’s choice, agreed with their dissertation supervisor and the module leader, concerning the histories and theories of architecture.

In 2022-23, students chose topics relating to architecture’s relationship to post-colonial studies, competitions, gender studies, conservation practice, digital technologies, sustainable and environmental responsibility, social housing, religious faiths, media studies etc. The work produced by students was of an impressive standard that showed their genuine engagement with topic and the unconditional support of their supervisors.

122

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Fig 01: Dominic Sparks Fig 02: Nicole Oliveira Miranda

Fig 03: Khaled Salameh Fig 04: Nour Borghol 123

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Fig 05: Akram Askaari Fig 06: Oluwatobiloba Adeogun Fig 07: Harry Hayes 124

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Fig 08: Oumaima Kabak Fig 09: Albert Boborodov Fig 10: Efstratia (Faye) Theodora Rigkou 125

Energy and Resource Efficiency in Design Module Leader Eva Sopeoglou

The module addresses contemporary discussions within educational guidance and the current professional frameworks regarding the climate and biodiversity emergency in the built environment. The module is delivered at the intermediate, 1st year for full-time and 2nd year of part-time and apprenticeship studies of the MArch Part 2 stage of the professional qualification for architects.

The students engage with critical terminology introducing climate literacy principles, environmental design, passive solar design and an overview of climate change’s historical account. The lectures and seminars provide a practical basis for MArch students.

To address the challenges posed by climate change, our efforts must be founded on research rigour and the spirit of collaboration.

The module sets out a framework for design-based research on climate, environmental and biodiversity studies, preparatory for the 5th and final year of MArch Design Studio and Technical Thesis.

The work consists of a Sustainability Research technical report, a design-based research project that includes written text, diagrams, and drawings. The research draws on key literature, current topical information available via the library, books, and journal articles, and the most up-to-date information in alternative formats to traditional academic resources— such as podcasts, online webinars and nonprofit pressure group documents. The research topics covered four themes: Climate Justice, Biodiversity, Carbon and Retrofit.

126

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On east and west orientations, they may act as an effective means of reducing direct heat gain and glare but will not bounce light as deeply into the space.

fig 12. Zone A - Sun reacting to Life shelve

Single plane of glass leads poor heat reduction, heat escaping quickly through the gass

Thermal efficiency is a key concern,reducing heating bills and comfort.

Replacing each single plane with a double glazing will: Decreased heat loss through the windows meaning reduced energy bills Reduction in outside noise penetrating the property and your comfort Security benefits to the property (The double glazing can also be made using tempered, safety glass) Saves money on the new window joinery and installation.

Reduction in waste of disposing of all the window frame material for a modern PVC equivalent unit

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Fig 01: Antony Miller Fig 02: Margaret Crick Fig 03: David Sattaur 127

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CONTEMPORARY INTENSIVE GREEN ROOF DETAIL:

THEREFORE, IT WILL TAKE 55 YEARS TO OFFSET THE BUILDINGS CONSTRUCTION CO2 EMISSIONS, NOT ACCOUNTING FOR OPERATIONAL & MAINTENANCE EMISSIONS.

TO INTENSIVE VEGETATION

(PERENNIALS, SHRUBS & TREES)

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TOTAL CONSTRUCTION EMISSIONS (CONCRETE) (TONNE)

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(+ ROOT BARRIER)

AVERAGE SALE PRICE + €63/m2/Yr FOR MAINTENANCE

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INSULATION (WARM ROOF)

BUILDING STRUCTURE

FLAT ROOTING TREES

VAPOUR BARRIER

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Balconies and vegetation Winter solar gain

Wind protection

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Fig 18 - Tower Ecosystem

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Green Walls

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Fig 07: Harry Horwood Fig 08: Dominic Sparks 129

Professional Practice and Design Economics Module Leader:

Stephen Brookhouse

130

This module introduces students to contemporary practice offering lectures outlining the knowledge of the professional, legal, and managerial responsibilities of a practicing architect structured around the four themes of: Professionalism and ethics; Architectural Practice; The legislative framework; and Project delivery. Specific Lectures in the module included: 1) Professionalism and ethics; the practice environment; Planning; Heritage and sustainability; Fire and Life Safety (CDM): The role of the architect; the RIBA Plan of Work 202 and Stakeholders in project delivery; Project appraisal: Cost planning and value; Procurement; and Contracts. The coursework tested bringing the four themes together and involved a piece of reflective writing. The course was led by Prof. Stephen Brookhouse. Stephen’s books include Part 3 Handbook [3rd edition] (2014) and Professional Studies in Architecture: a Primer (2013).

Stephen is an expert in dispute resolution in the construction industry and the use of non-adversarial methods such as dispute boards and mediation.

01:

03:

A Critical Review

The challenges to the design and delivery of projects after the Grenfell Tower Tragedy (Fire & life safety and wellbeing).

02:

Fire, life safety and wellbeing is an important topic in contemporary architectural practice. With an ever growing population, and our expansion of building, particular larger, multiple occupancy dwellings, means housing more people in one structure. In essence, there are more people, in more dwellings, and the government’s housebuilding target of 300,000 more homes per year has undoubtedly put pressure, particularly on large scale development companies, to produce new homes to meet this demand (BBC, 2022).

At current date, we have more preventative measures than ever before to ensure the safety of those in built spaces.These include (but are not limited to) Building Control requirements and regulations, appliances with preventative features, such as induction hobs and HobSafe devices, firestopping design strategies, which ensure the safe installation and maintenance of electrical and plumbing routes, materials such as fire rated plasterboard, NS putty pads, Stopseal batt, Pyropro sealant, PS Coating and Pipebloc PCP collars. Measures such as addressable fire alarm systems and sprinklers systems also contribute towards minimising risk of fire and maximising wellbeing.

There are also a number of Acts of Parliament and Regulations which have been implemented before and as a direct result of tragedies such as Grenfell Tower and Barking Riverside. These include the Health and Safety at Work Act 1974, which places a legal duty on employers to ensure the health, safety and welfare of employees, and to ensure that employees and others are kept safe (Legal Requirements, no date).

Other encompassing legislation includes the Building Safety Act of 2022 (which focuses on imposing strict duties on not only the design and construction of buildings but also addresses architects’ competence.) (Building Safety Act, no date). Not currently enforced, the Fire Safety Act 2021 “clarifies the scope of the Fire Safety Order

to make clear it applies to the structure, external walls (including cladding and balconies) and individual flat entrance doors between domestic premises and the common parts of a multi-occupied residential building.” (Home Office, 2022, 45%)

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Fig 01: Jake Nelson Fig 02: Rebecca Greenway Fig 03: Florence Golding 131

132

Part 3

(ARB/RIBA PART III) 133

RIBA Professional Practice (ARB/RIBA PART III)

Part 3 Module Lead:

Peter Wislocki (Sem 1) Kathy Gal (Sem 2)

Guest Lectures:

Stephen Brookhouse, Greg Dowden, Joseph Emanuele, Gordon Gibb, Alan Johnson, Evan Owen-Powell, Jonathon Wong

Our Professional Practice Part 3 course is the third and final stage of architectural education and professional training, and is the culmination of at least seven years’ academic study and professional development. The course builds on the professional knowledge, skill and experience that has been gained over this time.

The course can be completed in 12 to 24 months, depending on the employment circumstances of each student and their individual readiness to progress. Graduates can apply for registration with the Architects Registration Board and for chartered membership of the Royal Institute of British Architects.

The course is offered through a comprehensive lecture series, workshops, group and individual tutorials. These are provided by qualified architects who are experienced at Part 3 level, academics and practitioners, and guest lectures by industry experts from related disciplines. Support for professional experience and development is provided through the year by a Professional Studies Advisor.

Assessment is through a variety of formats comprising records of experience, a case study, a written examination completed offcampus over one week and a professional interview.

Kathy Gal Course Director, RIBA Professional Practice June 2023

134

Interactive role-play: 'The Contract Game'

riba.part 3

Building Control: Regulations Fire

riba.part 3

workshops

Professional Appointments; Services Fees

lecture series

riba.part 3

lecture series

Introduction to Construction Law

lecture series

lecture series

riba.part 3

Building Procurement Selection + Contracts

riba.part 3

riba.part 3

lecture series

Building Control: CDM Party Walls

riba.part 3

riba.part 3

lecture series

Historic Environment + Planning Appeals

lecture series

riba.part 3

riba.part 3

lecture series

Context Professional Codes of Conduct

lecture series

riba.part 3

riba.part 3

lecture series

workshops

Town Planning: Legislation + Applications

Professional Liability + Risk

Business Management Financial Control

Interactive: 'Mock Professional Interview' 135

136

Architecture Research

(DARLAB, The RAID Lab) 137

DARLAB

Head:

Associate Prof. Federico Rossi

Members:

Finian McCann, Luis Pinho Santos, Shahzada Sultan, Saam Kaviani

The Digital Architectural and Robotics Lab (DARLAB) is an established research group founded and directed by Associate Professor Federico Rossi part of the School of Built Environment and Architecture. Applied research to examine the changes in the requirements for architectural production that result from the introduction of digital manufacturing techniques. Research interest lies in combining data and material and the resulting implications this has on architectural design.

The possibility of directly fabricating building components designed on a computer expands the range of possibilities for construction.

Directly implementing material and production logic into the design process; creates a unique architectural expression and a new aesthetic. The objective is to develop integration between new materials and new tools to develop innovative construction fabrication processes. Robotic manufacturing has changed the architectural profession significantly in recent years, and architects, engineers and artists all stand to benefit from industrial robots, like DARLAB, that can be turned into innovative manufacturing tools.

In the construction industry, DARLAB breaks typical constraints and solves common problems by implementing digital workflow in manufacturing embedded with the design process itself.

In March 2023 at MSFORCE - Manufacturing Symbiosis Forum for the Circular Economy Conference at Aston University in Birmingham, the results of the UKMSN EPSRC-funded project Sustainable Construction through Robotic Additive Manufacturing were presented.

DARLAB, BSRIA, and London councils were awarded with Innovate UK grant on smart retrofitting for digital workflow processes for building asset management. Saam Kaviani in April 2023 successfully defended his PhD proposal on Biomimetic Building Skin Development: Evolutionary designed building skins with embedded biomimetic adaptation behaviours.

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Fig 01: SCRAM 3D printed truss

139

The RAID Lab Head:

Professor Igea Troiani,

RAID is a research group within architecture that focuses on design and methodological innovation in architectural design. It studies 1) digital and analogue technologies that enhance architecture’s social purpose 2) innovation in design methodologies for architectural education; and 3) new approaches to architectural aesthetics used to enhance a sustainable society. Members of RAID approach these topics from alternate perspectives. Three RAID events have been organised in 2022-23. The ‘Digital Heritage Symposium -Recording Full Site Value’ which was held on the 23rd of February, 6-9pm in the Westminster Theatre at LSBU HUB. Co-organised by Prof. Igea Troiani (LSBU), Associate Prof. Rikke Munck Petersen (University of Copenhagen) and Prof. Hugh Campbell (University College Dublin). The symposium considered ways of recording undervalued, difficult and recalcitrant sites using a variety of digital media. Guest speakers included Prof. Rosa Tamborrino (Politecnico di Torino, Italy), Jacob Kirkegaard (Denmark), Prof. Richard J. Williams (Edinburgh College of Art, Scotland).

‘Le Corbusier’s Models of Worldmaking’ was a symposium held on the 30th of March, 2023, 5.30-8.30pm in the Keyworth Centre at LSBU. Organised by Dr Hamed Khosravi (LSBU) and Prof. Igea Troiani (LSBU), the symposium celebrated an exhibition of 150+ models of Le Corbusier built and unbuilt projects proposed for 13 countries. Guest speakers including Prof. Alan Powers (London School of Architecture), Prof. Tim Benton (Open University), Rene Tan (Director, RT+Q) and Layton Reid (Visiting Prof. at University of West London) reflected on Le Corbusier’s work not only in terms of its formal modernist preoccupations but instead in relation to contemporary ethical, socially-aware, and ecologically-just practices. The Division of Architecture hosted an exhibition of the models from 21st March to the 6th April 2023.

The ‘Points of Creation Symposium’ ran from 11am to 5pm on the 9th June 2023 and was also held in the Westminster Theatre at LSBU HUB. Co-organised by Steve Bowkett, Yakim Milev, Gosia Starzynska, and Elisavet Hasa from LSBU, the symposium examined the challenges and opportunities emerging from new digital processes and platforms to contemporary design and drawing in the field of architecture. Guest speakers included Prof.

Sam Jocoby (Royal College of Art) and Dr Maciej Nisztuk (DBF, Poland).

140

01:

Fig 01: Le Corbusier’s Models of Worldmaking

141

Architecture Community

President

Dorothea Donnelly

This year, the Architecture Society changed its name to the Architecture Community and unveiled our new logo. As a result, we removed student roles, allowing any member of the community to volunteer whenever they could, whether for a specific event or a certain number of hours. This change also made it easier for any member to contribute suggestions for future events they would like to see. Throughout the past year, the community organized informal meet-up sessions and hosted a model making workshop.

For more detailed information, please visit the Architecture Community page on the student union website: https://www. southbanksu.com/opportunities/communitiesandsocieties/ group/14988/

142

Model Making Workshop Calling all Architecture Students!

(and anyone else interested in architectural modelmaking) Join us for a fun workshop

Tuesday 28th March @ 4pm Room K405 Materials and tools will be provided, but feel free to bring your own favourite tools and materials or anything else you would like to try out

Fig 01:Community Workshops

143

Studio Trips & Events Course Destination BA Year 1

Barcelona

BA Studio 01 BA Studio 02 BA Studio 03 BA Studio 04 BA Studio 05 BA Studio 06

Athens Berlin Wales Paris Amsterdam Copenhagen

MArch Studio 01 Pesaro MArch Studio 02 Amsterdam MArch Studio 03 Morocco

The Architecture Division at LSBU organises an array of events, site visits, city walks, and studio trips each year for the course, allowing students to explore diverse architectural contexts while gaining practical experience and design inspiration.

This year, BA Studio 01 visited the ancient Greek city of Athens, BA Studio 02 traveled to Berlin, BA Studio 03 explored Wales, BA Studio 04 journeyed to Paris, BA Studio 05 embarked on a trip to Amsterdam, and BA Studio 06 ventured to Copenhagen.

Additionally, BA Year 1 students had the chance to explore Barcelona, a city known for its rich architectural heritage.

For the MArch course, MArch Studio 01 visited the picturesque Italian city of Pesaro, MArch Studio 02 went to Amsterdam, and MArch Studio 03 traveled to Morocco. These studio trips not only offer students exposure to diverse architectural styles, historical periods, and cultural contexts but also provide them with the chance to interact with local architectures and engage in design workshops.

Such experiences contribute significantly to their architectural education, broadening their perspectives and enriching their creative approaches to design.

This year, LSBU Architecture and LSBU Active have come together in a collaborative effort to create a healthier and more dynamic learning environment for all of our students. As part of this joint initiative, we had the pleasure of offering two complimentary sessions of Dodgeball and basketball. We believe it is crucial to recognise the advantages of stepping away from the confines of the studio and breaking free from the sometimes monotonous routine of staring at screens. Our intention was to encourage students to take a break from their academic work and engage in physical activities that would provide a well-rounded and balanced experience.

By participating in the Dodgeball and basketball sessions, students were able to benefit from holistic support and acknowledged the significance of maintaining a healthy equilibrium between academic commitments and physical well-being. Students’ active involvement not only contributed to their personal well-being but also helped foster a stronger sense of community within our department. As we move forward, we will continue to explore innovative ways to promote a healthier and more dynamic learning environment, where both mental and physical aspects are nurtured.

144

01:

02:

Fig 01 & 02: BA Year 1_Barcelona

145

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Fig 03: BA Studio 01_Athens Fig 04 & 05: BA Studio 04_Paris 146

05:

06:

07:

08:

09:

Fig 06: MArch Studio 03_Morocco Fig 07 & 08: Technology 05 Lecture Series_Tour

of King’s Cross, London. Lead by: Kazeem Awotunde, Stephen Hadley, and Alex Buckland.

Fig 09: LSBU: Architecture x Active Event

147

Studying at LSBU Creating a Studio Culture and a Thriving Learning Hub

At LSBU, fostering a studio culture is a cornerstone of our approach to architectural education. We believe in creating an environment where students can develop and hone their skills through hands-on learning, collaboration, and experimentation. Our aim is to empower students to become well-rounded architects equipped with the practical skills and creative mindset necessary for success in the field.

In our studio culture, students are encouraged to think critically, challenge conventions, and explore innovative design solutions.

Through a combination of workshops, design reviews, and peerto-peer learning, students have the opportunity to refine their technical skills, such as architectural drawing, model-making, and digital design tools. Moreover, we emphasize the importance of communication and presentation skills, enabling students to effectively convey their design ideas to various stakeholders.

Within the studio setting, students work closely with faculty members, who serve as mentors and guides throughout their architectural journey. The faculty provides valuable feedback, encouraging students to push their boundaries and refine their design thinking. This collaborative and supportive environment fosters a sense of community, where students can learn from each other’s strengths and diverse perspectives.

By cultivating a studio culture at LSBU, we strive to create an immersive and dynamic learning experience that prepares our students to tackle real-world architectural challenges. Through the development of technical skills, critical thinking, and collaboration, our students graduate with the confidence and capabilities to thrive in the ever-evolving field of architecture.

148

01:

02:

03:

04:

Fig 01: BA Studio Model Making Workshops Fig 02: Design Presentations Fig 03: Studio Talks and Lectures

Fig 04: End of Year Reviews and Pin-ups

149

05:

06:

Fig 05: BA Year 1 Studio Space Fig 06: BA Year 1 Design Reviews 150

07:

08:

09:

Fig 07: LSBU AIA Student Charette, Competition Commendation Fig 08: MArch Design Tutorials Fig 09: MArch Studio Space 151

Architecture Lecture Series, Talks & Exhibitions On behalf of LSBU, we would like to extend our heartfelt thanks for the support and participation in the range of talks and exhibitions organized by the Architecture Division this year. These events have been instrumental in showcasing diverse perspectives, fostering intellectual engagement, and providing valuable learning opportunities for our students and faculty.

We are grateful to the guest speakers, academics, and leading architects/designers from the industry who generously shared their knowledge and expertise. Your contributions have enriched our educational environment and inspired our students to explore new ideas and approaches within the field of architecture.

The thought-provoking discussions and the visual exploration offered by the accompanying exhibitions have further enhanced the educational experience at LSBU. We appreciate the support of the established architects whose work was showcased and presented, providing our students with a platform for experiential learning and inspiring them to push the boundaries of architectural innovation.

By collaborating with industry leaders and hosting these events, LSBU continues to cultivate a vibrant centre for architectural discourse and innovation. Thank you for being a part of our commitment to excellence in architectural education.

Convened by Dr. Hamed Khosravi and Prof. Igea Troiani

152

Architectural Lecture Series:

Architectural Lecture Series:

01:

02:

Andrew Wilson

Iain Borden

Atelier Culture:

Skateboarding Terrains – Sixty Years of Design:

Japan has a strong architectural culture, built on a teaching laboratory and atelier practice model, evidenced by the global reach of many Japanese architects. This lecture will give an account of modern architecture in Japan in the twentieth century, the persistence of

Over six decades, skateboarding has evolved into a rich set of urban practices, cultures, practitioners and spaces. In this talk, Iain Borden focuses on the diverse range of different architectures designed for – and often by – skateboarders. These terrains have developed

vernacular traditions, and an overview of contemporary Japanese architecture today. The role of architects in the aftermath of the Great Tohoku Earthquake will be discussed, and the consequences of this disaster on approaches adopted by architects today.

from primitive surf-inspired plywood tracks in the 1960s to the first asphalt and concrete skateparks of the 1970s, through wooden ramps and obstacles in the 1980s and 1990s, and culminating in today’s multiple offerings of skateparks, DIY projects, art installations, skate dots and skateable spaces. Together, they provide an unique and important contribution to the design and vitality of our cities.

Iain Borden is Professor of Architecture & Urban Culture, and Vice-Dean Education, at The Bartlett, University College London. As one of the world’s leading academics for the history and practice of skateboarding, he has worked with numerous local communities, skateparks, city authorities, property developers and other groups on their provision for skateboarding. His two books Skateboarding and the City: a Complete History (Bloomsbury, 2019) and Skateboarding, Space and the City (Berg, 2001) are the key references for the academic study of this activity, along with Design and Development Guidance for Skateboarding (Skateboard GB, 2020).

Other publications include Forty Ways to Think About Architecture (Wiley, 2014), Drive: Journeys through Film, Cities and Landscapes (Reaktion, 2012), Bartlett Designs: Speculating With Architecture (Wiley, 2009), Manual: the Architecture and Office of Allford Hall Monaghan Morris (Birkhauser, 2003), The Unknown City: Contesting Architecture and Social Space (MIT, 2001) and InterSections: Architectural Histories and Critical Theories (Routledge, 2000).

l 5 - 7pm

Bartlett School of Architecture, UCL

20.10.2022

architectural exhibitions, and his own work and collaborations have been exhibited at the Venice Biennale (2008) and in Australia. In 2016 he was Head of the Leeds School of Architecture.

Iain Borden:

Keyworth Centre, Lecture Room K-505

Queensland (1945-1975): Building and Interpreting an Oral History Archive’. He has presented invited lectures and peer-reviewed conference papers in Japan, New Zealand, the United Kingdom and Australia. He was a JSPS Invitation Visiting Fellow at the University of Tsukuba (2011) and a Visiting Foreign Research Fellow in 2012 and 2013. He was invited as Visiting Scholar to KU Leuven, Belgium in the second half of 2014. He curates

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learning and an open international cultural exchange with a focus on the Asia Pacific.

Wilson is principal of NMBW Queensland Office and has contributed as a Chief Investigator to a competitive external research grant, led by Professor John Macarthur from the Australian Research Council, a Linkage Grant for ‘Architectural Practice in Post-war

Location:

Andrew Wilson is a registered architect, architectural educator, and researcher with practice experience in Australia and Germany. He teaches architectural and urban design studios and history and theory subjects. He is committed to critical approaches to design

Keyworth Centre, Lecture Room K-119

School of Architecture, The University of Queensland

Location:

l 5:30 - 7pm

Andrew Wilson:

Poster Image & Description (Top Right) Overview of Venice Beach skatepark. ©Iain Borden (2022)

London South Bank University | 103 Borough Road, London, SE1 0AA

London South Bank University | 103 Borough Road, London, SE1 0AA

School of the Built Environment and Architecture

School of the Built Environment and Architecture 2022 / 2023

2022 / 2023

Architectural Lecture Series:

Architectural Lecture Series:

03:

04:

Ian Bogle

Sophie McCarthy

From Bogota to Beijing A journey in architecture across the globe:

Design in Analogue Learning by doing and doing by learning:

Ian Bogle discusses the studio’s exploration of cultural, climatic and environmental differences across the continents. From a residential project in Bogota, via research in Prague,

Sketching, drawing and modelmaking are all important tools in the design process, not just in the initial concept design stage but throughout the lifespan of a project, including

education in Dubai and exhibition space in Beijing the journey continues across varying typologies to finish in Singapore at the world’s largest kinder-garden.

technical details and working through problems on site. In this lecture we will explore how ‘thinking through doing’ is vital in design development – how an analogue process of making is not only fun; it helps us to understand how things fit together and change over time. In exploring the way we work, by contrast, we will also look at ‘doing by thinking’ and how learning from past experiences can help shape and influence our workplace conditions.

University. www.boglearchitects.com

at practices in Glasgow and Edinburgh, before moving to London in 2008 to lead larger schemes in Europe and the Middle East. Sophie set up her own all-female studio – Kirkwood McCarthy – in 2013, before moving to Atomik Architecture in 2020 as Design Director. Her portfolio covers residential, hospitality, hotels, museums and office projects at many different scales, and in widely varying contexts.

While every project demands a different approach, sketching and modelmaking remain central to Sophie’s design process as tools for exploring materiality, light and space.

Career highlights range from Lawson Park - an artist residence in the Lake District (RIBA Award 2011) to the £300 million Al Bahr office towers in Abu Dhabi, which won the Council for Tall Buildings and Urban Habitats (CTBUH) inaugural innovation award in 2012 and Winkley Workshop, an award-winning new build 2-bed house in East London, celebrating light and space on the site of a derelict upholstery workshop.

Poster Image & Description (Top Right) Concept Sketch of Xiling Gateway Pavillion, Xiling National Park, China – Sutherland Hussey Harris Architects

Poster Image & Description (Top Right) The Early Learning Village – Singapore (Image Credit – Infinitude/Bogle Architects)

London South Bank University | 103 Borough Road, London, SE1 0AA

London South Bank University | 103 Borough Road, London, SE1 0AA

School of the Built Environment and Architecture

School of the Built Environment and Architecture 2022 / 2023

Fig 01:Andrew Wilson - Atelier Cultures Fig 02:Iain Borden - Skateboarding Terrains Fig 03:Ian Bogle - From Bogota to Beijing

l 5 - 7pm

Sophie studied at the Mackintosh School of Architecture at the Glasgow School of Art, graduating with distinction in 2005. She then worked on cultural and heritage projects

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to lecture on Architecture and Design across the international conference circuit. Beyond the studio he is a Trustee of the Jubilee Gardens Trust in Waterloo, a Governor of More House School in Knightsbridge and a visiting end-point assessor at London South Bank

Sophie McCarthy: Design Director, Atomik Architecture

The Hub, Blackfriars Theatre

Ian believes in education through encouragement and opportunity and is frequently invited

02.02.2023

facility for most powerful lasers in the world (ELI Beamlines in Prague), the largest kindergarden in the world for over 2100 Early Years aged children (The Early Learning Village in Singapore) and the most significant mixed-use regeneration project in Porto.

Location:

Bogle Architects operates from it‘s studios in London and Prague and has gained a reputation for thinking out the box with examples of the studio’s work including the Research

Keyworth Centre Level 7 K-706

Ian founded Bogle Architects in 2012 and the multi award winning practice is now active in over 25 countries in Asia, Africa, Europe, the Middle East and South America across many different building typologies and sectors.

Location:

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Ian Bogle: Creative Director – Bogle Architects

2022 / 2023

Fig 04:Sophie McCarthy - Design in Analogue

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Architectural Lecture Series:

05:

06:

Stephen Hadley + Kevin Coello Stanton Williams - How We Work Stephen Hadley and Kevin Coello discuss the work and ethos of the Stirling prize winning architectural practice Stanton Williams. Founded by Alan Stanton and Paul Williams in 1985 the studio now has an established team of over 80 people, working on projects across a diverse range of typologies and scales.

Stephen will share his tips and knowledge from nearly twenty years in the practice, highlighting what makes a good graduate portfolio, and how best to prepare for an interview. Kevin will share his experience of being a Part 1 and 2 at Stanton Williams and explain the role he has had on a number of key projects over his time at the practice.

Stephen Hadley Associate Director – Stanton Williams

Kevin gained his Part I at Kingston University in 2018, graduating with first-class honours. He joined Stanton Williams in 2019, working on the Museum of London project. After obtaining his diploma at London Metropolitan University, he re-joined Stanton Williams in 2022 and is currently working on the Merton College Library project for the University of Oxford.

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Kevin Coello Architectural Assistant – Stanton Williams

Keyworth Centre Level 7 K-705

reuse of existing buildings. Stephen teaches in parallel with his work in practice and, in 2022, he was appointed Technical Studies lecturer at London South Bank University, having previously served as visiting critic, lecturer, and student mentor at a number of London architecture schools.

Location:

Hospital site in the centre of Cambridge. Stephen is currently leading the Norton Folgate project for British Land in Shoreditch and is also working on the refurbishment and extension of Rhodes House in Oxford. While varied, Stephen’s work has consistently explored the relationship between old and new, with many of his projects located within sensitive historic settings or involving the transformation and adaptive

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Stephen joined Stanton Williams in 2004, his work includes the multi-award winning Bourne Hill Offices for Wiltshire Council; the new public square at London King’s Cross; and the Cambridge Judge Business School’s expansion on the Old Addenbrooke’s

www.stantonwilliams.com Poster Image & Description UCL East Marshgate, under construction Image Credit – Stanton Williams London South Bank University | 103 Borough Road, London, SE1 0AA

School of the Built Environment and Architecture 2022 / 2023

07:

08:

Architecture Open Day Workshops: A2

S aturday

12 November

How to Prepare a Portfolio

th

A3

London South Bank University | 103 Borough Road, London, SE1 0AA

School of the Built Environment and Architecture 2022 / 2023

Fig 05:Stephen Hadley & Kevin Coello Stanton Williams (How we Work) Fig 06:Point of Creation Symposium 154

Fig 07:LSBU Architecture Open Day -

How to Prepare a Portfolio Fig 08:Le Corbusier’s Models of Worldmaking

09:

10:

11:

12:

Fig 09:Digital Heritage Symposium Fig 10:LGBTQIA + Awareness

04:

Fig 11:Le Corbusier’s Models of Worldmaking Fig 12:LSBU International Women’s Day 155

London’s Common Gardens LFA: London Festival of Architecture 2023

Student Team:

Emily Kajdi, Lillian Bartella, Steve Jell, Rhys Riddle, Aimie Cheetham, James Kernot, Dylan Finch, Rory Ward

CNC Consultant:

Jack Theobald, Design & Modelling Technician

Partners:

London Festival of Architecture Loughborough Farm

Collaborators: Remakery

Funders:

London South Bank University Landscape Research Fund Brixton BID Groundwork

Co-organisers: Ioana Petkova Valerio Massaro

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London’s Common Gardens aims to upscale and exchange local knowledge on ecological community architecture. The project builds upon the research work of BA Studio 03 which investigates ways to rethink designing as the product of collective and shared forms of knowledge. The students are encouraged to think about architecture as a social and ecological environment. This research project was a collaboration with Loughborough Farm and included two public events within the London Festival of Architecture.

Common Gardens: Dialogues was a panel discussion, connecting farm students, volunteers, academics, activists and architectural practitioners; Common Gardens: Practice was a day of workshops at the farm. The events were staged through a structure which was co-design by farm volunteers and students. The design and build outcome included some outdoor seating and planters, which will remain on the farm after the events to foster future activities. The project was funded by the LSBU Research Impact Fund, Landscape Research Group, Brixton BID Community Fund and Groundwork.

Image: Loughborough Farm ©Karen Hooper

01:

LFA2023

03:

1–30 June 2023

02:

lfa.london/2023

04:

05:

Fig 01:LFA Event Poster Fig 02:CNC Workshops

Fig 03, 04 & 05:BA Studio 03 students presenting their reseach projects at the open panel discussion

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London South Bank University Architecture Staff Course Directors / Module Leaders Dr. Asem Al Bunni Senior Lecturer in Architecture BA Studio 01 Tutor Larry Allison Senior Lecturer in Architecture Technology 03 and Technology 05 Tutor Kazeem Awotunde Senior Lecturer in Architecture Course Director, Level 7 Architect Apprenticeship Technology 5 Lecture Series Module Leader Design 401, 402 & 403 Module Leader MArch Studio 03 Tutor

Dr. Hamed Khosravi Senior Lecturer in History & Theory History and Theory Module Leader (Sem 2) Stephen Lovejoy Senior Lecturer in Architecture Architecture & Theory Dissertation Supervisor Cultural Context 02 & 03 Module Leader

Steve Bowkett Senior Lecturer in Architecture Communications 02 - Digital Design Module Leader BA Year 01 Design Tutor

Bandele Olubodun Senior Lecturer in Architecture BA Studio 06 Tutor Communications 02 Tutor

Carlos Fenick-Sanchez Senior Lecturer in Architecture Design 101, 102 & 103 Module Leader Communications 01 Module Leader BA Year 01, Year Lead and Tutor

Carlene Prince Senior Lecturer in Architecture Cultural Context 01 Module Leader BA Year 01 Tutor

Kathy Gal Senior Lecturer RIBA Part 3 Course Director, RIBA Professional Practice Part 3 (Sem 2) Lecture Series Module Leader Case Study Module Leader Career Evaluation and Interview Module Leader EPA Case Study Supported by Design, Challenge Module Leader Level 7 Progression Module Leader Margarita Germanos Senior Lecturer in Architecture Technology 05 Thesis Module Leader Monika Jociute Senior Lecturer in Architecture Course Director, Level 6 Architect Apprenticeship End Point Assessment Level 6: Architectural Assistant Professional Practice (BA) Module Leader Design 301, 302 & 303 Module Leader BA Studio 04 Tutor

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Spyridon Kaprinis Senior Lecturer in Architecture Course Director, BA (Hons) Architecture (Sem 2) Design 201, 202 & 203 Module Leader BA Studio 02 Tutor

Federico Rossi Associate Professor Director of Digital Architecture and Robotic Lab MArch Studio 01 Tutor Eva Sopeoglou Senior Lecturer In Sustainable Design Energy and Resource Efficiency in Design Module Leader Professor Igea Troiani Head of Division of Architecture Course Director, Master of Architecture FT & PT Courses History and Theory Module Leader (Sem 1) Design 501, 502 & 503 Module Leader Architecture & Theory Module Leader Angela Vanezi Senior Lecturer in Architecture Course Director, BA (Hons) Architecture (Sem 1)

Lecturers Daniel Wing Hang Tang Lecturer in Architecture Digital Representation 02 Tutor BA Studio 02 Tutor Maria Aceytuno Poch BA Technology 02 Tutor Kira Ariskina BA Studio 01 Tutor Teoman Ayas MArch Studio 02 Tutor BA Technology 02 Tutor Liam Bedwell BA Studio 04 Tutor Stephen Brookhouse Professional Practice and Design Economics Module Lead Jonathan Bush BA Studio 06 Tutor Vincenzo Caputo BA Technology 01 Module Lead and Tutor Ruggero Chialastri BA Technology 01 Tutor Milo Ayden De Luca BA Technology 02 Module Lead and Tutor BA Technology 02 Lecture Series Module Lead Maria Echeverri Mallarino BA Technology 01Tutor

Stephen Hadley Professional Practice (BA) Tutor Technology 05 Tutor Joao Leal Bravo Da Costa BA Technology 01 Tutor Valerio Massaro BA Studio 03 Tutor Cultural Context Tutor History & Theory Tutor Architecture & Theory Dissertation Supervisor Yakim Milev BA Year 01 Tutor Communications 02 Tutor Yianna Moustaka MArch Studio 03 Tutor (Sem 1) Anna Muzychak MArch Studio 01 Tutor

Calista Stewart BA Year 01 Tutor Andrea Tiberi BA Year 01 Tutor Communications Tutor Technology 03 Module Lead Technology 03 Lecture Series Module Lead MArch Studio 03 Tutor Elham Valikhani BA Studio 05 Tutor Poppy Van Dijk BA Technology 02 Tutor Marco Vanucci MArch Studio 01 Tutor Seda Zirek MArch Studio 02 Tutor

Anthony Okoluko BA Studio 05 Tutor Adamos Papakonstantinou BA Studio 01 Tutor Communications 02 Tutor MArch Studio 03 Tutor (Sem 2) Ioana Petkova BA Studio 03 Tutor Cultural Context Tutor History & Theory Tutor Architecture & Theory Dissertation Supervisor Malgorzata Starzynska-Grzes BA Year 01 Tutor

Elisavet Hasa BA Year 01 Tutor BA Studio 05 Tutor Cultural Context 02 Tutor

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Student List BA (Hons) Architecture (FT1) Azhaar Ahmed Hussein Abdikadir Adedoyin Daniel Adeyelu Basira Ahmadi Hansan Abukar Ahmed Syed Ishaq Ahmed Faisal N Kh M J Alaskar Friba Ali Merieme Alimerina Sami Almond Keyan Arap Corin Alicia Bateman Julia Zuzanna Bednarek Darian Wladimir Benavides Sarango Natascha Benitez Villafuerte Agnesa Bikliqi Adam Bouaoune Catalina Butucel Ian Buzdugan Jairo Jose Camposano Orihuela Yi Khang Chiew Juliana Isabel Congil Goncalves Katherine Lizeth Correa Joseph Graham Patrick Cross Charlie George Dadson Patricia Emilia David Matthew William Deely Ali Diaa Al Din Spasimira Dimitrova Shelayne Raeisha Dowman Ghofran El Marioud Blerta Elezaj Charlotte Elliott-Ford Ilmiye Ergiden Nikita Fevralovs Micah Fleary Michaela-Mae Foster Myles Leon Kenneth Garrett Dumitru Ghinda Manuela Esperanca Gomes Goncalves Kaaya Bharti Goncalves-Gosai Mohamed El Mehdi Haddi Salman Muhammad Hafeez Peter Horvath Fahim Ahmed Hussain Muneera Junaid Vanessa Kandracova Ourania Kolila Uzair Gulam Lacewala Amal Sabrese Milton Looby Aleena Mahmood Jyothirmayee Mannar Isa Ali Manzoor Mohamed Nuruden Mohamed Navidaa Musa Ramon Larrainzar Nzang Asum Mikolaj Wladiswav O’Brien Samuel Oluwapelumi Ademola Olajide Mahnoor Paracha Michael Mateusz Pecyna Daniel Augusto Pinto Rodrigues Sarun Premachandran Rustam Rahmatulin Marjana Akther Ramy Maleeha Rashid Zoraiz Raza Ashley Lloyd Anthony Reid Ewelina Remiszewska Mariam Riane Enkela Sadikaj Mohammed Samiul Ahmed Sami Ali Housseni Sangare Sana Shabir

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Aqsa Shahid Hussain Shamaian Tasnia Siddique Ishaq Ssenyonga Maisha Yasmin Tahid Rose Mary Thomas Kamber Tintas Hamzah Varachhia Adam James Willard-Spencer Jolanta Wojtala Tooba Zahid

BA (Hons) Architecture (FT2) Andi Abdullahi Patricia Estella Kemigisha Abeja Carla Maria Agostinho Da Silva Ada Esther Bartholomew Ezra Odin Zed Barwin Mirza Imran Beig Cem Bektas Wasim Bensefia Shaimae Binani Zara Bostan Kimberley Shadai Cornejo Ortiz Oliver Nathaniel Davies Manal El Fardi Bakkali Norran Ahmed El-Attar Jasmin Hiba Eloubaidi-Saunders Tselmeg Erdembileg Daniele Ferrentino Kimberley France Camelia Friptu Thomas Gawdat George Agon Gjakija Manuel Alexander Gonzales Tapia Chelsea Gabriella Goodman Pedram Hajian Nejad Reshawn Rudolph Harding Angela Virginia Hernandez Bonna Alysha Hussain Anxhela Jaho Matilda Jaho Youssef Jib Emily Sophia Kajdi Shanai Kaycee Keddo-Campbell Elis Asura Klinger Adrian Konik Enoch Koomson Sara Krasniqi Dejzi Laze Louis Roman Lefroy-Brooks Marius Valentin Machis Tanya Ellen Mcnally Sara Mihaela Mihaila Caitlin Abbie Mitchell Reem Ghassan Mohammed Aamina Moheuddin Gerard Elvis Mortimer Mohamed Mohamoud Musa Haaris Ubaid Nabibux Malvern Junior Remekedzai T Nyawiri Chelsee Owusu Oliveira Rhys Riddle Marios Rustemi Alketa Sadikaj Xhovana Sejdia Ellis Jay Smith Sharad Suman Allan Terestal Victoria Hope Walker Ozlem Yeter

BA (Hons) Architecture (FT3) Tasnima Ahmed Najla Ahmed Omar Ahmed George Nathan Arcino Swathee Atputhasigamany David Bekiareli Houda Ben Hamadi Alexandra Beatrice Blanaru Yeliz Bozkurt Nuha Madihah Chowdhury Jenna Riad Daher Thomas Alfie Dickason Dorothea Christine Donnelly Ibraheem Farooq Kelsey De Sousa Freire Rex Dominick Galanta Owen Patrick Gosden Kameron Francis Grant Kian Peter Hales Marianne Amelia Hernandez Bonna Taneen Hossain Jacob James Byron Hughes Mirza Mohammad Yaseen Hussain Nazahah Amina Iqbal Afif Khairi Khalid Kai Martin Sahar Hedah Maryal Mohammed Atef Armaan Monnan Mhd Wasef Naji Misha Naseem Akay Ozturk Arika Pal Drashti Bharatbhai Parsana Viktoria Petkova Kirupa Sailakshmi Pulichintala Raja Xhesika Rama Zahra Rana Luke David Sadler Rayan Aram Sarafian Karen Daniela Uribe Orozco Gina Kaur Virdi Rory Ward Ilyayda Yaldaram Christine Rose Mejia Ylagan

BA (Hons) Architecture (PT2) Holly Alison Carolyn Nash

BA (Hons) Architecture (PT3) Alex Christopher Webb

BA (Hons) Architecture (PT4) Carmen Calugar Miroslav Nikolaev Hristov

BA (Hons) Architecture (PT5) Tilly Robyn Brown Emma Jane Sidey Ellie Marie Spencer Anthony Thrower

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT1) Danni Ager

Isha Ahmed Mark Andrew Austin Lauren Hazel Stores Day Amelia Lucy Paula Edwards Harrison Elliot Forde Joshua Mark Freeman Joseph William Farrow Matthew Julien Hofman Giles Jost Amariah Lawal Louise Le Maire Maisie Ella Odom William Alec Perkins Ashrakur Rahman Kallie Redgewell Abigail Alexis Retter William James Garner Roberts Alexandra Szal George Steven Thorpe Charley Rose Williams

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT2) Areeb Akhtar Machrid Angellyca Allan Basil Anuar Samuel Robert Martin Barden Joshua David Bayford Molly Nichola Brown Kai Lewis Filbert Harry Thomas Flack Jessica Maddie Fuller Joseph John Garnett Amy Alexandra Goldthorpe Joe John Hyder Natalie Kujawski Oliver Andrew Langner Max Graham Peter Martin Holly Katie Mclean Zihan Musthafa Csaba Nemeth Bethany Rebecca Norris Asher Lauren Oxborrow Asma Parker Olivia Ruby Pickup Matthew Frederick Ripley Alison Scott Jakub Wojcik

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT3) Zach Baldwin Lillian Bartella Sundeep Bhudia Dylan Albert Henry Finch Jonah Bernard Howley Taylor Aaron Locke Savannah Williams-Duberry Arthur Lewis Baylis Maximillian Charles Pole

BA (Hons) Architecture (Architectural Assistant Apprenticeship) (PT4) Robert William Atkins Stanislav Brezden Aimie Jane Cheetham Ted Elliott Owen Matthew Faunt Emily Foster Joseph George Hannaghan Stephen Andrew Jell James Frederick Kernot Georgina Elizabeth Kidd Rudy Jack Christian Logue James Henry Low Joseph Olawale Olatunbosun George David Robert Rose Kate Heather Rutland Carmel Ellie Kim Simmonds Louis Percy Fernand Soubeyran Rory Douglas Thrush Jervin Alphonse Ferreras Tiongson Hannah Louise Wallis

MArch: Master of Architecture (FT1) Renee Elena Crystal Ayomikun Banks-Delvecchio Margaret Louise Crick Siobhan Alvaro Antonio De Souza Nadia Ethar Delaimy Luis Edgar Dos Santos Azevedo De Ceita Dan-Alexandru Dunca Mosbah El Khalil Florence Jane Golding Rebecca Paige Greenway Reece David Harrison Johnathan Priyan Herath Harris Jeyaputhiran Rohan Singh Kalsi Oliver Lee Kaye Juliana Mara Presente Gomes Ioana Rus Ilinca Rusu Tinca Rusu Muhammad Ibrahim Saeed Martyna Stolarz José Matheo Taguiang

MArch: Master of Architecture (FT2) Anoop Thilak Zaki Abdelshah Oluwatobiloba Idowu Adeogun Mohamed Rasoul Hammoud Al-Doury Juliana Amorim Antunes Jedidiah Boateng Albert Boborodov Nour Achraf Borghol Daniel Jan Brudkiewicz Parth Umesh Damani Javier De Leon Gonzalez Nornesto Aguilana Fernandez Uran Jerlija Oumaima Kabak Jumana Rand Katar Sara Katunaric Negin Moradi Gheisvandi Nicole Patricia Oliveira Miranda

Anas Osman Maria Perikleous Luis Rodrigues Guedes Khaled Iyad Salameh Ian Kirichok Sunjhoreea Zakaria Tehami Victor Iliev Velev

MArch: Master of Architecture (PT1) Syed Zain Ali Akbar Luke Daniel Baggott Sofia Anne Browning Syful Islam Ege Tarlakazan

MArch: Master of Architecture (PT2) Daniel Robert Akehurst Anthony Peter Luis Miller

MArch: Master of Architecture (PT3) Karoline Koch Chloe Tayali Zahra Zare Kamel

MArch: Master of Architecture (Architect Apprenticeship) (PT1)

MArch: Master of Architecture (Architect Apprenticeship) (PT3) Seyhmus Acis Upinder Kaur Bahra Samuel Lloyd Bailey Benjamin Alexander Booth Jack Wilfred Cottrell James Philip Hickford Serin Husseyin Thomas Stefan Koren Benjamin Dennistoun Miller Anthony Dahu Mumagi Niks Piliens Evelina Rodrigues Jonathan James Stevens Jack Taafe Rafael Teixeira Alexander James Warne Jake Ross Wilson

RIBA Professional Practice Part 3 David Olaitan Abimbola Steven Kyle Davidson Jez Roy Frederick Deville Justine Karin Elizabeth Duggan Alexander Miguel Farr Camelia Ivan Damian Robert Milton Sonda Mvula

Ayesha Beazley Robert James Beer Thomas Blount Russell George Brown Joshua Alexander Carter Maisie Esther Coomber Todd Edward John Fletcher Chloe Louise Gladden Aiya Khabbush Meabh Minnis Thomas Newsom Danny Martin Perrier Kamil Krzysztof Perzanowski Max David Rayner Amar Singh Sidhu Ken Yeung

MArch: Master of Architecture (Architect Apprenticeship) (PT2) Padina Amininavaei Akramul Azur Askaari Natalia Cieminska James Gary Cook Dorrell Shawn Gayle-Menzie Harry Gladstone Hayes Harry Horwood Jake Francis Nelson Efstratia Theodora Rigkou David Samuel Roshan Sattaur Raluca Bianca Sozanskyj Dominic Douglas Sparks Joshua Keiran Taplin

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http://www.lsbu.ac.uk

Editor Liam Bedwell Cover Graphics & Illustrations Timothy Percival For full range of programmes and modules please visit the London South Bank University Architecture subject. https://www.lsbu.ac.uk/ study/study-at-lsbu/subjects/ architecture London South Bank University 103 Borough Road London SE1 0AA

Exhibition of Student work held at The LSBU Hub, 100-116 London Road, Elephant & Castle, London, SE1 6LN. 22nd June - 3rd July 2023

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COVER DESIGN & ILLUSTRATIONS BY TIMOTHY PERCIVAL WWW.TIMOTHYPERCIVAL.COM JUNE 2023