Yearbook 2021

2021

School of Architecture, Planning and Landscape Newcastle University

Contents

Welcome

BA (Hons) Architecture Stage 1 Stage 2 Stage 3

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BA (Hons) Architecture & Urban Planning (AUP) 52 Stage 1 Stage 2 Stage 3 68 Master of Architecture Stage 5 Stage 6 134 Research in Architecture BA Dissertation AUP Dissertation MArch Dissertation Linked Research Taught Masters Programmes PhD / PhD by Creative Practice Architecture Research Collaborative Contributors

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Sponsors

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Student Initiative NUAS / Signal Black Initiative NCAN

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Welcome Juliet Odgers – Director of Architecture

I took this photograph on the second day of teaching this academic year, Tuesday 20th October 2020. After much anxious deliberation and strenuous shifting of furniture, the studio is prepared to receive students to their Covid-safe, socially distanced allocated space – complete with shelves for models, two-metre distanced desks, sanitation stations equipped with paper towels and disinfectant, and notices (‘don’t sit here’, ‘wash your hands’, ‘up only’, ‘wear a mask’). Eight months later, the usual maelstrom of modelling detritus and abandoned remnants of later night snacking that usually enliven the building at this time of year is entirely missing.

Indeed, the image of studio is not much altered. I never thought I would miss abandoned sandwich wrappings. Though we have been able to return to studio to an extent, even providing 7 day a week access in these last few weeks, there has been no continuity and, consequently, no ‘nesting’ this year. And yet, now that the work is in, it is clear that it is just as inspiring, engaged and accomplished as in more ‘usual’ years. This is a testament to how well everyone has confronted the challenges of lockdown and how much we have achieved, both in academic and personal terms.

There have been some good developments this year alongside the onerous challenges. We have welcomed our first two students on the Building Futures bursary (supported by the Blueprint for All charity, formerly known as the Stephen Lawrence Trust) . We have also opened the door to our first cohort of students enrolled on the new accredited Master of Landscape Architecture degree. The refurbishment of the Henry Daysh building has progressed to the point where we can move back in and construction work on the Farrell Centre is due to start in a few weeks.

The experimental house, the OME, built by our Hub for Biotechnology in the Built Environment is in the final stages of snagging and will shortly be ready to receive experimenters and experiments in highly innovative biologically-underpinned building technologies. There is much to be proud of and to look forward to.

We decided that we would mount both a digital and physical exhibition this year. How could we neglect the digital, given that many of our students have perforce worked at a great distance from Newcastle, connected only by the umbilicus of Zoom and Canvas, and how could we resist the temptation of a physical show, given that government restrictions appear to be easing quite considerably? I hope that you enjoy both. You will find work from our RIBA/ARB accredited degrees at BA and MArch; and the Architecture and Urban Planning undergraduate course. At graduate level, there is work from our landscape programmes; the MSc in Advanced Architectural Design and more. Enjoy the imagery and, please, visit our exhibitions.

In conclusion, I feel some thanks are due. My first thanks goes to our students. As we know, for the most part younger people who contract COVID-19 emerge relatively unscathed, and yet they have been called on, time and again, to exercise restraint, stay at home, forego a normal social life, and make the most of a distanced university experience. In doing so, they have sacrificed a lot for the wellbeing of older generations, many of whom sit squarely in ‘vulnerable’ or ‘highly vulnerable’ groups. We have noticed and we are grateful. As for the academic staff, I know what you have put into teaching this year - overhauling the presentation of the entire curriculum with great ingenuity and adaptability at almost no notice, and doing so after scarcely any summer break; coping with yet another hour of Zoom teaching whilst your children run amok in the next door room rather than settling down to their home-school tasks; and, like the students, surviving social isolation, sometimes at great physical distances from family and friends. My thanks to you too. Last, and certainly not least, my thanks to the Professional Services staff, those who keep the whole ship afloat with their tireless attention to the administration of the School, those who support our students in pastoral matters, those who run the workshop and the website – where would we be without you?

Sunk! That is where we would be. No one could say that this year has been easy and yet look at the success that, together, we have made of it.

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BA (Hons) Architecture

Samuel Austin – Degree Programme Director

What a year it has been! The pandemic has disrupted so much of what we would usually see as essential to our BA architecture degree at Newcastle. New students have joined the course without experiencing the bustle, creative clutter and shared endeavour of studio life. Access to our workshop and highly skilled technicians, so crucial to the School’s energetic culture of making, has been much more limited. Final year students who would typically travel all over Europe on studio trips have had to find inspiration in other ways. Instead of being immersed in the diverse, unfamiliar contexts of projects, we have come to know our own living-working spaces all too well.

In the face of these challenges, our students have shown incredible ingenuity and adaptability. Our RIBA Part I accredited programme aims to support students to develop their own interests and approaches to architecture; that self-directed resourcefulness has proved invaluable in every aspect of work this year. Tables have been transformed into DIY drawing boards; those isolating without access to materials have achieved incredible effects drawing with coffee and modelling with soap and spaghetti.

The collaborative character of the course has endured through Zoom studios and Miro boards, uniting distant time zones across often unreliable connections. Students in Newcastle have pooled their first-hand analysis of sites, as those studying remotely have shared their research. Deprived of access to archives and often unable to visit key sites, dissertation students have managed to track down a wealth of authoritative resources online, or pursue the same themes closer to home, culminating in an exceptional body of work.

Our amazing team of tutors have similarly found new opportunities in pandemic constraints as they’ve been called on to rethink teaching methods at speed. Elaborate rigs of screens, webcams and tablets enabled distanced sharing of ideas through drawing. Remote working has inspired us to take a closer look at spaces nearby. Stage 1 students used their own Zoom room to explore varied recording and representational techniques, while Stage 2 projects have worked with overlooked communities and ecologies around Newcastle. History modules have embraced the chance to diversify the curriculum, inviting students to research and interpret buildings and places close to them, while theory lectures have escaped campus to explore how issues play out in the city itself.

The pandemic has brought new focus to our efforts to adapt the course to address the growing environmental, social and political challenges of our time. Our research-led studios in Stage 3 continue to engage with complex and urgent issues in architecture and society, including dementia care, redevelopment of high-rise housing and community regeneration, with the climate crisis an overriding concern. More than ever our students have been eager to take a strong ethical position, to set out their view on what should be built, for whom, and with what priorities. This year’s graduates have had to contend with innumerable personal difficulties, as the pandemic has impacted each of us, our families and communities differently. As we celebrate their incredible achievements against the odds and reflect on new digital skills gained, we are also reminded of the importance of working together in buildings and spaces, and of making and testing out ideas by hand.

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Stage 1 From the outset, Stage 1 Architecture students are taught to observe, record, respond to, and represent, a wide variety of contexts and conditions ranging from small hand-held objects through to city mappings and wide-open sea vistas.

Rather than simply teaching theory, the emphasis throughout is on experiencing and communicating architecture in a personal and meaningful way. As well as introducing constructional, environmental and structural design principles, the Technology modules provide an insight into how different architects engage with the making and crafting of architecture.

Likewise, the Introduction to Architecture module introduces history and theory but also invites students to tell their own story by planning a personal architectural history walk. The Architectural Representation modules teach a wide spectrum of analogue and digital skills including measuring, drawing, modelling and photography, with a focus on the appropriate use and application of these in different design project contexts. The Architectural Design module builds in complexity through the year, commencing with small modelled explorations of architectural languages that lead quite naturally to a first ‘proper’ design project - the creation of a small single-room space for a human proponent centred on a daily routine or ritual such as bee-keeping, coffee-making or music rehearsal. This then leads to a rather more complex and longer Semester 2 project to design a small outward-bound activity centre located on a sloping coastal edge site and providing opportunities for both prospect and refuge. In addition to preparing them for the remainder of the degree programme, we hope the year encourages students to be outward looking and questioning - more aware of their own surroundings, and those of others, but also better equipped to start imagining opportunities for appropriately engaging with them.

Year Coordinators Kati Blom Simon Hacker

Students

Abdulaziz Alabdulwahed Adam Cameron Rush Ahmed Kooheji Alice Gascoigne Allan Shibu Amber Grace Hastings Amy Bradley Anastasia Edmunds Andrew Watson Angus Robinson Anne - Joke Andrea Dijkstra Anushka Bellur Anya Siddiqui Anzhela Sineva Araminta Mills Arina Khokhlova Aung Swan Htet Benjamin Edward Staveley Parker Bibiana Mireya Shea Callum Hinton Cameron Chun Ho Lai Campbell Carmichael Caspar Constantin Barker Cavan Smith Charlotte Bezant Chee Kit Wong Chen Xu Chi Tung Hui Chun Him Wu Connaire Moorcroft Courtney Thompson Crystal Grimshaw Dahna Castrignano Daniel Doherty Daniel-Iulian Branciog Darcey Louise Naylor Diana Vedmedovska Eirini Tsiakka Eleanor Heisler Eleanor Louise Delaney Elizabeth Jane Esau Ella-Jade Chudleigh-Lyle Emily Priestley Erick Ivan Verduzco Valdes Ethan Seow Ping Chew Euan Francis Ellis

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Text by Simon Hacker

Eva-Maria Radoslavova Dudolenska Gabriel Hodgkins-Webb Gabriel Moore George Bong Georgia Scobell Grace Imogen Haigh Grian Summers Guy Michael Waddilove Hanna Oxana Choi Hannah Innes Harrison Michael Wade Harvey Baines Hector Emery Helena Zofia Bolek Henry Barlow Hiu Sum Leung Hon Lam Yip Hooman Valizadeh Ioana Manoli Irel Dzhan Kirazla Isaac Samal Smith Yahya Isabelle Waha Jasmin Mary Yeung Jasper Luca Weening Jiarui Shi Joseph Kit Rowlinson Josie Hackney-Barber Ka Hei Leung Kar-Yan Phan Kayvee Abdullah Kin Kei Karina Hung Laiba Javed Lara Sinclair-Banks Leon Henry Leticia Rohl Rodrigues Lewis Adam Evans Liam Sephton Libby Madeleine Metherell Louis Gardener Lucy Hutson Luke Rae Maria Lisnic Maria Savva Maria-Dionysia Axioti Martin Chavez Maryam Saleh Salem Yosuf Hanashi Melissa Meizi Streuber Mian Muhammad Arham Min Kiat Shannon Tan Misela Benina Molly Gregory

Muhammad Irsyad Ridho My Emma Olsen Sivertsen Nathan David Metcalfe Navandeep Chahal Nicole Judith Miriamele Pfeifer Nok Ting Sarina Wong Nontanit Panyarachun Odaro Jamali Omonuwa Oliver Clemetson Oliver James Walsh On Yi Lee Oruaroghene Aruoriwo Okeoghene Obi-Egbedi Owen Mark Browning Phoebe Lucia Barnes-Clay Phoo Myat Nay Chi Lwin Poppy Beardsell Rahul Zane Patcha Rhiannon Chloe Williams Rohan Smith Ruixue Wu Said Salim Saif Salim Al Kalbani Samuel Millard Samuel Read Samuel James Rainford Sangmin Lee Shivani Patel Shuntaro Moriyama Sinead Mary Holdsworth Sophie Katrina Newbery Stephen Teale Sumaiya Aziz Supparat Surachit Sze Lok Justina Leung Tamar Sarkissian Thomas William Babington Boulton Tianhao Zhou Toby David Snoswell Tomi Gidzhenov Tsz Ying Hui Ursula Blyth Morter William Tate Wing Tung Cheng Yee Ching Tang Yee Man Pang Yina Gu Youjing Liu Yu-Chieh Kuo Yuxuan Chen Zaki McGarragle

Contributors

Adam Fryett Adam Sharr Alex Blanchard Andrew Ballantyne Anna Cumberland Armelle Tardiveau Assia Stefanova Becky Wise Brandon Few Carlos Calderon Cassie Burgess Chloe Gill Damien Wootten Daniel Mallo David McKenna Ed Wainwright Ewan Thompson Henna Asikainen Jake Williams-Deoraj James Harrington James Morton James Street Jay Hallsworth Jianfei Zhu John Kinsley Juliet Odgers Karl Mok Katie Lloyd-Thomas Marina Kemp Michael Chapman Nathaniel Coleman Neil Burford Neveen Hamza Nick Clark Noor Jan-Mohamed Olga Gogoleva Peter Kellett Peter St Julien Prue Chiles Ruth Sidey Samuel Austin Sana Al-Naimi Sneha Solanki Sonali Dhanpal Sophie Cobley Tara Alisandratos Taz Naseer Tom Parrish Tracey Tofield William Knight Zeynep Kezer

Opposite - Ioana Manoli

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Semester 1

ARC1001: Architectural Design - Projects 1.1 and 1.2 Project 1.1 introduces students to architectural design by first asking them to compose using each of three spatial languages - open frame, planar and volumetric. The application of these to a common shape or form encourages consideration of the limitations and potentials afforded by these distinctly different spatial paradigms. Lock-down resulted in some highly creative exploration using house-hold materials, such as the volumetric soap model - shown below. Project 1.2 sites the students on an imagined plot in a fictional location. They create a small structure to house or amplify a specific daily ritual and are invited to consider how the evocative nature of their new intervention affords, offers, invites and unconsciously provokes a variety of actions, reactions and interactions.

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Top Left - Tsz Ying Hui , Anne Dijkstra

Middle to Right - Harrison Wade, Lara Sinclair-Banks

Bottom - Ioana Manoli, Tamar Sarkissian

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Semester 1

ARC1017: Architectural Representation 1 - ‘Zoom Room’ Elevations & ‘Street View’ City Drawings

Top - Leticia Rohl Rodrigues, Anne Dijkstra

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Middle - Melissa Streuber

Bottom - Melissa Streuber

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Semester 2

ARC1001: Architectural Design - Project 1.3 ‘Prospect and Refuge’ Prospect-refuge theory was first postulated by the British geographer Jay Appleton, an alumnus of Kings College, Durham – now Newcastle University. It sets out to explain why we are often attracted to places that afford us a wide and sweeping view without wanting to be un duly ‘on show’ ourselves. At the outset of the project, students are invited to represent a childhood memory that evokes these twin phenomena (top, below) before exploring how they might apply these conditions to the design of a small outward-bound activity-focused provision, located on a coastal-edge site, with expansive views over the North Sea.

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Top - Anne Dijkstra, Sinead Holdsworth

Middle - Nicole Pfeifer, Maria Lisnic

Bottom - Yee Man Pang

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Semester 2

ARC1014: Architectural Technology 1.2 - Coursework precedent models These large-scale explorations - often assembled without glue - allow students to engage with materials, to encounter the relationship between space and structure, as well as encouraging the exploration of experiential qualities including air-movement and light.

Top Left - Ioana Manoli

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Middle Left to Right - Thomas Boulton, Gabriel Hodgkins-Webb

Bottom - Chloe Leung

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Stage 2 Falling between the first and final year of the BA programme, Stage 2 is a year of transition for many of our students.

Building on the learning and skills acquired in Stage 1, the structure of the year provides a firm footing for each student to experiment, explore, and realise a range of socially, ecologically, and critically engaged design propositions.

The projects presented on the following pages describe the outcomes from two semester long design projects. Each project expands students’ knowledge of architectural design, encouraging thoughtful inquiry and dialogic learning to aid the development of a meaningful design process that reflects the personal interests, ethics, and values of our diverse cohort.

Year Coordinators Jack Mutton Kieran Connolly Rosie Parnell Toby Blackman

Project Tutors

Anna Czigler Christos Kakalis Dan Sprawson Daniel Mallo Gillian Peskett Harriet Sutcliffe Hazel Cowie Jack Scaffardi John Kinsley Luke Rigg Oliver Chapman Rumen Dimov Sebastian Aedo-Jury Stella Mygdali Stuart Hatcher

Project Contributors Catherine Bertola Dwellbeing Emily Speed Joe Shaw Julia Heslop Leah Millar Paul Merrick Rosie Morris Tess Denman-Cleaver

Students

Adam Bashir Ramadan Hawisa Adam Michael Schell Adel Wahab Afiqah Binti Sulaiman Afopefoluwa Oluwatamilore Carew Aijia Zhang Ailish Niamh Burger Alma Eliza Shiamtani Alyssia Constance Thompson Amy Louise Baynes Anastasia Dombrovskaia Anastasiia Tymkiv Anastassiya Galkina Aris Skenderis Auguste Baranauskaite Augustinas Zaromskis Ayesha Lyn Miraflores Isahac Bertha-Maria Paun Bethany Sprigg Cameron Dryden Straughan Cameron Reiss Clark Chaehyun Cho Charlotte Louise Brooks Chenghao Xu Cheuk Tin Constantine Kwan Chi Wun Rex Cheng Conan Michael Quigley

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Dana Sikman Daniel Hodgson Daniel Maarten Bird Djiesica Carennia Dominique Romero Dylan Charles Young Elena Isabelle Crockett Eliza Grace Creedy Smith Elliot Stirman Elsa Sophie Mills Emily Rose Millward Emma Jane Willis Esmeralda Hysen Fai Mak Fangxu Zhu Fay Harvey Gabija Jasiunaite Gabriel Cheuk Sum Au-Yeung Gabriele Dauksaite Genesis De Los Angeles Bravo Sanchez Genevieve Penelope Clare Sligo-Young George Douglas Bennett George Francis Decker Whipple George Joseph Avery George Oliver Watson Georgia Doireann Minson Georgie Tallulah Richardson Haekal Dzikri Ananta Putra Hakyung Song Hawraa Ali Abdallah Al- Alawiya Hei Ka Tang Ho Man Ng Ho Wing Tam Hoi Ting Chloe Tam Hoi Yan Lam Ian Mellish Iason Bezas Isra Mohammed Osman Hassan-Ibrahim Ivan Malov Jaewon Jeong James Robert Charles Skinner Jedd Howie Manlulu Jemima Tiger Droney Jiahui Yao Jing Hao Jingqi Li Jirong Peng Jonatan Peter Muller Joseph Alexander Kavanagh Josh Gordon Stanton Joshua Simmons Justyna Nowosad Ka Chuen Chan Kacper Roman Brach Kathryn Ann Patterson Kayleigh Louise Metcalf Laurence Beau Bonson Evans Lily Alexandra Kerr Lily Belle Elgood Lixuan Huan Long Ki Wong

Text by Kieran Connolly, Rosie Parnell

Luke Samuel Pearce Magdalena Katarzyna Mroczkowska Maisie Emily Church Marianne Mikhail Maryam Humaira Binti Ahmad Amer Matas Janulionis Max Dexter Friedman Mingyeong Kim Mohamed Moustafa Mohamed Aly Hassan Monserrat Brenes Mata Morgan Elizabeth Cockroft Muhammad Zaki Agung Mustafa Cem Tole Nadia Iskandar Namo Hong Neelam Sangeeta Priyanka Majumder Niamh Hannah Kelly Nicholas Barker Nicole Law Nikolay Tinev Nok Fai Nathan Yuen Noor Khalid H M Al-khayat Oi Yan Li Olivia Emily Roberts Patrikas Areska Paworaprat Phinyo Phoebe Amelia Powers Pooja Lade Prajwal Balija Pradeep Quynh Anh Nguyen Rachel Lauren Baldwin Rafaella Barahona Maldonado Ruby Marie Lovatt Ruoxuan Jiang Salma Hussameldeen Sayed Abdelghany Sam Austin Hudson Samuel Barker Samuel Duncan Hewitson Samuel William Stokes Sandhy Thaddeus Sumadi Sandra Sara Muzykant Sara Fahmi Moh’d Bassam Yaish Serena Kathryn Martineau Walker Sin Yu Soe Chan Sofia Peracha Sophie Caroline Daisy Robson Sophie Stubbs Stephanie Alice Freeland Taichen Jiang Tanisha Jain Thomas Rhys Smith Tiffany Angel Fang Ting Cheung Lam Trina Andra Zadorojnai Troy Vimalasatya Rahardja Tsz Ching Wong Vicente Theobald Baum Xingjiang HU Xiwen Xu Yan Yu Natalie Yau Yaqing Tu

Yat Tung Lam Yi Chun Kuo Youngchan Choi Yuheng Zhang Yuk Ying Ho Yuqing Liu Zainab Fatima Zuzanna Iga Zapart

Special Thanks to Shieldfield Residents Alison Irene Jill Ken Valerie

Opposite - Beth Sprigg

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A Shieling for Shieldfield Kieran Connolly, Jack Mutton, Rosie Parnell For our first project in Stage 2, students explored housing design and its role in shaping communities. Working outwards from the historical idea of the ‘shieling,’ a shelter for shepherds made from found materials and rooted within its surroundings; projects offer a range of explorations and ideas for a small-scale housing scheme located in Shieldfield, a dense inner-city neighbourhood located just to the east of Newcastle city centre.

Thinking carefully about the social and cultural context of the existing community, proposals have been thoughtfully developed to support the rituals and activities of domestic life, whilst also being carefully stitched into the physical, social, and ecological fabric of Shieldfield.

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Above - Neelam Majumder

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Top - Adel Wahab

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Bottom - Sam Barker

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Species & Spaces Toby Blackman, Kieran Connolly, Jack Mutton, Rosie Parnell For the second project of the year, students have explored ways of cultivating ecologically responsive design practices in a direct response to the ever-more urgent global climate emergency.

Working on a selection of sites across North Shields, projects offer propositions for a small-to-medium-sized public building, with spatial programmes developed around a sequence of spaces for dissemination and learning. Importantly, each project has been designed for both human and non-human users. From kittiwakes to butterflies, salmon to sea squirts, design propositions seek to cultivate an approach to architecture that promotes reciprocity and co-existence between human and non-human through the adoption of sensitive and more ecologically sustainable approaches to designing and building.

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Above - Beth Sprigg

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Top - Nicole Law

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Bottom - Yuheng Zhang

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Stage 3 Stage 3 this year has been delivered remotely but the year-long studio model has continued from previous years. Whilst there have been inevitable challenges around travel, model-making and material experiments our students and teaching team have shown admirable resourcefulness in adapting to the ‘new normal’. As such our students are emerging with a new skillset which includes the ability to teamwork remotely, and enhanced virtual and digital presentation skills. Much use has been made of digital collaboration platforms such as Miro and all studios have included group outputs. Focus has remained on context – despite the challenges of students not always being able to visit their sites – and innovative ways of exploring and mapping have been developed.

This year has also seen an increased focus on sustainability with all studios being asked to take their own perspective on the climate crisis, so studios have included digital environmental modelling, opportunities to refurbish existing buildings, low carbon technologies, design for deconstruction and increased awareness of embodied carbon. We are also pleased to see more projects with a strong social agenda. Studios this year have also typically had a more local or regional focus which has also provided us with new opportunities to reflect on our North Eastern culture, heritage and post-industrial challenges.

Year Coordinators Matthew Margetts Cara Lund

Studio Leaders

Andrew Ballantyne Cara Lund Craig Gray Harriet Sutcliffe Hazel Cowie Jack Mutton Jess Davidson Jianfei Zhu Josep-Maria Garcia-Fuentes Kieran Connolly Luke Rigg Matthew Margetts Neil Burford Neveen Hamza Sophie Baldwin Stella Mygdali Steve Ibbotson Stuart Franklin Tom Ardron

Students

Abigail Elisabeth Hawkins Afnan Iman Bin Abdul Halim Agata Malinowska Agatha Delilah Barber Aikaterini Passa Aleema Hira Aziz Alexander Jacob Caminero McCall Alexander John Thompson Anastasia Asenova Anna Toft Aurelia Thompson Aya Rose Mordas Aysen Neslisah Cakmakkaya Banuchichak Imamaliyeva Benjamin Galvin Benjamin Michael Rene Osta Benjamin Timothy Franklin Benoit William Rawlings Bethany Grace Valerie Rungay Brian Ethen Cox Catherine McConnachie Chao Jung Chang Charles William Kay Chi-Jung Lee Ching Yee Jane Li Christian Thomas Davies Christopher James Hegg Chui Lam Yip Chung Hei Mok Colin Rogger Daniel James Andrew Bennett Daniel Mijalski Dawei Zhao Dk Noor ‘Ameerah Pg Kasmirhan Dominika Kowalska Dongpei Yue Edward Harry Salisbury Edward James Frederick Bousfield Ehan Harshal Halimun

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Text by Matthew Margetts

Eleanor Lindsay Jarah Eleanor Victoria Mettham Ella Lucy Freeman Ella Madeleine Ashworth Eloise Sian Macdonald Littler Emily Tamar Ducker Emma Louise Beale Faith Mary Hamilton Fanny Lovisa Kronander Gabriel Dominic Saliendra Gloria Sirong Hii Grace Carroll Guoyi Huang Hana Mahmoud Elfakhr Elrazy Baraka Hannah Grace Fordon Hannah Maria Batho Harriet Roisin Harrington Allen Harun Kilic Hei Lok Hong Hereward Percival H Leathart Hiu Tsun Michelle Mok Hon Ying Chow Hong Tung Chau Isabel Maria Mora Rubio Isobel Ann Prosser Jack Martin Callaghan Jacob Bowell Jacob John David Hughes Jacob Timothy Weetman Grantham Jamie Ryan Bone Jehyun Lee Jemma Louise Woods Jenna Goodfellow Jessica Charlotte Dunn Jessica Helena Eve Male Jiahan Ding Jingci Yeong Jiri Stanislav Goldman Jiwoo Kim Jiyeon Ryu Jordan Niels Patrick Shanks Joshua Alexander Jones Joungho So Julian Nyalete Kobina Djopo Julianna Skuz Karolina Lutterova Katy Hughes Khaled Walid Abdelhamid Abdelkader Kieran Miles Forrest Lea-Monica Udrescu Lewis Michael Neil Baylin Liene Greitane Liza Nadeem Lorand Nagy Louis Jacques Duvoisin Louis Oliver Hermawan Luca Edward Philo Luk Chong Leung Malaika Javed Malak Sharif Mohamed Aly Elwy Marcelina Debska Mary-Anne Catherine Murphy Matteo Giovanni Amedeo HuntCafarelli

Max Aaron Blythe Megan Jane Raw Michelle Sie Ee Lim Miki Jun Wang Liu Milly Rose London Ming Chi Leung Mingxuan Ge Molly Rose Robinson Muhammad Shujaat Afzal Natalia Stasik Neli Barzeva Ngai Chi Fung Nicholas Andrew Stubbs Oliver Denning Buckland Olivia Maria Ewing Oscar Michael Lavington Otto Lucas Jaax Owen Samuel Thomas Pak Hei Julian Ng Peng Yin Peter Anthony Windle Philip David Gerald Russell Polly Ann Chiddicks Rashmi Shashiprabha Jayasinghe Rea Chalastani-Patsioura Reece Mckenzie Minott Ren You Robert Brentnall Gowing Rodrigo Rafael Riofrio Colina Rosabella Margaret Reeves Rosemary Charlotte Joyce Rositsa Krasteva Sam Ravahi-Fard Samer Alayan Samuel Russell John Hare Samuel Scott Coldicott Sebastian Adam Poole Shu Han Janeen Seah Si Cheng Fong Simon Benjamin Tarbox Sophie Hannah Grace Henderson Stella Ogechi Chukwu Supapit Tangsakul Tabitha Victoria Edwards Taddeo Toffanin Tessa Elizabeth Lewes Thomas Charles Peter Henry Adams Tsz Fung Wong Wing Hei Lo Woosang Park Xiao Lin Xie Xiaoqian Zhou Xindi Cheng Xinrui Lin Xixian Wu Xuhan Zhang Yat Hei Asher Hon Yating He Yingjin Wang Yuan Zhang Yuanyuan Chen Yu-Chieh Chang Yuen Man Cheng Zarin Tasneem Mir Zoe Elise Ingram

Opposite - Emily Ducker

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A Manifesto for Housing Hazel Cowie & Jess Davidson

As with all disciplines and practices, architectural practice in 2021 is being reassessed through a series of intersecting and critical lenses - the pandemic, the climate crisis and post-Grenfell analysis are forcing the profession to consider its role in public life.

Our studio aims to explore this role in the critical re-examination of an existing residential tower in Newcastle. Taking the position that housing is not only a manifestation of power relations within society, but a vehicle through which an alternative social order can be imagined.

We have explored ideas about homogeneity, taste and anonymity, questioning the conformist and compliant role that architecture is often seen to have in the production of housing. This theoretical approach has also extended to material thinking, exploring how these issues intersect with the demands of off-site manufacture. The result is a series of re-imaginings of ways to live in a residential tower and the spaces that surround it.

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Above - Brian Cox

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Phased Retrofit Process

Existing Building

Phase 1 (3 yrs)

Phase 2 (3 yrs)

Phase (10 yrs)

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Top - Oscar Lavington, Olivia Ewing

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Middle, Left to Right - Marcelina Debska, Agatha Barber

Bottom - Thomas Adams

5

10m

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Top Left to Bottom - Samuel Hare, Fanny Kronander, So Joungho

Top Right to Bottom - Liene Greitane, Eleanor Jarah, Dawei Zhao

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Top Left to Right - Samuel Hare, Aysen Cakmakkaya

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Left, Middle to Bottom - Tabitha Edwards, Zarin Tasneem Mir

Bottom Right - Louis Hermawan

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City Ruins

Jack Mutton & Harriet Sutcliffe Studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place, explores the experiential potential of materials and careful re-use of existing structures.

This year we have been considering the place of ruins in the contemporary city and investigating how a more sustainable strategy of re-use and adaptation can lead to the creation of rich architecture, layered with history and imbued with a sense of place. Working with derelict, former industrial sites in Newcastle’s Ouseburn valley, the studio has been developing proposals for a series of live-work spaces and shared facilities for a community of artists and craftspeople.

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Top - Hana Baraka

Bottom - Banuchichak Imamaliyeva

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Top Left to Right - Sam Coldicott, Benoit Rawlings

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Bottom Left to Right - Harriet Roisin Hariington Allen, Malak Elwy

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Top Left to Right - Miki Jun Wang Liu, Taddeo Toffain

Middle - Chi Jung Lee

Bottom Left to Right - Bethany Rungay, Philip Russell

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Top, Left to Right - Afnan Iman, Malaika Javed

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Middle - Robert Gowing

Bottom Left to Right - Jiyeon Ryu, Isobel Prosser

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Creative Synergies

Craig Gray & Stella Mygdali Through rigorous testing and analysis, Creative Synergies explores the various functions, processes, skills and materiality involved in the art of hands-on making, architectural craft and a tactile appreciation of space and volume. We explore how compatible they are in a future of cutting edge architectural research, and wider sustainable strategies aimed at reducing the profession’s inexcusable contribution to the ongoing climate crisis. And ask alongside this, if an emphasis on a more performative and process-based approach to the programming, arrangement and inhabitation of space, can positively impact a proposal at an urban scale, whilst producing tangible benefits to the wider community it serves?

The central question asked of our students is what role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between transient and established communities. And if, when aligned with the aforementioned considerations, it can be used as an appropriate template for a more contextual and sustainable, contemporary community architecture.

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Above - Mingxuan Ge

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Left, Top to Bottom - Aurelia Thompson, Yeong Jing, Jemma Woods

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Right, Top to Bottom - Nick Stubbs, Yating He, Jack Callaghan

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Top to Bottom - Ella Freeman, Gloria Hii, Xinrui Lin

07/07/2021 10:13:45

Ground Floor Exhibition Space.

GSEducationalVersion

GSEducationalVersion

Top Left to Right - Liza Nadeem, Chao Chang

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Middle Right - Rosabella Reeves

Bottom - Ehan Halimum

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Curating the City

Andrew Ballantyne, Neil Burford & Jianfei Zhu This studio explores the ideas of ‘curating’ for a critical engagement with a World Heritage Site, Saltaire in West Yorkshire – a nineteenthcentury model town of textile mills with advanced planning of townscape and landscape. Four themes are used to guide the 19 students’ contextual and reflective studies – tourist gaze; critical conservation; eco-assemblage; and urban form and design. Based on the research, preliminary ideas of an architectural intervention with a project, across a range of 10 sites in and around the heritage town, were proposed by the end of Term 1 (Framing). In Term 2 (Testing) and 3 (Synthesis), a variety of projects, including colleges, labs, sports facilities, and music venues, as well as a columbarium, a railway station and an eco-garden through woods on a hill slope, are being tested and developed, with theory essays and tectonic studies on the way to facilitate the process. In a variety of ways, the 19 projects have each provided a way of ‘curating’ the heritage town and landscape of Saltaire as an argument and a proposal.

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Above - Dominic Saliendra

07/07/2021 10:14:11

Top - Mary Murphy

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Middle Left to Right - Simon Tarbox, Hannah Fordon

Bottom - Jessica Male

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EXPLODED AXONOMETRIC DRAWING

EXHIBITION DOORS

A key element of the ‘Curating the City’ studio is analysing the way Saltaire visually maintains it image in a historic fashion, but fails to update and adjust in line with community needs and opportunities. A particular element of my building which operates to change this is the 3-storey 6m-wide door blocks traffic to create a flexible outdoor exhibition/activities area.

The polycarbonate engages with light, so the skin of the exhibition space becomes a part of the exhibition itself, and the material fabric of the building does not remain rigid.

(Door Open)

PEDESTRIAN ACCESS

SUMMER

SUMMER

WINTER

Prevailing Wind DIrection Saltaire

The axonometric drawing is a celebration piece which explored the inhabitation of the building and my personal style of representation, which is more sketchy and watercolour based. The small details of the building such as the ramp through the centre, the difference in the facade materials and the mezzanine levels/double height spaces is something which reflects specifically here.

Fi g u r e 6 0 - A xo n o m e t ric Ce le b ra t io n D raw i n g

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Top, Left to Right - Aleema Aziz, Tessa Lewes, Rosie Joyce

Middle Left to Right - Oliver Buckland, Ching Yee Jane Li

Bottom - Jamie Bo

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Top Left to Right - Lea-Monica Udrescu, Karolina Lutterova

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M iddle - Julian Djopo

Bottom Left to Right - Xiaoqian Zhou, Chi Leung

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Ghost in the Machine

Matthew Margetts, Cara Lund & Steve Ibbotson Our studio is interested in people and their relationship with systems and infrastructures. These can be hidden (intangible – e.g. social networks or local legends) or visible (tangible – e.g. buildings and railways). We are particularly interested in how systems respond to change and how they can be adapted or appropriated.

This year we have selected Redcar as our test bed to apply a Systemic Thinking approach to design. Redcar and the stretch of coastline from the high street up to the South Gare is a fascinating manufactured strip of land which incorporates a multitude of territorial conditions, including, post-industrial steelworks, beaches, ex gun batteries, water sports and fishing huts.

The studio challenged our ‘ghosts’ to consider the agency of an architect in augmenting this landscape, in the shadow of its industrial past and in the context of a desire to increase staycations.

We used new and experimental tools to view place from the perspective of a chosen protagonist(s), drawing from a variety of sources, including systemic design, storytelling, science-fiction, graphic design, and cartographies.

Students were asked situate and augmented or disrupted systems on their chosen site and explore how an architecture could evolve from a series of ‘moments’ where people meet process. Projects ranged from film set recycling centres to seaweed harvesting social condensers.

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Above - Emma Beale

07/07/2021 10:14:34

Top Left - Colin Rogger

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Top Right - Natalia Stasik (2)

Bottom - Aya Mordas

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Top - Muhammad Afzal

Middle Left to Right - Agata Malinowska, Muhammad Afzal

Bottom - Colin Rogger

07/07/2021 10:14:47

Top Left - Colin Rogger

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Top Right - Emily Ducker

Middle Right - Agata Malinowska

Bottom - Emily Ducker

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House of Memories

Neveen Hamza & Stuart Franklin How do we perceive environments we live in? How can architecture design respond to the specifics of its climate-site and users? This question is magnified when thinking of the differences in place perception between a healthy person and a person with Dementia. Not only should the building and its surroundings offer a memorable experience, but even more; a delicate exposure of all the sensory systems, without an information overload. This studio integrates architectural and urban design with environmental psychology theories for dementia specific design criteria. The designed environments are tested using building and urban performance modelling tools to inform architectural design ideas and its integration of renewable energy.

This is a live project with medical staff and architectural practitioners involving the students in generating new architectural and urban visions for the University/NHS owned site, the ‘Centre for Ageing and Vitality’, in Fenham-Newcastle upon Tyne.

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Top - Dominika Kowalska

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Middle, Left to Right - Ella Ashworth Bottom - Lewis Baylin

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Top, Left to Right - Hon Ying Chow, Ngai Chi Fung

Middle to Bottom - Chung Hei Mok, Samer Alayan, Molly Robinson

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Top - Dominika Kowalska

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Left Middle to Bottom - Woosang Park, Tsz Fung Wong Right, Middle to Bottom - Matteo Hunt-Cafarelli, Ngai Chi Fung

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Section

Weaving in Wallsend

Sophie Baldwin, Kieran Connolly & Luke Rigg Weaving in Wallsend explores ideas of civic space through the construction of ‘urban commons’: networked sites of shared public resources and community facilities that are carefully woven into the fabric and ecologies of the city.

More broadly, the studio considers how architects can operate as advocates, agents that seek proactive social change, questioning the typical roles of power within the construction industry and re-emphasising the importance of citizen empowerment and inclusivity. Members of the studio were asked to consider who they are advocating for, speculate on the ‘right to architecture’ and actively seek methods and design practices formed by social consciousness and activist tendencies.

Long Section

Working within the wider context of Wallsend, the studio developed retrofit strategies for the Forum Shopping Centre reimagining it as an ‘urban commons’ - a site of community, culture and exchange that prioritises inclusivity over exclusivity, public over private and the community over the individual.

Elevations

North

East

South

West

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Top - Daniel Bennett

M iddle - Polly Chiddicks

Bottom - Janeen Shuhan Seah

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Top, Left to Right - Charlie Kay, Chui Lam Yip

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Bottom - Lorand Nagy

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Top, Left to Right - Ben Franklin, Zoe Elise Ingram

Middle, Left to Right - Daniel Bennett, Jehyun Lee

Bottom - Eloise Littler

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Left, Top to Bottom - Julian Ng, Stella Chukwu

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Top Right - Luca Philo

Bottom - Max Blythe

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Building upon Building

Josep-Maria Garcia-Fuentes & Tom Ardron This studio explores experimental preservation in architecture. The brief is grounded upon the idea that architecture and preservation are both placed within a cultural continuum and are the outcome of complex cultural, social, and political struggles. These ideas are investigated through the design of a major addition to or the transformation of a heritage building. This process not only requires an understanding of the existing construction and how its architecture and materials express the values it sought to represent and serve at the time, but also the ways these meanings may be extended, enriched, or transformed and reshaped by a new addition.

This year the studio has focused on The Penguin’s Pond by Berthold Lubetkin and its transformation into a new research centre, aiming to rethink the role of zoological parks and how they might begin to address the current ecological challenges.

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Above - Otto Jaax

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Top - Eleanor Mettham

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Middle Left to Right - Reece Minott, Yuanyuan Chen

Bottom - Sam Fard

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Top - Anastasia Asenova

Middle - Julianna Skuz

Bottom - Dongpei Yue

07/07/2021 10:15:57

Legacies of Modernism 2018 - 2019 In this studio, students were required to undertake a close reading of two key movements of 20th Century architecture; early European Modernism, and the later British manifestation of Brutalism, contend with their legacies and propose a design response which sought to address the contemporary relevance of these (im)possibly linked movements.

Top Left to Right - Michelle Mok, Yuan Zhang

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Middle - Daniel Mijalski

Bottom - Faith Hamilton

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BA (Hons) Architecture and Urban Planning (AUP) Armelle Tardiveau - Degree Programme Director

What a challenging year! But how amazing and mature the AUP students have been during this unprecedented academic year. My heart goes to all AUP1 students, who joined our School in September and very quickly learnt to keep focused and embrace their learning without social interaction or engagement with their new peers; only lonely struggles with pens, paper, and new (always daunting) skills to acquire and harness. Of course, it has not been easy, almost everyone has experienced a wobbly moment of hesitation when more questions than certainties cross minds and motivation is difficult to maintain.

The Taking Measure project (see page: 57) depicts the ever so limiting studying environment students have had to accept in the darkest hours of lockdown. Sketching, measuring and drawing their own everyday space was a task that revealed the limitations and restrictions of what felt like a never-ending situation. Thankfully, as soon as the government allowed, Architecture staff agreed to provide access to design studios once, then twice a week. For many of you in Newcastle, the access to the studio turned into a lifeline, although for those of you who hadn’t even managed to set foot in the city, the routines of studying remotely continued as before. Incredibly so, most first year students, during their end of year portfolio interview in June, stated that they had a good year; this is a tribute to all dedicated academic and support staff who have all gone above and beyond the imaginable to make this year possible and rich despite of the global pandemic.

Architecture and Urban Planning students have matured at an unexpected pace, taking in their stride their frustrations, anger, desolation and difficulties. Yet, these struggles prepared students more than ever for professional life, being able to develop projects individually or in groups with colleagues across oceans. They have learned to organise themselves, to reach out in difficult times, to work together remotely. They have been able to reflect constructively on their learning process and succeeded in projecting themselves beyond their degree.

The interdisciplinary nature of the BA (Hons) Architecture and Urban Planning programme meant that students had to adjust to a variety of virtual teaching approaches: Design projects included individual site visits for students based in Newcastle, but those studying remotely experienced the approach that many designer practitioners engage with when taking part in international competitions - including learning about a site through maps and data sourced while never setting foot on the actual ground. As part of APL2015 Relational Mapping: Design and Representation (see page: 60), a colleague walked Byker with a go-pro camera sharing live comments and observations. The APL2035 Participation: Theories and Practices (see page: 62) which intends to engage students with community groups turned out to be impossible. Instead colleagues from APL, Geography and Education generously supported the module allowing our students to remotely embrace a diversity of matters of concern faced by people in our city. Humbly accepting that we have all been learning, compassion and understanding have been paramount and essential to complete a year that could never prepare students better for the 21st century professional life. As a team, we have noted sustained academic standards, in some parts even higher achievements, thus demonstrating the level of resilience that was required.

The programme has consolidated its socially engaged ethos to architecture and planning which is illustrated in the pages of this yearbook through the ARC1007 Architectural Design with the Co-created City project (see page: 54) that engages students in siting a small studio in dialogue with an artist. AUP2 offers, APL2015 Relational Mapping: Design and Representation (see page: 60), a design project that invites students to ‘explore a site carefully and to understand how architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future’.

The socially embedded agenda is strengthened with the AUP2 module APL2035 Participation: Theories and Practices (see page: 62) which introduces students to the research of many colleagues in both Architecture and Planning but also provides them with tools to actively support changes in our city, and ensure all voices are heard. APL3001 Alternative Practice: Urban Prototyping design project “Urban Commons” (see page: 66) concludes a two-year collaboration with the AHRC funded project ‘Waste and Strays, past, present and future of Urban Commons’ focusing on Newcastle’s Town Moor as a space of reflection and engagement on common land. APL3007 Dissertation in Architecture and Urbanism (see page: 14) reflects students’ concerns and future professional endeavours exploring a wide diversity of topics ranging from informal settlements in Cairo and Abuja, biodiversity and wellbeing, the impact of the COVID-19 pandemic, climate emergency and ecological crisis to the pressing matter of women’s safety in the built environment.

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AUP Stage 1 - Co-created City Dan Russell

I inherited this project from Ed Wainwright, having initially contributed to it when I moved to Newcastle a few years back. The module was previously based at The NewBridge Project in Gateshead, an artist-led organisation where I also work as Artist Development Programmer. When Ed asked if I knew anyone whose interests spanned contemporary art, social practice and the built environment to get involved in teaching, I cheekily said “yes, me”. This was not totally out of the blue as I have a background in architecture and a decade of working on socially engaged art projects.

It has been enjoyable seeing the project evolve over the years and witness different students’ reactions to it - especially when being gently nudged out of their comfort zones!

Whilst still geared around designing a residency space for an artist, this year we broke with tradition and sited the project away from NewBridge. We were still able to ground it in the realities and difficulties of art in the city: precarious temporary tenancies, the spectre of gentrification, and the misunderstanding and marginalisation of progressive creative practices that hint at better futures. Three real life artists were invited to act as client figures whose needs and specific artforms the students could design around, and the project aimed to help them investigate what it is artists do, and how this connects to bigger societal themes and issues in the context of the city, and why it is important.

Starting with Joseph Beuys’ (1921–1986) “extended definition of art” where “everything under the sun is art” and “everyone is an artist” the cohort were encouraged to get into the heads of the client artists and draw their own conclusions as to what art might be - perhaps not limited to things like painting or drawing.

This year we took into consideration the fact that people were still primarily working from their kitchen tables, bedrooms and sofas and might not have access to the luxuries of the studio - making preliminary site models out of piles of books, cereal boxes and folded jumpers. In lieu of being together on site, and catering for brains subdued by a year of lockdown, we did imaginative exercises inspired by designer Victor Papanek and futurologist Jerome Glenn to explore either a visionary approach (speculative, not-yet-practical designs) or super detail (pinpoint accurate refinement) angle for the project.

Stage 1 Students

Alexandra-Cristina Gherghe Amelia Rose Stewart Pegrum Andre Hansford Aube Aurelie Marguerite Bailly Bailey Hodgson Ben Joseph Foster Benjamin Hunter Dwyer Hill Benjamin James Johnson Charles James Joseph Connor Humble Daniel Casbolt Daniel Corden Dominic Bowell Douglas Butt Edward Adams Edward Jack Wilson Elif Gulistan Akbas Foivi Maniatopoulou Grace Tregenza James McCutcheon Jeni Larmour Jordan Shaw Josh Kalia Juliette Douin Kwan Kwan Mahamat Younis Miles Louis Thomas Patrick Eamonn Douglas Pollyanna Wagenmann Quanah Clark Samuel Gaisie Sujesh Bernardo Rajendra Kumar Tatiana Eleanor Rachel Addyman Tizzy George Sakala Tomislav Angelov Varun Awasthi Wei Che Chuang Zuzanna Tomasik

Contributors

James Perry Lesley Guy Sarah Stead Sue Loughlin Will Stockwell

The idea with the project is to re-centre art as a vital part of the urban experience - alongside the multiplicity of societal things that make life worth living. The contributing artists all have practices that involved collaboration, other people and the general public and aim for a democratisation of culture rather than perpetuating the outdated idea of the lone genius struggling in their garret.

This year’s cohort was expected to think more like actual contemporary artists: get inside their heads via storyboarding a day in their life; add a layer of reality to the design process through incorporating an inventory of each artists effects and personal requirements; and perhaps even make the leap between the social practice techniques of art and their application to community-led regeneration, designing for end users and placing people before profit.

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Top, Left to Right - Miles Thomas, Josh Kalia

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Middle - Q uanah Clark

Bottom - Juliette Douin, Amelia Pegrum

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AUP Stage 1 - MapMe Armelle Tardiveau

Contributors: Elinoah Eitani and Dan Russell

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Top: Quanah Clark

Botttom, Left to Right - Connor Humble, Tatiana Addymann

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AUP Stage 1 - Taking Measure Kieran Connolly

Contributors: Daniel Mallo, Dan Russell, James Perry, Elinoah Eitani and Jane Milican

Top, Left to Right - Eddie Adams, Jordan Shaw

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Bottom - Amelia Pegrum

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AUP Stage 1 - Architecture Occupied James Longfield

Contributors: James Perry, Armelle Tardiveau with the support of Anna Cumberland, Nicholas Honey, Robert Thackeray and Mark Laverty

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Top Left to Right - Amelia Pegrum, Miles Thomas

Middle Left to Right - Ed Wilson, Ben Foster

Bottom - Jay Chuang

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AUP Stage 1 - Shelter David McKenna

Contributors: James Perry, Sarah Stead with the support of photographers Tara Alisandratos and Damien Wootten

Top, Left to Right - Juliette Douin, Josh Kalia

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Middle - Douglas Butt

Bottom - Quanah Clark

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AUP Stage 2 - Relational Mapping, Design and Representation Prue Chiles and Sarah Stead The Relational Mapping studio design project invited students to explore a site carefully and to understand how architecture and urban space are designed, experienced, and enjoyed by the public before making suggestions for its future. We introduced the practice of creative mapping to explore and understand the varied dynamics and uncertainties of urban sites, and to help students find inspiration to create architectural intervention projects within the chosen site. By mapping accurately both the physical qualities of the area as well as non-physical data, experiences and uncertainties, students understood both the Byker Estate and the Byker neighbourhood. These insights informed the next stages of the project. James Corner, the well-known landscape architect, writes that “maps can unfold potential and allow creative thinking, they are a cultural project, creating and building the world as much as measuring and describing it”. He believes that new and speculative forms of mapping may generate new practices of creativity and by showing the world “in new ways, unexpected solutions and effects may emerge”. Whilst there has been no shortage of new ideas and theories in design and planning there has been little advancement and invention of those specific tools and techniques-including mapping – that are so crucial for the “effective construal and construction of new worlds”.1 The famous Byker estate lies to the east of Newcastle city centre. Byker nestles itself like an Italian hill-top town rising above it’s neighbours of Ouseburn and Shield road and looks down on the River Tyne. The Byker we see today is the replacement to the demolished area of Victorian working-class area of densely built terraces, designed by the Architect Ralph Erskine. The estate, characterised by it’s huge embracing Byker wall, was seen as an exemplar of architectural and landscape design and public participation. However, despite a vibrant community action group it has complex ongoing problems.

Stage 2 Students

Benjamin Duncan Chak Lam Cleve Yu Cheuk Hin Adrian Yee Danna Mercado David Lok Eisha Malik Ewan Mears Gabriela Serafin Ghaidaa Al Jamali Ieuan Phoenix Jake Anderson James Ross Khadijat Ismail Man Wai Stephanie Chan Matthew Payne Maud Webster Megan Dennison Peiyi Chen Sajid Ali Suksheetha Adulla Toprak Dal William Smith

Contributors

Anna Cumberland Claire Harper Heidi Kajita Nicky Watson (JDDK Architects) Sally Watson

At the beginning of the project we managed a field trip to Byker and Ouseburn before the lockdown, allowing most of us to meet in person and explore through walking, discussing and drawing. The studio was supplemented with talks and seminars from visiting professionals working on and in Byker and by talks on representation and urban design techniques and tactics. The brief for the project used the scenario that groups of students have been commisioned by the Byker Community Trust to anaylse a particular area within Byker and to propose architectural interventions to celebrate and improve the diverse areas of the Estate. The group mapping explorations in the first few weeks informed a manifesto, a narrative written as a group of what is needed and desired and what kind of intervention might enhance, improve and celebrate either the public space, landscape, buildings or a combination of these. The manifesto developed into a proposed site plan where each member of the group designed an element of this, ensuring that their individual final designs were integrated into the overall group proposal. The projects successfully illustrated a knowledge and understanding of mapping as a vehicle of revealing the complexity of socio-spatial networks that make up the urban environment of Byker. The students showed an evolving personal, ethical and sustainable attitude to the project, grounded in civic engagement, as much as was possible this year, and this formed the basis for their designs and decision-making. Students developed their own working practices, online especially, whether working independently or in groups and articulated their ideas at neighbourhood design scale (1:500) as well as at a detailed scale (1:50/1:20).

Particularly impressive this year was the way students worked in groups with each other, some members of the studio in far flung countries and others able to visit Byker. This made for a rewarding team working experience.

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Top, Left to Right - Eisha Malik, Will Smith, Group: Ewan Meers, Ghaidaa Al Jamali, Danna Mercado, Sajid Ali

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Bottom - Eisha Malik

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AUP Stage 2 - Participation: Theories and Practices

Armelle Tardiveau, supported by Georgia Giannopoulou and Gabriel Silvestre For their inspiring interventions deep thanks to Prof. Prue Chiles, Dr. Paul Cowie, Gareth Fern, Prof Patsy Healey, Dr Julia Heslop, Daniel Mallo, Owen Hopkins, Prof Rosie Parnell, Sean Peacock, Teresa Strachan, Dr Dave Webb and Dr Sebastian Weise. Also, warm thanks to ‘City Actors’ who engaged with our students in local urban challenges: Sally Watson, Elinoah Eitani, Neil Murphy, Liz Todd, Alison Stenning, Montse Ferres and Ed Wainwright.

Participation: Theories and Practices is a module that emerged last academic year out of sheer desire to acknowledge and foreground the longstanding tradition of participation at the School of Architecture, Planning and Landscape with its wide spectrum of participatory research in the fields of both Architecture and Urban Planning. Inspired by the legacy of Professor Patsy Healey who pioneered research on collaborative planning (Healey, P. 2003), the module intends to introduce students to this expanding body of research within the school. It builds on the work of Teresa Strachan, whose decades of practice and research for Planning Aid allowed young people to have a voice about their neighbourhood and gave them means to shape it; it also draws from the practice-led research on socially engaged design and activism

by Daniel Mallo and Armellle Tardiveau in Architecture. Indeed, the school’s website bursts with research on participation, civic engagement and activism by many colleagues, illustrating the depth and breath of the commitment of the school to participation mainly through research but now embedded in our teaching.

Stage 2 Students Adrian Yee Ancha Myburgh Benjamin Duncan Cleve Yu David Lok Eisha Malik Grace Evans Ieuan Phoenix Kaan Mete Matthew Payne Megan Dennison Paul Anderson Sajid Ali Stephanie Chan Suksheetha Adulla William Smith

The module aims to engage our students, the forthcoming generation of citizens and professionals of the built environment, in giving power to people (echoing Patti Smith’s popular song ‘People Have the Power’). Through a combination of seminars, live engagement and reflective writing, students develop an inclusive approach, that promotes all voices to be heard,. The ultimate objective being the Right to the City for all citizens and the creation of spaces that strengthen local democracy and community action. In this regard, students develop a participatory process addressing a local concern, in the context of Newcastle’s Urban Room, a space for debate and democracy, originally envisaged by Sir Terry Farrell in his Review of Architecture and the Built Environment (2014). As part of City Futures, Prof Mark Tewdwr Jones paved the way for an Urban Room (Tewdwr-Jones, 2019) to emerge at the heart of Newcastle University, a forum for expression, participation and engagement of Newcastle’s city actors and communities living and experiencing the city everyday.

This exciting new initiative, praised in a national newspaper (Wainright, O. 2021), will open many opportunities to strengthen our role as a Civic University.

Participation: Theories and Practices is offered to Stage 2 students from three undergraduates programmes in the school (BA Architecture and Urban Planning, BA Urban Planning, Master of Planning); it brings together colleagues from Architecture and Planning with an interdisciplinary expertise on histories of participation, representative democracy, civic life, analogue and digital participation tools, children and young people in participation, design activism, collaborative planning, the role of fine art and performing art in participation, etc. The course not only disseminates knowledge and the well-established tradition of participation at APL, but also aims to inspire a new generation of thinkers and activists, quench their thirst for action and, ultimately, equip our graduates with a critical framework to act and address the socio-ecological challenges lying ahead of us.

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Text by Armelle Tardiveau

07/07/2021 11:34:51

Top, Left to Right - Team: Hattie Carr, Will Smith, Thomas Gimshaw, Matt Noble Bottom Left - Team: Louis Mc-Lean Steel, Matt Bishop, Megan Dennison, Samantha Lindsay, Zhuoruo Li Bottom Right - Team: Benjamin Duncan, Jake Anderson, Lee Yiu Sing, Rosie Beddows, Will McKenna 4 - 2021 - AUP Section Only - SA.indd 63

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AUP Stage 2 - Living Communally Claire Harper

Contributors: James Perry, Ed Wainwright, Martina Schmuecker, Helen Jarvis, James Longfield, Rosie Parnell, Sarah Bushnell, Charlie Barratt Students: Benjamin Duncan, Chak Lam Cleve Yu, Cheuk Hin Adrian Yee, Danna Mercado, David Lok, Eisha Malik, Ewan Mears, Gabriela Serafin, Ghaidaa Al Jamali, Ieuan Phoenix, Jake Anderson, James Ross, Khadijat Ismail, Man Wai Stephanie Chan, Matthew Payne, Maud Webster, Megan Dennison, Peiyi Chen, Sajid Ali, Suksheetha Adulla, Toprak Dal, William Smith

MAUD WEBSTER | 190104104 | APL2015 PORTFOLIO

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Top, Left to Right - Peiyi Chen, Chak Lam Cleve Yu

Page 35

final itteration 1:200 3D view (reduced)

Bottom - Maud Webster

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AUP Stage 3 - Green Infrastructure for Well-being and Diversity Tim Townshend

Tutor: Smajo Beso Contributors: Mr. Clive Davies, Dr. Stephanie Wilkie – Assoc. Professor of Environmental Psychology, Sunderland University, Ms Erin Robson – Senior Planner, ARUP Stage 3 Students Abin John

Angus Atkin Changrui Li Darcey Morse Diana Mihailova Emma-Maria Itu George Woodruff Jack McMunn Jake Merkx Jeremy Bidwell Laura Nichola Martin Joly Mindaugas Rybakovas Quitterie D’Harcourt Rachel Turnbull Shu Zhang Sunny Howd Tahnoon Alshehhi Thomas Coutanche Thomas Paramor Thomas Tai Yuxi Liang

Contributors

Armelle Tardiveau Siobhan O’Neil Alex Zambelli Abby Schoneboom

Top - Diana Mihailova

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Bottom, Left to Right - Emma Itu, Thomas Coutanche

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AUP Stage 3 - Urban Commons Daniel Mallo

This project concludes a two-year collaboration with the AHRC funded research project on urban commons: Wastes and Strays: The Past, Present and Future of English Urban Commons (1). This contribution to the research set out to explore Newcastle’s unique urban common, the Town Moor, through a variety of lenses.

Structured around three inter-related tasks, the project first scrutinized the history of the Town Moor, before investigating its current practices and then envisioning its future.

Drawing from the history of the Moor, students designed an imaginary intervention that revealed traces or events of a distant or close past – amongst these, the execution of 14 witches in 1650, the construction of an hospital in 1883 to contain the small pox pandemic, or the ‘Hoppings’, to date, the largest travelling fun fair still coming to the city to celebrate the start of the summer for the joy of people of all ages.

Today’s experience of the Town Moor was the focus of the design and making of participatory packs that were sent to anonymous users and lovers of the space. Filled with fun tasks and engaging prompts, coined as ‘cultural probes’ by Bill Gaver (2), the carefully crafted participatory packs helped chart stories, anecdotes, experiences and narratives of the present uses and practices of the Town Moor. Ten participants returned inspirational responses in the form of photographs, field notes, post-cards, drawings, objects collected from field and recordings, all of which informed a field guide or alternative map of the everyday inspired by art collective Art Gene’s rich and witty ‘Seldom Seen’ (3) maps of Morecambe Bay.

Stage 3 Students

Tahnoon Alshehhi Jeremy Bidwell Sarah Bird Thomas Coutanche Quitterie d’Harcourt Cecilia Egidi Sunny Howd Emma-Maria Itu Abin John Martin Joly Changrui Li Yuxi Liang Jack McMunn Jacobus Merkx Diana Mihailova Darcey Morse Laura Nicholas Thomas Paramor Mindaugas Rybakovas Thomas Tai Rachel Turnbull Shu Zhang

Future visions of the Town Moor emerged out of critical reflection of the returned participatory packs. Materialised through temporary installations or performances over the course of one day, the interventions explored scenarios and triggered everyday users in thinking about the future of this cherished Urban Common. These provocative actions brought to the fore issues concerning women’s safety at night in such a poorly lit expanse of land, created opportunities for voicing diverging perspectives on the Town Moor’s governance and practices by locating a letter box at the heart of the space, raised the opportunity for carbon sequestration through tree planting, increasing wildlife and biodiversity, while still retaining the charm of cow grazing in the summer yet protecting those who are scared of them by creating a cow-proof shelter!

Despite all the challenges of the current pandemic, this live project granted students the opportunity to work collectively and celebrate individual skills and capacities much valued in collaborative design practices including leading, making, researching, planning and engaging with the public. Such projects bring together the academic skills students develop through the degree including a robust and considered ethical approach to practice and research. Co-producing space concludes in spite of all circumstances, a learning journey that forges active citizens and designers engaged in the real world.

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1 https://research.brighton.ac.uk/en/projects/wastes-and-strays-the-past-present-and-future-of-english-urban-co 2 Gaver, B., Dunne, T., & Pacenti, E., (1999). Cultural probes. Interactions, January-February 6 (1), 21-29.

3 https://www.art-gene.co.uk/project/seldom-seen-mapping-morecambe-bay/ 07/07/2021 11:34:58

Top, Left to Right - Sarah Bird, Diana Mihailova, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li Bottom, Left to Right- Emma Itu, Group: Diana Mihailova, Rachel Turnbull, Jack McMunn, Changrui Li

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Master of Architecture (MArch) Iván J. Márquez Muñoz – Degree Programme Director

The MArch programme is designed to help students develop their critical and creative thinking and stretch the boundaries of their imagination. It places a strong emphasis on developing an independent approach to design, encouraging students to test and discover what architecture means to them and what they might want to do with their degree. The programme aims to provide students with a supportive and intellectually stimulating environment in which they are encouraged to pursue their own design research agendas.

The programme comprises two years of study, first year (Stage 5) and second year (Stage 6). Set around different locations, and approaching design in very different ways, Stage 5 contains two semester-long projects that build on top of one another to form an in-depth critical study and re-imagining of a particular urban context. The first semester project approaches architectural design from the wider scale of the urban context; and the second semester’s project gravitates towards the building scale with a focus on details, tectonics, materials, construction, environmental and atmospheric considerations. Stage 6 builds on this by synthesising knowledge and ideas into a yearlong design thesis, which ultimately sets out the student’s architectural position as a designer at the end of their formal design education.

This academic year, the research-led masters vertical studios included: “Archive of the Collective Interior”, a studio which reflected on our bodily actions and interactions in this period of lockdown, intending to offer another perspective of this situation by mapping and imaging how our bodies are transforming in their new-found interiority; “The Big Here and The Long Now”, a studio which focused on the creative use of materials and the geological, ecological, technological and social systems that make up the process from sourcing them to using them; “Edge Conditions”, a studio that proposed investigating architectural responses to border conditions, conceived both literally and figuratively; “Material Change”, a studio that questioned how our cities can reinvent themselves in response to the global climate emergency; “Remapping the Neo-Avant-Garde”, a studio in which built and unbuilt projects were considered as providing models for developing methods for addressing the complexities of intervening in historical contexts, on existing structures and in traditional urban settings; and a studio titled “Unlearning: How to Practice Architecture”, which aimed to rethink what architecture and architects can do, what tools are needed and what practices can be adopted to respond and contribute to an optimistic future, for architecture, for people and for the future of a city.

Alongside the design studios, a series of non-design modules complete the programme.

Students could choose an elective pathway to be carried out over the two years of the programme, effectively tailoring the programme according to their areas of interest.

This year, students were able to either write a research dissertation; to work in small groups to develop a Linked Research project associated with a research area; or to develop a specialism in Urban Planning selecting a series of modules from our School’s MSc in Urban Planning, which could ultimately lead to a dual qualification if that particular route is continued after graduation.

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Stage 5 & 6 Vertical Studios This academic year the design modules of the programme were delivered through six vertical studios across both years of the MArch, all with distinct briefs that posed specific challenges formulated by their respective tutors. Every studio was formed by a mixture of both Stage 5 and Stage 6 students working together throughout the year, creating an integrated studio structure that provided a well-defined intellectual framework for projects. The weekly design tutorials were supported by frequent seminars, lectures, and specialist technical consultancies. These were also completed by critic-led reviews with panels of expert academics and practitioners invited from across the country, as well as cross-year reviews that broadened the range of discussions.

Stage 5 Coordinator Iván J. Márquez Muñoz

Stage 6 Coordinator Matthew Ozga-Lawn

Project Leaders

Anna Czigler Carlos Calderon Christos Kakalis Claire Harper Dan Burn David Boyd Ed Wainwright Graham Farmer Ivan J. Marquez Munoz James A. Craig Jane Redmond John Kinsley Matthew Ozga-Lawn Nathaniel Coleman Paul Rigby Polly Gould Prue Chiles Zeynep Kezer

Stage 5 Students

Abbey Mcguire Anastasia Winifred Cockerill Aysel Imanova Ben Dean Beth Hardy Bohan Qiao Brandon Athol Few Cecilia Egidi Charlie Barratt Chi Ming Ng Dana Raslan Dora Mary Frances Farrelly Erya Zhu Eve Pardoe Feyzan Sarachoglu Frazer Morgan Ellis Watson George Salsbury Spendlove Harry Charlesworth Groom Heather Annie O’Mara Hiu Kit Brian Hui Hizkia Widyanto Ho Hang Ryan Fung Holly Veitch Ibadullah Shigiwol Irene Dumitrascu-Podogrocki Isabel Lois Fox Jacob Oliver Botting Jake Thomas Williams-Deoraj

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Jay Antony Hallsworth Jemima Alice Smith Jing Olyvia Tam Joe Wallbank Jose Figueira Joshua Willem Jago Knight Juan Felipe Lopez Arbelaez Kushi Lai Kwok Tung Constance Tso Liam Kieran Rogers Maria Aksenova Marina Patsia Mireille Patrick Mollie Macdonald Natasha Alexandra Rice Nathan Alan Cooke-Duffy Olga Karchevska Paola Isabella Jahoda Robert Lloyd Rory Patrick Durnin Sarah Popsy Bushnell Sarah Safwan Moh’d Hasan Al Hasan Shaodong Zheng Solomon Olufemi Adeyinka Ofoaiye Sophie Agnes Wakenshaw Sophie Grace Collins Tashanraj Selvanayagam Tunu Maya Nichol Brown Victoria Louise Haslam Xingtong Li Xueqing Zhang Yuan Chen Zacharias Yiassoumis Zhana Hristova Kokeva

Stage 6 Students

Aisha Suleiman Gimba Alexander James Mcculloch Benjamin James Taylor Charlotte Wood Chou Ee Ng Daniel Francis Hill Elle-May Simmonds Emily Charlotte Cowell Emily Reta Spencer Ethan John Archer George Campbell MacKellar Harashadeep Kaur Henry James Cahill Ho Yin Andy Chan Katherine Helen Bluff Katherine Isabel Rhodes Konstantins Briskins Luc James Askew-Vajra Malgorzata Nicoll Szarnecka

Text by Iván J. Márquez Muñoz

Margaret Amy Armstrong Longman Marisa Rachel Bamberg Mark Andrew Laverty Matthew Edward Harrison Matthew Michael Tweedy Nicholas W G Honey Oliver James Church Robert John Thackeray Sami El-Kamha Sarah Elizabeth Bedwell Sarah Marie Askew Sergey Dergachev Stephanie Louise Wilson Thomas Jordan Stanley Toghrul Mammadov Vincent Zeno Macdonald Wing Yung Janet Tam Zara Elizabeth Rawson

Contributors

Adam Hill Alex Blanchard Amy Linford Armelle Tardiveau Ben Bridgens Bill Calder Cathy Dee Craig Gray Daniel Mallo David Manning Duarte Lobo Antunes Henry Pelly Jack Mutton Jennie Webb Jian Kang Josep-Maria Garcia-Fuentes Juliet Odgers Laura Mark Lorens Holm Malcolm Tait Mark Marshall Martin Beattie Martyn Dade-Robertson Neil Burford Neveen Hamza Peter Wilson Rachel Armstrong Ray Verrall Remo Pedreschi Ruth Morrow Steve Webb Toby Blackman

Opposite - Harry Groom

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Archive of the Collective Interior

James Craig, Matt Ozga-Lawn & Polly Gould Architectural education is in a state of accelerated distance that has been brought on by the COVID-19 lockdown and the subsequent dissolution of our physical teaching spaces. In the emptying-out of our studio environments, we have had little time to think through what it means to sever the spaces of bodily encounter that the studio environment holds.

The intention of this studio was to offer another perspective by reflecting on our bodily actions and interactions in this period of lockdown.

Through mapping and imaging how our bodies transformed in their new-found interiority, the studio provided provocations on the importance of pausing and reflecting at this time of crisis, and to find ways of holding on to our subjectivity to create distance from the screen-world.

In this pursuit, the studio was concerned with framing – not just in how the external world is reduced to a series of framed experiences of life, but to consider what lies beyond those imposed frames so that a realignment with the material world might occur. The architect’s tools were drawn into question in this new reality, ultimately showing how the screen world’s illusory conditions can be subverted, manipulated and sometimes destroyed.

Through close attention to objects and their implications- with a reminder that it is healthy and desirable to be caught up in the world, these projects function as spatial testimonies of this time, exposing the realities of life that lie behind screens so as to reverse the displacement incurred by lockdown.

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Above - Mollie Macdonald

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Top - Maria Aksenova

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Middle, Left to Right - Maria Aksenova, Bohan Qiao

Bottom - Bohan Qiao

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Top - Sophie Collins (2)

Middle - Feyzan Sarachoglu

Bottom - Feyzan Sarachoglu

07/07/2021 11:35:45

Top - Tunu Brown (2)

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Middle - Yuan Chen

Bottom - Yuan Chen

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Number 12 is haunted. Through methods of forensic analysis, interrogation of the gaze, and exploration of the parallax [gap]: we search for meaning within the residues left behind by previous occupation, questioning our sense of place, and uncovering hauntological presences in a time otherwise characterised by absences.

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Alexander James Mcculloch & Mark Laverty The Haunting of Number 12

07/07/2021 11:35:56

Alexander James Mcculloch & Mark Laverty The Haunting of Number 12

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Unfolding in real-time as the Covid-19 pandemic disrupts our lives, this thesis project has focused on processing thoughts and emotions, both introspectively and projecting outwards to empathise with others. Introspective Objects and Projective Objects are created, and the research culminates in the final object, a film called ‘Objects of Transition’.

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Katherine Isabel Rhodes Objects of Transition

07/07/2021 11:36:01

Konstantins Briskins Archive of the Lost Senses

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Grounded within the context of the Covid-19 pandemic many professionals have announced long terms plans to adopt home working practices.

In recognising static desk culture associated with home working, the ‘kinetic tool-kit’ responsively seeks to extend and augment the domestic environment through a series of analogue interventions.

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Elle-May Simmonds The Architecture of Enrichment

07/07/2021 11:36:08

‘The Zoomscape’ challenges traditional modes of architectural representation through interrogation of a domestic space invaded by cameras. A parallel is drawn between the flaws of the linear perspective in architecture and those of the video-communication tools on which we now heavily rely.

Sarah Elizabeth Bedwell The Zoomscape

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Edge Conditions

Iván J. Márquez Muñoz, Christos Kakalis, Zeynep Kezer This studio was an exploration of architectural responses to Edge Conditions, conceived literally and figuratively. An edge signifies the boundary between two different spatial conditions—but this boundary can take myriad forms, invoking a wealth of associations and spatial conditions that can find tectonic expression. Edges may be concrete like a wall or imagined like the time zones, they may be solid, porous or fluid. This broad and graduated spectrum finds form in an equally diverse vocabulary of design at different scales with walls, facades, arcades, thresholds, shutters, windows, steps and stairs, gateways and passages which modulate liminality through variations in height, opacity, material palette, and detailing.

In this studio, by proposing Edge Conditions as a deliberately loose frame, we wanted to enable a wide range of experimentations and iterations from the most literal and material translations of the notion to the most ephemeral and metaphorical. The projects developed in this studio included attempts at stitching the urban fabric to mend it where it frays and efforts to identify components of abandoned assemblages to reconfigure them for new uses, thereby reducing waste and improving the resilience of communities. In our studio there was also plenty of room for students who chose to define their projects as serious social criticism, intensifying the practices that exacerbated the inequities on both sides of the boundary to render them starkly visible and for projects conceived as social satire, articulated as full-blown parodies of the contemporary society of spectacle.

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Above - Brandon Few

07/07/2021 11:36:20

Top - Liam Rogers

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Middle, Left to Right - Liam Rogers, Nathan Cooke-Duffy

Bottom - Nathan Cooke-Duffy

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Top - Jake Williams-Deoraj (2)

Middle - Simon Ng

Bottom - Simon Ng

07/07/2021 11:36:49

Top, Left to Right - Marina Patsia, José Figueira

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Middle- Paola Isabella Jahoda

Bottom - Paola Isabella Jahoda

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Rewilding Industries is an architectural and landscape intervention that proposes a research centre to cultivate phytoremediators that heals the contaminated site of Grangemouth in Scotland and allow the phytoremediators to overgrow and rewild the remediated sites into a natural habitat for the species dwelling at the Firth of Forth Estuary.

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Ho Yin Andy Chan Rewilding Industries

07/07/2021 11:37:12

The cycle of capitalistic creation and destruction will determine the fate of brutalist ‘carbuncles’ of the country whose demolition is antithetical to the profession which is increasingly motivated by preservation and sustainability. A scarred memory of the demolished Chandless Estates persists in Gateshead. Reviving and re-imagining the estates aims to provide continuity in a town that has long lacked a community that stands up for it.

Harashadeep Kaur Re-imagining the Chandless Estates

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Sergey Dergachev The Intergenerational Forum of Canongate

07/07/2021 11:37:19

Reclaiming Playtime introduces concepts of play and games into a mixed-use cultural space at the intersection between Edinburgh and Leith, the product of an evolving network of interconnected programmes, facilitated by a method of incremental expansion, consolidation, and shared resources.

Robert Thackeray & Nicholas Honey Reclaiming Playtime

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Robert Thackeray & Nicholas Honey Reclaiming Playtime

07/07/2021 11:37:34

Robert Thackeray & Nicholas Honey Reclaiming Playtime

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Material Change

Daniel Burn, Jane Redmond, Graham Farmer, Paul Rigby Our discussion this year has focused on the Eldon Square shopping centre in central Newcastle. In light of the challenges faced by our high streets, both pre and post covid, our brief asked the group to consider new opportunities for the high street, and to apply those approaches to our chosen site. How can city centres provide services for a broader demographic and for a wider variety of functions?

In approaching the challenge above, we asked each of the students to consider their work within the context of the current climate crisis, and the impact of the built environment on the carbon footprint of our cities. We encouraged the group to consider the material cost in creating buildings and to consider scenarios which seek to retain, adapt, and extend existing structures.

Starting with a city scale urban analysis of the site, the group worked together to form a research base upon which to develop their personal approaches. The 6th years developed this work towards their individual thesis submissions, whilst the 5th years created an urban scale design project first before a detailed building intervention.

The resultant projects display a broad array of approaches that seek to amend and adapt the existing buildings towards appropriate new uses.

The projects engage directly with a process of re-use, identifying appropriate places to adapt and suggest methods of construction which extend and adapt existing structures.

The projects suggest new opportunities around some clear themes. The design of new workplaces, focusing on variety and providing more flexible, small scale solutions, which can be adapted for the making and displaying of goods. Another key theme formed around themes of connection and wellbeing, creating spaces at roof level for leisure as well as the production of food. Many of the projects took on the challenge of making better pedestrian links, opening routes between buildings, and making better connections between existing city streets.

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Above - Harry Groom

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Top - Cecilia Egidi

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Middle, Left to Right - Cecilia Egidi, Frazer Watson

Bottom - Frazer Watson

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Top - Beth Hardy (2)

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Middle - Juan Lopez Arbelaez

Bottom - Juan Lopez Arbelaez

07/07/2021 11:38:07

Top - Solomon Ofoaiye

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Middle, Left to Right - Solomon Ofoaiye, Jemima Smith

Bottom, Left to Right - Jing Olyvia Tam, Jemima Smith

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We’ll have to plant some fresh fruit by the weekend Sarah

You should have your tea out here mum.

We could go down to the cafe later

I’m outside

Awesome!

This project is rooted in shifting the conversations which are had in our city centres from one formed around retail and consumer culture to one of community using dwelling as a language format and marginalized groups as the participants.

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Aisha Suleiman Gimba Conversations Within Newcastle’s City Centre

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To accommodate and celebrate the daily life of the street, the project utilized the influence of the street life, create a ‘crack’ on the homogeneous shopping mall façade. In an attempt on creating a symbiotic or productive relationship between the order focused shopping mall and the ‘messy’ street.

Chou Ee Ng High Street: De-Gentrification

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SENSORY TYPOLOGIES

CONCEPT AXO ‘Theatre of the Senses’ is an attempt at creating a hyper-charged transnational city centre. This machine/methodology can be recreated in other cities, if approached correctly.

A SENSORY INCUBATOR

A hedonistic, ephemeral journey of transaction & regional memory, with focus for certain groups/users as the journey moves through the arcade loop. The three ‘Sensory Loop’ spaces, aims to create a dialogue with the senses and the everchanging city around it.

Senses Machine

Hetertopian junctures (the arcaida loop)

The City (a network of memories)

BRUNSWICK PLACE PURFUMERY (north elevation axo)

The prestigious Edwardian Fenwick’s, established between 1882-1885, lines the north of the street, with its beauty department opening directly onto the space. Finally, Monument Mall acts as the street’s southern boundary. Incorporating three Grade II listed facades from the 1890s/ early 1900s and facades from various twentieth century building elements.

Designed like a 19th century arcade, (a nod to the character of the space & the Central Arcade, a key part of the sensory route), ‘Brunswick Place Perfumery’, provide san Olfactory journey and space for the current Church to host interactions between young and old groups. Set in the city centre, the Perfumery is accessible and open to all, fostering inclusivity and exploring taboos about the ‘stinky city’.

14

A hedonistic, ephemeral arcade route in Newcastle’s city centre, acknowledging memory and challenging regional cleansing. The project uses existing fabric and local DNA, to create a hyperintense, transactional experience.

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Emily Spencer Theatre of the Senses

07/07/2021 11:38:36

NHS HEALTH NEWCASTLE LEARN

NEWCASTLE EAT

Examining what is ‘health’ and how it is affected by living in a city centre environment. From the research undertaken, ultimately exploring an alternative to city life living to optimise ‘health’.

Oliver Church Unhealthy City - Newcastle Health Centre

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The thesis explores the notion of density within the architectural field and its stigmatisation, as the current health crisis has fuelled the discourse around the future of cities.

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Toghrul Mammadov The DEN

07/07/2021 11:38:54

Located on the site of the former town hall, the scheme utilises architectural salvage as a means of fostering connections to place, enabling people to become active in the built and urban environments in which they live.

Zara Rawson Newcastle Urban Room

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Architecture and its Education Redux: Remapping the Neo-Avant-Garde Nathaniel Coleman, David Boyd, Carlos Calderon

In this studio, students explore the historical conditions of the fragmentation of architecture in an effort to respond critically to the situation. Developing their own understandings of present conditions is introduced as prefiguring architectural and urban responses to them. The interrelation of history, form, structure, building systems, building character and function (or use) is presumed as central to such cultural work and for the emergence of designs. Equally, Remapping the Neo-Avant-Garde challenges students to confront the aporia that has long prevented architecture from overcoming internal contradictions between myths of autonomy and entrapment within the building industry, which limits architectural expressions to reproductions of capitalist spatial practises and modes of production.

If the neo-avant-garde in architecture amounts to little more than branding, or self-satisfied (self-congratulatory) illusions of autonomy — as if somehow operating on the outside of the building industry – in reality, it is mostly an exercise in careering. It is on the doorstep of this illusion that Punk might offer something of a corrective: its experimental DIY ethos, embrace of failure, and implicit/explicit critique of capitalist spatial practises and modes of production are something the neo-avant-garde in architecture is almost incapable of considering, but which students in this studio are encouraged to explore in their own projects. More directly related to the Italian context of this studio — all sites are set in Italy, the Italian Arte Povera movement provides clues to alternative methodologies that are likely somewhat easier to transpose architecturally than Punk, while sharing a similar ethos.

All design investigations in both stages, across the two semesters, of this MArch vertical studio are construed as research, encompassing design research, design practices, technology – in its broadest sense, reflective practices, interpretation and representation.

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Above - Isabel Fox

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Top, Left to Right - Isabel Fox, Dora Farrelly

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Bottom - Dora Farrelly

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Top - Olga Karchevska

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Middle, Left to Right - Olga Karchevska, Ho Hang Ryan Fung

Bottom - Ho Hang Ryan Fung

07/07/2021 11:39:31

Top - Sarah Al Hasan

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Middle - Robert Lloyd

Bottom, Left to Right - Robert Lloyd, Sarah Al Hasan

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Top - Erya Zhu

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Middle, Left to Right - Tashanraj Selvanayagam, Erya Zhu

Bottom - Tashanraj Selvanayagam

07/07/2021 11:39:48

George Campbell MacKellar Re-Mapping the Belly of Rome

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Here memory is used as a tool to confront the failure of the Neo-Avant-Garde, whilst simulatenously recollecting the history of fascism at what once was the epicentre of the movement - itself complicit in ‘anti-memory’. The writings of Paul Ricouer offer the beginnings to an alternative spatialisation of memory and a perspective of Lake Como through its repressed history, settling a long overdue debt to that past.

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Sami El-Kamha Anti-Memory

07/07/2021 11:39:57

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Against modern modes of production, how can one traverse a process of design and construction that isn’t inevitably an assertion of power and dominance? This project questions the possibility of architecture in the context of the capitalist machine, proposing artistic practices, and the studio, can lead to architecture’s recovery from its internal crisis.

Thomas Stanley Struggimenti d’architettura

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The Big Here and the Long Now John Kinsley, Anna Czigler

When we think of context in our design projects we might conventionally consider neighbouring buildings, the street and community, or even the town or city where the project is located. But construction in the 21st Century is an international process, using raw materials and fabrication processes from all over the world. What implication does this ‘bigger here’ have for the choice of materials? Similarly, when we think of a building’s lifespan, we might consider how our projects can be de-constructed at the end of their life, but what happens to their fabric after that? How can the materials be re-used or recycled and continue to be useful in a ‘longer now’?

Our studio has focused on the creative use of materials, and the geological, ecological, technological and social systems that make up the process from sourcing them to using them. We have looked at strategies to use materials in many shapes and forms: historic, local, high-tech, vernacular, not-yet-existing or recycled.

These strategies have been multi-scale throughout the year: regional and urban strategies of sourcing-transporting-manufacturing-building; building scale of selecting, recycling, constructing, adopting, disassembling; and a product scale ranging from joints to furniture.

Our projects have aimed at developing a set of urban and architectural moves to create a new infrastructure for mapping, sourcing, transporting, making, using, disassembling or reusing a creative range of materials.

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Above - Victoria Haslam

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Top - George Spendlove

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Middle, Left to Right - Sophie Wakenshaw, George Spendlove

Bottom - Sophie Wakenshaw

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Top - Zhana Kokeva (2)

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Middle - Ben Dean

Bottom - Ben Dean

07/07/2021 11:40:14

Top - Irene Dumitrascu-Podogrocki

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Middle, Left to Right- Xueqing Zhang, Irene Dumitrascu-Podogrocki

Bottom - Xueqing Zhang

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Top - Victoria Haslam

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Middle, Left to Right - Victoria Haslam, Xueqing Zhang

Bottom - George Spendlove

07/07/2021 11:40:38

Henry Cahill Reinvigorating Lancashire Quarrying and Stone Processing

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[Scheme Montage]

[Section 1:100]

Using textiles as a facilitator, the thesis explores the wider relationship between craft and architecture. Additionally, the application of new technological developments within these seek to explore how traditional and digital craft can combine to transform the contemporary building processes at a level suitable for today’s cultural and social challenges.

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Charlotte Wood Made in Huddersfield

07/07/2021 11:41:15

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Greenhouse Restaurant Kitchen Restaurant Community Herb Garden Teaching Kitchen

School Programme planters

Culinary School

This thesis project looked at the impact and patterns of food production and waste to propose the implementation of a circular food economy, including the local production of food, into a neglected district of Newcastle, Byker.

Emily Cowell Re-embedding local food systems: An outline for Byker

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There are post-industrial towns all over the UK that are left without strategies for resilience once their industry leaves. This project proposes a community-orientated masterplan for Jarrow on the River Tyne centred around renewable energy production, with a flagship Innovation Hub providing a new destination point on the riverside.

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Katherine Bluff Beyond Resource Extraction

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How can existing food systems and infrastructure be challenged and reimagined, enabling towns to become carbon net zero by 2050 and giving citizens sovereignty over what they eat?

Margaret Longman Common Ground

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This thesis demonstrates that biomaterials could be a viable alternative to traditional construction materials, with potential for the linear waste industry to be circularised. Using the egg as a source of inspiration for ecological, social and industrial analysis.

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Marisa Bamberg Walking on Eggshells

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This thesis reintroduces the traditional material of bamboo in order to challenge perceptions by offering a new tactile experience, demonstrated through the design of a stool. The project investigates the carbon life cycle and footprint of bamboo and challenging the idea by using living bamboo plans directly as a material without harvesting, minimizing excessive processing.

Wing Yung Janet Tam Re-Establishing Bamboo in the Industrial Era

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Unlearning... how to practice architecture?

Claire Harper, Ed Wainwright, Prue Chiles

We are in a period of huge change and for all of us, the cultures and practices we had known have been turned inside out, social worlds we had cultivated have migrated to new places of exchange and the economic system with its default modes of operation that have shaped our experience as citizens, students and architects, appear increasingly unviable. The aim of the studio this year is to re-think what architecture and architects can do, what tools we need and what practices we might adopt to respond and contribute to an optimistic future, for architecture, for people and to reshape the future of the city. Architecture is and has always been, contingent; on the investment of finance for the production of buildings, on the cultural norms and hierarchical systems that entrench knowledge and power. It has promoted and encouraged practices that have successively outstripped planetary resources in service of economic growth. It is, and we are all, complicit in perpetuating practices that sustain systems that are no longer ‘sustainable’. We are at a critical point, but one which does not have to be seized by nihilistic claims about the end of architecture.

Some key themes will inform our approach; ecological thinking, ethics, care, intersectionality and decolonizing architectural practices, the city, the legacies of late capitalism and degrowth economics. Eldon Square, the partially empty shopping centre was our starting point. With its future uncertain, the scale and bulk of the unwieldy city-centre fortress presents a site in which to rethink not only how we practice, but future scenarios that practice might cultivate.

Projects this year have indeed tackled a variety of careful, attentive, sensory studies and close readings and any new-building has been kept to a minimum. Rather, the projects re-use, re-constitute materials and re-inhabit space in new ways, allowing careful thinking about the architect’s role within this. Subjects of scrutiny include the post-war planning legacy of the underpass, the historic city walls, the importance of famous radical characters haunting the city; whilst also including animals, birds and forestation in our plans. We have shown how we can capture carbon, waste less and enjoy what the shopping, living, working, making and free-time experience of Newcastle City centre will be in the future.

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Above - Joshua Knight

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Top - Natasha Rice

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Middle, Left to Right - Heather O’Mara, Natasha Rice

Bottom - Heather O’Mara

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Top - Sarah Bushnell (2)

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Middle - Jay Hallsworth

Bottom - Jay Hallsworth

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Top - Abbey McGuire

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Middle, Left to Right - Abbey McGuire Charlie Barratt

Bottom - Charlie Barratt

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This project reflects on the repetitive nature of commercial practice.

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Benjamin Taylor Unlearning: A practice of co-ercion, subverting the shopping environment and re-thinking the shop window.

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This project explores a deepening of attentiveness towards the existing to slow extractivist architectural cultures.

Daniel Hill Underpassing

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The project sets out to acknowledge, inform and sustainably respond to the declining condition of the Newcastle Town Walls through a series of illustrated guides to safeguard their legacy and ensure a level of preservation, protection and repair is upheld.

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Ethan Archer A Meandering Conversation In Search For Walls

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“We intend to introduce a fasttrack for beauty through changes to national policy and legislation, to incentivise and accelerate high quality development which reflects local character and preferences.”

Classic Style ‘Modern’ Housing. A ‘sustainable, beautiful, safe and useful’ development.

This project looked to understand the changes in planning legislation that are being proposed with regards to automation and how this will be implemented using algorithms and what kind of urban realm it will produce.

Luc Askew-Vajra Networks, Data & the Urban Realm

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This project explores a non-human oriented methodology within architectural practice

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Malgorzata Szarnecka Zoopraxis

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This project explores the nature of technology in architecture and the gap between work and rest. It applies a reflective process, making a haptic map of the School of Architecture.

Matthew Harrison Methods of Slowness and Pathologies of Architectural Pedagogy

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Textile recycling

This thesis looks at reducing waste, recycling and re-making what we wear and how we shop.

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Stephanie Wilson The haberdashery - unravelling the process and looking towards a new clothing industry

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An introspective architectural performance piece explored through creative writing, film, and drawing. Set at a site of historic radicalism on Nelson Street, Newcastle upon Tyne.

Vincent MacDonald A Walk Through Nelson Street

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Architectural Research and Engagement These last two academic years have been unprecedented for everyone and research in the school has rightly taken a back seat to teaching our amazing cohort of students. We did not publish a year book last year and looking back over this time research and engagement within the City has however, flourished in many ways. We have had some substantial successes and achievements in research funding including Professor Rosie Parnell’s timely UKRI/AHRC Covid funding for her At Home with Children project.

Through the power of digital technologies, international collaborations and new ways of working have been made possible; not least in Professor Katie Lloyd Thomas’ exciting new project Translating Ferro / Transforming Knowledges for Architecture, Design and Labour for the New Field of Production Studies. This is a joint Brazil/UK project funded by the AHRC and FAPESP and we have welcomed research fellow Will Thompson onto this project.

The growth of the HBBE research network in APL and Northumbria is astonishing and we have been thrilled to expand our team with experts in the biotechnology field, including Ruth Morrow, Professor of Biological Architecture. Whilst seeing the numbers of participating staff and research students grow, we have also watched the development of a new building on campus; the OME. The OME will be where HBBE researchers come together to collaborate, test and demonstrate their technologies at building scale.

We are proud of how much of our research involves our students and informs our teaching, in linked research, dissertation tutoring, through studio work and lecture and seminar teaching. The array of research interests contained within APL is showcased in ARC and provides a glimpse into the minds of our talented scholars. We are also committed to working with the city and the region in our research and teaching.

In an exciting new enterprise we welcomed Owen Hopkins two years ago from the Sir John Soane’s Museum to develop, curate and manage the development of the Farrell Centre in the wonderful Claremont buildings. This will be an Urban Room and archive of Sir Terry Farrell’s work as well as a venue for the promotion of the built environment in Newcastle and for many collaborations between the City, and APL.

Opposite OME project Photo by: Ben Bridgens

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Text by Prue Chiles

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BA Dissertations Module leader: Katie Lloyd Thomas The dissertations produced in this academic year respond to the range of agendas informing the sixteen electives offered by tutors at the School. Some of these were centred in building science, some in history and theory, others in professional and creative practice. The electives provide a starting point and intellectual framework for the students’ work, developed over the course of a year, bridging Stages 2 and 3 of the undergraduate degree.

Despite the difficulties posed for research by the pandemic this past year, performance in the dissertation this year has been exceptional and was described by our external examiners as the ‘jewel in the crown’.

dE1 : Power and Architecture Sana Al-Naimi When thinking of power and its relation to architecture, you would probably think of monumental structures like the Egyptian pyramids or the Parthenon atop the Acropolis in Athens. You might think of triumphal arches or great palaces constructed to honour long-gone emperors. This research group investigates other ways in which power influences architecture; how it can use it to advance political agendas, how it can change it to facilitate surveillance, or how it can destroy architecture on a large scale in an attempt to achieve total dominance over the culture that produced it.

Title: The Heart of Rome: A Manipulated Identity Matteo Hunt-Cafarelli

dE2 : Marginal Spaces Sam Austin and Ed Wainwright (with Alex Blanchard) There are spaces in the city we see but never look at; spaces we pass through but never explore.

There are spaces where we stop but never rest; spaces we use but don’t really inhabit. There are buildings we enter but never know. These are the spaces where life takes place. At once thoroughly normal, yet often unknown. From the space of the shopping mall, to the airport lounge; the doctors waiting room, to the bus stop; the sports stadium, to bar; the multi-storey car park, to the street.

These spaces, and the spaces in between, are examined through a range of exploratory approaches, adapting methods from film practice, anthropology, and cultural theory to investigate how these marginal spaces are produced, re-produced and experienced.

Title: An Exploration of the Psyche through the use of Architectural and Labyrinthine Space in Stanley Kubrick’s The Shining.

Tessa Lewes

dE3 : Emergence of Modernism: The Bauhaus.

Elizabeth Baldwin Gray and Katie Lloyd Thomas The interwar period in Germany, in the early decades of the twentieth century, represents a time of rapid change. Modernism emerged in forms such as Expressionism, Dada, and the Bauhaus.

Gropius’s school of architecture, the Bauhaus, is one of Germany’s best-known and most influential contributions to architecture. This course will explore the origins of modernism in Germany as it developed from early art and anti-art movements in Berlin, to the founding of the Bauhaus in Weimar, its move to Dessau, to Berlin, and its eventual emigration to the UK and the US. Title: Gropius the Expressionist: An Analysis of Walter Gropius’s Expressionist Phase and its Significance in the Study of 20th Century Architecture Jessica Male

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dE4 : Architecture of Place Andrew Ballantyne and Josep-Maria Garcia-Fuentes We are interested in the effects that place can have on architecture. This might be because a building responds to features in the surrounding landscape, such as a mountain—either by being placed in a dramatic position, or by incorporating ideas from the mountain’s form—or maybe the building is placed as an incident in an arcadian idyll. Whatever the case: buildings can enhance the places where they are built, by paying attention to the specific spot, its form or its culture, and making a creative response to it.

Title: Lost to time. Found in memory. How the oast house and the hop trade affected the lives of people and the vernacular in Kent.

Hereward Leathart

dE5 : Colonial exchanges: meetings between “east” and “west” Martin Beattie This elective investigates how (colonial) cultures mix, or not as the case may be, and how that process manifests itself in architecture. In a foreign context, the making of architecture can be seen as a dialogical process, entailing negotiation, domestication, appropriation, the reworking of local symbolic and material resources, and interaction with the surrounding social and physical landscape. How structures designed in a particular geo-political situation may be perceived and used in new ways after disruptions, or crises of the local, or international order, is also an interesting aspect of their meaning and symbolic function. Not only visual and stylistic, but also functional and social hybridity may be a component of the life of these buildings, especially in contexts where the boundaries between “east” and “west” were not yet rigidly established.

Title: Colonial Exchanges between Britain and India: The Royal Pavilion at Brighton. To what extent did the Royal Pavilion at Brighton reflect British national character and identity during the 19th century?

Ella Ashworth

Title: The Ethical Debate Behind Slum Tours as Managed Entertainment Dharavi, Mumbai: How does tourist behaviour, sounds and imagery within YouTube vlogs facilitate slum tourism as ‘entertainment, something that can be momentarily experienced and then escaped from?’

Rosemary Joyce

dE6 : Architecture’s Six Themes Kati Blom These dissertation seminars go through some texts in architectural theory and other literature, which deal with thematization and future prediction based on those themes. Phenomenological texts by Juhani Pallasmaa and David Leatherbarrow, fantastic literature by Italo Calvino and Laszlo Krasznahorkai, and architectural texts by Steven Holl and Neil Young are studied to create a futuristic theme for future architectural challenges. The four seminars go through themes of conceptual thinking, fantastic thinking, realism, futurism and evolving tectonics. Each time the text is read, an appropriate architectural example is chosen and reflected with a free drawing or photographic expression.

Title: Architecture as a representation of the invisible structures of the world Anastasia Asenova

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dE7 : “These are the days of miracle and wonder” Ben Bridgens Discourse from the government, RIBA, Institution of Civil Engineers, manufacturers, and technology companies is predicated on an assumption that innovative solutions, off-site fabrication, automation and technology (smart, connected systems) are inherently beneficial for our cities, built environment and citizens. But it could be argued that construction is following the same path as smaller complex manufactured items such as cars and digital devices: mass-production resulting in repetitive, globally traded, difficult to repair, short lifespan products, with craftsmen replaced by factory workers and automation. ‘Smart’, interconnected systems of sensors within our buildings and cities present severe challenges for security, privacy and the risk of massive, cascading failures.

Title: Reviving Egypt’s Islamic architecture: an investigation into Hassan Fathy’s vernacular style, the roots of Islamic architecture and their applicability in contemporary society Malak Elwy

dE8 : Energy, Society, and Cities Carlos Calderon By 2050 it is projected that more than 70% of the world’s population will live in urban areas.

The theme of this elective is about understanding the relationship between energy flows, society, and spatial formations. During the seminars we explore examples that use a variety of research methodologies to break new ground in understanding how social inequalities, environmental problems, cultural practices and technological change shape the evolution of energy systems.

Title: Weathering Earth: A data-led study into the effect weathering has on rammed earth erosion in a UK setting and how it can be used in the effort towards net-zero emissions.

Max Blythe

dE9 : Home, the agency and negotiation of domesticity.

Prue Chiles This elective looks at the many ways and means we can find home in today’s world and how architectural thinking and making can inform this. We explore different ways we can navigate around the meanings of home from literature, from more architectural writing and from fine art.

The notion of domesticity, itself an invention of the modern age, and the home with its privacy and comfort compared to the workplace, has been challenged and ridiculed by modern artists, architects and designers. Domesticity became the antithesis of modernity. And yet it can be the most complex the most interesting and the most culturally prominent architectural form. Let us free the notion of home as stereotype and take action.

Title: A Feeling of Home for the Displaced: A Search for Familiarity Polly Chiddicks Title: Suburbia: paradise or prison? How the emergence of American suburbia in the 1940’s still dictates gender disparities in domestic life Milly London

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dE10 : Re-Visioning Utopia: Materials and Meaning Countering Neo-Avant-Garde Failures.

Nathaniel Coleman Since the early years of the 20th century, Architecture has transacted in mythologies of the NEW, characterised as avant-garde. Post-hoc identifications of first-generation modernist architecture with Utopia neglects its entanglement within dominant modes of production from the start (state capitalist or state socialist), including the most radical architects. Because of its capture by the building industry, architecture can’t develop dissonant, critical, practises of the sort other art-forms can. Although claims of supposed utopianism attributed to orthodox modernist architecture are suspect, the failures of orthodox modernist architecture and urbanism (perceived and real) are attributed to Utopia.

Title: The Myth of Architecture: Design. Sisyphus. Neoliberalism.

Daniel Mijalski

The Myth of Authenticity in Architecture: How do architectural myths of authenticity (including architects’ claims for their work) constitute illusory solutions to the contradictions of modernity in a globalised economy?

Colin Rogger

dE11 : Invisible Energies Neveen Hamza ‘We shape our buildings, then our buildings shape us’ - Winston Churchill As architects, our role goes beyond drawing and building the boundaries of enclosures. We create atmospheric microcosms of invisible energies by the thermal, daylight and sound environments in and around buildings. The environments we create shape human engagements with their environments and with each other, while having an impact on global resources and climate.

This domain incorporates our understanding of building design to the realm of environmental psychology and sustainability.

Title: The Psychological Impact of Covid-19 on the Luxury Car Showroom Experience: Exploring how the Built Environment Influences Consumer Behaviour Emily Ducker

dE12 : Reflective Practice in Architecture John Kamara Architecture is a profession that is mostly involved in the development and translation of designs into built assets in response to the needs of clients, society and the wider environment. In this aspect of architectural practice, there is a close interrelationship between theory and practice, and much of the knowledge/learning for practice is developed and refined through ‘doing’. Thus the need for active reflection (or learning from experience) is a key aspect of professionalism in architecture.

Title: Healthy Hospitals: How are the principles of Salutogenic design articulated in the healthcare sector?

Stella Chukwu

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dE13 : Narrative Architecture Matthew Ozga Lawn If narrative builds a story in time, architecture builds a story in space. We explore the relationship between narrative and architecture. This has been the focus of renewed study in recent years, with a diverse range of authors and publishers considering it, including Nigel Coates and Sophia Psarra.

We look at how built and drawn architecture constructs stories, and how text, as a medium, can be spatialised and constructed to create compelling narratives and experiences. We consider other mediums that format text and imagery in interesting ways to tell a story, from Mark Danielewski’s House of Leaves to graphic novels such as Alan Moore’s Watchmen.

Title: The Power of Myths: A Critique of Architectural Narrative Through a Feminist Lens Hana Baraka

dE14 : Architecture through Magazines Stephen Parnell How do architects become ‘starchitects’? How does a thing – something, anything – become a ‘thing’? How do we know what’s hot and what’s not? How do architects market themselves? How do buildings become ‘Architecture’? Some theorists have argued that ‘modern architecture only becomes modern with its engagement with the media’ and that the magazine is a construction site for architectural ideas. We build on this and adopt the position that the architectural magazine was a major component in the development of the architectural profession and the buildings it produced throughout the twentieth century.

Title: The history of countercultural environmentalism: how architectural magazines constrained sustainable architecture.

Agata Malinowska

dE15 : Constructing the Architect Ray Verrall We think about architecture as the product of architects, but could we also consider architects themselves as being constructions of their profession? From the pedagogical customs of architectural education to the professional habitus discovered and developed upon entering practice, architects are socialised into the strange doxa of what ‘being an architect’ is supposed to mean.

Title: Denial is the heartbeat of racism: Manifestations of UK Institutionalised Racial Discrimination in the 21st Century of Architectural Education.

Malaika Javed

dE16 : War, Geopolitics and Architecture Jianfei Zhu It is rather surprising that architectural discourse has not been sufficiently grounded on geographic locality and geopolitical dynamics. Architectural knowledge has been largely formalist, universalist and free-floating. Yet every project and statement in architecture is entangled with local spatial politics and geopolitical tensions of various scales. Today, with daily escalation of urban war, media war, comprehensive war, and ‘unlimited war’, it is increasingly urgent to study and to (re)theorize relations between war, geopolitics and design culture – as they did in the past and as they assume new forms and horizons today.

Title: The Brutal Secrets. The hidden influence: From Second World War military structures to post-war architecture Mingxuan Ge

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Architecture and Urban Planning Dissertations Module leader: Daniel Mallo Supervisors: Usue Ruiz Arana, Sally Watson, Rosie Parnell, Andy Law, John Pendlebury and Daniel Mallo An Exploration Of The Pandemic’s Impact On The Safety Of Women Walking To And From Work After Dark Quitterie d’Harcourt With the arrival of COVID-19, growing levels of domestic abuse have been documented worldwide, allowing for extensive research into the challenges that women face in the private domain. However, little research has been undertaken on the issues that women encounter in public settings during the pandemic. Because women constitute most healthcare workers globally, this study seeks to understand the personal experiences of key female NHS workers who commute through urban public spaces, and assess the factors that contribute to them feeling unsafe during their commutes. Based on a literature assessment on the alienation of women in the public domain on Western society, nine female workers were interviewed using an interpretivist method to comprehend the substance of the harassment they confront in public settings. The research revealed that the pandemic has had a significant impact on women’s feeling of safety in public spaces, with an absence of eyes on the street arguably being the primary issue.

In Their Own Words: What is Driving the Demand and Formation of Slums ? Answered by Abuja’s Slum Dwellers Sultana Duba This paper explored the forces behind the emergence of slums in Abuja from the perspective of slum residents. It also investigated the physical conditions of Abuja’s informal communities. Semistructured interviews were conducted with 123 slum dwellers across three slums; thematic analysis was used to identify themes and patterns from the interview responses. Six major factors were extracted and are presented as triggering the emergence of slums in the city. Direct immersion in Abuja’s slum communities also revealed the deplorable living conditions of thousands of the city’s inhabitants. The results of this study are hoped to provide a deeper understanding of slums and slum formation, as well as guide policy approaches aimed at resolving this housing crisis.

Home Time: Examining Work Life Balance In Cohousing Development Sarah Bird This research focuses on time scarcity becoming a barrier to accessing cohousing, through an ethnographic study of a pre-build cohousing group and the struggles and sacrifices made by its members. The research is informed by rich histories of feminist literature examining time scarcity and post-work theory, interwoven with an exploration of the history of the current housing crisis and alternatives to the traditional housing market. With the study taking place over the COVID-19 pandemic it explores unique relationships to both home and time. Through understanding the inequality of how people experience time-scarcity, its relationship to labour and its impact on access to housing, this study champions an implementation of Universal Basic Income.

The Impact Of The Covid-19 Pandemic On Young People And Their Ability To Access Green Space For Health And Well-Being In Consett, County Durham George Woodruff This study explores the relationship young people (aged 10-15) have had with green space during the Covid-19 pandemic in Consett, United Kingdom. Examining the health and well-being advantages of green space and the effect restrictions have had on young people. The study uses several ethnographic methods: a questionnaire, observation and mapping. The study suggests that young people have been negatively impacted by the pandemic when accessing green space. The conclusion explores the importance of green space and the need to emphasise the benefits green space offers to young people after the Covid-19 pandemic. The study also demonstrates the need for further research after the pandemic to determine any long-term effects.

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MArch Dissertations Module leader: Nathaniel Coleman The 10,000 word MArch dissertation offers students the opportunity to undertake a sustained enquiry into a topic of particular interest to them and to develop their own modes of writing and presentation. Where appropriate the timing of the dissertation allows for topics explored to inform their final thesis design project.

A Soundwalk Methodology For Establishing the Recognisability of the Soundscape Dan Hill

Photographs of Bewick Court and some of the elevated walkways into the city from the east.

As I sit to write this paper in the ground floor bedroom of my temporary student home, I hear the boiler beside me activate for its pre-programmed evening period. I recall the first occasion it did so, and how it startled me. Its gurgling is a sound I encounter in the same place and time every day that passes. It has become a part of my own personal soundscape, a rhythm that announces itself only to me. I think also of the previous tenants who once occupied this room and were subject to its rhythms, wondering if they too shared such an intimate relationship with their home’s boiler. Probably not.

The boiler’s sparking to life is not only a sound; and although in knowing its daily rhythm, I have been made aware it is approximately half-past six; nor is it simply an imprecise clock. The sound is indicative of activity, the beginning of a warming process of the space I occupy. Though I considered it a disturbance at first, it reassures me of the proximity of thermal comfort in my near future. An hour or so from now, I will at last be warm. Sound and activity are intrinsically linked, for they are fundamentally two outputs of the same physical process: the vibration of matter. In the context of the city, there is such a difference between these two scales of vibration that we often fail to observe or accommodate for their affiliation. Dedicated to studying this connection is the discipline of Acoustic Ecology, sometimes referred to as Ecoacoustics or Soundscape Studies, pioneered by R. Murray Schafer in the late 1960’s as part of the World Soundscape Project (Schafer et al., 2007). The movement sparked huge scholarly interest, resulting in a vast amount of diverse literature from fields ranging from art and architecture to geography and the medical sciences.

I have looked at significant works from as many of these diversified sources as possible, in an attempt to deliver a comprehensive methodology for analysing Newcastle’s soundscapes. Motivated by the soundwalk method produced by one of Schafer’s most prominent students, Hildegard Westerkamp (1978; 1989), I invited volunteers to listen to pre-recorded virtual soundwalks around the city and asked them to map out their perceived journeys in real-time based on the sound environments they encountered. By isolating the ear from the other sensory organs, I hope to discover the significance the soundscape has on perceived space and orientation, and furthermore, establish the strength of Newcastle’s acoustic identity.

Photographs of Shieldfield House located near City Stadium; and the bank of the River Ouseburn

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MArch Dissertations The Sound Of One Hand Opening: Architecture As A Door Of Perception George Mackellar

Climbing arch in Dijkstraatplayground, 1954’ by Aldo van Eyck.

Photograph by Louis van Paridon (Ligtelijn and Strauven, 2008, p. 105)

Image of exit into meditation pavilion at Brion Cemetery, by Carlo Scarpa (McCarter, 2013, p. 247)

The term ‘doors of perception’ was coined by the renowned writer and philosopher Aldous Huxley in his 1954 essay of the same title. His essay is based on his experience of taking the psychedelic drug known as mescalin, which Huxley uses as a topic to host a discussion on the more broad subject of transcendental experiences in which psychedelics are just one of many doors leading to altered states of consciousness. This paper sets out to identify how architecture can be perceived - experienced - as a door to alternative ways of perceiving the world and its contemporary society, and elaborates on what these experiences might look like or mean. The discussion is framed through the lens of two schools of thought running parallel to each other. Zen Buddhism and its accompanying meditative practices is used to clarify ontological phenomena that arise during the experience of space, while the application of architectural theory aims to analyse ‘doors of perception’ in their most concrete form: within the built environment.

Referring to the work of Le Corbusier, Carlo Scarpa and Aldo van Eyck along with a range of historical sources in Zen discourse, the paper develops a closeness between the two disciplines, showing the effect that this perspective can have on architectural practice and use.

‘Primitive huts. Colchian huts (left); Phrygian huts (right). Reconstructed after Vitruvius’ description by Claude Perrault’ (Rykwert, 1972, p. 57)

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MArch Dissertations The Caged West Konstantins Briskins Cellular Arrangement and The Panopticon - The cellular arrangement acts as the epitome of power and control over an individual. While dungeons and common cells allowed to remain invisible and hide in the crowd the novel spatial strategy prevented any prisoner from escaping the ever-seeing eye. The 18th century prisons that adopted principles of the panopticon rejected features of a dungeon and used visibility and light to ensure discipline and obedience.29 This emerging use of light and visibility marks a shift from one type of incarceration to another.

While darkness and abandonment are conventionally accepted as unappealing conditions, they are not particularly effective at depriving one’s liberty. An abandoned person is free in his actions and in addition is concealed from the law by the veil of darkness. On the contrary, hiding in a well-lit environment is a difficult challenge. Panopticon is the ultimate cage since it creates an illusion of the constant supervision. Essentially these drastically different prison typologies reflected the shift in the social role of a body. It obtained a function and hence had to be controlled in order to implement the plans of the higher social layers. The overwhelming majority of prisons built after the 18th century precedents followed their lead in terms of spatial arrangement and cellular design. Most of the modern prisons still comprise rows of individual cells and provide complete visibility of the inmates constantly ensuring a sense of possible supervision. Perhaps it is reflective of the global state of power relations and its mechanisms that remained relatively unchanged from the late 18th century. On a more optimistic note, many attempts were made with varying degrees of success to challenge the status quo of prison designs and reflect societies with liberal, humanistic and progressive agendas.

The Insular Village of the Balstøy Prison - Another example of a penal establishment which is often discussed in a tandem with Halden is the Bastøy prison allocated on the Bastøy island 75 kilometers south of Oslo and founded in 1982. The correctional center’s design would never come close to being considered by the Pritzker Prize’s Committee but it is one of the finest examples of a humane approach to detention.

Prisoners of the Bastøy live in small wooden cottages in groups of five or six where they are supposed to stay from 11 p.m. to 7 a.m.; the house contains a common room, a kitchen and separate bedrooms provided for each of the inmates.Moreover, apart from the curfew there is very little regulation in regards to prisoners’ life. It might seem bizarre but the majority of the staff leave the island at night practically allowing prisoners to do as they wish. It is this kind of trust that separates the Norwegian systemfrom the rest of the world and which is highly debated among the people involved in the field of penology.

Let’s come back to John K. who was outspokenly dissatisfied with the Halden prison. It was Bastøy where John was transferred after Halden and where he felt normal at last. He attributed his peace of mind to a couple of factors including his ability “to personalize his house and in an important way” and the respect experienced in the communication with the prison staff.61 Even though both prisons are considered to be examples of a progressive approach to detention one can imagine how different the experiences in Halden and Bastøy prisons are. While the first estab-lishment strives to achieve the same goals as the latter it remains in a lot of ways conventional. It has rows of individual cells, warden stations with direct supervision and a tall concrete wall around its perimeter. Bastøy on the other hand is no different than a common insular Norwegian village. Hence it has better chances to feel like an actual community and foster change in behavior given that work, education or a combination of the two remain mandatory. It is obviously impossible nor advisable to make every prison in the world insular to avoid walls as symbols of detention but the prison provides a valuable precedent of an incarcerated community that lives and functions in the closest to normalcy way. Isolation provides a great condition for change and it is therefore essential to ensure that people are treated with dignity and respect so they can reconsider their views on society and law. They might begin to appreciate human connection more once it becomes the only source of joy in their lives. The same idea applies to work and education which are common practices at Bastøy. A sense of community created by sharing a house with other inmates, absence of archetypical penal design features, the normality of the cottages’ architecture and the ability to customize one’s environment are the key aspects of the prison and what sets it apart from conventional examples and the Halden prison.

Knut Egil Wang, 2014, Halden Prison, Norway,

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MArch Dissertations Therapeutic Communities: Utopian Imaginaries of Wellbeing Charlotte Wood Architecture and wellbeing are intertwined to such an extent, that our natural and built environment have become inextricable elements of ourselves; in which we can influence and are influenced by. Yet emphasis on novelty, form and aesthetic often obscures this and as such, seemingly little interest in shaping the built environment according to the requirements of inhabitant health and wellbeing exist.

A recent shift regarding this relationship, however, has gradually begun to emerge within the design industry, as both architects and psychologists collaborate to implement therapeutic design as a catalyst that determines the spatial parameters of a therapeutic community.

Subsequently, the purpose of this dissertation seeks to explore how architecture plays a significant role in determining therapeutic spaces; not solely as a physical location, but also as mechanisms for influencing the urban typology. Thus, it is the contention of this research, that a study regarding how therapeutic architecture influences the way a user experiences a space, in combination with evidence-based design criteria to improve wellbeing, that a new therapeutic community model will emerge.

Ultimately, the dissertation endeavours to provide an investigation into how the complex relationship between architecture and wellbeing has evolved over time, and how the lessons garnered from them may be applied within modern architectural design.

Conceptual Framework of the Relationship Between Urban Form and Mental Wellbeing by Journal of Urban Design and Mental Health

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Linked Research Among the most exciting and ambitious modules we offer as a School, the Linked Research module is unique to the Newcastle curriculum and spans the two Stages in the MArch enabling year-long collaborative research projects between staff and students. Linked Research encourages approaches that extend beyond the conventional studio design project or ‘lone researcher’ dissertation model allowing space for multiple and speculative forms of research. Projects are often open-ended and collaborative and, because they are long term and involve groups working together, they can enable participatory projects and large-scale production with a wide range of partners inside and outside the University.

Pavilion of the Commons

Soft Studio 2

Mark Laverty Nicholas Honey

Andy Chan

Daniel Mallo & Armelle Tardiveau

Creating Newcastle City Gallery Owen Hopkins

Zara Elizabeth Rawson

Matthew Margetts

Product PLACEment: Bly The Sea Matthew Margetts

Elle-May Simmonds

Gresham Neighbourhood Plan Dave Webb, Claire Harper Adam Ewart Callum Henderson Emily Cowell Sarah Askew

Great North Museum Pavilion Ben Bridgens

Marisa Bamberg Malgorzata Szarnecka Luc Askew-Vajra Wing Yung Janet Tam Harashdeep Kaur Chou Ng

Testing Ground Graham Farmer

Benjamin Taylor Katherine Rhoades Henry Cahill Vincent Macdonald Sergey Dergachev Robert Thackeray Alexander Mcculloch Sarah Bedwell Emily Spencer

Gagliato Urban Study Prue Chiles

Toghrul Mammadov Emily Charlton

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Opposite - Pavilions of the Commons, Mark Laverty and Nicholas Honey

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Pavilion of the Commons

Daniel Mallo & Armelle Tardiveau

This project runs alongside a 3-year AHRC funded research on urban commons: ‘Wastes and Strays: The Past, Present and Future of English Urban Commons’ – an interdisciplinary research into the legal and historical development, present status, and public perceptions of urban commons to encourage their use, and to better inform discussions and decisions about the future of such common grounds. As part of this research, students designed a travelling Pavilion as a tool for engagement to investigate the future of Urban Commons in four locations in the UK: Newcastle’s Town Moor, Norwich’s Mousehold Heath, Brighton’s Valley Gardens, as well as Clifton Down, Bristol.

Initiated in the academic year 2019/20, the project was conceived as a vertical studio between Postgraduate (MArch) and Undergraduate (BA Architlecture and Urban Planning) students to explore a collaborative pedagogical model of ‘architectural practice’ in the studio. MArch students acted as leaders and practical demonstrators coaching undergraduate students, and shaping their own learning through a process of designing, prototyping and reflecting. Collectively students developed a brief for the design of a pavilion of the Commons: a lightweight, flat-packed, easily transported, flexible, as well as a fun landmark for engagement. The construction was inspired by well trialled self-build precedents and is accomplished through a process of detailing, prototyping and testing. The design is guided by a detailed illustrated ‘assembly manual’ as tool for assembling or customising the pavilion allowing for self-expression.

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Students: Mark Laverty, Nicholas Honey

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Creating Newcastle City Gallery Owen Hopkins

‘What is the city but for the people?’ (Shakespeare, 1894, 3.1:200) This discussion around civic identities is titled after this famous line from Coriolanus: a postulation seemingly conveyed in a conversational tone, which is immediately affirmed through an utterance. Sicinius for his part, upon posing this question, receives “True the people are the city!” (1894, 3.1:200) from the citizens. Accordingly, this project seeks to evaluate the potential operation of the Urban Room, within civic discussions of Newcastle.

Although primarily academic, this project has been conducted as part of the wider renovation of the Farrell Centre. A scheme which seeks to transform the currently derelict upper floors of the Claremont buildings, into an Urban Room.

This essay is divided into two parts, aiming to function as two connected essays with the overall aim of providing a brief for the designed component of this submission. In the first chapter (What is the city?) the paper seeks to affirm the role of the city model within the gallery space, and in so doing uncover a framework through which the Urban Room may operate. The second chapter, (But for the people!), aims to gain an understanding of how this framework may be implemented, using several case studies within similar typologies.

Student: Zara Elizabeth Rawson

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Gresham Neighbourhood Plans David Webb & Claire Harper

We were invited by a community group to assist them in developing a neighbourhood plan for their local neighbourhood of Gresham in Middlesbrough. Gresham is an inner-urban neighbourhood that has suffered from harmful planning actions over recent decades. Most significant of these was a housing market renewal initiative which proposed phased demolition of large parts of the neighbourhood. The initiative was abandoned in 2010 leaving some cleared sites bearing the footprints of the former houses and neighbouring streets with houses empty and boarded up. The Neighbourhood Plan presented an opportunity to empower local residents to shape decisions about the future of their neighbourhood. It was developed as a collaborative project between planning students Callum Henderson and Adam Ewart and architecture students Emily Cowell and Sarah Askew, working with artist Isabel Lima and Gresham charity, Streets Ahead. In the first stage, the planning students explored the community dynamics in Gresham and mapped possible routes to enabling new development through a neighbourhood plan. In stage two, architecture students built on this work to define key themes for the plan, and elaborate these with enticing visuals and a film intended to engage the community in the plan-making process.

Inaccessible space for Mavis

Back Alley

Bed brought downstairs

Students: Adam Ewart, Callum Henderson, Emily Cowell, Sarah Askew

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Great North Museum Pavilion Ben Bridgens

The ‘Great North Museum Pavilion’ Linked Research project was an opportunity to work with the Great North Museum (GNM) and the Hub for Biotechnology in the Built Environment (HBBE) to design and build a ‘pavilion’ within the walled garden of the GNM. The aim was to create a sheltered space which would increase use of the garden by museum visitors (particularly school groups) whilst introducing visitors to the research being carried out by the HBBE and providing a link between the GNM and the HBBE’s experimental building on the other side of Devonshire Walk. The project was scaled back due to Covid restrictions, but the students still managed to complete the design and fabrication process to create an interactive seating area within the walled garden, with final installation due to be carried out in Summer 2021

Design Process Initial Design Studies

Design Proc ess

[Chou E Ng]

E xhibition & Seating

Tex t from May Submission [Chou E Ng]

Tex t D e sign & Acc e ss St at e m ent

Concept 3: Continuing the c oncept of

The bloc ks will be used as an interac tive

lear ning about dif ferent spec ies of plants,

Fl exibl e Seat ing [Janet Tam]

E xhibi t ional Fur ni ture [Mar isa Bamberg]

Sa mpl e Slid e O u t s & Rubbing s [M algor z at a Sz ar necka]

Bio mat er ial Di splay [Luc Askew-Vajra]

by utilising r ubbing tec hniques.

exhibition, providing a base f or teac hing f or

interaction and inspired by Hindustan Level

visiting sc hools. The major it y of the boxes

Pavilion by Char les Correa, the c oncept of

will be f ixed as par t of the entire pavilion’s

this proposal was to create ‘sur face’ and

str uc ture however, a small number of boxes

space for visitor or people to interact with

will be used as f lexible seating and c an

the pavilion in taking a more expressive

be moved around the garden. The seating

architecture form that mainly c onstructed

boxes will be 3 5 0x3 5 0 mm and will have

with timber panel and metal brazing in

a handles to allow for ease of movement.

bet ween.

The height of the boxes is defined by the requirements of the sc hool c hildren of

Critical Ref lection:

dif f erent ages. The 3 5 0 mm high boxes will provide seating for younger visitor s (up

Chou’s

hough it would

we decided to he inclusion of a neater f inish assem bly. This

initial

designs

were

the

m ost

to the age of 8), whilst the bigger boxes,

creative, in my opinion, and allowed me

5 0 0 mm high, will provide seating for older

to rec onsider the pavilion as an ar tistic

c hildren and adults.

installation rather than focusing solely on

function.

The

play ful

nature

and

The exhibition will foc us on showc asing

ir regularit y of this design proposal have

the researc h of the H BBE r un by the

a clear inf luenc e on our f inal outc ome.

univer sit y. The main foc us of the exhibits

Whilst this design does enc ourage ‘play ’ it

will be bio - mater ials developed by the

is unclear where the biom aterials f it in and

researc her s that c an be potentially used as par t of the built environment in the future.

thus, the learning aspect of the pavilion.

The exhibition will relate to the sc hool

c onsidering the

c ur r ic ulum on the theme of mater ials and their usage in ever yday life as well as

xes.

Installation Temporar y Arrangement

looking at dif ferenc es bet ween natural and man - made mater ials and how the f uture bio - mater ials might f it in both c ategor ies.

Due to its loc ation in the garden the exhibition will also f oc us on the impor t anc e of

natural

environments

espec ially

in

ur ban areas. A ser ies of planter bloc ks will provide c hildren with interac tive way of

Temporarily arranging the boxes on - site

was straight for ward to do with the aid of the CAD drawings. We underestimated how

PLASTIC >72H

STAINLESS STEEL >72H

CARDBOARD >24H

COPPER >4H

Set on the block grid system this provides seating and exhibition space. The clear box allows multiple different exhibition sizes to be contained. The accompanying text for the exhibit is then inset into the block with a clear acrylic overlay. The top of the exhibition section could also be removed making it into a cross-sectional planter.

18

heav y the boxes would be and disc overed

29

that they would need more suppor t than initially anticipated. This meant that all c orners of t he ‘ L- shaped’ boxes need t o be fully suppor ted underneath, which has a slight impact on t he overall design of phase 1.

As the boxes were prefabric ated in the workshop, the installation process will be straight for ward. It will involve unscrewing sections of the cladding and screwing the str uctural timber down to the box below.

59

42

The Great Nor th Museum: Pavilion Marisa Bamberg

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140147508 Students: Marisa Bamberg, Malgorzata Szarnecka, Luc Askew-Vajra, Wing Yung Janet Tam , Harashdeep Kaur, Chou Ng

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Testing Ground Graham Farmer

Testing Ground is a unique and ongoing programme of architectural design-build research that is grounded in place-based inquiry and stakeholder engagement. Since 2013 the programme has collaborated with multiple external partners and actively explores the synergies between design and build practice, architectural pedagogy, public engagement and academic research. This year’s project was sited at the Northumberlandia, the location of the largest open cast coal mine in the UK and also the Northumberlandia land-form sculpture, designed by the architectural historian Charles Jencks.

The project has been developed with the Northumberland Wildlife Trust to support and celebrate the reclamation, re-wilding and the reintroduction of native ecologies to the site. The project addresses the practical need for a Welcome Pavilion for the Northumberlandia site and the structure will provide an arrival and information point as well as sheltered seating for outdoor education, performances and community events.

The pavilion has been designed in response to the constraints of remote working and has been developed with an extensive use of a 3D modelling software. The parametric design approach was implemented to provide flexibility in design development and preparation for remote CNC manufacturing was executed with a use of Rhino & Grasshopper softwares. The final design consists of modular prefabricated ‘chunks’ that are connected together to complete the final pavilion. The approach allows for simple construction and for future maintenance the pavilion will be installed on site in July 2021.

Students: Benjamin Taylor, Katherine Rhoades, Henry Cahill, Vincent Macdonald, Sergey Dergachev, Robert Thackeray, Alexander Mcculloch, Sarah Bedwell, Emily Spencer

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Gagliato Urban Study Prue Chiles

Gagliato, in Calabria, Italy is a declining small inland hill town only 10 miles from the Mediterranean sea, but miles away in terms of its lack of prospects and wealth. Gagliato’s plight of de-population and an ageing poor population is characteristic of many hundreds of inland hill towns in Southern Italy and the wider Mediterranean area. We have visited and worked in the town before, funded by generous support from Nano-Gagliato and the town.

Toghrul and Emily have built on the previous linked research project and international workshop to introduce strategies for experimental and sustainable ways to refurbish and re-build some of the derelict houses in the medieval borgo, building on the urban design agendas set in the last project. Unfortunately, we could not go to Gagliato this year due to the pandemic and so all the work has been prepared remotely from previous survey material. We have had regular zoom meetings with representatives of the town, Nano-Gagliato and research partners at the University of Westminster. Gagliato would like to restore and regenerate the townscape to re-energise the town centre for the future and importantly to attract more visitors.

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Students: Toghrul Mammadov, Emily Charlton

07/07/2021 11:28:40

Soft Studio 2.0: Sitting is the new smoking Matthew Margetts, Cara Lund

Building on the “Soft Studio” Charrette undertaken at the start of 2020’s Academic Year, Andy’s Linked Research underwent a number of transformations as a result of the Covid-19 lock-downs. Originally conceived as an exploration into a softer, more informal approach to workplace furniture design, the project evolved into an innovative, multifunctional furniture design for home-workers.

Andy explored a wide variety of themes ranging from ergonomics to well-being before designing and making a flexible, multipurpose workstation that encouraged multi-position working and could also provide some multi-gym functions in the same space.

Working with local furniture makers Bazaar Group and PLYable Design, Andy gained an understanding of the commercial realities and practicalities of furniture design which resulted in a materially efficient self-assembly solution that was also informed by an augmentation of everyday rituals.

A working day would start with, and could be punctuated by, gentle work-outs centred around reconfiguring the desking configuration, diminishing the health-risks associated with sedentary working practices.

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Student: Andy Chan

07/07/2021 11:28:44

Product PLACEment: Bly The Sea Matthew Margetts

The Product PLACEment Linked Research project explored the complex issue of place branding through the lens of product merchandise.

The experiment was originally envisaged as an entrepreneurial experiment to design, make and sell an ‘indigenous’ range of ‘merch’ to engage the public directly in a discussion about place, perception and pride. However, through the various manifestations of lock-down the project evolved into a series of targeted questionnaires which accompanied ‘merch hampers’ sent to a range of stakeholders for feedback.

The central question in the research was to challenge notions of ‘top’ down externally commissioned place branding commissions with a more tangible, ‘unofficial’ and speculative approach that could be used to directly engage local inhabitants in a discussion.

Working with EDable Architecture (based in Blyth) and Droid Creative Elle developed her own range of unique ‘products’ inspired by her analysis and conversations with inhabitants of Blyth (pre-lockdown). Questionnaires were issued (along with a social media site) to local stakeholders to understand their reactions to the merchandise and to establish whether this had helped them understand notions of pride, place and branding. Responses to the questionnaires were overwhelmingly positive and have led to a continuation of the exploration in a subsequent project for Linked Research the next academic year.

Student: Elle-May Simmonds

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MA in Urban Design Georgia Giannopoulou

Contributors: Georgia Giannopoulou, Tim Townshend, Ali Madanipour, John Devlin, Stuart Hutchinson, Smajo Beso, Danny Oswell, Loes Veldpaus Guest Contributors: Rose Gilroy, Roger Maier, Dhruv Sookhoo, Michael Crilly, Christina Pallini (Milan) The MA in Urban Design is a well-established interdisciplinary postgraduate programme at Newcastle University that draws on expertise from the disciplines represented in the School (SAPL), namely Architecture, Planning and Landscape. The MA enjoys various synergies with other courses in the school in the context of different modules and as such replicates the nature of the profession, providing students with a rich learning experience based on diversity of backgrounds, skills and viewpoints. The programme brings to the foreground a strong agenda of social and ecological engagement, together with a relational approach to the built environment and public life. Three distinct design projects punctuate the year, supported by theory courses and critical debates around the practice of Urban Design. The projects engage with diverse localities and the challenges and themes emerging from the place as well as themes around regeneration and societal challenges. The course features a robust focus on urban design process including issues of financial viability and delivery across the design projects. The two major projects of the year are interconnected and address different themes and scales within proximal localities. Project locations address where there is ‘live’ regeneration and adequate complexity; in 2019-20 we worked in Middlehaven/Middlesbrough, once the hub of Middlesbrough’s industrial heritage but fallen into derelict state in the post-industrial era. Currently it forms one of the North-east’s largest and promising regeneration schemes, involving housing, education, sports and business development. The wider theme is post-industrial urban renewal and project sites engage with broader societal themes and research such as Digital Cities, an ageing population and sustainability. ‘Housing Alternatives’, forming the latter part of this project, examines new models of neighbourhood design in the context of the housing crisis and housing needs. The project explores concepts of affordability, sustainable living and community led-models as well as new and contemporary models for living addressing issues of resilience, changing patterns of working and demographics, such as live-work, Future Homes, Cohousing and Care in the Community models for older and vulnerable people.

The course prides itself on its strong grounding on research and bridging across theory and practice as well as a stimulating learning experience with several field trips and experiential workshops and blogging. The MA in Urban Design is well regarded amongst Urban Design courses in the UK; graduates stay connected with the school and many go off to develop diverse and successful careers in the industry nationally and internationally.

The year concludes with the Urban Design Thesis, a major research-led design project, on topics selected by the individual students around their interests, tutored by a range of tutors from the industry and reviewed at regular intervals by the teaching team.

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Master of Landscape Architecture

Usue Ruiz Arana, Geoff Whitten, Ian Thompson

Contributors: Charlotte Veal, Sally Watson, Armelle Tardiveau, Cathy Dee The MLA is a new two-year full-time postgraduate conversion course for graduates in other disciplines who wish to qualify and work as professional landscape architects, or with international landscape qualifications who wish to pursue professional studies in the UK. The course has candidate accreditation with the Landscape Institute and meets the educational requirements for chartered membership. Through studiobased projects, students are gradually introduced to the theories, methods and practice of Landscape Architecture.

This year, the MLA students have designed schemes for multi-species inhabitation, Net Zero pocket parks for children, and soundscape projects. In addition, they have worked alongside MALAS students on their main design studios: ‘Hunters Moor sculpture park’ and ‘Masterplanning the post-pandemic city’.

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MA in Landscape Architecture Studies

Ian Thompson, Usue Ruiz Arana, Geoff Whitten, Andrew Scambler

Contributors: Charlotte Veal, Sally Watson, Cathy Dee The MA Landscape Architecture Studies is a one-year taught masters-level programme which provides opportunities for students to develop systematic knowledge and understanding of Landscape Architecture and its interface with Planning and Architecture. Students develop the capacity for critical thinking about the design of place and space and gain skills to enable them to deal with complex aspects of landscape design and planning in a creative and innovative way. Through studio-based design projects, students refine their design skills and develop the ability to critically analyse and discuss landscape projects and styles.

In Semester 1, students designed a sculpture park for Hunters Moor, following a virtual visit to Roche Court sculpture park that touched on four aspects of the relation between art and landscape: situation, movement, experience and materiality. In semester 2, students worked in groups to develop innovative visions for Newcastle City centre post-pandemic.

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MSc Advanced Architectural Design Martin Beattie

Contributors: Raymond Abdulai, Smajo Beso, Jules Brown, Martyn Dade-Robertson, John Devlin, Georgia Giannopoulou, John Kamara, Astrid Lund, Danny Oswell, Tony Watson, Jianfei Zhu Our MSc Advanced Architectural Design is a unique degree for international students to enhance their design and research skills. The Architecture and Cities pathway focuses on the dialogue and interconnection between architecture and the fabric of cities. It helps students appreciate architectural design in the broader social, cultural, and economic contexts of cities. Individual buildings are considered as component parts of cities, rather than as isolated objects within it. The pathway focuses on how architecture can be derived from detailed studies of urban communities and determine what is appropriate in the strategic and detailed development of specific urban sites.

Semester one introduces students to urban design and context including issues of site program, movement, open space, community, heritage, morphology, massing, and materiality. The second semester project focusses more on the architectural scale, exploring ideas of meaning and identity in the urban environment and the role that public space and buildings play in articulating notions of citizenship and community.

Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. Thesis projects developed during the third semester provide students with opportunities for elaborating on many of the themes introduced earlier in the course. The thesis is a major design project framed by individual students which is largely produced independently.

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PhD and PhD by Creative Practice Students PhD Completions: The Impact of Urban and Domestic Building Design on Energy Consumption: A Case Study of Erbil, Kurdistan, Iraq Dr Ali Salih Learning from Tokyo Dr Nergis Kalli Micro and Macro-scale Characterisation of an Agarose-based Physical and Computational Model for the Testing and Development of Engineered Responsive Living Systems Dr Javier Rodriguez Corral The Enchantment of the Wild: A Journey into Wildness through Sound Dr Usue Ruiz Arana Continuing PhD Students: Transformational Spaces for Women Sarah Ackland Exploring The Design Delivery Process In Architectural Firms In Nigeria Oluwakemi Adeboje An Investigation Into the Conservation of Historical Buildings in Mecca, Saudi Arabia Mohanad Alfelali Irreal Engines: The Model Village and Worldbuilding Michael Aling The Impact of Environmental Behavior on Energy Consumption in Office Buildings in Saudi Arabia Ahmed Aljuhani Spatial Contest across Scales: A Study of Transportation Nodes at Dalian and Taipei and Multi-Scalar Spatial Politics in Japan’s Colonial Project in East Asia (1895-1945) Lu Bao The More-than-Human Relations of Transplanetary Imaginaries and Habitats Anne-Sofie Belling The Effectiveness of Participation in PostIndustrial Community-Led Residential Urban Regeneration Projects Ikbal Berk Stolac: A Testing Ground of Practised Ambiguity Smajo Beso B. subtills Spore Hygromorphs as a Novel Smart Biomaterial Emily Birch

Embodiment And Computing At The Architect’s Interface For Design Alexander Blanchard The Art of Conception: Methods to Kill the Architect David Boyd Growing Architecture: New Material Practices For The Construction Of Living Habitations In Extreme Environments Monika Brandic Lipinska Nation-Building of Post-Colonial and PostWar South Korea under the Park Chung-hee Regime Uri Chae Architecture by Default Kieran Connolly Housing Design and Marketing Images Hazel Cowie The Autobiographical Hinge: Revealing the Intermediate Area of Experience in Architectural Representation James Craig Living in Princely cities: Residential extensions, bungalow culture and the production of everyday spaces in Bangalore and Mysore, South India ca.1881 to 1920.

Sonali Dhanpal SPACE, a Bridge connecting Online and Offline Learning Nagham El Elani Integrated Design Approach for Responsive Solar-Shadings Yomna Elghazi Architecture education and the empathetic imagination Elantha Evans Aldo Rossi: Architecture and the Nature of Memory Sinead Hennessy Reimagining children’s spaces with Seven Stories: The National Centre for Children’s Books Daniel Goodricke Fundamental Principles of Biological Fabrication in Nature for Upscaling in the Built Environment Aileen Hoenerloh Textile Hosting: An Exploration Of The Symbiotically Interaction Of Living And Textile Systems In Relation To Emergence Of Structure Romy Kaiser

Syn.Emergent Material Sunbin Lee Simulation as Active Design Method at Conceptual Design Stage in the UK practice Ramy Mahmoud Experiencing architecture: An autoethnographical study of the senses in Walmer Yard Laura Mark Robust Architectural Detailing Joseph George Marshall How architects can increase the use of fullculm bamboo to provide adequate urban housing in tropical developing economies John Osmond Naylor Develop A Computer-based Model for Energy Consumption for the Saudi Domestic Sector: the Influence of Occupant Behaviour Hatem Nojoum Assessment of Thermal and Daylight Strategies in Relation to the Agitation Levels of People with Dementia in Warm Humid Climates Emmanuel Odugboye Investigating the Properties of Mycelium to Develop Free Form Building Materials Dilan Ozkan Building home Martina Schmuecker Designing Water. A Living Wall between Land and Sea Pierangelo Marco Scravaglieri Place, Politics and Memory – Contested Heritage.

Ceren Senturk Beyond Biomimicry: How can we create designs that possess the functions of living things?

Assia Stefanova Development Of Functionally Graded Mycelium Based Materials Through Fabrication With Growth Ahmet Topcu Alive: Rhythmic Buildings Layla Van Ellen Repositioning the Profession: The 1958 RIBA Oxford Conference and its impact on Architectural Education Raymond Verrall

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PhD Research

Experiencing Architecture: An Autoethographical Study Of The Senses Within Walmer Yard Laura Mark My PhD thesis sets out to study my own lived experience of Walmer Yard - a collection of four houses designed by the architect Peter Salter. Salter is best known for his drawings and teaching, and the houses are his only built work in the UK. They were commissioned by the developer Crispin Kelly, who himself had been Salter’s student at the Architectural Association. They are a rare work in demonstrating what can be built when a visionary client gives an architect creative freedom, and they explore how the language of domestic architecture can be pushed through their use of materials, textures, light and shadow. I currently curate a programme at the houses which explores how we experience architecture, and this will be embedded in my research, further exploring the sensory experience of the space and our understanding of the senses in architecture, drawing on ideas from Martin Heidegger, phenomenology and the writings of Steen Eiler Rasmussen, Gaston Bachelard, and Juhani Pallasmaa.

The Architect’s Cognitive Prosthesis: A Dialectical Critique Of Computational Practice Alexander Blanchard My work concerns the architect’s practice as they engage with Autodesk Revit Building Information Modelling software. Situating Revit as a design medium that forms a cognitive prosthesis for the architect, my research explores how the rigorous encoding of a building model conditions expression and generates compulsive modes of thinking for an architect whose design possibilities are given by the software’s formal lexicon. I consider computation in terms of grammatisation – a codification of an original that enables re-contextualisation via translation into supplementary media. I trace such grammatising processes from early memory technologies through to contemporary production techniques. Returning to the substrate of the machine, executable code is re-contextualised as material orthographic writing, pointing toward the construction of a dialectical critique of computation.

The Art of Translation: Methods to Kill the Architect David Boyd This PhD by Creative Practice is an attempt to frame and scrutinise the philosophical roles and mechanisms of architectural representation within the cultural context of contemporary practice. It locates itself as a generative space within which to practically test and explore the differing aspects of representational modes of production, from the traditional optics of hand drawing, to the industrially embedded modes of digital production. In addition to establishing a theoretical, historical and methodological context of architectural representation, this research, through first hand practical execution, avoids examining the role of representation from a distance, but, instead, uncovers philosophical reflections through the discipline of architectural production itself. Through such an approach, instead of being purely diagnostic, the research can locate trajectories through which one may recuperate the creatively illuminating role of architectural representation, acting as a critical response to the contemporary condition of an architectural discipline that is wholly subservient to technocratic quantifiability.

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The Effects of Participatory Design Tools on Community Engagement in Developing Neighbourhoods Ikbal Berk With the increase of urbanisation in cities, including the rise of density and commercial structures, many neighbourhoods situated at the city centre peripheries are under the pressure of rapid developments that can change the built environment and social life.

In the UK context, many local communities living in these neighbourhoods establish non-governmental community initiatives to have an organisational structure against other stakeholders such as city councils and project developers. During this process, participatory design is utilised to collect ideas from the community and establish or increase community engagement to make a change. The study investigates the effects of participatory design and participatory design tools on community engagement in developing neighbourhoods. Shieldfield is chosen as the study area, a neighbourhood situated at the east edge of the Newcastle city centre and under the pressure of increasing student accommodations. By using participatory action research and visualisation of the problem-solving process, the reciprocal relationship between the community and codesign process is aimed to examine.

Education To Practice To Ecology John Naylor This research aims to evaluate the impact architectural education can have to change perceptions of bamboo and cause positive ecological impact. There is an absence of lightweight, sustainable construction materials in contemporary Haitian construction, a fact highlighted in the disproportionate loss of life in the 2010 Port-au-Prince earthquake. Between 2014 and 2017 the researchers delivered a series of architectural design workshops in Haiti with the Architectural Association School of Architecture to raise awareness and develop design skills for bamboo using computational design tools. This current evaluation research using surveys and qualitative interviews with participants and collaborators is one aspect of an ongoing PhD project at Newcastle University. This wider project is to develop a design approach for architects for full-culm bamboo using computational design tools, to develop a more resilient and sustainable built environment in tropical Low- to Middle- Income Countries. A preliminary evaluation using surveys was presented at the Sigradi 2020 conference in Medellin, Colombia, in November 2020.

Spatial Contest across Scales: A Study of Transportation Nodes at Dalian and Taipei and Multi-Scalar Spatial Politics in Japan’s Colonial Project in East Asia (18951945) Lu Bao The study aims to critically analyze urban space in Japan’s colonial cities in Asia by focusing on two case cities——Dalian and Taipei. They are located at the end of the railway lines and the starting points of sea freight, the transportation hubs (chiefly railway stations and maritime harbors) in these two cities are important nodes connecting the interior and exterior of the regions. This thesis wants to treat transportation nodes in Dalian and Taipei as a central focus to show the geopolitical conflicts and spatial strategies across scales. Through the study, on the one hand, not only Japan’s overall geo-strategic expansion across East Asia can be revealed, but regional conflicts between colonial authority and local gentry class as well; On the other hand, in the cities, colonial modernity and uneven community development related to these rail and maritime infrastructures can also be shown.

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Building Home Martina Schmuecker Building on my artistic exploration of the relationship between memory and the domestic space, this PhD by creative practice is an interdisciplinary investigation between the fields of Architecture and Fine Art. The research aims to collect and make visible the knowledge of historic, established co-living situations in cities and use it to propose creative and collaborative designs and imaginations for future urban living. The starting site of the research is at home. Here I set out to investigate the relationship between the inhabitant and the lived-in space through a collaborative process involving my neighbours in the London based Housing Cooperative I am part of. This autobiographical vantage point allows me to start with a deep examination of a universal topic, in a local setting. While this project was developed in the autumn of 2019, the emergency of Covid-19 now demands the inclusion of remote working, isolation, and the pressures of co-living conditions in the research. A collaborative and creative approach necessary to represent the cooperative nature of coliving situations may allow space for new tools of engagement and methods for co-design ideas to emerge.

Liquid Architecture Pierangelo Scravaglieri Architecture is traditionally dry and performs protective functions which tend to separate and shelter inhabitable spaces from the life-giving liquids that pass within them, both in terms of spatial relations (i.e. the physical impossibility of occupying or inhabiting liquid spaces) and of material ones (i.e. the difficulties of using liquids as building materials).

However, the pressing global challenges our species faces (climate change, environmental injustice, etc.) increasingly point to the need for a more symbiotic and resilient approach to natural systems, which could benefit from the integration of regenerating material flows into inhabitable spaces. Challenging the idea of architecture as a fixed, inert container and reconceptualising it as a body whose boundaries are rather blurred and ever-changing, my research moves away from form as the primary driver of spatial protocols. Through a practical and theoretical engagement with the ontology of liquids, this work explores methods for co-designing with natural systems using liquid paradigms.

The study is conducted through a range of design-led experiments, visualisation systems, construction and testing of physical models that, collectively, constitute the base from which a liquid architectural toolset can be realised.

(Re)constructing the 1958 RIBA Oxford Conference on Architectural Education Raymond Verrall My PhD research involves a creative approach to history that responds particularly to issues of archival lacunae. As a mode of both research and representation, perhapsing finds its usefulness and validity through mapping—and extending beyond—the edges of evidence. When significant gaps in the archival record are encountered, and other sources exhausted, perhapsing enables the content of those gaps to be provisionally figured-out by constructions of informed speculation. Historically, British architecture students followed various routes into the profession, each with widely differing standards and definitions of training. Aiming to raise and unify these standards, the 1958 RIBA Oxford Conference effectively severed training from its vocational hinterland, reinventing it exclusively as an academic endeavour. For something so consequential, surprisingly little scholarship has been undertaken to map the machinations around its organisation and the values encoded in its agenda. One reason for this lack of deeper scholarship is the loss of the original transcripts. However, by sleuthing through other archival clues, and by mapping wider biographical insights, provisional narratives may be perhapsed in and around the fertile site of the missing transcripts, bringing together dialogically the tensions at play and revealing the entanglement of its actors.

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National Reconstruction Projects Concerned with Security Vulnerabilities Under the Park Chung-hee Regime in the 1960s and 1970s Uri Chae My study deals with architectural and urban planning projects of the Park Chung-hee regime of South Korea in the 1960s and the 1970s as a pretext for war preparation and a means of consolidating nationalism by analysing the geopolitical background and nation-building ideologies. While reviewing the overall stance of architectural, urban, and regional circumstances of post-war South Korea as a foundation of this study, the main cases for indepth analysis will be composed of (1) Yeouido Island development, (2) decentralisation of political space, and (3) fortification measures of Seoul. Since all these measures were implemented by strong state intervention, they will be studied in the context of spatial politics, post-war urban planning, and postcolonialism. In other words, this study plans to contemplate how the Park regime treated space as the means of exercising power with various levels through the cases demonstrating the attempts to reorganise political, residential, and commercial space, construct passive defensive measures, or control population. I hope this study could fill in the gap of the academia in terms of interweaving geopolitical analysis into tracing urban and architectural transformation of the capital city in the vicinity of the ceasefire line.

Integrated Design Approach for Responsive Solar-Shadings Yomna Elghazi To deliver climate adaptive architecture, current trends in architecture research and practice are directed towards dynamic and responsive building skins. ‘Responsive building skin’ is used to describe the ability of the building envelope to adapt over time in response to external environmental conditions. Recent attention has focused on the ‘soft robotics’ approach which uses soft and/or extensible materials to deform and extend with musclelike actuation, mimicking biological systems. Material embedded actuation can alter the shading system’s morphology under external stimulation and adapt autonomously to their respective environmental conditions. Passively thermally activated systems offer actuation for such systems without recourse to mechanical energy consuming actuation systems. This research identifies the intersection between bio-inspiration, origami principles and smart materials to integrate the underlying mechanisms in responsive solar-shading systems and assesses their environmental performance. The thesis explores deployable components made of flexible, lightweight passive materials (fabrics, paper, card, and polypropylene) to test folding forms (straight and curved) and tinkers with smart materials as thermo-responsive actuators to understand their intuition and operation. These actuators are passively activated by the stratified heat in a Double Skin Façade cavity.

Transformative spaces for women: Running and the City Sarah E Ackland This thesis asks how we might transform womens experience of space. Historically, Matrix worked to redesign the spaces of the city for a female agenda. Part W suggests the answer is to create more space for women in the architectural profession. In architectural practice today, MUF Architecture - Art create a workplace, which works for women in the city. This thesis looks to another option, asking how the possibility of transformation for women will achieve equality and therefore create space for women in the city. To answer this question I use auto ethnography, specifically looking to the act of running to uncover transformation in the city, practice, protest and consciousness. I reveal both how running creates an unconscious confidence, but also exposes the limitations or constraints of women’s access to the city and society raising questions of visibility, the female flaneur and patriarchal systems. Throughout this research I use myself as a device to explore my experiences as a feminist, woman, activist, campaigner and runner within spaces. I draw upon reflections, visual memories, recollections and gather items on runs, to create a female runners archive. The spaces bother each other, question each other and overlap often, as I run between them, the running organises what I am confronting as a woman in each space, captured and frozen within the archive.

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ARC – Architecture Research Collaborative

The Architecture Research Collaborative supports the research interests of staff and our postgraduate cohort. We champion both particular specialisms and interdisciplinary working to tackle complex and urgent societal and architectural questions. ARC currently focuses on three multidisciplinary and interconnected research concerns: - matter + ecologies - processes + practices of architecture - histories + cultures of the built environment We are diverse, inclusive, experimental, and engaging. Our scholars’ methods range across design research, artistic and professional practice, participatory action and temporary urbanism, engineering and construction, architectural history and theory, digital design, emergence and living systems, ethnography, cultural studies and urban studies. We enable and disseminate architecture research through collective exhibitions, public events, and symposia. We also produce publications and engage in lively research-led teaching at all levels. Our collective attitude as a research group is exemplified by the publishing of Mountains and Megastructures by Palgrave this year. The book is a collection of essays from colleagues across the school, along with some visitor contributions, exploring the neo-geologic landscapes of human endeavour.

ARC hosts weekly research seminars in collaboration with the Global Urban Research Unit (GURU) and this year we got together for a joint ARC / GURU ‘awayday’ on the climate emergency - recognising the power of working together. Held exclusively online this year the events were still well attended and enabled our collegiate environment to continue. Regular meetings are themed and this year it was exciting to highlight landscape architecture colleagues as this part of our school expands. We also hosted a lively PhD day, which featured short presentations from our PhD students providing the opportunity to highlight potential collaboration avenues and broaden our community. We also recognise the unique research potential of creative practice, visual, and architectural methods and celebrate experimental, speculative, and artefactual outputs as forms of research, in addition to argument, evidence, and data. For the first time we returned to the Research Assessment framework (REF) with 4 creative practice portfolios as well as entries from all members of ARC. Finally, last year before lockdown Mags Margetts and his practice Plyable designed and built an ARC archive to display staff work, we hope to make much more use of this in future years, when we are all together once again in the Architecture building.

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ARC Research

A New Kind of Suburbia Dhruv Sookhoo A New Kind of Suburbia, sought to do many things, reflecting our varied interests as architects, urban designers and researchers. With an expanding portfolio of suburban projects across our busy Dublin and London studios it felt particularly pressing to critically examine our design thinking in relation to emerging social issues associated with suburban placemaking. We recognised that while most people in the United Kingdom and the Republic of Ireland live in suburban places, suburbia is ill-defined, and the varied experiences and aspirations of suburbanites are commonly taken-for-granted by the housing market. Our projects for Nationwide Building Society in Swindon, Urban Splash in Milton Keynes, and South Dublin County Council in Clonburris, West Dublin, were under development during the research project and stimulated our thinking about the potential of reimagining suburban development in the real world.

People Powered Places Ava Lynam & Dhruv Sookhoo People Powered Places is our second annual practice-based research project, and aims to critically appraise innovative methods of community participation in planning and housing design, in order to enrich our approach to working with new and existing communities. We selected our research theme during the Covid-19 pandemic, when it felt particularly relevant to re-examine our own practices in relation to emergent, collective and participatory models for shaping places to generate the enhanced quality and value that help communities thrive. While recent events have brought a new urgency to our examination of community engagement, our research is also grounded in a deep practical interest in working with residents since our early projects, including in Ballymun Regeneration Masterplan, Dublin, Balham High Road and Somerleyton Road in Brixton, London.

The Parallax Gap: Drawing Spectres In Post-Conflict Northern Ireland James Craig This project is an examination in the use of drawing to show the spectral presence that continues to haunt spaces marred by histories of violence in Northern Ireland’s postconflict context. The study is underpinned by theories that relate to haunting, but also to psychoanalysis, as read through Slavoj Žižek’s theory of the Parallax Gap. Theoretical concerns are applied to the filmic techniques of the artist Willie Doherty (2007), and to Richard Hamilton’s painting Trainsition IIII (1954). The resultant drawing and textual analysis respond to the ‘spectral-turn’ in post-conflict art in Northern Ireland, making a case for haunting as a practice that can disturb the present in a way that permits a reflective position on the future.

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RESPIRE: Passive, Responsive, Variable Porosity Building Skins Ben Bridgens, Helen Mitrani and Jane Scott changing humidity

changing humidity

changing humidity

changing humidity

The Leverhulme Trust awarded Newcastle University a £328,800 Research Project Grant to support this 3 year project, due to start September 2021. The project aims to develop a new generation of low-cost, low-environmental impact, responsive building skins that moderate internal temperature and humidity by varying their porosity. The transformative approach of the Respire project would improve internal air quality and eliminate the need for energy-intensive, high-maintenance mechanical ventilation systems, enabling fully passive, zero-energy buildings.

We propose to use moisture-responsive materials in combination with insulation and thermal mass to produce building skins that allow variable levels of ventilation, depending on the humidity of the environment inside and outside the building. For example, if the inside of the building is humid, pores will open in the skin, increasing airflow. Alternatively, if the outside of the building is moist, pores will close, keeping the internal environment dry. With careful placement of these skins around a building, comfortable internal conditions can be maintained, with no ongoing carbon emissions.

We will take advantage of the natural moisture-responsiveness of some abundant organic materials. Wood, hydrogel (made from seaweed), wool and flax fibres all swell and shrink in response to varying levels of moisture and these can be used to produce novel breathing building skins with low cost and environmental impact. The project will work across scales from material development and testing in the lab, thermal testing of prototype wall panels in the workshop, to full scale testing in our recently completed experimental building, the OME.

(Im) Possible Instructions: Inscribing Use-Value In The Architectural Design Process Heidi Svenningsen Kajita Re-thinking the social in architecture provokes us to question the systematised production of space that has been managed in drawings, schedules and specifications.

Often these media bypass direct communication with occupants, and represent foremost the predictable and quantifiable. Instead, this research project develops knowledge of architects’ instructions that – in the paradigm of transformation – can include localised, caring acts and creative use of the places people live. How do architects make it possible for users’ unpredictable desires, complaints and doings to be translated into design documents? Drawing on emerging ethnographic-architectural ways of knowing, this research uncovers the incorporation of ‘use-value’ in historical building instructions of postWW2 welfare state housing and inhabitants’ own creation of lived space. From archival research into Byker and Brittgården, both large-scale housing estates first designed by Ralph Erskine Architects, the project tests and demonstrates new speculative techniques that value both the specific and openendedness of production of space. By following documents both inside and outside the office archive, the research shows how residents’ voices and doings were and may be inscribed - not only in peripheral modes of practice, but also in mainstream design documents. The project is funded by DFF/ Independent Research Fund Denmark with University of Copenhagen and Newcastle University.

‘Nature’ And Spaces Of Experiment Juliet Odgers My research concerns how different cultures investigate, enjoy and participate in ‘Nature’ and how these interactions inform our various perceptions and conceptions of space and, consequently, our designs. The locus of my enquiries is currently English and French gardens of the 17th Century.

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Routledge Handbook of Chinese Architecture: Social Production of Buildings and Spaces in History Jianfei Zhu, Chen Wei and Li Hua Studies on Chinese architecture are characteristically on the classical tradition, recent scholarship on China’s new and modern architecture, on the other hand, is often disconnected with studies on the ancient tradition. This volume makes a breakthrough, as a first major attempt, in coalescing classical and modern histories into a coherent narrative, by identifying key themes that run through from ancient times to the present. Led by Jianfei Zhu at Newcastle UK, and with co-editors from Nanjing China (Chen Wei and Li Hua at Southeast University), the anthology includes 41 authors worldwide contributing 44 chapters, grouped in 17 themes and five parts – ancient, early modern, socialist, contemporary and theorization. Methodologically, the project aims to synthesis historical narratives with sociological analyses, thematic flows with historical discontinuities, and cultural coherence with geopolitical disparity. Above all it is a (de)constructive reading of a cultural entity that goes beyond nationhood, modernity and antiquity. After years of work, including painstaking translations from Chinese into English, it is now nearing its completion for delivery to the press. It is forthcoming in 2022.

At Home with Children: Learning from Lockdown Rosie Parnell, Alkistis Pitsikali The idea of a ‘new normal’ that includes schooling and working from home demands a re-think of domestic space design. The At Home with Children study aims to understand what constitutes ‘liveable’ domestic space for families with children under pandemic conditions. The study documents different expressions of spatial resilience and the ways in which the family home has been re-imagined, used and altered in order to allow all family members and activities to co-exist.

As part of this exploration, families will be asked to talk about their experiences and perceptions of domestic space in alleviating and/or exacerbating the psychological and social impacts of COVID-19 on children and young people. The study will provide an evidence-based framework that we will later use to evaluate current domestic standards for new housing in the UK. Over the life course of this study we will disseminate proposed spatial interventions that could alleviate the psychological and social impacts of any enforced proximities that can create conflicts in the home. Policy recommendations relevant across both England and Scotland, for national government, local authority and housing providers will be proposed.

Site Time: The Process Of Building Through And With Time Prue Chiles “our century long linguistic turn will be followed by a spiralling return to time as the focus and horizon of all our thought and experience. David Wood from “The Deconstruction of Time”. The site of home and the building of a home is at the intersection of temporalities and Architecture as a practice inhabits time as much as space. My research is a story of renewal, of bringing a house from the past into the future and uses two interconnected time-based devices or methods to disentangle time on site finding new truths and uncovering lingering concerns with the architectural design process and building on site. One method, a historical constructed device of deep time, life time and event time is used to explore the different overlapping measures of time.

The other a visual time-based narrative constructs images of the house when first built or before work begun on site, overlaid with the now on site, to emphasise the collapsing and extending of time where the past is always present on site. This project is part of an AHRC funded group working together to publish on Time As Method: Working with temporal methodologies in transformative humanities and social sciences for a Policy Press book.

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Beastly Landscapes and Urban Soundscapes Usue Ruiz Arana In beastly landscapes, Usue is investigating more-than-human creatures in the local folklore and their relevance in thinking beyond human agency. Together with Charlotte Veal, she is hosting a symposium this September on beasts as metaphors for messy and ambiguous human-non-human-relations. In urban soundscapes, Usue is developing a guide to listening for Landscape Architects aimed at incorporating sound and listening into everyday practice. She is currently researching ways of expanding current soundscape assessment and design methods to consider non-human beings that will inform an upcoming book.

Translating Ferro/Transforming Knowledges for Architecture, Design and Labour for the New Field of Production Studies Katie Lloyd Thomas, Will Thomson Translating Ferro / Transforming Knowledges for Architecture, Design and Labour for the New Field of Production Studies is a joint Brazil/UK project funded by the AHRC and FAPESP, which launched in October 2020. We aim to define and consolidate a new cross-cultural, interdisciplinary field of Production Studies, structured and informed by the single most sustained enquiry into art, architecture and design from the perspective of labour – that of the work of Brazilian architect and theorist Sérgio Ferro.

Led by Katie Lloyd Thomas (APL) and João Marcos de Almeida Lopes (IAU, São Carlos, Brazil), the team includes Newcastle University-based Co-I Matt Davies (GPS) and PDRA Will Thomson (APL), and 3 Co-Is and 4 RAs in Brazil.

Over 4 years TF/TK will respond to the global crisis in building today by bringing together architectural historians and theorists, producers of formal and informal built environments, scholars, partner organisations and from relevant fields to collate, structure and apply Production Studies.

House Of Memories Neveen Hamza This research is funded by the Wellcome Trust Institutional Strategic Support Fund.

Architectural design provides a permeable enclosure between indoor/outdoor environmental conditions that influence the behaviours and wellbeing of building occupants. Our research indicates linkages between the perception of indoor environmental, visual, thermal and acoustic, conditions and increased level of stress and agitations for PWDs (Rodriguez and Hamza, 2016 and Nagari and Hamza, 2016). Currently, there is meagre knowledge of how the architectural design of purpose built and refurbished wards have an influence on the agitation levels of People With Dementia (PWD). Agitation levels of People with Dementia impacts on carers and levels of medications.

This interdisciplinary research proposal is built on methods to record indoor environmental conditions using ‘non-invasive to privacy’ monitoring methods of indoor thermal and air quality monitored data, and assess their link to the logbook of agitation incidents in a refurbished ward in the Centre for Ageing and Vitality, Newcastle University and the purpose built ‘Roker and Mowbray’ wards in the Sunderland, Tyne and Wear NHS Foundation Trust.

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Trans-Plastics Research Project Ruth Morrow The Trans-plastics project was part of an EPSRC funded investigation into waste plastic: Advancing Creative Circular Economies for Plastics via Technological-Social Transitions, which aimed to explicitly frame the opportunities for realising a sustainable and resilient plastics circular economy within a ‘socio-technological transitions’ approach. The Transplastics project’s specific aims were to design and prototype a building block that used the optimum amount of recycled plastic waste, requiring minimal fixing, no further external finish and with a geometry that allowed for variation and circular reuse. It innovatively sought to bring design thinking and user experience into the earliest stages of development through a process of critical feedback and evaluation, acknowledging that user acceptance is as critical as technological advancements in underwriting, adoption, and longevity of emerging technologies. The project evolved from Morrow’s previous research and teaching experience developing building materials through a design-led approach, where designers draw out the aesthetic and ethical dimensions of materials in the early stages of development. The project represents the first time such a multidisciplinary team, (polymer production engineers, polymeric material scientists, architects, material-designers and psychologists) have been brought together to work with waste plastics.

Publishing Practices Steve Parnell Steve’s research focuses on how the architectural media shapes architecture as a profession, a practice, and a product. This ranges from how buildings are portrayed in publications and social media, to how ideas are constructed, represented, and disseminated, to a critique of the role of academic publishing in academic’s own architectural research. The press is fundamentally foundational and hugely influential in how we think about the world so this research has recently moved into looking at the rhythms and structures the architectural press imposes, the stories and myths it propagates or hides, who curates it and how it’s curated, how this influences architectural production (practice and education), and how all this is changing in the move to digital. Specifically, he is asking questions about the role of the press in the hegemony of architectural patriarchy, and the myths it has propagated to deny the ever-increasing dangers of the climate emergency.

Platform Turns Two Marta Gutman and Matt Lasner (CUNY), Swati Chattopadhyay (UCSB) and Kishwar Rizvi (Yale University), and Zeynep Kezer (Newcastle University) Founded by a small collective including Marta Gutman and Matt Lasner (CUNY), Swati Chattopadhyay (UCSB) and Kishwar Rizvi (Yale University), and Zeynep Kezer (Newcastle University) PLATFORM, is an open digital venue for new ideas about researching, teaching, and writing about buildings, spaces, and landscapes. PLATFORM publishes timely—and often provocative—short-form essays and digital content that engage with contemporary culture and politics. As a jargon-free and globally accessible forum for public humanities, since its launch in June 2019, PLATFORM has featured 166 articles (of which 11 are bilingual, with versions in Spanish, French, Portuguese, Arabic, and Turkish to reach broader local audiences) and has received nearly 160,000 visitors from 99 countries. In addition to contributing to the editorials written collectively with her co-editors to be published at key moments, Zeynep Kezer has authored a small except from her research entitled “The Projections of a Roof: An Ottoman Armenian Family Residence in Nineteenth-Century Eastern Turkey”. The essay was published in English as well as Turkish—and the latter drew more than three times as many readers than the former connecting her to audiences that would otherwise be outside her reach.

She was most amazed when she recently was contacted by one of the grandchildren of the family who survived the 1915 Genocide.

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Creative Practice Research

Dwellbeing Shieldfield Julia Heslop During the last ten years Shieldfield, in Newcastle’s, ward has seen a 467% increase in student housing numbers in the form of large blocks of purpose built accommodation.

This has affected the character and social mix of the neighbourhood – pressures that have occurred alongside a degrading urban environment and a lack of community resources as a result of austerity. In response, the project Dwellbeing Shieldfield has aimed to build knowledge of urban development, housing and land issues and action community-led responses to recent developments, through Participatory Action Research and arts-based methods. This has involved founding a Community Benefit Society and co-operative led by residents. One strand of this work is called ’Shieling’ which is responsible for a programme focused on growing food and public realm improvements. Residents have been working with HarperPerry Architects and local trainees to create a plan for the improvement of underused space across the neighbourhood. It is important that changes are responsive to the community and are embedded within the specific material, social and historical context of Shieldfield, thereby providing an alternative vision for future urban development from what has gone before. Image credit Matthew Pickering.

Design Activism: A Catalyst for Communities of Practice Armelle Tardiveau and Daniel Mallo Fenham Pocket Park is a creative practice-led research that sought to stimulate community action and bring about community-led change in the neighbourhood of Fenham, Newcastle upon Tyne. The project is critically underscored by a characterisation of design activism as a process and a practice: the process aims to promote experimentation and test alternative urban experiences, while the practice, embedded in everyday life, seeks to catalyse and nurture other ‘communities of practice’ in the neighbourhood. It is concerned with the largely under-researched long-term transformative effect of design activism on everyday urban environments and socio-spatial dynamics. Through the research, a group of local residents of Fenham became key actors in the transformation of a disused urban space into a Pocket Park.

Gathering Julia Heslop and Ed Wainwright Placed at the intersection between art and architecture, Gathering explores material reuse and value through a process of retrieval, improvisation and adaptation. The issue of waste is a key concern within the fields of art and architecture which produce material as a matter of course, whilst the building and construction industry is the industrial economy’s biggest consumer of material resources and the biggest producer of waste.

Through Gathering we aimed to explore the material and aesthetic potentials of ‘waste’, examining how disparate materials could be combined, ‘made good’ and refined through a purposeful yet improvised process of rescue and reuse. Photo credit Matthew Pickering.

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Programmable Knitting Jane Scott How can the structure of knitted fabric be engineered using biomimicry to design environmentally responsive, shape changing textiles?

Programmable Knitting presents a new concept for smart materials, shape changing textiles composed of 100% natural materials. These environmentally responsive fabrics react to fluctuations in moisture levels in the environment, changing in shape and form, providing instant, reversible, 2D to 3D actuation.

The aim of this practice-based research is to transform the design potential of programmable and smart materials for the built environment and beyond, using a textiles interface. The work demonstrates how knitted fabrics can be engineered to act as a sense and response system directly engaging with an environmental stimulus, and producing real- time, programmed shape change responses. This moisture-sensitive system eliminates the need for synthetic materials or electronic control required for conventional smart materials.

The development of Programmable Knitting is a critical step towards the implementation of passive responsive material systems to replace energy- intensive mechanised control responsible for significant energy use in building use.

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Farrell Centre Owen Hopkins

The Farrell Centre project was instigated by renowned architect-planner Sir Terry Farrell when he donated £1 million to fund its creation in 2018. Since then, the University has been working on plans to renovate and transform a former late-19th century department store on the edge of campus into the Centre’s new home: The Sir Terry Farrell Building. The £4.6 million building project is designed by local architects SPACE and Elliott Architects who have worked in close collaboration with Farrell Centre Director, Owen Hopkins, who was appointed in 2019.

The building project is due to start on site in Summer 2021 and will complete in time for the centre’s opening at the end of 2022.

The Farrell Centre emerges from the belief that the forces shaping the present and future of cities – whether architectural, in the context of planning and public policy, technological and digital, economic and environmental, social and cultural – should be of vital public concern.

It takes inspiration from Sir Terry Farrell’s recommendation that every city should have an ‘urban room’ where citizens can actively engage with their city’s past, present and future, while connecting with and contributing to broader national and international debates around architecture and cities.

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Image - SPACE / Newcastle University

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OME Ben Bridgens

Construction of the OME was completed in June 2021. The OME is an experimental building in the heart of the Newcastle University campus. The OME will be where HBBE researchers come together to collaborate, test and demonstrate their technologies at building scale.

The OME will act as the showcase of our work for external partners and the public, and provide a focus for the HBBE’s educational activities.

Many of our new biotechnologies are at an early stage of development, so the OME has been designed as a building within a building: a self-contained apartment (the hOME) enclosed within a protective building envelope. This will allow us to freely experiment with materials and processes not yet ready for external exposure. The apartment will be situated above a laboratory, used to develop processes to convert domestic waste into heat, energy and useful materials. Surfaces and ventilation systems within the building will be modified to explore how we can manipulate the building’s microbiome. A prototyping and exhibition space will allow living prototypes to be tested whilst learning about people’s response to, and interactions with, these new materials and systems. The façade of the OME has been designed to enable a range of material samples, both bio-fabricated and living, to be tested in an external environment and viewed by the public, whilst considering the interaction of the building with its environment. In future complete sections of wall can be replaced to test new bio-based construction systems. Crucially we aim to find the links between these diverse approaches to incorporating biotechnology in the built environment, to create self-sustaining, regenerative, living buildings which benefit human and ecological health and wellbeing.

We would like to thank everyone who was involved in this project including Key Property Solutions, Sadler Brown Group, Jasper Kerr Consulting and J H Partners.

Top: Ben Bridgens

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Bottom: John Meneely

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Contributors Each year, the School draws on a vast and extraordinary array of talented architects, artists, critics and other practitioners who substantially contribute to our students’ learning, and to the culture and status of the School more generally. On this page we’ve gathered all (we hope!) of these vital individuals who come week-after-week to teach in our School. Our thanks go to each and every one of them, and we hope they will keep returning, as without their critical input the School would be a very different place.

Stage 1

Alex Blanchard Anna Cumberland Assia Stefanova Becky Wise Chloe Gill Damien Wootten David McKenna Ed Wainwright Ewan Thompson Henna Asikainen James Morton James Street Karl Mok Katie Lloyd-Thomas Nathaniel Coleman Nick Clark Noor Jan-Mohamed Olga Gogoleva Ruth Sidey Samuel Austin Sana Al-Naimi Simon Hacker Sneha Solanki Sonali Dhanpal Sophie Cobley Tara Alisandratos Tracey Tofield William Knight

Stage 2

Anna Czigler Catherine Bertola Christos Kakalis Dan Sprawson Daniel Mallo Dwellbeing Emily Speed Gillian Peskett Harriet Sutcliffe Hazel Cowie Jack Mutton Jack Scaffardi Joe Shaw John Kinsley Julia Heslop Kieran Connolly Leah Millar Luke Rigg Oliver Chapman Paul Merrick Rosie Morris Rosie Parnell Rumen Dimov Sebastian Aedo-Jury Stella Mygdali Stuart Hatcher Tess Denman-Cleaver Toby Blackman

Stage 3

Andrew Ballantyne Cara Lund Craig Gray Harriet Sutcliffe Hazel Cowie Jack Mutton Jess Davidson Jianfei Zhu Josep-Maria Garcia-Fuentes Kieran Connolly Luke Rigg Matthew Margetts Neil Burford Neveen Hamza Sophie Baldwin Stella Mygdali Steve Ibbotson Stuart Franklin Tom Ardron

AUP

Abigail Schoneboom Alex Zambelli Alison Stenning Anna Cumberland Armelle Tardiveau Charlie Barratt Claire Harper Clive Davies Damien Wootten Dan Russell Daniel Mallo Dave Webb David McKenna Ed Wainwright Elinoah Eitani Erin Robson Gabriel Silvestre Gareth Fern Georgia Giannopoulou Heidi Kajita Helen Jarvis James Longfield James Perry Jane Milican Julia Heslop Kieran Connolly Lesley Guy Liz Todd Mark Laverty Martina Schmuecker Montse Ferres Neil Murphy Nicholas Honey Nicky Watson Owen Hopkins Patsy Healey Paul Cowie Prue Chiles Robert Thackeray Rosie Parnell

Sally Watson Sarah Stead Sarah Bushnell Sean Peacock Sebastian Weise Siobhan O’Neil Smajo Beso Stephanie Wilkie Sue Loughlin Tara Alisandratos Teresa Strachan Tim Townshend Will Stockwell

Ruth Morrow Steve Webb Toby Blackman Zeynep Kezer

Yearbook Contributors Joshua Knight Liam Rogers Sarah Al Hasan Sarah Delap James Craig

MArch

Adam Hill Alex Blanchard Amy Linford Anna Czigler Armelle Tardiveau Ben Bridgens Bill Calder Carlos Calderon Cathy Dee Christos Kakalis Claire Harper Craig Gray Dan Burn Daniel Mallo David Boyd David Manning Duarte Lobo Antunes Ed Wainwright Graham Farmer Henry Pelly Ivan J. Marquez Munoz Jack Mutton James A. Craig Jane Redmond Jennie Webb Jian Kang John Kinsley Josep-Maria Garcia-Fuentes Juliet Odgers Laura Mark Lorens Holm Malcolm Tait Mark Marshall Martin Beattie Martyn Dade-Robertson Matthew Ozga-Lawn Nathaniel Coleman Neil Burford Neveen Hamza Paul Rigby Peter Wilson Polly Gould Prue Chiles Rachel Armstrong Ray Verrall Remo Pedreschi

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Sponsors This year our thanks go to Faulkner Browns who have been kind enough to sponsor our end-of-year degree shows and publication. The Newcastle-based practice Faulkner Browns is our principle sponsor and plays a big role in the life of the School.

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Student Initiative - NUAS / NCAN / The Black Initiative NUAS We are the society for the students of the School of Architecture, Planning and Landscape, and all those who share a love for architecture.

Anyone can join! All you need is a passion for the subject. We’re an award-winning Student Society that has been supporting our members during their academic lives for over 40 years. Representing more than 600 students a year, we’ve developed an evolving programme for the year - adapting itself to Covid-19 and its effect on your campus experience. Some of our recent awards over the past 5 years, testament to the work we do, include: • 2019 // Best Departmental Society (Runner Up) and Most Improved Society (Runner Up); • 2017 // Pride of Newcastle Award; • 2016 & 2017 // Best Departmental Society; Our aim is to provide great opportunities for students beyond what the school offers, acting as a social outlet for members to break away from work and enjoy the subject and their time at Newcastle. Throughout the year we offer a programme of events, from nights out and social gatherings to trips abroad and talks by key industry professionals, as well as our greatly anticipated annual black tie ball. These events and initiatives mostly concern 5 areas: • Socials & Activities • Lectures & Talks • Formals • Welfare • Sports A democratically elected Executive Committee runs the day to day administration of the society. We don’t operate autonomously, but rather serve the needs of all members - and also aim to provide support for all APL Students regardless of membership status. This elected Committee is being continuously improved, with new positions being added. This year, with our increased focus on student welfare, has seen the election of two Welfare Officers, while due to the current Covid-19 Pandemic, we’ve decided to temporarily freeze the position of KofiBar Representative. The year 2020/21 is a year of change and transition for the society, during which we’re aiming to update and improve the governance documents and Constitution, and consolidate the activities and initiatives that we’ve created over the past five years, and have since matured, such as our successful lecture series (now SMALL TALK), our well known social event calendar, and our student support mechanisms.

Society 2020/2021 President: Salma Abdelghany, Secretary/RIBA NE Rep.: Julian Djopo, Treasurer: Jack Callaghan, Social Secretary(s): Beth Sprigg, George Whipple, Formals Officer(s): Eleanor Mettham, Hannah Fordon, Publicity Officer and M.arch engagement: José Figueira, Welfare Officer: Tabitha Edwards, Sam Stokes, Sports Secretary: Jenna Goodfellow, Lectures & Talks Coordinator: Patrikas Areska

The Black Initiative The events of the past 16 months have brought us challenges that have changed our world beyond recognition. With this statement, we acknowledge the global and socio-political environment that we find ourselves in.

The Black Initiative is a student and alumni-led initiative that was formed as part of the global movement, sparked by the murder of George Floyd.

Our aim is to support and encourage BAME students and young people to find their voice within architectural education and the profession. The image opposite, ‘architecture through the black lens’ provides a small portion of the array of potential topics on which new insight can be gained by approaching them through the lens of race.

NCAN Newcastle Students Climate Action Network has been formed in response to the climate crisis and the feeling that we are not prepared enough moving forward into our careers. The built environment directly contributes to 40% of the UK’s carbon emissions, and arguably much more due to the impact architecture has on our lives and the planet’s ecologies, so practitioners can play a key role. We are creatively campaigning for a greater emphasis on ecologies and sustainability in our architectural education. We believe that we need to be provided with the awareness and knowledge to truly practice sustainably in our future careers. We have created a manifesto document, reflecting on some of our previous work here at Newcastle. We want this manifesto to be a fluid, constant evolution of ideas, something personal and representative of Newcastle students, telling our stories, frustrations, and our passions. We are keen for the document to be a platform for the students to voice themselves in creative and humorous ways, using our positions as students and designers to think optimistically and exploratively of ways to combat climate change. We hope our passion and optimism will define our voice at Newcastle. We have launched our group live on YouTube, in conversation with the two recently appointed climate literacy tutors here at Newcastle; started our social media accounts; and we are taking part in the emerging network of climate action groups across architecture schools in the UK and abroad. We have also responded to the ARB’s draft guidance on changes to sustainability in education. We welcomed the opportunity to feedback but felt that the changes could go a lot further in conveying the urgency of the crisis and in holistic curriculum change. We are looking forward to the group being taken further, being a voice for students and working with tutors. We want to provide a platform for the voices of architectural students in Newcastle, promoting intersectional and positive solutions. We feel that collective action will bring around positive and meaningful change.

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The coloniality of infrastructure

Architecture and the Body_.

RE-SET GO

How do we design for nonwhite male bodies?

makes space for excluded voices flexible programme and resources hands-on paid work experience build more progressive + representative communities

Universität Basel

The Architectural Curriculum_.

Climate change and the colonial mind

Precedents by Black Architects_.

Alternative curricula - what would your curriculum look like?

Coffee houses_.

How slavery was woven into the fabric of British cities

Race, Space and Architecture

Memory and Public Space_.

‘BAMEwashing’

Towards an Open-Access Curriculum

A useful term to describe empty gestures and tick-box attitudes to diversity

Addressing heroic statutory

A ‘distracting’ notion that assumes hollow gestures are more damaging than overt and systemic racism...

Huda Tayob & Suzanne Hall June 2019

The 1% Why are only 1% of registered architects black?

Continuing Professional Development_.

Please tick from the options above

Intersectionality and the Profession_.

Hair_.

The events of the past 16 months have brought us challenges that have changed our world beyond recognition.

With this statement, we acknowledge the global and socio-political environment that we find ourselves in.

Where does race fit into the RIBA CPD Core Curriculum?

Is ‘Architecture for Social Purpose’ enough?

Race and planning_.

Redlining

EDI and the Part 3 curriculum_.

The professional criteria includes criterion such as ‘Personnel mangagement and employment-related criteria’.

How can EDI be included more in these discussions?

Is it enough?

The Black Initiative is a student and alumni-led initiative that was formed as part of the global movement, sparked by the murder of George Floyd.

Our aim is to support and encourage BAME students and young people to find their voice within architectural education and the profession.

The surrounding blocks provide a small portion of the array of potential topics on which new insight can be gained by approaching them through the lens of race.

The RIBA recently signed the Halo Code - the UK’s first black hair code. What does the architectural professional look like?

Materiality and Infrastructure_.

Afrofuturism

Diébédo Francis Kéré

Architectural Representation_.

Do your scale people reflect your building users?

Who is talking about this? @poor_collective @migrantsbureau @blaccollectiveuol @blm_msa @builtbyusuk @blackfemarc @the blackcurriculum @resolvecollective @theblackinitiative_apl

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Newcastle University School of Architecture, Planning and Landscape Yearbook ‘21 Editorial Team Josh Knight Liam Kieran Rogers Sarah Al Hasan Sarah Delap Special Thanks Alison Pattison Printing & Binding Statex Colour Print www.statex.co.uk Typography Adobe Garamond Pro Paper GF Smith Colourplan, Candy Pink, 350gsm First published in June 2021 by: The School of Architecture Planning and Landscape, Newcastle University Newcastle Upon Tyne.

NE1 7RU United Kingdom w: www.ncl.ac.uk/apl/ t: +44 (0) 191 222 5831 e: apl@newcastle.ac.uk

Newcastle University School of Architecture, Planning & Landscape

2021