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ZAFIR AMEEN Architecture Student Manchester School of Architecture ROWENA ROWLAND Architecture Student Manchester School of Architecture

The Manchester Student Society of Architecture Magazine - MSSA Zine

@mssazine

CONTENTS//

03 09 15 19 23 27

PRETTY FLY MANCHESTER// By Oliver East

MA Illustration Student

STOCKPORT PLANNER// By James Dyson

MA Urbanism Tutor

KERALA FLOODS // By Noor Majid

Architecture Student

WHERE THERE IS LIFE// By Anna Sango 3pointohnine

THE BILBAO EFFECT// By Olivia Mihale

Architecture Student

THE WALL OF SHAME// By Paul Cedillo

Architecture Student

07 13 17 21 25 35

VENICE URBANISM// By Augustus Wray Architecture Student

UNDERGROUND URBAN SPACES// By Atul Bansal Interior Designer

HUMANS OF OUSEBURN// By Polly Amery 3pointohnine

URBAN ARTWORK// By Liam Durkin Student

COLLAGRAPH PRINT// By Rowena Rowland Architecture Student

WITHOUT A HOME// By WOAH Team Organisation

pretty fly, manchester. A few doors down from my house, in Old Trafford, lay a fridge. It wasn’t in the best of shape; missing its door, all the shelves and having lay prone in the elements for weeks now, I doubt it barely worked at all. This placed it squarely in the state of ‘Rubbish’ (the third of three states of matter, as stated in Michael Thompson’s ‘Rubbish Theory’, the other two being ‘Transient’ and ‘Durable’), yet no one had seen fit to dispose of it properly. I thought that, were I to prop it up right again and paint it bright orange then it would become considerably harder to ignore and finally be put to rest. By painting rubbish in bright colours my hope was that I could shine a piercing light through, what Thompson calls, the “conspiracy of blindness” to the rubbish problem in Manchester. My first attempt, a bedside cupboard, failed due to it raining an hour after painting, resulting in me having to dispose of it myself to save a runny orange mess in the street. As the project evolved the work took on a more temporal quality. A large amount of wood in Trafford become the site of a minor battle between myself and an

unseen collaborator who seemed to dislike the colour or something, who knows? At each return visit the wood had been forced paint side down. This afforded me the opportunity to create a new construction each time, to which I was grateful. A month on from inception and we’re still dancing this wooden tango. The high point to date has been four drawers on my road. I spent four days painting them orange one by one, but they still remained. So, I began painting them white again. After painting the first of a planned blue phase it rained for a few days, after which, they were finally taken away. For the first time, the plan had worked! OLIVER EAST @olivereast MA Illustratuib Student Manchester School of Art

all architecture is just trash in transit.

WHY V E N I C E I S S O D I F F E RE NT T O OT H E R C I T I E S . To move through Venice, whether with a destination in mind or not, your options bear few resemblances to travel in other cities. The main method of travel in Venice is the same as it has been for centuries: walking. This isn’t as prohibitive as it may first appear, as the city is scarcely 3 miles in length and 2 miles in breadth, and the narrowness of its alleyways and frequent stepped bridges mean that if cars and bicycles were allowed on the island, they would not get far. The car, bus, taxi and lorry have been replaced by their aquatic equivalents of the speedboat, the vaporetto, the water-taxi, and the barge. Due to the city’s popularity with tourists, the water-taxi is prohibitively expensive, and the speedboat tends to be driven only by Venetians. These different manners of transportation alter the way in which the visitor navigates the city due to their unfamiliarity, as

well as their reliance on tides and moorings, neither of which have bearing on the car or the bus. The visitor exploring the city by foot will frequently have their way blocked by a street ending in a canal: useful for loading and unloading boats, not so much for moving by foot. The tides also influence the walker (or runner) in a manner unkown to other cities, through frequent tidal flooding known as the acqua alta, which can change how one navigates the city. Other cities experience man-made disruption and diversions, but the acqua alta, created by the city’s symbiotic relationship with the sea, is unlike any other natural event due to its regularity and the Venetian’s acceptance of the event.

Venice negates the barrier between sea and land. The land is the sea. Venice is the sea. The sea is Venice. The line between the two does not exist from a distance, and the architecture removes it when near.

AUGUSTUS WRAY @augustuswray Architecture Student Manchester School of Architecture

6 8

The Stockport Planner. JAMES DYSON MA Architecture and Urbanism Tutor Manchester School of Architecture

Anthropomorphism Black and white; the end result is at first sight a curious perversion of a figure ground or Nolli plan, in which the highway takes the place of building form. It is oddly anthropomorphic, and I like to call this character ‘THE STOCKPORT PLANNER’. This invites the picture to be considered simultaneously as landscape, abstract and portrait. Background: Contemporary Town Planning in Stockport Stockport Council is currently spending £900m on projects to improve the town1. A substantial proportion of this funding is to support a series of highways engineering infrastructure projects, including the Town Centre Access Plan and the A6 to Manchester Airport Relief Road. Why is this? The Council claims that these highway projects will “generate economic growth... promote job creation and the regeneration of local communities”.2 This was exactly the claim made by Stockport’s Director of Development and Town Planning in the early ‘80’s, looking forward to the new motorway through the town centre. “As the arrival of the M63 brought investment, so will this (M62). The town’s accessibility will be increased, and its catchment area widened. Stockport is indeed set to become one of the ‘boom towns’ of the 80’s and 90’s.3 Well, figures for Percentage Breadline Poor or below in Stockport are as follows: 1980 = 27.0%, 1990 = 36.3%, 2000 = 37.8%.4

The Council claims that these highway projects will “reduce traffic congestion”.5 Current evidence suggests road widening merely leads to increased traffic flow and further congestion.6 The access plan statements about “improving the flow of traffic around the town centre” etc, are wholly misleading, as the proposals will not improve flow but rather increase quantity. The Council claims that these highway projects will “support lower carbon travel”,7 also that the current condition “contributes to air pollution” and by implication this will be remedied. This is a particularly misleading claim; the opposite is true – increasing capacity will increase car usage and therefore pollution. The Council claims that “a full and inclusive consultation has been undertaken”.8 This consultation has been conducted on the basis of millimetre-designed final drawings; for the general public an arcane and barely readable technical document designed to out wit any proper response. Rather than consultation in the sense of an exchange or discussion, the document is a statement of intent. Council policy is therefore either misguided or misleading, or both. At the same time the same council expresses angst about how to make comparatively minor cuts to other budgets.9 Funds exist; perhaps they just need to be redirected. And what is the end game? 51% of the surface area within this ring road is now devoted to highways. This compares with 29% in York and 24.5% in Lincoln, places where we might feel more comfortable walking around. Our highway engineer’s next project is probably to connect the Airport Relief Road with the M60 at Brinnington, through the presently beautiful Goyt Valley, as marked on the borough plan.10 At what % coverage in tarmac will Stockport refocus its planning priorities from cars to people?

Gallery Painting: Number 1

My painting is a commentary on this situation. It is made of “authentic” materials. The plain white canvas represents the tabula rasa, created firstly by sweeping away the existing urban/landscape context. I had thought about a representation of landscape for this layer, but on reflection the very idea of a “blank canvas” is somehow more appropriate. On this is drawn using a technical drafting pencil with engineering blue lead, firstly a Cartesian grid representing the carving-up or acquisition of landscape, and secondly the plan of Stockport’s road system. To this latter is applied black bitumen tar, the blacktop area corresponding to land used for, or sterilised by, highways. The shape is that of the town centre plan within a central ring road defined by Tiviot Way, St Mary’s Way, Shaw Heath, King Street West, Wood Street, George’s Road and Belmont Way. Clearly visible are the M60, Merseyway and on a cross axis the A6. It is painted with an old brush; the broad brush of top-down desk-based planning. The top layer is a series of directional arrows in white road paint, gooey and difficult to apply, but ethically correct. If the ring road appears one-way, this is because it is drawn to its centreline. The arrows are a nod to Louis Kahn’s drawings for Philadelphia,11 and perhaps direction and flow arrows are all the traffic planner sees? I have resisted the temptation to cover the whole thing with a final coat of whitewash to represent the consultation process. 2’x2’ canvas exhibited at Stockport Art Gallery in 2016. Gallery Painting: Number 2 A ‘mini-me’ executed in the same materials, this time without definition of internal non-highway space. Perhaps the entire town is under tarmac, and is little more than a roundabout. 5”x5” canvas exhibited at Stockport Art Gallery in 2016.

Gallery Painting: Number 3 A gallery wall painting executed in vinyl matt emulsion. Colour sampling of the extensive highways depicted on 5 Stockport MBC ‘flagship’ projects found RAL 7012 to be the closest colour match for the emulsion work. 3mx3m wall painting exhibited by invitation at EPOK Gallery, Stockport, part of “The New Townscape”, 2016. New Townscape: Vol. I is an exploration into a new art movement, The New Townscape. “In no sense a planned agenda but a type of synergy; some emerging artists shared concern for the promise of urban life as the country experienced a polarization of wealth and poverty. These artists like a deliberately subversive act, found beauty in “subtopia”; the urban fringe where the rot had set in.” (David Chandler)

www.stockport.gov.uk/services/communitypeopleliving/newapproach/investingingrowth/ www.stockport.gov.uk/services/communitypeopleliving/newapproach/investingingrowth/ towncentreaccess/ 3 Dick Hargreave, Director of Development and Town Planning, quoted in “Economic Enterprise – Stockport’s Way”, undated (1980’s). 4 SASI, University of Sheffield, “Poverty Wealth and Place in Britain 1968-2005”. 5 www.stockport.gov.uk/services/communitypeopleliving/newapproach/investingingrowth/ towncentreaccess/ 6 From The Fundamental Law of Road Congestion: Evidence from US cities, University of Toronto, 2010: “If you increase the number of highways in a city by 1 percent, it causes driving to also increase by 1 percent”. 7 www.stockport.gov.uk/services/communitypeopleliving/newapproach/investingingrowth/ towncentreaccess/ 8 www.stockport.gov.uk/2013/2978/8803/998531/app_k_stcap_consultation page 6 9 Manchester Evening News 22 October 2015. 10 SMBC Unitary Development Plan (UDP) 1998, Reviewed 2006. 11 Louis Kahn, Plan of Proposed Traffic Movement Pattern, Philadelphia, 1952. 2

ATUL BANSAL @sheilabirdgroup Co-Founder + Partner The Sheila Bird Group

underground urban spaces: no time, nothing, stands still.

Looking forward: Design in the face of the Kerala floods I don’t have to look hard to see the trouble: houses half submerged, boats ferrying people on the road, life at an eerily silent standstill. The news updates the ever increasing numbers, a stark reminder of the damage the flooding in Kerala has caused: 1 million people in over 5000 relief camps; more than 300 dead. Architecture and Urbanism, no matter the country, stands at the junction between everything: politics and people, nature and man, culture and education. Amidst the flooded houses and makeshift relief camps, I realise that architecture also stands between ruin and renewal. In order to renew, the cause of the flooding needs to be looked at first. Though it cannot be attributed to simply one reason, it is likely the mayhem that ensued was the penance for man’s violation of nature. To break it down simply: an increase in Monsoon rain caused an alarming rise in water dams around the state, one of which is owned by the neighbouring government, Tamil Nadu. A messy amalgamation of Southern state politics resulted in

water from this particular dam being released into Kerala. And thus, like a row of dominoes, one dam after another had to be opened in order to compensate for the increasing flow of water. Thirty-five out of forty-two dams were opened in total. On top of this, The Western Ghat (a mountain range running through South India) has, over the years, been subject to deforestation to make way for houses, hotels and resorts. Trees on the high ground act as a buffer to the excess water, by soaking it into the roots. Fewer trees means less water intake, and more space for water to simply flow onto the inhabited land. This contributed to the landslides, which caused the majority of the destruction. The Western Ghats have been labelled Ecologically Sensitive, and is a UNESCO World Heritage Site. To combat the deterioration of this ecological site, a panel, led by Indian ecologist Madhav Gadgil, was commissioned to write up a report on how to preserve the area. This was received negatively, with concerns about ‘excessive environmental friendliness’, from locals. The

Kasturirangan report was created the following year, to try and balance man’s qualms with nature. Gadgil described the floods as a man-made calamity’, and rightly so - but, if disaster was inevitable, at least there should be good in it. In the face of calamity, there was resilience, unity and goodwill of the people, both in Kerala and across the globe. But what guidance, goodness, and lessons, can we, as designers, take forward in the long term? In the aftermath of the catastrophe, houses, towns, and lives need to be rebuilt. The very being of what it means to live in Kerala has changed from here onward. Architecture and Urbanism’s role in this plays more than just that of a building, or a town. It’s about education of the

masses - the need to realise that nature is to be respected over momentary greed for money, or power. Ironically, the tourism industry in Kerala thrives off of it’s natural beauty. Yet, it’s the defiling and disrespect of this beauty that paid the hefty price. If there’s just one lesson to take from this immensely large and infinitely complicated calamity: it’s that buildings, towns, cities, and the people within them, are to coexist in harmony with nature. The Kerala floods are a pertinent reminder of that.

NOOR MAJID @thenoorofyourlife Architecture Student Manchester School of Architecture

POLLY AMERY @pollyamery 3pointohnine

H U MAN S O F O US E B UR N . In the last 10 years, amongst its growth, Newcastle has seen 2 things; 1. The development of student accommodation and 2. The development of Ouseburn. In the outskirts of Newcastle city centre lies The Ouseburn valley. Despite its fruitful history, Ouseburn it’s still one of the best kept secrets in the city. From being rumoured to be the starting point of the industrial revolution, to going into disuse in the 70s and then furthermore, to being rediscovered by artists and creatives as a cheap but beautiful area to set up shop, the valley’s tale is full of points of interest. It has grown into one of the most culturally vibrant areas of Newcastle, and is often advertised as one of the ‘top 10 places to visit’. But as the area becomes increasingly sought after with award winning residential architecture and more characterful independent places

to eat and drink popping up all the time, the local council welcome the developers with open arms... The developers who are aroused by the smell of financial opportunity, hungry for a piece of the pie. Up until the last few years, the two have not had much of an effect on one another. Generally speaking,Ouseburn’s independent breweries and quirky bars cannot compete with the prices of the city centre’s trebbles bars and the students flock into town avoiding the valley altogether. However, with over 35 new student accommodation blocks rising since 2008, Newcastle is running out of unused space to erect these huge accommodation blocks it is beginning to threaten the Ouseburn valley, if you stop and speak to the locals about the changes in the area its clear that this gentrification in both unwanted and accepted, but not desired.

"A c i ti e s d eve l opment b ut at wh at cost? "

and g row t h is inevi t a b l e ,

HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE ERE IS LIFE. WHERE HERE THERE IS LIFE. LIFE. WHERE THERE

WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE. W THERE IS L WHERE THE IS LIFE.

ERE HERE LIFE. E R EW H E R E T H E R E H E IWhere RSE L I F E . L I F there E. is E R Elife HERE LIFE. ERE HERE LIFE. ERE HERE LIFE. ERE HERE LIFE. ERE The Johannesburg inner-city is transitory in nature. A place of arrival: where dreamers come to search for opportunities. A place By Anna Sango of thoroughfare: the centre of a All photos are her own spatially-mismatched municipality which connects the black townships in the south to the wealthier, white suburbs in the north.

ANNA SANGO @divisions_in_space 3pointohnine

It is where the modernist city was appropriated by black majorities a visual diary - part 1 from across the African continent, johannesburg creating livelihoods and building cultural enclaves in between the The Johannesburg inner-city is transitory in nature. A place of bounds of the formal arrival: where dreamers come to search forsystem. opportunities. AIt place of thoroughfare: the centre of a spatially-mismatched ismunicipality a place wherethethe desires which connects black townships in theand south to the wealthier, white suburbs in the north. It is where the aspirations to occupy and make modernist city was appropriated by black majorities from across the African continent, creating livelihoods and buildmeaning in inspace with ing cultural enclaves between theare boundsmet of the formal system. It is a place where the desires and aspirations to resistance from political elites occupy and make meaning in space are met with resistance from political elites competing for “world class” city status. competing for “world class” city Amongst the chaos of a city that is, at the same time, no one’s home and everyone’s home – we live our lives. of a status. Amongst the chaos These images the city astime, I city thatexplore is, myatinteractions the with same dwell, pass through and encounter daily life in between and among. This is the first part of a visual series that seeks no one’s home anddiaryeveryone’s to capture the stillness, as well as, collectively through image and text, the elusive, “in-flux” nature Johannesburg home – we liveof theour lives. inner-city.

These images explore my i liminalcity cityofdarkness citywhereigetlost interactions with the city as I citywhere shadowcity citywhere? dwell, pass through and encounter ii daily life in between and among. something about these joburg streets (is difficult to photograph) This is the first part of a visual how to distil lifepoetry: movement-flux diary series that seeks to into still lives speechlessinimages capture the stillness, as well as, collectively through image and text, the elusive, “in-flux” nature of the Johannesburg inner-city.

LIAM DURKIN @liam.mail.studio MSA Student

the

BILBAO EFFECT

There’s a distinct feeling that Spanish cities hold to them. A certain 'je ne sais quoi' that makes them fascinating without the weariness of super populated metropolises. I’m not of yet sure whether it’s the people, the architecture or the great weather that play a major role in this or if it’s a mix of all of them. However, what I’m extremely positive about is, Spanish urbanists are one of the most talented urbanists around the world. My recent trip to Bilbao, the capital of the Basque County, confirmed this assumption, proving that Spain is one of the best cure for post-deadlines depression. I travelled to this urban legend with just one scope in mind: to visit the iconic Guggenheim Bilbao by Frank Ghery, the museum that completely changed the economic and touristic “potential” of the city. Little did I suspect that the entire city was a hidden gem between the green Artxanda hills, with exquisite old architecture that seamlessly mixed with the new parametric design of Ghery’s famous project and the

OLIVIA MIHALE @olivvvvv Architecture Student Manchester School of Architecture

organic forms of Calatrava’s Zubizuri Bridge. The bridge itself has a minimalist feeling to it, with a simple arch that is supporting the pass way with the help of some metallic chords, letting passers-by to admire views from all sides of it. Just 10 minutes away stands the museum. Despite being built over 20 years ago, it still looks like a modern piece of design, with a shape that can remind one of the aerodynamic forms of a ship. The aluminium used for its façade is changing colour depending on the sun’s reflection, with golden reflections during the dawn hours and with blueish undertones in the morning. The interior is up to the standard as well, with both temporary and permanent collections of modern art, which reinforce the designer’s philosophy and the 21st Century strive for “out-of-the-box” thinking. Those are not the only relevant places to visit, nevertheless everything else seems centred around them. The winding streets lead to the Dona Casilda Iturriaz Park, a lovely green area ideal for a relaxing walk, in

which one can fine The Museum of Fine Arts, which has an impressive collection of artworks from the Middle Ages to the present day. You can easily arrive from the park to the heart of the city, where you can find a varied number of restaurants with amazing food, my recommendation would be a paella, the most famous of Spanish foods. If you are thirsty make sure to taste the sangria, a wine infused with citrus fruits that will mesmerise your taste buds and probably make you love the Spanish way of life even more. Even if you haven’t heard about it yet, Bilbao is a must see among architecture students to say the least. It has an ever-growing culture, exquisite art collections and delightful architecture, all complemented by the warm Spanish weather which makes everything more vibrant and alive. If you ever get around the North of Spain, don’t miss out, you’ll have the best time!

Photo taken by Olivia //

ROWENA ROWLAND @rr_archigram Architecture Student Manchester School of Architecture

Photo provided by MEDLIFE //

The â&#x20AC;&#x153;Wall of Shameâ&#x20AC;? is the nickname that has been given to the massive concrete structure spanning 10 kilometres long which separates the rich from the poor in Lima, PerĂş. This barrier divides Surco, one of the wealthiest districts of Lima, and San Juan de Miraflores (SJM), a district where hundreds of thousands of people live in poverty. The peruvian capital has a population of 10 million people, but 3 of them live in squatter settlements. Inhabitants of different sides of a single city, however, are ignorant to the reality of those who live beyond their side of the wall. In a city where water is a privilege and greenery is a symbol of wealth, you can find houses of 3000 m2 with large swimming pools and extensive gardens in one of the richest neighbourhoods in Peru, Casuarinas. These houses can cost over 5 millions dollars. However, a few meters apart, beyond the wall, the reality is different. In this side, millions of people live in inhuman conditions. The houses are built on steep hills and they are not larger than 15m2. The lack of paved roads, public lighting and infrastructure results in a dangerous environment for children, elderly and pregnant women. As a result, it is not uncommon to find people with severe injuries. Additionally, the access to basic public services is almost impossible, so the residents of SJM have to rely on private companies.

This means that the money they have to spend in basic services is much higher compared to the other side, and the service that they receive is often insulting. Firstly, they have electricity quotas, but if they want to use large home appliances

(e.g. fridges), they are charged an extra fee. Water can cost up to 10 times more than the other side. And, the infrastructure for sewage can take decades to be built because of paperwork.

Paradoxically, many residents of the poor side work for the people in Casuarinas as guards, cleaners, nannies, etc. However, before the wall, it would take them 15 minutes to get to their jobs. Now, they have to make an one-hour trip by public transport to get there. This is a substantial change for people in SJM both financially and socially. In Casuarinas, the streets are full of surveillance cameras, and private security guards. To enter, you need to pass a security control. Au contraire, SJM is considered as one of the most unsafe districts in Lima. This is why the “wall of shame” was built. In the 70’s, when Lima started to experience an unprecedented rural-urban migration, and some squatters started to appropriate the land, a group of residents from the richest side demanded the authorities to build the wall which was finished in 2013. To understand the “wall of shame” we need to understand the phenomenon of the massive rural-urban migration that led to the construction of the wall. This is the result of two key factors: Terrorism and Centralization. In the 70’s, a Peruvian terrorist group so-called revolutionary, the shining path, was established and it disrupted the social stability of the whole country. They used to go to communities in the rural provinces in Peru to recruit “volunteers” by force, tearing families apart and killing many. This resulted in families forced to leave their home to

seek safety in the capital. In addition to this, Peru has always been an excessively centralized country. Lima is the main economic power, and its infrastructure for healthcare, education, and development cannot be found in any other Peruvian city. Once again, people from the rural areas of Peru are forced to move to the capital looking for hospitals, universities, jobs and so on. Another factor to understand the squatter settlements on the poor side of the wall is the article 920 of the Peruvian Civil Code. It says that if any person has been in a piece of land for more than 24 hours, they cannot be displaced by the police. Basically, people are allowed to stay, or even appropriate the land after 24 hours. This has led communities of up to 200 people to organize themselves in order to

appropriate the land. They come during the night to prevent being discovered, and they are prepared to defend their positions with sticks and machetes. When the police discovers them, a fierce fight between the communities and the police start. Many result injured and people are often killed. The settlements usually carry the name of the person that â&#x20AC;&#x153;sacrificedâ&#x20AC;? himself for the community. As a result of this, Mafias have emerged and now, these armed groups are the ones who fight the police. Of course, the Mafias do not do it for free. People have to pay thousands of dollars for a piece of land, which might be all the money they had when they left their homes.

Since the 1960’s, the population of Lima has increased from just over a million people to ten million today. Surely, the capital was not prepared for this. However, the lack of urban planning and irresponsible governance has exacerbated this problem. The inhuman context in which millions of people find themselves has been the result of a historical context where people have been forced to abandon their homes in search of safety and better opportunities, only to encounter a harder reality. They have to work longer hours for less money. They have to live in a decadent environment where they cannot feel safe in their own house, not because they do not work hard enough to progress but because of the lack of opportunities. Meanwhile, companies

take advantage of the situation and the government looks away. This is the reality of the people on the poorest side of the wall which remains unknown for most of the residents on the wealthiest side of Lima. The wall plays a significant role separating social classes in Lima. However, the problem extends beyond this metaphor that has become a reality, “the wall of shame”.

PAUL CEDILLO @PAULCEDILLOM Architecture Student Manchester School of Architecture

Instagram: @woahwithoutahome

We partnered with various groups, including 'Hawkins Brown/' and 'Architecture Unknown'. Between them, we refined the design and received some money for the project. However, to complete our proposed scheme, we still need further funding. Throughout the year we aim to bring several short-term events and fundraisers to help us achieve this goal and build our proposed design.

We have also organised and restructured the group. With a new bank account, we are registering as an official organisation with the Arts Council. This year, WOAH has lots of exciting things lined up, both in the long and short-term, including several collaborations with various societies and groups! We have established two groups within WOAH: one for members who can attend regular meetings, and an informal group for people who want to help when they have spare time. Whichever it is, if you want to get involved, message one of our committee or email us at withoutahome18@gmail.com!

without a home.

Over the past few months, WOAH (Without a Home) has been working in conjunction with several groups to bring 'Sounds of the Street' to Manchester. Approached by an artist, we designed a custom space to listen to the recordings, taken from when the artist was homeless. These will then be played in the structure while the public continue to move through.

Facebook: Manchester School of Architecture Debating Union

UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA WINTER 2018 DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOP UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIA DYSTOPIA UTOPIAISSUE DYSTOP 05

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