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School of Architecture, Planning and Landscape Newcastle University


Welcome 3 BA (Hons) Architecture 4 Charrette Stage 1 Stage 2 Stage 3 BA Dissertation Fieldwork and Site Visits BA Architecture & Urban Planning (AUP) Stage 1 Stage 2 Stage 3



MArch 90 Stage 5 - Semester 1 Thinking-Through-Making Week Stage 5 - Semester 2 Stage 6 MArch Dissertation Modern Turkey: State, Space and Ideology - Zeynep Kezer Linked Research


Research in Architecture 164 Mountains & Megastructures A Mountain Near Thebes - Andrew Ballantyne Taught Masters Programmes PhD / PhD by Creative Practice Architecture Research Collaborative



Professor Graham Farmer – Director of Architecture

Welcome to this Yearbook which is a wonderful record of the hard work and achievements of staff and students during the past 12 months. The School has seen a number of positive changes this year and we have integrated new full and part-time colleagues, introduced numerous new teaching and research initiatives and integrated a wide range of new design projects and studios, each of which have delivered some outstanding work at both undergraduate and postgraduate levels. I would like to take the opportunity to thank those colleagues who have taken up new teaching management roles this year; Sam Austin and Zeynep Kezer as BA and MArch Programme Directors respectively, and the new Stage coordination teams; Ed Wainwright and Claire Harper in Stage 2, Matthew Margetts, Matt Ozga-Lawn and Josep-Maria García-Fuentes in Stage 3, James Craig and Steve Parnell in Stage 5 and Adam Sharr in Stage 6. Each of them has brought innovation but also a concern for continuity to their new roles and this is represented by the work in this book which once again conveys the diversity, sense of invention, energy, enthusiasm and relevance that continue to characterise and define our teaching and research. This year we will also graduate the first cohort of students from our cross-disciplinary undergraduate degree programme in Architecture and Urban Planning (AUP) and a selection of their work is included in this book for the first time. Establishing a new programme has brought substantial challenges and has required a real commitment on behalf of staff to get to this point. I would particularly like to thank Armelle Tardiveau and Daniel Mallo for their invaluable contribution in this respect and also to wish the first graduates from the programme all the best as they move into the next stages of their education or future careers. The Architecture Research Collaborative continues to go from strength to strength under the Directorship of Katie Lloyd-Thomas and Martyn Dade-Robertson and this year has seen a number of exciting developments in the context of architectural research in the School. One highlight of this year was the Mountains and Megastructures event which brought together staff and students to exhibit and present a diverse range of creative practice, historical, cultural and geographic research into large, landscape-scale artifices – mountainous, real, fictitious and otherwise. The active participation of our students in this event is evidence of our ongoing commitment to developing and supporting a research-based culture within our taught programmes and this in turn helps to support design outputs of the very highest quality. During the past year the work of our students has been recognised in numerous competitions and particular mention goes to Assia Stefanova and Rob Arthur who were placed first and runner-up in the RIBA Hadrian Medal for Part 2 with Randi Karangizi also runner-up at Part 1. Stage 5 students Becky Wise, Katie Fisher and Noor Jan-Mohamed were also awarded first place in the North Pennines Community Observatory design competition which is now being built at Allenheads. Our success in design competitions has also been mirrored by the Newcastle University Architecture Society (NUAS) who were this year recognised by the Student’s Union as the University’s Best Departmental Society. I would like to take the opportunity to thank NUAS President Regen-James Gregg and all of his excellent team, who have made an invaluable contribution to the wider life of the School and who have been so important in helping to maintain the sense of identity and community that so defines the character of our School. Fifty years ago the School of Architecture moved into what we know as our current home – a newly refurbished Architecture Building and a brand new Building Science wing. Those building developments brought the staff and students of Architecture together for the first time in many years because for most of the 1960s the School had to function in scattered accommodation in various buildings on campus and for a while even in temporary huts. We are now undergoing the first major redevelopment of our estate since 1966 and during the next academic year we will move into our new workshop facilities and studio accommodation which will extend the existing Building Science wing and provide us with significantly enhanced facilities. The new building will certainly help support our pedagogical and research ambitions well into the future but it is also interesting to look back at the thoughts of our predecessors as they moved into their new home fifty years ago. In his speech to mark the opening of the new School of Architecture, Professor Jack Napper, (then Head of School) took the opportunity to outline the character of the architectural programmes at Newcastle, describing design pedagogy as a continual and uncertain experiment and suggesting that an ideal specification for a programme in Architecture would be one that could educate in the best and widest sense, that could develop the ability in students to apply their developing knowledge to new situations, and could propagate a strong sense of human values. As we reflect on another year of positive change and look forward to the next stage in our evolution it is reassuring to know that the educational values held by those who came before us are still both recognisable and relevant today.


BA (Hons) Architecture Sam Austin

Newcastle’s RIBA Part I accredited BA programme fosters an inclusive, research-led approach to architecture. Alongside a thorough grounding in all the skills required to become an imaginative, culturally informed, socially aware and technically competent design professional, it offers opportunities to engage in developments at the forefront of current research, from computation and material science to architectural history and theory. Emphasising collaboration as well as independent critical enquiry, we encourage students to draw on diverse methods and fields of knowledge, to follow their own interests and to develop their own design approach. We believe that to produce good architecture requires more than rounded abilities and knowledge; it requires judgements about what we value in the buildings and cities we inhabit, what to prioritise in the spaces and structures we propose and what contribution architecture can make. The course doesn’t claim to offer simple – or correct – responses to these challenges. Our diverse community of researchers and practitioners, each with their own interests and expertise, introduce students to a range of issues, ideas, traditions and techniques in architectural design and scholarship. We help students develop fine grained skills in interpreting spaces and texts, critical thinking to understand the implications of design decisions, and spatial and material imagination to stretch the boundaries of what architecture can achieve. Rather than teach a single way of working, we give students the tools to discover what kind of architect they want to be. A lively design studio is central to this learning process and to the life of the School. Design projects, taught by a mix of in-house tutors and practitioners from across the UK, account for half of all module credits. We promote design as thinking-through-making, an integrated process of researching and testing ideas in sketchbook, computer, workshop and on site, of responding to diverse issues and requirements all at once – spatial, material, functional, social, economic etc. This approach is reinforced by collaborative projects involving artists and engineers, and at the beginning of each year by week-long design charrettes where students from all stages of all design programmes work together to respond to diverse design challenges, through installations around the School and beyond. Lectures, seminars and assignments in other modules examine the theoretical, historical, cultural, practical and professional dimensions of architecture, and support students to embed these concerns in studio work. Stages 1 and 2 are structured to guide students through increasingly challenging scales, kinds and contexts of design projects, a breadth of related constructional and environmental principles and varied themes in architectural history and theory. Briefs invite experimentation with different architectural ideas and representational skills, first through projects set in Newcastle, then incorporating study trips to regional towns and cities. As work increases in depth and complexity – from room to house, community to city, simple enclosure to multi-storey building – students have more opportunities to develop and focus their own interests. A dissertation – an in-depth original study into any architecturally related topic – sets the scene for a year-long Stage 3 final design project. With a choice of diverse thematic studios, each with its own expert contributors and international study trip, students acquire specialist skills and knowledge, allowing them to craft their own distinctive portfolio.


Charrette The academic year kicks off in style with a long, School-wide, intensive workshop known as Charrette Week. It is an extremely creative, explorative and thought-provoking week, allowing all years and courses to come together to experiment with a wide range of studio themes, which are delivered by guest artists, engineers and architects. This year’s broad theme of Spectacle/Material/Resistance, generated some fantastic outcomes for the exhibition at the end of the week, including an indoor beach, a baroque fashion show, mesmerising optical illusions, an immersive theatre production and allencompassing inflatable structures. Charrette 1: A Hole in One Week Holly Hendry

Charrette 2: Aural Dynamics Gillian Peskett and Joseph Finlay

Charrette 3: Framing Newcastle

Yatwan Hui, Andrea Fox and Liz Leech

Charrette 4: From Precarity to Permanence Charlotte Gregory and Julia Heslop

Charrette 5: Illusion of Architecture Jennie Webb and Matt Lawes

Charrette 6: Inflate!

Michael Simpson and Cara Lund

Charrette 7: Migratory Hides Matt Rowe

Charrette 8: Nu Baroque

Tom Randle and Matt Charlton

Charrette 9: Play! Summer is Not Over

Amara Roca Inglesias and Nicholas Henninger

Charrette 10: Site Specfic Theatre Hanna Benihoud and Hannah Pierce

Charrette 11: Spectacle, Ruin Value and the Ruination of Spectacle Gareth Hudson and Nathan Hudson

Charrette 12: Tracing Echoes

Andrew Walker and Kyveli Anastassiadi

Charrette 13: Wonder & Success Hazel McGregor


Stage 1 Stage 1 is a varied introduction to architecture, characterised by numerous workshops, visits and hands-on activities, and students respond to it with great energy. For the first semester Stage 1 architecture students share their modules with students who are on the BA in Architecture and Urban Planning. In the first week of term students take part in a number of intense design charrettes with all students from across the School. First year begins with a number of skill-building exercises involving measuring, observation and photography in buildings in and around Newcastle, as well as life and object drawing. Their first design project explores the domestic interiors of Pieter de Hooch through model-making and drawing. Students are then asked to design a small community reading room on a suburban site in Newcastle, where site analysis skills and the ability to design at different scales are developed. Theory, history and technology are taught through lectures, seminars and group work, and are also integrated into the design teaching. In semester two, students start by studying a series of 20th and 21st century row house precedents before designing their own house for an artist on an inner-city site, where scale, function, materiality and construction of space are developed. A final semester two project focusses on unbuilt and lost architecture and asks students to convey architectural ideas through the use of digital media, before students bring together the great range of work they have undertaken for the portfolio. Finally, there is a whole-year history trip to Fountains Abbey in Yorkshire. Year Coordinator Martin Beattie

Project Leaders

Armelle Tardiveau Carlos Calderon Jennie Webb Kati Blom Martin Beattie


Alex Borrell Becky Wise Cath Keay Charlotte Powell Chloe Gill Chris Beale Chris Elias Claire Harper Damien Wootten David Davies Di Leitch Elizabeth Gray Ewan Thomson Georgina Robinson Greg Murrell Henna Asikainen James Harrington James Longfield James Perry Jamie Morton Jennie Webb Joanna Hinchcliffe Joe Dent Justin Moorton Kati Blom Katie Fisher Katie Lloyd-Thomas Keri Townsend Kevin Vong Laurence Ashley Louise Squires Malcolm Pritchard Mariya Lapteva Martin Beattie Matt Charlton Matt Wilcox Michael Chapman Mike Veitch Nedelina Atasanova Nik Ward Nikoletta Karastashi Nita Kidd Olga Gogoleva


Patrick McMahon Peter St Julien Richard McDonald Rumen Dimov Ruth Sidey Sana Al-Naimi Sam Austin Smajo Beso Sneha Solanki Sophia Banou Stephen Brookes Steve Tomlinson Tara Stewart Tony Watson Tracey Tofield Vili-Valtteri Welroos Wallace Ho William Tavernor Xi Chen

Emma Elizabeth Kemp Emma Imogen Moxon Ethan John Archer Euan McGregor Eve Kindon Faith Mary Hamilton Finlay William Lohoar Self Fope Foluwa Olaleye Freya Jane Emerson Gemma Louise Duma Grace Charlotte Ward Hannah Emily McAvoy Harry Cameron Tindale Harry Robert Henderson Hattie Florence Reeve Hazel Ruth Cozens Helena Genevieve Taylor Henri Robert Cooney Henry James Cahill Ho Sze Jose Cheng Ibadullah Shigiwol Ioana Buzoianu Students Irvano Irvian Aaron Swaffer Jack Adam Collins Abigail May Smart Jack Oscar Sweet Aleksandra Iachinskaia Jake Andrew Holding Alesia Berahavaya Jake Williams-Deoraj Alysia Lara Arnold James Gillis Amna Ahmad I M Fakhro James Edward Bacon Anna Christian Moroney James Edward Knapp Arran James Noble Jamie Schwarz Bahram Yaradanguliyev Benedict Thornton Wigmore Jay Antony Hallsworth Jemima Alice Smith Boris Larico Villagomez Jerome Sripetchvandee Brandon Athol Few Jhon Sebastian Cortes Calum James Luke Charlie William Donaldson Joanne Lois May Cain Joel Pacini Cheng Wan Mak Jonathan Pilosof Ching Wah Hong Jordan Middleton Chloe McSweeney Jordan Paige Ince Chou Ee Ng Ciara Catherine McClelland Jose Diogo Marques Figueira Joseph Henry Noah Elbourn Cooper Taylor Joshua Willem Jago Knight Danielle Helena Berg Darcy Eleanor Arnold-Jones Junyi Chen Ka Chun Rico Chow David Michael Gray David Richard Osorno G?z Kai Lok Cheng Dianne Kwene Aku Odede Katie Ann Campbell Katrina Barritt-Cunningham Dominica Ruby Bates Dora Mary Frances Farrelly Katy Rose Barnes Kieran Harrison Eleanor Waugh Kieron Thomas Dawson Elliot Matthew Dolphin Kiran Kaur Basi Elliott James Crowe Kotryna Navickaite Eloise Aliza Coleman Levente Mate Borenich Emily Catherine Child Liam Kieran Rogers Emily Reta Spencer

Liam Michael Marcel Davi Lilian Winifred Davies Louis Windsor Page-Laycock Luc James Askew-Vajra Malgorzata Nicoll Szarnecka Man Cheong Gabriel Leung Mathilda Louise Durkin Matilda Marie Barratt Matthew Edward Harrison Matthew Oliver Ward Michalakis Georgiou Monica Said Myeongjin Suh Nadia Beatriss Young Nancy Margaret Marrs Nicholas James Morrison Nicholas Juan Tatang Nitichot Setachanadana Nophill Damaniya Olga Barkova Pablo Larrea Wheldon Phoebe Shepherd Polina Morova Qian Wang Rachael Helena Burleigh Rachel Spencer Rachel Marie Cummings Rebecca Charlotte Glancey Rebecca Jean Maw Reece Oliver Jay Robert Walker Ashworth Rowena Saffron Covarr Rufus Giles Wilkinson Sam Henry Carroll Samuel George Brooke Samuel James Hawkins Samuel Joseph Robinson Seyoung Han Simone Pausha Pearce Siriwardhanalage De Saram Siroun Elise Button Sophie Ogilvie-Graham Steven Gary Lennox Susanna Emily Jane Smith Tanya Naresh Haldipur Tian Hong Kevin Wong Tian Yee Lim Toghrul Mammadov Weihao Wang Wiktoria Sypnicka Wing Yung Janet Tam Yuan Xue Yuen Sum Tiffany Liu Yuze Tian

Architectural Representation Kati Blom

In the first three weeks of the first year, students undertake different analogical exercises such as life drawing, drawing in various places in the city and photographing and constructing multi-view drawings based on measurements. These exercises prepare them for the design projects.


City Drawing Photos courtesy of Damien Wootten and Sneha Solanki


Beyond the Frame Armelle Tardiveau

The project focusses on orderly domestic interiors depicted by Pieter de Hooch in Holland during the mid to late seventeenth century. We begin by observing, drawing and modelling the fragment of the house in the painting, before designing a new room beyond it.


Top - Xi Lin Bottom - Rachael Cummings

Top left to bottom right - Chou Ee Ng , Kotryna Navickaite, Joseph Elbourn, Chou Ee Ng, Jack Sweet, Jose Figueira, Nikshith Reddy, Xi Lin Ng, Jose Figueira


Heaton Reading Room Jennie Webb

Students were asked to design a small community reading room in the vibrant and culturally diverse suburb of Heaton, Newcastle upon Tyne. The local area currently lacks library facilities of its own and so through the creation of a reading room, comes the opportunity to foster a love for reading, writing, storytelling and community mindfulness. The design for the reading room, run by a specially formed literary cooperative, needed to address the relatively tight urban site conditions and be multifunctional; capable of hosting reading and writing groups, book clubs and childrens’ storytelling sessions.


Top - Rebecca Glancey


Top - Bahram Yaradanguliyev Bottom - Choue Ee Ng


Row House Typologies and Living Martin Beattie

Students are asked to design a modest 3-bedroom row house and studio for an artist and their family. The site, in the Ouseburn Valley, is an area close to Newcastle city centre with a rich industrial past.


Jose Figueira

Top left to bottom right - Joseph Elbourn, Henry Cahill, Phoebe Shepherd, Jonathan Pilosof,


Unbuilt Architecture Carlos Calderon

Unbuilt Architecture is designed to introduce the use of digital media within the creative architectural design process. Digital communication tools are used to re-analyse and re-interpret three unbuilt and lost works of architecture: Cedric Price, Fun Palace; Louis Khan, US Consulate in Luanda; and John Dobson, Royal Arcade.



Stage 2 Economy forms the basis of our architectural investigations and design explorations in Stage 2 this year. How architecture is produced by, and productive of, the economies within which we live has been explored through analysis of urban environments and the imagination of their futures; the design of collective housing and communal spaces; projects crossing the boundaries between art, architecture and engineering; and the design of spatial experience. With projects set in Edinburgh’s historic port, Leith, and the Northumberland border town of Berwickupon-Tweed, and in the fictional realms of film, projects have moved between the scale of the dwelling to the scale of space; from the digital to the material and practices of making: always asking the question of architectures’ role and relation to the economies it is embedded in. A year of transition, Stage 2 seeks to encourage a growing sense of criticality towards design decisions, a developing autonomy of thought and action, and an understanding of architectures’ position in times of social, cultural and economic flux.

Year Coordinators Ed Wainwright Claire Harper Jennie Webb

Project Tutors

Jamie Anderson Amy Butt Dan Kerr Nita Kidd Luke Rigg Christos Kakalis Gillian Peskett Hazel Cowie David McKenna Yasser Megahed Claire Harper Ed Wainwright

Fine Art Tutors

Alexia Mellor Holly Hendry Isabelle Southwood Gareth Hudson Julia Heslop Rosie Morris Isabel Lima Peter Sharp


Adam Sharr Amara Roca Iglesias Amy Linford Andrew Ballantyne Carlos Calderon Corbin Wood Emily-Jane Harper Ewan Thomson Greta Varpucianskyte Hannah Pierce Imogen Holden Iona Howell James Longfield James Perry Katie Lloyd Thomas Kieran Connolly Lam Nguyen Tran Martin Beattie


Martyn Dade Robertson Matt Lawes Matthew Margetts Patrick Devlin Peter Kellett Prue Chiles Richard Murphy Richard Talbot Rob Paton Rumen Dimov Sam Austin Sam Clark Sarah Tulloch Seva Karetnikov Simon Hacker Steve Dudek Tim Pitman Zeynep Kezer

Eliza Hague Elizabeth Rose Ridland Elle-May Simmonds Emily Georgina O’Hara Emma Kate Burles Esme Hallam Farrah Noelle Colilles Gabrielle Faith Beaumont George Oliver Grace de Rome Hannah Ysia Hiscock Hao Zhuang Harrison Jack Avery Hector Adam Laird Henry Orlando Valori Ho Yin Chung Huey Ee Yong Isabel Mills Lyle Jack David Ranby Students Jacob Alexander Smith Aadil Abdul Rashid Toorawa James Kennedy Agatha Savage Jennifer Betts Aishath Rasheed Ji Chuen Ng Alena Pavlenko Joe Thomas Dolby Alexander McCulloch John Knight Alexander Mackay John Joseph O’Brien Alexander Gardner Jonathon McDonald Alice Reeves Joseph William Firth Smith Alice Simpkins-Woods Juan Felipe Lopez Arbelaez Amber Farrow Ka Chun Tsang Ameeta Ladwa Kate Francis Byrne Andreas Haliman Kate Helena Stephenson Angus Campbell Brown Katherina Weiwei Bruh Anna Vershinina Katherine Isabel Rhodes April Glasby Katherine Mitchell Ashleigh Usher Katie Hannah Longmore Assem Nurymbayeva Laura Jane Cushnie Benjamin Taylor Lawrence Loc Man Wong Boram Kwon Liam Costain Chao Shen Lily Francis Street Charlotte Goodfellow Lily Rebekah Travers Charlotte Armstrong Lucy Emily Heal Chi-Yao Lin Marina Ryzhkova Ciaran Horscraft Marisa Rachel Bamberg Claudia Bannatyne Mark Andrew Laverty Connor O’Neill Matthew Layford Daniel Barrett Matthew Lovat Hearn Daniel Francis Hill Matthew Patrick Rooney David Stuart Jones Melitini Athanasiou

Men Hin Choi Muhammad Ahmed Asfand Natalie Mok Natasha Diyamanthi Trayner Nial Simran Parkash Nicholas Honey Nita Harieth Semgalawe Nurul ‘Aqilah Binti Ali Octorino Tjandra Pannawat Sermsuk Paul Mathew Johnson Philippa McLeod-Brown Philippa Jane Smith Pitaruthai Longyan Prajwal Limbu Pui Wing Clarins Chan Quynh Dang Le Tu Rebecca Rowland Regen James Gregg Rhiannon Jade Graham Richard Harry Mayhew Robert Thurtell Robert John Thackeray Rufaro Natalie Matanda Ryan Daniel Bemrose Ryoga Dipowikoro Sam McDonough Sam Welbourne Samuel Richards Nicholls Sean Martyn Hoisington Shien Min Gooi Shuyi Chen Sirawat Thepcharoen Thasnia Haque Timothy Seymour Lucas Tin Ho Lee Tristan Patrick C Searight Trung Hieu Tran Tung Son Cao Vincent MacDonald Wai Yip Tsang William Mansell Wing Kei So Wing Kin Wong Xueyang Bai Yanjie Song Yee Yuen Ku Yi Shu Ziyun Wang

Opposite - Charlotte Armstrong Exploring Experience

At Home in the City Amy Butt & Dan Kerr; Nita Kidd & Luke Rigg; Christos Kakalis & Gillian Peskett; Hazel Cowie & David McKenna; Claire Harper & Ed Wainwright How housing is produced, where it is built and who it is for are essential questions, not only for architectural practitioners, but for society at large. Semester one’s main project, set in Leith, Edinburgh, explored the changing conditions of housing and collective living within a set of specific economic and social constraints.


Leith Symposium

Top from left to right - Matthew Rooney, Marina Ryzhkova, Michael Choi, Agatha Savage, Daniel Barrett, Yee Yuen Ku, April Glasby


Engineering Experience Amy Butt, Dan Kerr & Alexia Mellor; Nita Kidd, Luke Rigg & Rosie Morris ; Christos Kakalis, Gillian Peskett & Gareth Hudson; Hazel Cowie, David McKenna & Julia Heslop; Claire Harper, Ed Wainwright & Peter Sharp Through a collaborative project involving students, staff and practitioners from architecture, fine art and engineering, filmic environments were reimagined as a set of physical artworks to be moved into, through, over, under – experienced through human motion and the camera, and re-filmed to re-tell a specific experience from each film.


Top - Group D3

Bottom - Group D4

Top from left to right - Groups C3, D4, B2, D3, B1


Exploring Experience Amy Butt & Dan Kerr; Nita Kidd, Luke Rigg & Yasser Megahed; Christos Kakalis & Gillian Peskett; Hazel Cowie & Jamie Anderson; Claire Harper & Ed Wainwright How can architecture bring the body, the spatially experienced state of being, back into activities, practices & processes that are progressively moving online? How can those events, desires, acts and experiences be explored physically and in combination with digital technologies? This project, set in Berwick-upon-Tweed, explores how spatial design can embody the digital, and bring a sensual, haptic and material quality into an increasingly technologically mediated society.


Top - Nicholas Honey

Bottom - Mark Andrew Laverty

op left to bottom right - Richard Mayhew, Agatha Savage, Robert Thackeray, Kate Stephenson, Panawat Semsuk, Timothy Lucas, Katie Longmore, Charlotte T Armstrong, Bai Xuey, Mark Laverty, Liam Costain, Benjamin Taylor



Top left to bottom right - Panamat Semsuk, Chi Yao Lin, Angus Brown, Ziyun Wan

Top - Matthew Rooney Bottom - Chao Shen


Stage 3 Stage 3 is coordinated into year-long design studios, with students entering immediately after the Charrette exercise. This year, we ran eight separate studios – our most ever in Stage 3. Over these pages, each studio is described in more detail, from experimental architecture to explorations of ‘The Long Now’. As part of these varied studios students undertake a field trip in the first semester, travelling to locations as diverse as Venice, Rome, Tenerife, Lisbon, Malmo, Copenhagen, London and Lindisfarne. Students’ design work is supported by three non-design modules: Architectural Technology, Professional Practice, and Principles and Theories. All three tie-in with the student’s evolving design thesis and culminate in an extensive design portfolio document. In all studios, the project kicks off with a short ‘Primer’ exercise, culminating in a year-wide event exhibiting and celebrating the diversity of the studios in Stage 3. The Primer, and the range of approaches it demonstrates, embodies our attitude as a School to design work at this level: that rather than asking students to convey what they’ve learnt so far, our third year is about taking those first steps into the unknown, the particular and the extraordinary, and so help them start to define whatever’s next for them in their endeavours in architecture.

Year Coordinators

Josep-Maria García-Fuentes Matthew Margetts Matt Ozga-Lawn

Project Leaders

Aldric Rodriguez Iborra Amy Linford Andrew Ballantyne Armelle Tardiveau Carolina Figueroa Daniel Mallo David McKenna James Longfield Josep-Maria García-Fuentes Kati Blom Libby Makinson Luis Hernandez Martyn Dade-Robertson Matt Ozga-Lawn Matthew Margetts Michael Simpson Sean Douglas Simon Hacker Tony Watson


Alex Gordon Andrew Byrne Aurelie Guyet Austen Smith Cara Lund Colin Riches Colin Ross Damien Wootten Darren Conboy David Bailey Declan McCaffertyand Javier Rodriguez Corral Jo McCafferty Kate Wilson Kevin Gray Kieran Connolly Libby Makinson Luciano Cardellicchio Marc Horn Mark Johnson Mark Johnson Nick Peters Nigel Bidwell Peter Brittain Peter Mouncey Peter Mouncey Rachel Currie


Ray Verrall Sam Clark Sergi Garriga Sophia Banou Stephen Ibbotson Stephen Richardson Tim Mosedale Usue Ruiz Arana Valerio Morabito Yasser Megahead

Frederick Lewis Gaurav Hemant Kapoor George Parfitt George Edward Entwistle George William Marr Georgina Molly McEwan Hayley Lauren Graham Hiu Yan Lau Hoi Yuet Chau Holly Julia Tisson Hsin-Wei Lin Ioi Teng Tsang Students Iona Frances Haig Abdul Rahim Ivo Patrick Pery Adam Kamal Najia Jack Andrew Cross Adnan Ahmed Issa Qatan Jack Michael Ryan Aldrich Jun Lin Choy Jack Munro Glasspool Alex Jusupov Jack Peter Lewandowski Alexander Jack Ferguson Jade Angela Moore Alexander Leopold Borrell Jaimie Alexandra Claydon Alice Chilangwa Farmer James George Clark Alice Jane Chilman Alicia Charlotte Beaumont Jenna Catherine Sheehy Jennifer Anne MacFadyen Amy Louise Callaghan Jessica Katherine Wheeler Anna Leilani Denker Anthony Roger Metelerkamp Jie Loon Lee Jordi Ryano Antonis Kypridemos Josephine Margaret Foster Antonius Tanady Julian Job Besems Ashok Jahan Mathur Justyna Anna Jaroszewicz Becky Somerville Ka Hei Surin Tong Benjamin Joshua Risby Benjamin Michael Simpson Kai Wing Phoebe Mo Kimberly Baker Benjamin Patrick Martin Kiran Alexander John Milton Bethan Hannah Thomas Lauren Ly Bethany Laura Elmer Loretta Ming Wai So Bradley John Davidson Lucy Hartley Caitlin Latimer-Jones Luke Christopher Rossi Cheuk Yan Debby Chung Luke Victor James Dunlop Chloe Alexandra Weston Lydia Bronwyn Hyde Christopher Gabe Lydia Sarah Elizabeth Mills Clement Ting Yiung Tang Cristina Mercedes Perez Diaz Man Chun Ip Marios Kypridemos Darragh O’Keeffe Matthew Davies Smith David Philip Winter Melissa Holly Wear Declan Joseph Wagstaff Meshal Abdulrasool Hasan Edgar Yat-Fei Sin Michael Bautista-Trimming Eleanor Gwenllian Brent Michael Teasdale Wilkinson Elise Khoury Mojan Kavosh Ellen Rita White Peirson Emily Sarah Rosie Hinchliffe Naomi Howell Sivosh Erica Alexis Mote Caballero Natasha Heyes Navneet Kaur Sihra Finian John Orme Finlay Giovanni McGregor Nicholas David Green Nicholas Peter Harmer Frances Grace Fen-Yi Lai Patrick Charles King Frederick Armitage

Pui Ying Chu Rui Huang Sara Kelly Scott Matthew Doherty Shiyun Chen Sihyun Kim Simon Angus Quinton Sin Yi Wong Sun Yen Yee Tanatswa Lesley Borerwe Thomas Badger Thomas Adam Reeves Thomas George Ardron Tooka Taheri Tsz Wai Fung Tulsi Vikram Phadke Wan Yee Chong Wei Zhang Xavier Paul Alleyne Smales Yiwen Fu Yuet So Yuk Lun Chong Zhi Wei Chad Seah Zhuoran Li Zineb Khadri

Opposite - Allan Chong ‘Formless’ An Alternative Typology to Preservation

Studio 1 – Building on What is Already Built - 15th Lincoln’s Inn Fields Josep-Maria García-Fuentes & Aldric Rodriguez Iborra This studio explored architecture as preservation, as it understands they both are placed within a cultural continuum and are the outcome of a complex cultural, social and political struggle. It challenged students to design a major addition to an existing heritage building. This requires understanding the existing building in all of the ways its architecture and materials express the values it sought to represent and serve at the time, and in the ways that these meanings might or might not be extended, enriched or transformed and reshaped by the new addition.


Top - Alicia Beaumont An Extension to Sir John Soane’s Museum Middle - Ashok Mathur Soane Architecture School

Bottom - Allan Chong ‘Formless’

Top - Ashok Mathur Soane Architecture School

Bottom - Beth Thomas An Extension to Sir John Soane’s Museum



Top - Sara Kelly Institute of Integrative Pedagogical Design

Bottom left - Jenna Sheehy Extending Sir John Soane’s vision of an ‘Academy of Arts’ Bottom right - Tom Ardron Institute of Interdisciplinary Exchange

op left - Lucy Hartley Sir John Soane’s Architectural Association Right - Sara Kelly Institute of Integrative Pedagogical Design T Bottom Left -Tom Ardron Institute of Interdisciplinary Exchange


Studio 2 – Aperture

Daniel Mallo & Armelle Tardiveau Aperture studio proposed an exploration of light and material quality, a journey through the craft of photography as a means to expose and render light vibrant. The design of a camera obscura, a room-sized observatory that records the passing of time and the urban landscape, becomes the starting point of an urban investigation of the Georgian Market Town of Richmond (North Yorkshire). This remarkable urban townscape with its characteristic pitched roofs and stone buildings is the setting for the graduation project, a photographic institute situated at the point where the town meets the soft rolling hills of Yorkshire.


Top - Lydia Hyde Aperture Institute

Bottom - Freddie Armitage The Light Institute

Top - Alice Chilman

Middle and Bottom - Jennifer MacFadyen A New Cultural Centre for Richmond



Top - Frances Lai Middle left to bottom left - Jack Ryan, Amy Callaghan, Steven Lin, Jack Ryan, Jack Lewandowski

Top - Lauren Ly Aperture Bottom left - Erica Caballero Aperture Bottom right - Frances Lai The Aperture Institution



Top left to Bottom right - Lydia Hyde, Nick Harmer, Christie Chu, Jenny MacFadyen, Lei Denker

Top left to bottom right - Tulsi Phadke, Lei Denker, Freddie Armitage, Jack Lewandowski, Nick Harmer, Lei Denker


Studio 3 – Experimental Architecture

Martyn Dade-Robertson, Luis Hernandez & Carolina Figueroa This year started by focusing on developing a new type of hydromorphic material based on the application of bacteria spores. Hygromorophic materials change their morphology in the presence of water, and bacteria based hygromorphs offer the potential for actuators that can mechanically respond to humidity, creating the possibility to design new types of responsive building skin. The studio embarked in a primer to design new systems and mechanisms, developing our hydromorphic technology both in the lab and the workshop. We then used a trip to Venice as the basis of the final project to create spaces for experimentation, including the integration of labs, workshops and public functions.

42 George Entwistle The City & The City

Top - Adam Najia - The Venice Cleanup Bottom, left to right - Bradley Davidson, Aldrich Choy, Iona Haig



Top left to Bottom right - Michael Bautista, Julian Besems, Adnan Qatan, Julian Besems, Adam Najia

Top and Middle - Simon Quinton Eudoxia Bottom - Michael Bautista-Trimming Zaira


Studio 4 – Infrastructures

Matthew Margetts & Michael Simpson The Infrastructures studio explored the interface between the human scale ‘ritual’ and city scale infrastructure, responding to varied dynamic systems. The gaps left behind when infrastructures change can be physical, social or emotional; operating at a personal or collective level. The studio started at the individual scale, looking at very personal ‘rituals’ – articulated and exaggerated through ‘contraptions’. Through these we developed tactics for looking at systems and processes at a larger scale. We chose Brentford as our location for the studio as it contains in a relatively small area an intense confluence of infrastructures – both past and present. Students were challenged to think at different scales, and to identify a particular circumstance to explore an opportunistic, dynamic architecture, responsive to human needs.


Top - Ellen Peirson An Agricultural Primary Education

Bottom - George Parfitt Brentford Droneport





re ce p t io n

a theatrical entrance ....

Top left - George Parfitt Brentford Droneport Top middle, Top left, Bottom - Ben Martin Kew A Santuary for Sensory Atmospheres



Top left to bottom right - Chloe Weston, Cheuk Y D Chung, Yuet So, Cheuk Y D Chung, Chloe Weston, Ben Simpson. Cheuk Y D Chung

Top and Middle - Jordi Ryano The Brentford Ear

Bottom - Yuet So Brentford Hub



Rui Huang Unbalanced City

Top left to Bottom right - Ben Simpson, Rui Huang, Mishal Hasan, Jordi Ryano, Ellen Peirson, Mishal Hasan, Ivo Pery, Caitlin Latimer-Jones


Studio 5 – Material Poetics James Longfield & Amy Linford

Materials qualities are central to the production of architecture, technically, in terms of the pragmatics of construction, and through the social meanings, rituals and memories they embody. Our studio encouraged students to engage with material as the ‘stuff’ of architecture, real, rather than rendered, the thickness, thinness, density, weight of building elements, and the effect these qualities have on the sensory experience of occupation. Through the studio each student has explored a specific material through hands-on investigations, using the process of making as a way of thinking about building design and detailing; a thoughtful and critical process of material assembly which emerges out of the pragmatics and poetics of material.


Holly Tisson

Top - Natasha Heyes Middle - Naomi Howell Sivosh

Bottom - Hayley Graham



Top - Chad Seah

Bottom - Holly Tisson

Top - Chad Seah Middle- Naomi Howell Sivosh Bottom - Justyna Jaroszewicz


Studio 6 – Ruskin and The Long Now Andrew Ballantyne & Libby Makinson

John Ruskin said, ‘When we build, let us think that we build forever’. The Long Now Foundation was set up to promote long-term thinking, and is building a 10,000–year clock. When we start thinking about buildings with a long–term view in mind then we think about processes of adaptation, re–use and renewal, as well as erosion and decay. In the long term everything is dynamic. We are looking beyond the immediate function of the building to think about what happens when things change. Ruskin wrote about Venice, which is a model of precarious resilience: mud into magic.


Chris Gabe Prospective Preservation for the Long Now

Top left - Melissa Wear

Top right - Surin Tong Middle right -David Winter

Bottom left - Kiran Milton

Bottom right - Phoebe Mo



op - Kiran Milton The Timeless Architecture of Evolutionary Predisposition T Bottom left - Phoebe Mo Building for Permanence and Sensibility through an Experience of Concrete

Bottom right - Surin Tong Building Happiness

Jack Glasspool - Long Term Preservation of Short-term Industry


Studio 7 – Trace

Simon Hacker & Tony Watson The studio focused on man-made traces – the marks, indications and imprints that we make across a multitude of scales and their relationships to human experience. Whilst some of these marks are relatively permanent, many traces change or fade over time. The studio has considered various ways in which traces may be located, observed, researched and represented. These have then fed into considering strategies that can be employed to draw, form, copy, follow and imprint new and contemporary traces and changes within both urban and rural contexts.


Alex Borrell The Sheep Counting Institute

Top - James Clark Long Term Preservation of Short-term Industry Middle - Declan Wagstaff Place of Experience Bottom - Jaimie Claydon



Top - Declan Wagstaff Middle - Jess Wheeler

Middle - Jack Cross

Bottom - Tom Badger

op left to bottom right - Becky Somerville, Emily Hinchliffe, Jack Cross, Freddie Lewis, Luke Dunlop, Ellie Brent, Luke Dunlop, Nick Green, Jess Wheeler, T Tom Badger



Top - Tom Badger Architecture and the Inevitable

Bottom - Bethany Elmer Returning the Lindisfarne Gospels

Top left - Elise Khoury

Top right - Josie Foster Bottom left - Declan Wagstaff

Bottom right - Georgie McEwan


Studio 8 – Variations

Kati Blom, David McKenna & Sean Douglas Students developed a series of small scale prototypes in order to establish a design methodology and programme for a larger proposal, consisting of two buildings and an urban plan. In the first project, CHAMBER, we started with a small rehearsal space and a construction fragment. From these emerged a residential institute for a quartet of musicians. The larger project, SHOW & STORE, began with a pavilion to store and exhibit a single object, extrapolated to a building to house a larger compendium.


Top - Alex Jusupov Alison & Peter Smithson Architectural Foundation

Bottom - Alice Farmer

op left to Bottom right - Antonius Tanady, Gaurav Kapoor, Cristina Diaz, Ben Risby, Antonius Tanady, Ben Risby, Rackel Chong, Loretta So, Lee Jieloon, T Vance Zhang, Sean Kim


Edit line







Top - Ben Risby Middle - Sean Kim Middle - Shiyun Chen


Bottom - Cristina Perez Diaz

Alex Jusupov Alison & Peter Smithson Architectural Foundation



Top left - Tanatswa Borerwe

Top right - Shiyun Chen Bottom left - Alice Farmer

Bottom right - Rackel Chong

Top left - Edgar Sin

Top right - Lee Jieloon

Bottom left - Lee Jieloon

Bottom right - Mojan Kavosh


Highlighted Project –‘Formless,’ An Alternative Typology to Preservation Allan Chong

This project takes a theoretical path in creating an alternative typology for preservation. It introduces a compromise between the desire for preservation and the cultural shift necessary for architectural expansion in the city’s future. ‘Formless does not mean the absence of form, for preservation certainly depends on pre-existing architectural forms. But while preservation aesthetics respond to the existing building’s form, they do not change it. Instead they supplement it with new interpretive frames altering the reception of its cultural meaning.’ Koolhaas, R., Otero, P. J. (2014) ‘Preservation is Overtaking Us’. Interpreting the concept of ‘formless’ in preservation means that architecture and heritage are no longer seen as permanent objects, but they keep transforming to re-frame their key spaces. The project becomes a series of processes and imagines an endless architectural development in terms of space, material and technology. The processes form a unique methodology – ‘Extraction’ & ‘Projection’, through which the extension completes a cycle. As it keeps changing over time, it gives rise to many cycles which each reframe the previous cycle, and each provide different functions to support the theme of preservation. At a certain point of growth, when people trace back to the beginning of the process, all of the cycles and spaces are hinged on the heritage, as the extended spaces are derived from the existing spaces.


Highlighted Project – The Sheep Counting Institute Alex Borrell

The Institute is a place for artists, writers, and inventors to dream up new alternatives to pressing issues. Along the way they research, gather and create new dream archetypes, absorbing traces of the collective unconscious but also paving the way for future development. These images are archived and later attached to sheep which, rescued from the sea, pass through the building on a conveyor belt.


BA Dissertation

Experimenting with Informality: How can the hyper-complexity of informal growth be integrated into architectural design? Chris Gabe ‘The process of creating a neointestine (tissue engineered intestine) involves the construction of a “scaffold matrix” that replicates the three-dimensional form of the existing tissue. This should allow the local cells to populate the structure and multiply, creating new tissue. It must replicate the dual function of the organic tissue acting as both an absorptive surface and a barrier against the external environment. It must also facilitate the development of a vascular network, allowing a functional blood supply into and out of the scaffold…’ ‘…This is an example of encouraging growth by creating a biologically responsive scaffold matrix. This does not rely on mathematical principles designed to mimic the fundamental complexity of a prerequisite system, but rather nurtures the existing biological networks into growth and repair. This concept could be explored in the world of informal urbanism. An example of this system of framework driven growth can be found in the occupancy of Torre David…’ Postmodernity and Postmodernism: ‘A glance backwards is part of the way we go forwards’ Ellen Peirson Postmodernism’s first aim was always to end the ‘grand narrative’ and to dismiss the idea of working towards a prescribed single look or a style. However, in doing this, to the general public some of the ideas seemed so extreme that it created a recognisable aesthetic. The discussion on postmodernism has been recently opened up again with a revival of sorts a possibility. This revival is more concerned with the attitude of postmodernism as opposed to any connotations of a particular style or aesthetics. In AD’s ‘Radical Post-Modernism’, architects and thinkers polemicize on the possibility of this. From these discussions, the most resonant phrase seems to be: ‘sometimes history repeats itself better if the architects don’t know it’. A successful revival may rely on the misconceptions of the movement to be forgotten and for just the relevant values to be taken forward. The movement was expansive and unrestrained, and produced a wide range of architecture that cannot be compared stylistically. It offered many opportunities for reform and improvement which are still relevant today such as its user centred and site specific approach to design. However, as with movements that have gone before, it has been judged mainly on aesthetics. In truth, there can be no completely postmodern building. Therefore, for it to flourish, it may be better for it not to be considered a movement but more an approach or attitude to design.

‘Depressingly Irrelevant’: Interrogating the Criticism of Speculative Design and Exploring the Value of Such Projects George Entwistle ‘This is a period of slackening - I refer to the colour of times. From every direction we are being urged to put an end to experimentation, in the arts and elsewhere’ - Jean-François Lyotard With criticism from writers such as Patrik Schumacher being given such a prominent platform, in popular design journals such as The Architectural Review, speculative design has been left in a fragile state. There is a danger that designers will become reluctant to engage with speculative design for fear of being heavily criticised and that it might be phased out. There is perhaps already evidence of this beginning to take place as ‘there are already utterances of critical practice being little more than design for design’s sake, “design for designers” or perhaps more appropriately, design for critical designers’. Speculative design as a practice stands at a crossroads in how it deals with this criticism. One way is to continue on its current path, to retreat to within the community of the avant-garde, being ‘overly self reflective and introverted’, hiding from critics outside of their ‘closed community’ such as Schumacher. Jean-François Lyotard describes this path: ‘Artists and writers must be brought back to the bosom of the community, or at least, if the latter is considered to be ill, they must be assigned the task of healing it’. The alternate path is explained by Dunne and Raby: ‘Speculative designs depend on dissemination and engagement with a public or expert audience; they are designed to circulate’. Dunne and Raby propose the opposite of what is described by Lyotard, calling for speculative design to be thrust onto a public stage, suggesting that by hiding the practice within a ‘closed community’, ‘its usefulness as part of a larger disciplinary project is undermined’.


Spraying the City: An exploration of graffiti and street art as a democratic creative expression Georgina McEwan Graffiti and street art, as the voice of the unelected and disadvantaged, intends to regain possession of public space in a rebellion against authoritative dictations of the urban environment: to ‘reclaim the streets’. No urban space can be defined as neutral, with walls and street topography symbolic of boundaries for socially constructed zones and territories. Graffiti writers in 1970s New York considered urban developers and architects of the rapidly evolving city as callous decision makers, an attitude still reflected in the aggressive and territorial language of the graffiti community: ‘writing graffiti is “bombing”, a tag is a “hit” and advanced letter formations are “burners’’’. Instances of profitdriven architectural gentrification associated with the mundane metropolis lifestyle in developing cities have led to environments that are often constrained by limitations inhibiting liberated social action. Graffiti and street art, through transgressive artistic reclamation, highlights the importance of democratic creative free expression in its ability to drive and shape urgent issues in today’s culture.

The Future of Concert Halls: A first exploration Julian Besems Whilst classical music is primarily performed in traditional concert halls without the use of amplification devices, a concern has been expressed that recording and reproduction quality has started to create an expectation of excellence that cannot be met in live performances. This evokes the question of how the advanced development of recording, reproduction and amplification devices will influence the need for and form of new and existing purpose built music venues in relation to classical music. This research question will be answered through a recording experiment and a public survey. Recordings of both live performances, and hi-fi reproductions of the same pieces of music are taken. These are played blind to respondents who express their preference. The samples are analysed through spectrograms. The public survey investigates the respondent’s primary reason to attend a live performance and how they listen to music. The overall results from the listening experiment show that there is no significant preference for live over hi-fi reproduced audio quality. There is however a significant preference for hi-fi reproduction quality for female voices, and live quality for male voices. The spectrogram analysis explains the preference difference: the reproduction samples have a higher high frequency incidence; the live samples have a higher low frequency density. The survey outcome states that people primarily visit classical performances for the audio quality.

Lessons for the Tonlé Sap Lake: Can the living conditions of Kampong Khleang be improved by rural development? Sara Kelly The Tonlé Sap Lake is South-East Asia’s largest inland fishery. It passes through nine districts of Cambodia, including Kampong Khleang, which forms the focus of this dissertation. The Tonlé Sap Lake annually absorbs around 20% of the Mekong River’s flood capacity. As a result, the area around the lake becomes flooded and inhabits both floating and stilted communities. In contrast to modern approaches, where there is a reluctance to develop marginal land , the communities of this district have developed their own approach and are looking to consolidate this. Farming and fishing communities adapt to the local ecology and have managed a 10-meter water level rise. Communities such as Kampong Khleang have developed an innovative architectural morphology that permits them to live in these conditions, however imperfectly. This response is shaped by their environmental, social and political conditions. Neal Mongold explains this observation. He argued that architecture is the shaping of the physical environment and thus it is involved in the shaping of the economic, political, spiritual, and psychological environment. These communities offer a unique insight into this relationship between the development of social and physical form. One could argue that the prospect of uncertainty of global warming has stimulated the architectural field to radically change its relationship with water.


BA Dissertation

Tokyo: The Urban Laboratory The birth, death and legacy of Metabolism, with a case study of the Capsule Tower as an emblematic microcosm. Caitlin Latimer-Jones Japan experienced devastating destruction through World War Two and multiple natural disasters. With financial and technical assistance from global superpowers, Tokyo experienced unprecedented urban growth and infrastructural and industrial progress. The capital became an urban laboratory for Metabolism’s utopian megastructures. The post war movement’s ideas stem from viewing the city as an adaptive entity and relied on advanced technology. However, megastructures never reached the intended global success, experiencing the same demise as the movement by the 1970s. This paper explores Tokyo’s mid-1900s landscape, what Metabolism was responding to and how the movement has enlightened contemporary urban design and planning. Contemporary designs should be led by concerns related to sustainability, green spaces, users’ interconnectivity and the existing city. The ‘metabolic development’ of the world’s societies should continue to evolve, to ameliorate and surpass the 1960s utopian proposals.

From an Era of Welfare to an Era of Consumption: Proposing a loss of ethic in the regeneration of Park Hill Estate Tom Ardron Park Hill Estate was granted Grade II* listing in 1998 amongst a selection of other post-war housing estates. In 2007, Manchester-based Urban Splash began work on regenerating the estate. This thesis traces the changes throughout the history of Park Hill from its original intentions to present day in order to propose a loss of the public-housing ethic ingrained in our understanding of the estate. Beginning with a chronological analysis from the design conception, I discuss the influence The New Brutalism had on the design of Park Hill and how devices in both architectural and urban design enhanced the ethic of social housing as architectural self-justification within the estate. Following this I evaluate the changes in public policy which played a major part in the decline of the estate from the 1980s to its listing and how echoes of these policies could still be influencing both the redevelopment of Park Hill and housing markets in the UK today. The founding motives of both English Heritage and the developer Urban Splash within the regeneration initiate the second part of this study. This highlights factors such as financing and a contradiction in practice between the stakeholders as a possible directive to some changes. A shift from a social to a profit-orientated motive is proposed as one of the main transitions within the development.

An Assessment of Exhibition as the Means of Appropriating Egyptian Style, with example of Egyptian Hall, Piccadilly. Melissa Wear I have chosen to study the appropriation of Egyptian aesthetics because of its cyclic relationship with Western Europe. One of the earliest civilisations developed in Egypt. A specific movement of Egyptian architectural style into Greece, Rome, and then through to Western Europe creates an interesting cycle when considering the human desire of returning to one’s roots. It is useful to observe what is gained or lost in the translation of styles. Equally, in a growing era of continentalism, it is interesting to consider why people choose to retain identity using cultural divisions. As architecture is increasingly designed by international firms and away from local values, it is important to recognise why we choose to keep or lose certain elements of identity. It is most clear to study this subject using an age that has entirely passed. Britain’s interest in Egypt lasted roughly a century, most aptly bracketed by two London buildings: the 1812 Egyptian Hall in Piccadilly and the 1928 Carreras Cigarette Factory in Camden. However, a more general interest in Egypt can be traced back to the thirteenth century; historian James Curl predicts, ‘The inspiration of Egyptian art and architecture for the West is not yet dissipated’. Mass Egyptianising has led Egyptomania to become associated with garishness (of bright colours and secular ornamentation). This is perhaps linked to the method of exhibition in sharing the splendours of decoration associated with Egyptian style.


AUP Creative Practice / Social Sciences Dissertation

Tyne Deck in the 21st Century: How can architectural interventions be used to improve the relationship between Newcastle and Gateshead? Tom Wessely This Creative Practice Dissertation analyses how the infrastructure at Quayside has developed since the Roman period. It focuses on the key changes at Quayside such as the construction of the High Level Bridge, built in 1847. Following this, it critically examines in greater detail the structures built in the contemporary era, such as the Millennium Bridge and the Sage. The aim is to establish through a design proposal how the quayside area might help improve the relationship between Newcastle and Gateshead. Information obtained through interviews and focus groups influences the design proposal. Through a mapping exercise, I unpack the urban quality of Quayside and propose possible ways of improving the relationship at Quayside through architectural interventions. The proposal is influenced by the Tyne Deck, designed in 1969 by Gordon Ryder and Peter Yates (but never built) reflects on the controversial Garden Bridge by Thomas Heatherwick. In the conclusion, I discuss what impact such proposed infrastructure could have on local organisations such as the NewcastleGateshead Initiative and how it might improve the relationship between Newcastle and Gateshead. Public Spaces in Kibera Veenay Patel This dissertation looks to unfold the production and consumption of public spaces in Kibera. The research was conducted in the Gatwekera district of the informal settlement and focuses on six public spaces in the area. The information collected about each space is portrayed through six narratives, where I express conversed, observatory and researched findings. The intention is to try and understand the relationship between people and place within the settlement. Furthermore, the aim is to explore the possibilities that may enhance these spaces for the residents and enable them to 
effect change for a better future. The focus of this study is to look in particular at the production and use of public spaces within the settlement. Kibera is structured upon government owned land and therefore, in layman’s terms is all considered to be public space. However, this is not the case as the informal city works with the same notions of public and private as the formal city. For the purpose of this study, a public space can be defined as a social space that is generally open and accessible to the people. The characteristics of a public space in the formal city differ to those of the informal as the facets that define these spaces are dependent on the people that utilise them. This led to an exploration of ‘What defines a public space in Kibera?’ The insinuation being that the functional and symbolic value of a public space in an informal settlement like Kibera is based upon the foundation of what the residents require rather than being a simple space of leisure. Thus, this research aims to unravel some key concepts that can help us understand how public spaces work in Kibera and the bearing this has on the lives of the citizens that reside there. Identifying Inadequacies of Water and Sanitation Provision in the Slums of Mumbai and the Consequences of this for Female Access to Education and Employment. Rebecca Alexander Water and sanitation provision is a concern for many informal settlements in the cities of developing countries. Cultural norms in many countries mean that women from low-income urban communities find that their lives and opportunities are shaped by the inadequate provision of basic services. Mumbai is a city with one of the largest informal populations in the world. Understanding the nature of these informal settlements is necessary in order to intervene most effectively. This study examines the challenges of delivering adequate water and sanitation services to the slums of Mumbai. The inadequacies of both formal and informal systems were explored to identify the consequences of such shortfalls. The research found that many aspects of life within Mumbai slums were connected to water and sanitation related activities. Furthermore it was found that because women and girls bare the brunt of the burden of these activities their education and employment opportunities are negatively impacted by insufficiencies.


Fieldwork & Site Visits BA (Hons) Architecture As part of Stage 3 the varied studios undertake a field trip in the first semester, travelling to locations as diverse as Venice, Rome, Tenerife, Lisbon, Malmo, Copenhagen, London and Lindisfarne. Studio 1: Building on what is already built Rome, Venice and Verona, Italy

Studio 2: Aperture Tenrife

Studio 3: Experimental Architecture Venice, Italy

Studio 4: Infrastructures Brentford, United Kingdom

Studio 5: Material Poetics

Copenhagen, Denmark + Malmo and Stockholm, Sweden

Studio 6: Ruskin and the Long Now Venice, Italy

Studio 7: Trace Norway

Studio 8: The Variations Portugal

MArch Architecture Stage 5: Whole year Rotterdam, Netherlands

Stage 6: Zazibar Studio Zanzibar, Tanzania

MA Architecture and Urban Design Nantes, France


BA Architecture & Urban Planning (AUP) The BA (Hons) Architecture and Urban Planning (AUP) is an evolving three year programme which began in September 2013 and is now reaching its first cycle of maturity. The degree programme is a broad one that seeks to unite academic themes and approaches from the architecture and urban planning programmes across the School. But whilst many joint degrees can sometimes simply mesh two existing programmes together, we wanted to do something different. The AUP degree carries its own intellectual and pedagogical themes that cannot be found on other programmes elsewhere in the School. There are four conceptual strands, which includes one major theme, ‘alternative practice’, and three minor themes: visual culture, urban design and social enterprise. The alternative practice strand responds to a critique of twentieth century architecture and planning as overly technocratic and individualised. Returning to these critiques, alternative practice intends to address these issues by a greater focus on social, cultural, political and environmental concerns in the design and construction of the built environment. Our course has drawn inspiration from a range of thinkers and practitioners concerned with the built environment (including philosophers, political activists, sociologists, geographers, architects and planners) that have sought to engage and include communities in design and building (sometimes self-build, sometimes co-production). The following section which contains images of design work from Stage 1, 2 and 3 of the programme effectively showcases much of the intellectual and practical academic content of the degree – particularly the degree’s internal themes – and should be of interest to all with a firm awareness of the connections between social, environmental and design issues and the built environment more specifically. We hope you will enjoy the work shown here and derive as much pleasure from these projects as we have in helping their creators to realise their own personal goals. Directors Andrew Law Armelle Tardiveau Project Leaders Armelle Tardiveau David McKenna Rutter Carroll Tim Townshend Contributors Adam Sharr Ali Madanipour Andrew Donaldson Andy M Law Armelle Tardiveau Cat Button Chris Beale Cristina Pallini Damien Wootten Daniel Mallo Dave Webb Dhruv Sookhoo Geoff Vigar Georgia Giannopoulou Helen Robinson Ian McCaffery Irene Curulli Irene Mosley  James Longfield James Street Jane Midgely Joe Dent  John Pendlebury Jules Brown Kati Blom Katie Lloyd Thomas Ken Hutchinson Loes Veldpaus Marion Talbot Mark Tewdwr-Jones Martin Beatie Martin Bonner Matt Ozga Lawn Matt Wilcox Montse Ferres


Neil Powe Paola Gazzola Paul Crompton Peter Kellett Peter Mouncey Prue Chiles Raphael Selby Ray Verrall Roger Maier Rose Gilroy Rutter Carroll Scott Savin Steve Dudek Steve Graham Steve Parnell Stuart Cameron Su Ann Lim Sue Speak Teresa Strachan Tibo Labat Tim Mosedale Tim Townshend Usue Ruiz Arana Stage 1 Abbey JoForster AdilZeynalov AhmadNamazli Ahmet Halil Hayta Ben Edward Johnson Callum Robert Campbell Conrad Chi WahLi EmilyWhyman Fatma Beyza Celebi Flynn Christopher Linklater-Johnson Georgia AnneMiles HarryBloomfield Huiyu Zhou Jemima Anulika Manasoko Onugha Jiewen Tan Jieyang Zhou John-Kervin Marcos Joshua Edward Beattie

Joshua Thomas Goodliffe Junqiang Chen Ka Hei Chan Ka Hei Wong Konstantins Briskins Marvin Shikanga Mbasu Max James Hardy Mehboob Chatur Michael John Rosciszewski Dodgson Minsub Lee Nikshith Reddy Nagaraja Reddy Photbarom Korworrakul Racheal Felicia Modupeayo Osinuga Richard George Gilliatt Ryan Patrick Thomas Sahir Thapar Shaoyun Wang Siddhant Agarwal Sonali Venkateswaran Stephen Johnston Sutong Yu Theodore Christian Robert VostBond Ting En Wu Vaios Tsoupos Van Abner Tabigue Consul Winnie Wing Yee Wong Xi LIN Xinyun Zhang Xuanzhi Huang Yasmine Khammo Yuan Xu Zeynab Bozorg

Eleanor Kate Chapman Filip Ferkovic George Jeavons-Fellows Hannah Rose Knott Henry Andrew Morgan Hiu Ying Sung Jieyu Xiong Jonas Wohni Grytnes Lok Hang L Leung Nadine Landes Phuong Anh Pham Runyu Zhang Seyed Masoumi Fard Sheryl Lee Simona Penkauskaite Sze Chai Anthony Choy Thomas Gibbons Yeqian Gao Yilan Zhang

Stage 3 Yuxiang Wang Adem Mehmet Altunkaya Blair Forrest Nimmo Charles Richard Moore Charlotte Harrison Fedelis Fernando Tosandi Harry George Treanor Jack William Burnett Jessica Lily Poyner Martin Kruczyk Po-Yen Chang Rebecca Mary Alexander Richard Keeling Rutheep Prabhakaran Stage 2 Ryan Thomas Conlon Alex Joseph Robson Safeer Shersad Ali Alshirawi Shu Ting Tang Andrew John Laurence Sophie Hannah Laverick Blandford-Newson Thomas Bartholomew Chia-Yuan Chang Charles Wessely Christopher Hau Veenay Patel Zheng Kit Leong

Opposite - First Graduating Year AUP

AUP Stage 1 – Measure David McKenna

There are 14 boat houses belonging to various colleges, schools and amateur rowing clubs located along the Wear in Durham. The earliest date from the early 1800s and coincide with the founding of the university. Measure required the design of a 15th boat house and cafe that would form a gateway from the city centre to the university playing fields.


Top left - Konstantins Briskins Top right - Callum Campbell Middle - Callum Campbell Bottom left - yasmine khammo

bottom left - Xi Lin

Top left to bottom right - Ka Chan, Xi Lin, Sutong Yu, Ka Chan, Yasmine Khammo, Winnie Wong, Sutong Yu


AUP Stage 2 – Theory and Form Rutter Carroll

In semester two of Twentieth Century Architecture, students were asked to consider a Theory + Form approach to the submission of an essay and design project, through a strategy for the reuse/conversion/extension/adaptation of an existing post war building in the Tyneside area. Wallsend Central Library, a key building from the post war period in the region, was identified for study and analysis with respect to its reuse. Built in 1967 as the main library in the town of Wallsend, and designed by local architects Faulkner Brown (formerly Williamson Faulkner Brown and Partners), the building allowed students to assess the design through a series of Theory + Form lectures, seminars, design analysis tutorials and exercises.


Top - Wallsend Central Library, Williamson, Faulkner Brown and Partners, 1966

Bottom - Seyed Masoumi Fard, Yuxiang Wang, Jonas Grytnes

roup work: Jieyu Xiong, Lok Hang Leung, Chia-Yuan Chang, Seyed Masoumi Fard, Yuxiang Wang, Jonas Grytnes, Thomas Gibbons, Alex Robson, G Christopher Hau, Henry Morgan, Yilan Zhang, Runyu Zhang, Sze Chai Anthony Choy, Hui Ying Sung


AUP Stage 3 – A Home for All: Housing for Vulnerable Population Tim Townshend

During the 2020s a point will be reached when 25% of the UK population will aged 65 and over. People are living more active lifestyles into older age and there is a huge challenge to meet the needs and aspirations of these ‘active third agers’. APL 3002 explored the complexities of providing a stimulating, safe, appropriate and desirable home for older persons in an existing setting, Armstrong House, a listed Arts-and-Crafts property in Bamburgh. Armstrong House Bamburgh is an independent charitable trust providing ‘independent living with support’ affiliated to the national Abbeyfield society. The students were charged with thinking holistically about the place of older persons’ housing in a settlement such as Bamburgh and how it might be more fully integrated into the everyday life of the community, by providing ‘places of encounter’ learning from Dutch experience.



AUP Stage 3 – Alternative Practice: Co-producing Space Daniel Mallo & Armelle Tardiveau

For Alternative Practice: Co-producing Space, students focused on a live project at Denton Burn Community Association which concerns the design of a community garden and a playful area for an unused derelict plot. The project included the mapping of the Network of Social and Environmental Initiatives in the neighbourhood and aimed to engage students with existing community-led initiatives. The project culminated with a series of design proposals and temporary installations on site, which allowed the community to experience the transformed space and trigger conversations about the potential of the place as well as learning together through the enactment of a temporary community space.


Installation at Denton Burn



Zeynep Kezer

‘What can architecture do? Where might architectural thinking take us?’ Newcastle’s two-year MArch fosters a research-led approach – one that challenges students to stretch their architectural and critical imaginations, to think harder and more deeply about what architecture is and what it could be. Work is diverse, threaded by an interest in architecture as a collective, cultural endeavour. Projects interrogate architectural production in all its aspects, from material processes, to modes of design, representation and construction, to the ways that architecture shapes – and is shaped by – the society and culture in which it is situated. As an RIBA accredited Part II programme – the second of three steps towards qualification as a UK architect – MArch is geared to develop advanced skills in analysis, representation, design and technical resolution through projects of considerable scale and complexity. But it is also rooted in the belief that architectural training must go beyond professional competence. MArch draws on the diverse expertise of ARC, our School’s multidisciplinary research collaborative, to push explorative ways of working and thinking architecturally. Students are encouraged to undertake original investigations into issues and techniques at the forefront of contemporary developments in architecture and beyond – from synthetic biology to the space of the psyche – while at the same time grounding their work in a specific material, social, cultural and intellectual context. Cross-studio reviews and symposia support a lively exchange of ideas and challenge students to position their work in relation to trends in architectural production and discourse. Teaching in MArch cuts across common distinctions between design, technology and history and theory, promoting an integrated approach that treats all aspects of architecture as opportunities for critical creative enquiry. Studio modules play a central role, incorporating lectures, seminars, consultancies and workshops spanning the curriculum, as well as cross-year events such as Charrette and Thinking-Through-Making. Projects are undertaken in small design-research studios, each exploring particular issues or themes that resonate with the research interests of tutors. Briefs invite an open process of investigation between staff and students, encouraging the development of an independent approach and distinctive critical stance, all grounded in rigorous research. In Stage 5, two semester-long projects set in a major European city interrogate the complexities of architecture’s relation to context, from urban to detail-scale, allowing students to test new approaches, methods and ideas. With most of the prescribed curriculum covered, Stage 6 is freed up to focus on a specific interest or question, pursued in depth through a year-long thesis project. With a rich range of opportunities for specialisation, the MArch programme at Newcastle allows students to develop their own fields of expertise and to showcase these in a distinctive portfolio. Alongside the design studio, students can choose to pursue independent research through a dissertation, to join a linked research studio where they collaborate on a live research project led by a member of staff, or to take a tailored set of modules from one of our other specialist Masters programmes – such as Design and Emergence, or Urban Design – with the potential of accumulating credits towards a second postgraduate degree. Bridging between the two years of MArch, these activities spark ideas and develop skills that feed into thesis projects. The School also has a series of exchange agreements with leading schools of architecture in Europe and around the world, including KTH Stockholm, National University of Singapore, and The University of Sydney. MArch students can study abroad for one or two semesters of Stage 5, and the programme benefits from the diverse skills and experiences of students who join our projects.


Stage 5 Stage 5 is a year for in-depth experimentation: for exploring architecture in all its cultural, social, political, material and historical contexts, for testing new approaches to design, representation and technology. Briefs emphasize critical thinking and require students to engage with current debates in architecture and society at large. The year’s work focusses on a particular international city – this year Rotterdam – beginning with an intensive week-long study visit, including architectural tours, excursions, talks, group urban analysis and social events. Students undertake a critical reimagining of the city through two semester-long projects which challenge them to work at two radically different scales – first urban, then detail. Framing design as a rigorous, as well as speculative process, they foster design-research skills and interests in preparation for Stage 6. In semester one, Plan Rotterdam asked students to engage with the urban fabric of the city, its historical layers, cultural currents and social differences. The project was taught as five distinct studios that each took on a different urban area and issue. Common themes include the interplay of buildings, infrastructure, land and water in a city below sea level, architecture’s role in the production of images, experiences and lifestyles, and the politics of regeneration in a place renowned for visionary architectural and urban ideas. The project is paired with the Tools for Thinking about Architecture module, which introduces a range of critical approaches through lectures, workshops and seminars. Semester two’s Rematerializing Rotterdam switched focus to material and technical imagination, taking detail, construction and atmosphere as opportunities for creative and critical exploration. The brief asked students to interrogate a [g]host architecture – built or unbuilt, in Rotterdam or elsewhere – and to reimagine it in the contemporary city. A detail and environment lecture series, supported by expert consultancies, encouraged students to pursue a technical specialism that embodies the intentions of the project. Year Coordinators James Craig Stephen Parnell

Project Leaders

Hanna Benihoud James Craig Laura Harty Matthew Ozga-Lawn Nathaniel Coleman Stephen Parnell


Adam Sharr Aidan Hoggart Ben Bridgens Chantelle Stewart Claire Harper Daniel Mallo Dik Jarman Ed Wainwright Graham Farmer Jonnie McGill Katie Lloyd Thomas Kieran Connolly Leon Walsh Luis Hernan Mark Clarke Martyn Dade-Robertson Miguel Paredes Neveen Hamza Nita Kidd Sam Austin Sarah Jane Stewart Zeynep Kezer



Adam Hampton-Matthews Alexander Baldwin-Cole Alexandra Paula Carausu Amit Chhaganbhai Patel Carl Matthew Reid Cleo Kyriacou Daniel Richard Duffield David Livingstone Boyd Deryan Teh Gavin Jia Chung Wu Hei Man Lau James Richard Street Jessica Raine Wilkie Joseph Wilson Joseph Philip Dent Justin William Moorton Kathleen Rebecca Jenkins Katie Anne Fisher Kayleigh Anne Creighton Kim Alicia Gault Laurence William Ashley Malcolm Greer Pritchard Mariya Lapteva Martin James Parsons Matthew Westgate Matthew Michael Wilcox Matthew Sharman-Hayles Michael James Southern Nedelina Atanasova Nicola Jane Blincow Nikolas Kirris Fennell Ward Noor Aliya Jan-Mohamed Raphael Tevel Selby Rebecca Elizabeth Daisy Wise Richard John Spilsbury Robert George Evans Rose Eleanor O’Halloran Ruochen Zhang Samuel Edward Halliday Shiu Tung Wallace Ho Sophie Cobley Stavroula Rousounidou Su Ann Lim Theodora Kyrtata Thomas James Saxton Thomas Richard Cowman Ulwin Paul Beetham Vili-Valtteri Welroos

Erasmus Students Camille Bourneuf Delia Heitmann Gustav Lundstrom Insa Thiel Stephanie Chiu

Opposite - Joe Dent Metropolitan Imaginaries - Site Plan

Metropolitan Imaginaries James Craig

Metropolitan Imaginaries asked students to map, analyse, and condense the myriad architectural elements that constitute Rotterdam’s metropolitan image. Using Ivan Leonidov’s social condenser as a key reference, each student set about creating an urban strip that would act as a vessel to contain architectural interpretations of Rotterdam’s metropolitan conditions. Each strip was articulated, combined, and placed in the Maashaven basin – a site that lies adjacent to Rotterdam’s prime metropolitan location: the Wilhelminapier. The proposed masterplan is a layered, multi-programmed terrain that highlights and exaggerates Rotterdam’s extant desire to be seen as a metropolitan city.


Kathleen Jenkins





Top from left to right - Joe Dent, James Street, Stavri Rousounidou, Adam Hampton-Matthews, Noor Jan-Mohamed, Justin Moorton


Iterations & Intensities Matthew Ozga-Lawn

The studio looked with a close and critical eye at the design processes associated with two major Rotterdam-based practices, OMA and MVRDV. Students were asked to emulate and embody these practices, in order to gain an understanding of Rotterdam as the site that allows for and encourages these means of producing architecture. A mock competition was held between the two practices for the same masterplan site in Delfshaven, with large, group-produced masterplan models alongside individual explorations.


Top - MVRDV - Intensities Group Masterplan From Minecraft Blocks to a Building Masterplan

Top - Nik Ward Top Right - Stephanie Chiu

Bottom Left - Jessica Wilkie

B ottom Right - Carl Reid


The City as a Platform Stephen Parnell

This studio was based on the premise that it is the architecture of the underlying immaterial ‘platforms’ – the operating systems of the city – its rules, regulations, frameworks, social morals, systems, etiquette, traditions, networks, legislation, and so on, that is most influential on the design of the city. Students were asked, as a group, through mapping and desktop research, to come up with a definition of what a ‘platform’ is in the context of urban environment. They then had to individually design a building based upon that idea. The intention was to question the architect’s traditional role in society and investigate original models of ‘spatial agency’.


Top - Michael Southern

Top - Rosie O’Halloran Middle - Malcolm Pritchard B ottom - Cleo Kyriacou


Urban Hacker Hanna Benihoud

‘Operation Rotterdam’ was the mission that the students acting as special agents were deployed on. Their mission was to hack into the city unlocking the upcoming changes in society: Individualisation, Internationalisation, Informalisation, Intensification and Information as described by the Netherlands Institute for Social Research. Each target area had an affiliated person of interest (P.O.I) who engaged with the agents to inform their hack. Hacking into a city meant that a sophisticated method of mapping was needed to understand the rules that govern it. The urban hacks then transformed into architectural interventions which continued to engage their P.O.I and transformed their target area.


Top - Wallace Ho

Bottom - Insa Thiel

Left to right, from top - Katie Fisher, Tom Cowman, Wallace Ho, Matthew Wilcox, Joe Wilson, Matthew Westgate


What Makes a City Vital? Nathaniel Coleman



Students in this studio engaged in analyses of urban conditions that are deeper and broader than the self-congratulatory language architects, developers, and civic boosters tend to use to describe supposed success in cities. Relative to this, analyses based on use rather than exchange were encouraged, while writings on cities by Lefebvre and Rykwert provided some of the main textual sources for the students’ work. In particular, students were encouraged to consider those aspects of cities that make them vital but are non-commodifiable, related more to civic virtues and dreaming than to exchange. As part of their research, students developed a series of strategies for re-urbanising OMA/Koolhaas’ De Rotterdam complex, the quarter it sits in (and ostensibly establishes), and Rotterdam more generally.

What Makes a City Vital? Suspended Symposium Group Model

Marketing Collage Ulwin Beetham

The BroChUre “The success of a city therefore cannot be measured in terms of financial growth and of a share in those markets it may have managed to capture, or even of its place in the process of globalization which is the inescapable phenomenon of our time- but depends on the inherent strength of the fabric and its availability to the social forces that mold the life of its inhabitants.” Joseph rykwert, The Seduction Of Place When examining the image of rotterdam and its architecture and what it wants it to convey through the slick and seductive imagery of brochures and city guides, a strong identity emerges that underpins both what it believes it is and the perceived power it holds over shaping its own future. Critically dissecting this imagery and information reveals one of the many inevitabilities of the sale: The reality never meets the expectation. Truly the International City, gradually stripped bare of any localised context rotterdam is both anywhere and nowhere simultaneously. As neoliberal policies drive the agenda of 21st century discourse, the unique circumstance afforded rotterdam have led it to become debased to a carousel of skyscrapers housing infinite quantifiable commodities, the program. The model of success based on a series of overreaching potentials rather than realities that form a city for tomorrow but not for today.

THE MYTH OF MASCULINITY After the Luftwaffe bombing in 1940, Rotterdam became a target for a wave of policy-making and urban renewal, systematically restructuring the city to a post-modernist utopian vision. This included the significant redevelopment of areas such as Kop Van Zuid to become a ‘Manhattan on the Maas’, constructing monoliths of economic power, an illusion of achievement, attempting to compete within the growing capitalist market. A dominant environment was created, operating on the control and subordination of a significantly (49%) non-dutch population. The majority of developments on Kop Van Zuid have been privately financed office buildings & commercial exploits, however despite this ‘working image’, unemployment is at 8.5%, twice that of the national average. The area is significantly unpopulated and desolate, an ‘isolated and unnatural urban space’. I argue that the cultural, and hence economic, failures of Rotterdam are a direct result of the Masculinist approach to urban design, gentrifying and excluding those not valued by traditional white ‘Masculinism’: women, ethnic minorities (majorities), and alternative sexualities. To establish social cohesion and equal representation, difference of the ‘other’ to the existing ‘Masculinity’ must be embodied in the urban environment.

Left to right, from top - Vili Welroos, Ulwin Beetham, Gavin Wu, Mariya Lapteva, Deryan Teh, Daniel Duffield, Becky Wise


Thinking-Through-Making Week Thinking-Through-Making continues our theme of collaborations with artists, engineers, architects, musicians, thinkers and makers. This is for final year BA and MArch students in the second semester of the year. With a focus on material and making, this week-long series of lectures and workshops asks students to approach architecture through the process of making and drawing at large-scales, bringing material back to the core of architecture’s exploration.

Articulated Structures Holly Hendry

Articulated Structures

Sebastian Kite and Benjamin Custance

Chemical droplet workshop Professor Rachel Armstrong

The Golden Journey Matt Rowe

Dis-Connect to Re-Combine Dr Luciano Cardellicchio


Russ Coleman

Jesmonite Matt Rowe

Lino cut with embossing Northern Print

Material Processes Amy Linford

Sculpted Polystyrene Spaces

Magnus Casselbrant and Jesper Henriksson

Spatial Possibilities Dr Rachel Cruise


Helen Pailing

Stonemasonry David France

Temporary liquid Russ Coleman

The Golden Journey Matt Rowe

Your ideal multi-dimensional growing edible building Henry Amos


Another Architecture [Brutal] Stephen Parnell

This studio looked at the much polarised movement of Brutalism and the issue of what to do with a large listed Brutalist building. Brutalist architecture is coming to an age where questions about what to do with them are being asked – should they be conserved, restored, renovated, refurbished, reused, or demolished? What is Brutalism anyway and what does it mean for 21st century architecture? Students were asked to consider these questions while re-programming the Meelfabriek Latenstein (flour factory) on the Rijnhaven basin in Rotterdam.


Top - Joe Wilson

Bottom - Kayleigh Creighton

Left to right, from top - Raphael Selby, Matthew Sharman-Hayles, Katie Fisher, Justin Moorton, Robbie Evans, Insa Thiel, Stavri Rousonidou Right - Robbie Evans



Hanna Benihoud This studio is inspired by the discussion in ‘The Tell-The-Tale Detail’, where Marco Frascari explains the architectural ‘joint’ which creates a transition from one element to another. The relationship may not occur between just one material and another, or a traditional wall and floor, but between the transition of light and dark space, between volumes, temperatures, thresholds, solids and voids or any other transitional moment within a building. Each student chose a material to become obsessed with and used that to explore the idea of a ‘joint’. Building 1:1 ‘joints’ reconnected the draftsman and the craftsman and designing details first created a narrative that informed their architectural language for the entire scheme.


Noor Jan-Mohamed

Top Left - Rebecca Wise Top Right - Gavin Wu Bottom - Deryan Teh


In Praise of Folly Laura Harty

In this studio, we drew on the 1509 essay ‘In Praise of Folly’, in which Erasmus of Rotterdam uses Folly, neutered feminine, to manipulate and disguise his fundamental critique of the overarching powers of the day. In cloaking his critique in Folly, he allows otherwise stark and punishable observations to be accepted as trite amusements. His satire permits superficial reading, while allowing room for oppositional and reformative propositions. As Erasmus engages Folly as vehicle and decoy, so too each student adopted an attendant persona to drive a material investigation, interrogate an attendant brief and deliver an inquisitive proposal.


Daniel Duffield

Top Left - Ulwin Beetham Top Right - Adam Hampton-Matthews Bottom Left to Right - Ulwin Beetham, Nicola Blincow, Angie Lau


Hybrid Objects James Craig

Hybrid Objects asked students to create an architectural response to the complex space that exists between viewers and objects. This space, a foggy territory where myriad meanings can be made, is the zone where projected meanings collide to create a space of betweenness. The result is a hybrid object; constituted from entangled meanings that exist between observers and objects. Through the selection and unpacking of an object from the permanent collection of the Museum Boijmans Van Beuningen, each student developed their own art depository in the Museumpark area of Rotterdam.


Laurence Ashley

op Wallace Ho T Bottom from left to Right - Laurence Ashley, Delia Heitmann, Vili Welroos

Middle from left to Right - Ruochen Zhang, Kim Gault, Ruochen Zhang


Spectres of Utopia and Modernity Nathaniel Coleman

Students in this studio investigated the ghosts of modernity by charting its traces in selected surviving examples of heroic modern architecture from the 1920s and 1930s, and in projects from the post-World War II period of its greatest orthodoxy, 1945-1960. In developing their individual projects, students were challenged to consider how their study building harbours both the ghosts of modernity and the spectre of Utopia that has struck fear into the hearts of architects (and others) since at least the 1950s. Through their investigation of the core topics of modernity and Utopia, students were encouraged to confront their own Utopia-Anxiety as directly as they could by proposing a new, ‘alien’ structure correlated with their study building.


Left / Top - Malcolm Pritchard

Right - Sam Halliday

Left - Joe Dent Top Right - Nik Ward Bottom Right - Sam Halliday


Stage 6 In Stage 6 students undertake a year-long thesis project with a self-generated brief, within a theoretical framework established by their chosen studio. This year, five studios were on offer: Border Territories: Adam Sharr and Sam Austin Experimental Architecture: Rachel Armstrong and Paul Rigby Landscapes of Human Endeavour: James Craig and Matthew Ozga-Lawn Matter: Graham Farmer and Paul Rigby Zanzibar: Prue Chiles These studios offer a comparable level of complexity as graduation projects, but they cover a broad range of issues and geographies leading to a diverse variety of outcomes. They showcase the interactions between studio leaders’ research expertise and the evolving interests and specialisms of Stage 6 students. To achieve this, every year, students’ individual thesis projects are developed within each studio’s theme, balancing their individual learning objectives and interests against those already covered in Stage 5. As in previous years, the thesis projects were located in a variety of strategically selected urban or wilderness landscapes, in sites from Zanzibar to Whitley Bay to Orlando. They tackled issues from the master plan to the molecular scale and with temporal ambitions stretching into millennia. Students have built upon experience gained from previous years’ representational techniques and experimentation. This is the fifth year Newcastle has run a studio-based thesis model with cross-year/cross-studio interactions that keep students aware of the work undertaken by their peers in other parts of the school. This year, in addition to the Technical Review, Thinking-Through-Making Week and an expansion of the Academic Portfolio, we also inaugurated a vertical exhibition in the 6-7th week of the first semester, showcasing in a cascading manner the preliminary work of Stages 2-6. This has been a successful and stimulating year academically, and we would like to express our gratitude to all the various contributors throughout the year. Year Coordinators



Opposite - Greg Walton After Happily Ever After: An Architectural Fairy Tale of Walt Disney

Zeynep Kezer Adam Sharr

Alanah Marie Honey Alexander Glen Burnie Alyssia Katherine Booth Anna Elizabeth Cumberland Project Leaders Carrie Yee Adam Sharr Christopher James Bulmer James Craig Corbin Wood Matthew Ozga-Lawn Emily Daisy Page Graham Farmer Emily-Jayne Harper Paul Ribgy Ewan George Thomson Prue Chiles Gregory David Walton Rachel Armstrong Greta Varpucianskyte Sam Austin Imogen Alexandra Holden Jack Roberto Scaffardi Joshua Long Contributors Katherine Grace Gomm Alistair Robinson Kevin Vong Andrew Ballantyne Lee Daniel Whitelock Andrew Carr Matas Belevicius Andrew English Matthew Joe Mouncey Claire Harper Matthew Clubbs Coldron Ed Wainwright Matthew Robert Jackson Emma Cheatle Megan Meleri Jones Gary Caldwell Mundumuko Sinvula Howard Evans Robert Philip Paton Josep-Maria García-Fuentes Roubini Hadjicosti Katie Lloyd-Thomas Rumen Rumenov Dimov Martyn Dade-Robertson  Ruth Eleanor Sidey Maurice Mitchell Simon David Baker Mhairi McVicar Thierry Guy Neu Nat Chard Thomas Henderson Schwartz Neil Armstrong Vlasios Sokos Nick Heyward Vsevolod Karetnikov Patrick Devlin Wei Sheng Kwan Pete Brittain Peter Hoare Peter Kellett Philip Beesley Steve Parnell 

Studio 1 – Border Territories Adam Sharr & Sam Austin

This studio is about border conditions. Borders produce spatial conditions, from dividing walls (think of Berlin, Belfast or San Diego-Tijana) to lines which exist on a map but not on the ground; from enclaves of one jurisdiction within another (embassies, airports) to distinctive economic and political effects. Borders can be psychological and cultural as much as physical. Students have chosen their own border conditions to work with including: the green line of Nicosia, Cyprus; Campione d’Italia (an Italian exclave in Switzerland); Newcastle Airport; the ‘interzone’ of post-War Tangiers; the border transgressions of shortwave radio; and the psychological border between risk, fear and pleasure.


Jack Scaffardi Freeport Municipale

Rumen Dimov Lost in Transmission



Ewan Thomson The Airside City

Thierry Neu Unravelling Risk



Megan Jones Literary Constructs of an Interzone

Roubini Hadjicosti Palimpsest of Memories


Studio 2 – Experimental Architecture Rachel Armstrong

Experimental Architecture establishes an organic platform for thinking and practice through iterative experiments that engage directly with the natural realm. It seeks to explore the complexity of the natural world without reducing it into a series of soluble problems but also opens up the practice to poetic and artistic engagement. For example, experimental architecture asks: can we grow an artificial reef around the city of Venice to save it and connect human populations with the marine environment? Can we grow a new island for Venice using the pollutants in the lagoon (algae and plastics) and reinvest in future generations through the production of ‘functional’ earths, or can we design ‘super’ soils to support life on other planets and bring new kinds of flourishing to extreme environments?


Seva Karetnikov Please don’t tap on the glass

Imogen Holden The Opera of Shalott



Matthew Mouncey Of Death and Decomposition

Kevin Vong Experimental Junk



Corbin Wood The Delormer’s Creed

Carrie Yee Resurrecting Memories: Sustainable Crematory Landscape


Studio 3 – Landscapes of Human Endeavour James Craig & Matthew Ozga-Lawn

Human endeavour has long been associated with expansive and unknowable landscapes, from George Mallory’s first attempt to ‘conquer’ the summit of Mount Everest in 1924 through to Felix Baumgartner’s recent skydive from a helium balloon 24 miles above the Earth’s surface. These varied projects are concerned with representing architectures sited between the psyche of a chosen endeavour and the landscape (in the broadest sense of the word) that they are engaged with. They include an interpretation of Walt Disney’s delirious deathbed fantasy of E.P.C.O.T., a secular retreat based on C.S. Lewis’s notion of Epicurean Life, and a garden of mechanical computation derived from the life of Ada Lovelace.


Greg Walton After Happily Ever After: An Architectural Fairy Tale of Walt Disney

Greg Walton After Happily Ever After: An Architectural Fairy Tale of Walt Disney



Alexander Burnie Z

Chris Bulmer Magical Realism



Greta Varpucianskyte Scripted Spaces: Biographical Landscapes of Ada Lovelace

Robert Paton The Nuclear Family



Lee Whitelock At Home with War

Emily Page The Archive of Destroyed Monuments



Emily-Jayne Harper Between Subject and Object: Landscape Beyond Reach

Joshua Long Epicurean Life


Studio 4 – Matter Graham Farmer

The studio celebrates the ‘liveliness’ of matter and encourages design processes founded on a dialogic and emergent understanding of architectural materiality. In doing so the studio challenges any notion of buildings as static assemblies of inert or neutral products and instead seeks concrete material practices in which technology is always both performative and contextual. Students have selected their own matter to collaborate with and have explored new understandings of conventional construction materials like sand, brick and timber or experimented with new materialities. Themes of making, manufacture, entropy, sensuality, transformation and environmental renewal have all surfaced as key themes in the work of the studio.


Matas Belevicius St. Anthony’s Mycelium Works

Matas Belevicius St. Anthony’s Mycelium Works



Mundu Sinvula Sensory Deprivation

Alyssia Booth Weather Architecture



Matthew Jackson Modular Imagination

Vlasios Sokos Research Centre for the Development of Prototype Materials and Building Components



Simon Baker Shifting Sands

Ruth Sidey Beauty in Precision?


Studio 5 – Zanzibar Prue Chiles

Zanzibar has a romantic multi-cultural history; spices, gold, ivory and slaves have travelled between the East African Swahili Coast, the Arabian Peninsula and the Indian subcontinent for 20,000 years on dhow boats. Today, the archipelago’s population of 1.3 million is growing rapidly. This semi-autonomous archipelago off the coast of Tanzania urgently needs to address its future growth. Zanzibar’s challenges are a microcosm of the most critical global development issues. The studio is working with a new architecture and planning department in Zanzibar, who have ambitions to create the most sustainable island in East Africa, physically, socially, and environmentally. Scenario planning and mapping have formed a basis to understand the whole island scale, coupled with ethnographic field research, including interviewing local people and a small-scale building project with a local school. Linked Research students (Stage 5) have joined the team to develop a foundation for a major research project. The team has developed a critical position on the colonial past and the new development plans for the future of the island. Stage 6 thesis proposals form a ’chain’ across the buffer zone of the World Heritage Site capital of Zanzibar, Stone Town, and move out across the island. All projects support key development aims of the island; firstly to retain the historic core of a rapidly developing city as a place to live and work. Secondly, to develop successful, well connected neighbourhoods with innovative ideas for more ecological and mixed development. Lastly, to find sustainable ways of developing coastal villages and island agriculture.


Matt Clubbs Caldron Zanzibar Central Bus Terminal and Urban Forum

Alanah Honey Zanzibar Institute for Design



Anna Cumberland From the Ground Up: An Agricultural Future for Chwaka

Thomas Henderson Schwartz Catching the Winds of Trade



Wei Kwan Guerrilla Aqueduct

Katherine Gomm Mnazi Tatu (Three Coconuts) Maternity Hospital and Women’s Health Centre


Highlighted Project – Freeport Municipale Jack Scaffardi

This project is set in the Italian exclave of Campione d’Italia – a tax haven with a rich artistic history and home to Europe’s largest casino. This thesis aims to serve as a critique of art as a commodity, taking the form of a cemetery of objects.


Jack Scaffardi Freeport Municipale

Highlighted Project – After Happily Ever After: An Architectural Fairy Tale of Walt Disney Greg Walton

This story tells of an old man so devoted to the idea of creating and preserving a legacy that he dedicated his entire life to it. For four decades the man had gone from success to success, infecting modern culture in a way no one else ever had, with barely anything eluding him. The man had two sides; the public benevolent figure that the world adored, the other is what he thought of himself, his psyche tormented. Rather curiously, he was inherently unknowable. He was a myth, an invention, a character in a storybook, meticulously designed by the master storyteller himself. This story begins at the end, as the man finally comes face to face with his own mortality; in a hospital bed awake, motionless and staring at the ceiling.

Greg Walton After Happily Ever After: An Architectural Fairy Tale of Walt Disney


MArch Dissertations 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. The research has a growing profile in the School, with two public presentations taking place in October and February, and the dissertation is now a feature of the Degree Shows in Newcastle and London.

Lost in the Wild: An Exploration into Spatial Dislocation within Survivalist Landscapes Matthew Mouncey McCandless’s Alaskan Odyssey struck a chord with a large portion of society when it was first covered by the media; his tragic tale gained notoriety for the social angst it accentuated within people in the Western World. But more so than that, it highlighted glaring shortcomings in civilization as we understand it. Within this dissertation I unpack the story of McCandless, such that it highlights the driving factors behind spatial dislocation within survivalist landscapes. These notions of longing for the unknown set the context for a deep-seated social angst that comes to explain why characters like McCandless flee. Their actions are reactionary to their perceived view of civilization, which I unpack throughout the course of the text. Both the spatial necessaries and implications of their actions are explored such that they pinpoint and question the core issues associated with spatial dislocation. The description of architecture as a metaphor for the power and authority that orchestrates this social neurosis calls into sharp relief the power and influence of the built environment around us. The removal of the body into heterotopic survivalist landscapes implies the basic re-ignition of fundamental human mechanisms that have been repressed. The architectural condition we’re facing is one of power and authority; by exploring subversive courses of action it may be possible to reconcile the problematic areas of civilization through a discussion with survivalist landscapes.

The System of Houses Jack Scaffardi This piece is an investigation into how housing operates as commodity within capitalist society, one that is designed to maximise what Karl Marx termed exchange-value at the expense of its usevalue – use-value being the usefulness of a thing and exchange value being its monetary relation. Neil Brenner states: ‘the commodification of housing is the handling of housing not as one of life’s necessities, something that provides shelter, protection, privacy, space for personal and family activities, but rather as something that is bought and sold and used to make money’. This study investigates how housing’s operation as a consumer good manifests in the domestic environment.

What Does the Commission of the CCTV Headquarters, and Rem Koolhaas’ Winning Design, Say about the Current Political, Economic and Architectural Climate of Beijing and China? Emily Page Commissioned in 2002 by the People’s Republic of China, the CCTV Headquarters is widely regarded as political propaganda and an ‘institute of censorship’, intended to project China onto the world stage and showcase its ascendency. The focus for my MArch dissertation was to understand the interrelationships between the building and China’s economic growth, branding strategies and soft power initiatives. The dissertation discusses China’s use of starchitect Koolhaas and the use of a highly recognisable logo form as a branding tool for both building and country. China is pursuing a strategy of greater international engagement to increase its influence on the world stage. The thesis examines China’s attempts to improve its worldwide branding and perception, considering strategies such as the 2006 ‘Ten Mile Brand Strategy’ that attempted to establish brand promotional systems. It also studies the impact the CCTV building has on China’s soft power initiatives, both in aiding and abetting soft power strategies.


Rebuilding to Remember: How the ruins of war have been used in urban reconstruction Alyssia K. Booth ‘To be sure a cityscape is not made of flesh. Still, sheared-off buildings are almost as eloquent as body parts… Look, the photographs say, this is what it’s like. This is what war does. War tears, war rends, war rips open, eviscerates. War scorches. War dismembers. War ruins.’ – (Virginia Woolfe) Architectural heritage is often attacked in times of conflict, and post-war reconstruction presents a number of potential challenges: limited economic funding; the necessity to rebuild; the difficulties of clearing huge areas of rubble. However, over the past few decades, advances in modern architecture have allowed many ruins of war to be rebuilt in some capacity, owing to recognition of their associations with collective memory, the identity and history of places, and of the educational importance of commemorating the darker periods of human history as well as successes. Although undeniably a time of great trauma, the aftermath of war can also be seen as a political opportunity for rebuilding, creating potential for ‘radical’ architectural speculations within the reconstruction. This paper is a study of the ways in which people engaged with the destroyed architecture of WWII, the choices of different methods of rebuilding with the ruins; replica, retention, integration, (including the impacts of these choices) and how integrating ruins alongside modern architecture can help restore the collective memory, identity or culture of a war-torn city, playing an important role in the future of post-war reconstruction. The study aims to reveal that the post-war reconstruction of cultural heritage is not only important to the successful moving on of societies, but also a significant political tool to manipulate communities and the remembrance of history in a post-war environment, giving cause to question the current lack of architects involvement in the reconstruction of war ruins.

Prefabricated Masonry and its Place within the UK House Building Industry: Can we normalise prefabrication and make it desirable through the use of brick; whilst increasing the efficiency and sustainability of new homes? Katherine Gomm Brick has long been a staple component of British architecture, used for palaces, factories and homes and our preference for the material is still strong. However, with growing pressures on the government to increase the number of houses built, can we adapt the use of the humble brick to increase the efficiency and sustainability of new homes in the UK? Prefabricated brick cavity wall panels have the ability to meet these demands, but is it possible to remove the stigmatism associated with prefabrication and embrace this new technology? Can we normalise the notion of prefabrication and increase its desirability through the reinvention of the familiar brick in order to build better homes for the future? The results of my survey of the British public conducted to understand their needs and desires show that in general people do not want a prefabricated house. However, in studying the UK’s first and only private dwelling built using prefabricated brick cavity walls, it is clear that this new system has favourable benefits when compared to traditional construction methods. It merits further research, development and consideration as a valid new building technology.

Mankind’s Box Christopher James Bulmer Rabbits have hutches, hamsters have cages and mankind has an architecture of Manspace. Manspace began with the agricultural revolution, it is the turning point in which mankind departed from its intimate symbiosis with nature, and began laboriously carving out an artificial human island out of the surrounding wilds. Manspace was born, and at the centre of this island of Manspace peasants lived their lives in a wood, stone, brick or mud structure consisting of foundations, walls and roof– the house. The house remains the centre of this Manspace, and like flowers being fed in a glass vase mankind desperately tries to supplement his own needs within his own enclosure. Continually seeking to instil the idea that the house is in fact full of life rather than void of it. This lack of life is all around the house, in the fresh cut flowers with their promise to die, in the pests which mankind exterminates, in the stuffed animals real or otherwise and in the images of landscapes on multiple forms of media. Through all these elements mankind attempts to fulfil his biophilic needs and repress his ecological boredom; he tries to feel alive. However these efforts are in vain for mankind is not truly alive in the house, yet nor is he dead; mankind is merely existing within his box.


Is Essex the Only Way? Tracing echoes of Essex in regional housing development Imogen A E Holden This dissertation seeks to untangle the suggestive frameworks put forward by the inaugural Essex Design Guide. In exploring its shaping of new housing developments and identifying moments of Essex-ness, this research aims to prove that the Guide is a document of distinction and worthy of research in its own right. Whilst on the surface the Guide reflects the standardised planning policy document, in exploring the richness of the document’s cultural, historical and theoretical contexts, it becomes increasingly difficult to categorise. An eclectic combination of social commentary, policy checklist, design sketchbook and materiality mood-board, the Guide slides across category boundaries raising broader questions relating to assumed knowledge, sense of place and the Local. In exploring moments of inner logic and assumed understanding, occurring both within the Guide and in its connections to external factors, the relationship between the Local and locality will be challenged in reference to the Essex-ification of new UK development.

Building Normalities Ewan Thomson One in four people in the UK will experience a mental illness in any given year. However, public perceptions of mental illness do not reflect this, with stigma still rife. Stigmatisation of the mentally ill is an issue architecture cannot shy away from, as it’s already played a major part in it. Take Oakwood hospital, Barming Heath. A former Victorian mental hospital, it has since been turned into flats. The slogan they used to sell them was ‘with prices like these, you’d be barmy not to buy!’ The inpatient facility is a specialised building typology with important architectural ordering, and a complex set of power relationships. This study seeks to understand if and how architecture can help normalise spaces of mental illness, both in the public eye and for people using mental health buildings. Don’t Just Hope for a Better Life. Buy Into One. Ruth Sidey This dissertation, through an analysis of Nigella Lawson’s latest kitchen, highlights the conflicts that arise between the ‘ideal’ and the ‘real’ in the domestic sphere. Idealised constructions of the domestic have been utilised since the dichotomy between the home and the place of work was established. These curated environments have been used variously to promote consumption, national identity and most recently to provide an aspirational ‘lifestyle’ model. Nigella’s performance of a ‘perfect’ lifestyle, in the wake of her widely publicised divorce, is dissected and placed in historical, social and political contexts. The author concludes that Nigella willingly places herself within traditional domestic ideals and stereotypical gender roles, presenting an ultimately pleasing femininity. Her image, through a form of retrospective imagining, conjures up images of an era that promised a ‘better life’ through social mobility. In the neoliberal context of today, however, this nostalgic image serves to mask an uncomfortable truth; that achieving our aspirations is now, in many ways, blocked. The gap between the ‘ideal’ and the ‘real’ is in fact a glass wall which can never be penetrated, and the ‘perfect’ remains in the idealised, unachievable realm.

Designing and Building With / For / Around / About a Community? Reflections from a Live Project in Borneo Thomas Henderson Schwartz The dissertation examines the role of western architects, designers and students working in developing countries through the lens of a personal experience of the design and build of a community centre in Kampung Buayan, Sabah, Borneo, 2013-14. It is structured as a semi-chronological theorised diary, borrowing ideas from post-colonial theory, sociology and contemporary understandings of space. The opening of the dissertation situates the stakeholders of the project and explains how each came to be involved. The second part deconstructs motivations and responsibilities of the stakeholders and critiques the idea that ‘local is good’. The third part analyses the design process within the framework of Bhabha’s understanding of post-colonial translation and hybridity. Next, the fourth part investigates to what extent one can integrate into a community and the cultural and ethical considerations of such an integration. The fifth part examines the role of authorship and ownership of a piece of architecture. Here the motivations of the architect are re-examined and the success and failures of the project are elaborated. The final part examines the role of recognising the naivety and ambivalence of an architect working in a similar context and how that recognition is productive.


Building Modern Turkey: State, Space and Ideology Zeynep Kezer

Zeynep Kezer’s book, Building Modern Turkey: State, Space and Ideology was published in December 2015 by the University of Pittsburgh Press as part of its Politics, Culture and the Built Environment Series. The book provides a critical account of how space and spatial practices mediated Turkey’s transition from an empire into a modern nation-state. Kezer deliberately juxtaposes the making of new types of spaces to accommodate the demands of this new politico-cultural formation with the dismantling of ethnic and religious enclaves and the practices they engendered, exposing the inextricable relationship between the creative and destructive forces deployed in the nation-state building process. Building Modern Turkey surveys a broad terrain of state activities – from achieving internal pacification to gaining international recognition – and how these played out in sites prominent, ordinary, and marginal. In so doing, she demonstrates how, as an indisputably spatial process, state formation necessarily operates at multiple and interdependent scales from that of the individual body to that of regional geopolitics.


Zeynep Kezer

The nationalists’ bid to reinvent Turkey as a modern nation-state following the Ottoman Empire’s collapse at the end of WWI was a formidable challenge. On the home front, the move meant not only importing wholesale an alien form of government with its laws and institutions, but repudiating an indigenous legacy that had shaped this land and its people for over six centuries. This entailed tearing down communitarian structures that had historically constituted the social fabric of the empire and instituting a centralized legal and institutional network enabling state penetration into ever-expanding areas of people’s everyday lives. On the international front, Turkey’s nation-statehood depended on gaining recognition as a peer within the Westphalian system of states. Nowhere were these tensions played out more dramatically than in the built environment where a feverish drive to create the spaces (governmental and institutional buildings, monuments, public works, etc) to accommodate this new order was coupled with an equally intense determination to obliterate Turkey’s ethnic and religious landscapes, the persistence of which – claimed the nationalists – obstructed national unification and secularization. Meanwhile, the construction of embassies in the new capital Ankara, and, by implication, Turkey’s international recognition as a peer state, hinged on regional geopolitical rivalries and unsettled scores from WWI. So did the question of which foreign experts and whose credit would shape Turkish modernization. The first book to provide a spatial account of the making of the modern Turkish state, this volume addresses important omissions in architectural history and, more generally in Turkish historiography, regarding the costs and consequences of imposing an imported concept of ‘the modern’ on a multicultural, complex indigenous society and destroying the built environment which underpinned it. The broad range of spatial scales considered in this study exposes previously overlooked interrelations and tensions between local, national and regional productions of space. Interdisciplinary in approach, this book seeks to explain the complex factors that inform the physical and ideological shaping of the modern world of the unified nation state.


Linked Research The 40 credit Linked Research module is unique to the Newcastle curriculum and it spans the two years of the MArch enabling year-long collaborative research projects between staf 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 openended 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 or partners inside and outside the university.


Graham Farmer

2015-16 Projects

2016-17 Projects

Testing Ground

Architecture Default

Testing Ground

Kieran Connolly

Graham Farmer

Alexander Burnie Rumen Dimov Megan Jones Joshua Long Mundu Sinvula Corbin Wood Simon Baker

Noor Jan-Mohamed James Street

Laurence Ashley Alex Baldwin-Cole Ulwin Beetham Sophie Cobley Robert Evans Katie Fisher Sam Halliday Kathleen Jenkins Matthew Westgate

Graham Farmer

Atlas of Artificial Mountains

Josep-Maria García-Fuentes Matas Belevicius Seva Karetnikov


Steve Parnell Raphael Selby Insa Thiel Joe Wilson

Building Adaptability John Kamara

Gustav Lundstrom

Empty Pool

Newcastle After Dark Ed Wainwright Sam Austin

Delia Heitmann Tom Saxton Matt Sharman Hayles Rosie O’Halloran

Katie Lloyd Thomas Rona Lee


Theodora Kyrtata Stavri Rousonidou Martin Parsons

Nicola Blincow Malcolm Pritchard Alexandra Carausu Matt Wilcox

Prue Chiles

Beyond Representation James Craig Matt Ozga-Lawn David Boyd Joseph Dent Nick Ward Ruochen Zhang

Learning Spaces Matthew Margetts

Tom Cowman Kayleigh Creighton Carl Reid Jessica Wilkie Gavin Wu


Opposite - Testing Ground 2015-16 The Rochester Roundhouse

Testing Ground Graham Farmer

The Testing Ground Project is now in its third year and it provides the opportunity for students to collaborate with other disciplines in a wide range of ‘live’ situations with the aim of creating public facing architecture and related activities. The main project this year has been the design and construction of The Rochester Roundhouse, Northumberland. The project included extensive community consultation and has responded to residents’ wishes to reuse the dilapidated Brigantium roundhouse to create a community resource. The students involved have had to design and construct the project as well as navigating complex statutory processes and managing time and cost. The regenerated site provides an open air amphitheatre and contemporary timber pavilion which will be used for stargazing, musical performances and a range of community workshops. The roof of the existing stone circle has been removed to turn it into an open-air space and local craftsmen have worked with students to carry out repairs to the dry stone wall, before the addition of new seating and flooring. The larch-clad timber pavilion is located next to the stone circle and includes a sedum green roof. The pavilion and associated landscaped outdoor spaces will provide a multifunctional, bookable facility that will be managed by the community. It will also become a key performance venue for the annual Redefest folk music festival.



Research in Architecture Research in the School is flourishing and we’ve seen some very exciting developments this year. These include new collaborative projects, internal and external recognition of our work and significant funding success, all of which are enabling growth in the numbers of PhD and post-doctoral researchers in architecture, and the development of research-led teaching at all levels of the degrees we offer. Colleagues have had considerable success winning grants this year that firmly establish us as a leading centre for interdisciplinary architectural research in the UK and will bring early career researchers to the School. External high profile grants include Computational Colloids (EPSRC, Dr Martyn Dade-Robertson – £158k), LIAR – Living Architecture – (EC, Professor Rachel Armstrong – £175k), Imaginaries of the Future (Leverhulme International Research Network, Dr Nathaniel Coleman – £109k) and eVis (EPSRC, Dr Neveen Hamza – £128k). Martyn Dade-Robertson and Rachel Armstrong have also been awarded a share of a substantial University internal Research Investment Fund (RIF) grant for their joint APL research project ‘Ageing City’. In terms of growth as a research centre, Dr Emma Cheatle joined us at the start of the year, having won the highly competitive Newcastle University Humanities Research Institute three year postdoctoral fellowship, to pursue her project ‘Tales of Confinement’, an investigation into the role of architectural spaces and buildings in the history of maternity, and Dr Tom Brigden has just embarked on his three year Leverhulme Early Career Fellowship. We are currently recruiting a third post-doctoral researcher in Design-led Architectural Research to start in September 2016 and will be advertising a fourth post for 2017. At the same time as becoming the home, to our knowledge, of the largest body of post-doctoral researchers in a UK architectural school, we are also seeing our research strengths informing teaching at all levels. Curriculum changes in the BA are enabling research-led teaching in history and theory, and in design, and our unique ‘Linked Research’ offering in the MArch which involves students working together with colleagues’ own projects has expanded, including projects as different as lab-based research and building for communities. Some of this work was presented at the Association of Architectural Educators annual conference at UCL in April, and linked research students joined colleagues and visiting speakers to present their own projects at our very successful Mountains and Megastructures symposium and exhibition in March. We continue to provide PhD studentships with Aldric Rodriguez Iborra taking up the Design Office position, and we had PhD completions from Abdelatif El-Allous, Mohamed Elnabawy Mahgoub, Mabrouk Alsheliby, Yohannes Firzal, Amira Hasanein, Antonius Karel Muktiwibowo, Tugce Sanli and Deva Swasto. Notable achievements from our PhD cohort include the award to Catalina Mejia Moreno of an Andrew W. Mellon Fellowship in ‘Architecture and/for Photography’ at the Canadian Centre for Architecture and Sana Al-Naimi’s participation in the Vice Chancellor’s ‘Celebrating Success in the University’ for her contribution to the ‘Extraordinary Gertrude Bell Exhibition’ at the Great North Museum. Congratulations to all! Cultures and Transition Research by Design Andrew Ballantyne Ian Thompson Josep-Maria Garcia-Fuentes Martin Beattie Peter Kellett Sam Austin Zeynep Keyzer

Futures, Values and Imaginaries Adam Sharr Andrew Ballantyne Graham Farmer Ian Thompson Kati Blom Matt Ozga-Lawn Nathaniel Coleman Neveen Hamza Steven Dudek

Adam Sharr Armelle Tardiveau Daniel Mallo Graham Farmer Martyn Dade-Robertson Matt Ozga-Lawn Matthew Margetts Prue Chiles Rachel Armstrong

Professor Dana Arnold Sebastian Aedo Jury Sophia Banou Dr Camillo Boano James Craig Professor Mark Dorrian Professor Paul Emmons Professor Katja Grillner Professor Katherine Gough Social Justice, Well-being and Renewal Dr Amin Kamete Thomas Kern Armelle Tardiveau Astrid Lund Carlos Calderon Professor Julia Morgan Daniel Mallo Professor Dejan Mumovic Kati Blom Charlie Sutherland Nathaniel Coleman Professor Robert Tavernor Peter Kellett Ed Wainwright Prue Chiles Tony Watson

Mediated Environments Specifications, Prescriptions and Carlos Calderon Translations John Kamara Katie Lloyd Thomas Martyn Dade-Robertson Neveen Hamza Rachel Armstrong Sam Austin Steven Dudek


Visiting Professors, PhD examiners and contributors:

John Kamara Katie Lloyd Thomas Matthew Margetts Simon Hacker Zeynep Kezer

PhD students

Abdelatif El-Allous Antonius Muktiwibowo Artem Holstov Ashley Mason Catalina Moreno Charles Makun Chen-Yu Hung Deva Swasto Dhruv Sookhoo James Longfield

Javier Urquizo Jose Hernandez Katriina Blom Khalid Setaih Kieran Connolly Mabrouk Alsheliby Macarena Rodriguez Maimuna Saleh-Bala Matt Ozga-Lawn Mohamed Elnabawi Mohammed Mohammed Najla Mansour Ni Ketut Agusintadewi Oluwafemi Olajide Oluwatoyin Akin Paola Figueroa Pattamon Selanon Rand Agha Sam Clark Sana Salman Dawood Al-Naimi Sarah Cahyadini Stephen Grinsell Thomas Kern Tijana Stevanovic Tugce Sanli Ulviye Kalli Usue Arana Wido Tyas Xi (Frances) Ye Xi Chen Yasser Megahed Yohannes Firzal Yun Dai

Opposite - STASUS Everest Death Zone: Mallory

Mountains and Megastructures The Mountains & Megastructures symposium took place on the 16th and 17th of March in the Architecture Building. The symposium was organised by ARC (Architecture Research Collaborative) at Newcastle University, and is intended as the first in a series of events addressing particular themes emerging through our collective research. We were joined by two keynote speakers, Stéphane Degoutin, an artist and writer whose paper ‘Fake Mountain Metaphysics’ demonstrated the range of ways artificial mountains can be imagined and realised, and Jonathan Hill, Professor of Architecture and Visual Theory at the Bartlett, whose talk ‘A Landscape of Architecture, History and Fiction’ discussed the ‘shock of the old’ as alternative to the ‘shock of the new’. Speakers from the School included Professors Rachel Armstrong, Andrew Ballantyne, Graham Farmer, Stephen Graham, Prue Chiles and Adam Sharr among many others, including Linked Research students Seva Karetnikov and Matas Belevicius. The talks and discussion were accompanied by an exhibition of work on the joint theme, including projects from STASUS (James A. Craig & Matt Ozga-Lawn), Amy Butt, Ray Verrall and Christos Kakalis. Images of the event are opposite, and following is Andrew Ballantyne’s paper from the event.


Mountains and Megastructures Symposium


A Mountain Near Thebes Andrew Ballantyne

It was Deleuze and Guattari who said we should make deserts of ourselves. We can make ourselves receptive to being settled by nomadic ideas that live in us for a while and then move on. ‘The desert, experimentation on oneself, is our only identity, our single chance for all the combinations which inhabit us’. The concepts that inhabit us shape who we are and how we interact, so they are part of us even if they move on from us, and they have a political dimension to them. Deleuze and Guattari make this image of thought seem like a personal discipline, something we can encourage in ourselves and in our attitudes to dealing with the world. As an image it seems benign and welcoming, and it has much in common with Foucault’s sense of the self and the ideas that operate through it; but where Deleuze and Guattari’s desert is a temporary home for ideas that seem more-or-less welcome, Foucault’s is rather different. It is a place where the tribes of ideas might set up camp rather forcibly. Their presence might not be welcome and they might not move on. With Deleuze and Guattari the sense of the self is fluid and constantly engaged with the surrounding milieu, and Foucault shares that sense of engagement but with him the self often seems not so much fluid as malleable. It adapts and can be reshaped in any number of ways, but it is hammered into shape. Nietzsche’s thought lies behind all of them as a formative influence, and Deleuze remade Nietzsche in his own way, but Foucault carries more-evident traces of philosophising with a hammer. He wrote about the prison, the psychiatric hospital and the school: institutions in which people are remade for the sake of society. These institutions take in people who have a will of their own that may be as-yet unformed, or be actively antisocial, and they are knocked into shape, learning and internalising attitudes and patterns of behaviour that allow them to lead productive wellregulated lives in the social world. Foucault coined the term ‘heterotopia’ for such spaces that are apart from the commonplace world where a society’s dominant values freely operate. In a heterotopia they are suspended to a degree and maybe one is held in it until one can show a suitable degree of conformity to the norms. The conditions may be coercive and brutalising, or might offer greater-than-usual freedoms for transgression, but they are set apart from the places where normal polite behaviour is in play, and where routine transactions are made. There are some identifiable places where such conditions apply, but the heterotopia is a heterotopia not because it is a particular spot, but because the range of concepts and power-relations there are outside the societal norm. It can be institutionalised, as in a prison, a school, or a honeymoon hotel, but equally it can be more personal than that – a interior space withdrawn from social conformity – such as a room of one’s own, or the desert. Saint Anthony lived in Egypt in the third century AD – one of the church’s ‘desert fathers’. Foucault wrote a commentary not on Anthony himself, but on La tentation de Saint Antoine, a novel by Gustave Flaubert (1821-80) which takes the persona of the saint as a vehicle to explore a range of ideas. The place in which the action unfolds – if it can be called ‘action’ – is heterotopic. The place is specified by Flaubert as the summit of a mountain near Thebes in Upper Egypt. There is some historical reason for this, as early monasteries, including some associated with Anthony, were in deliberately remote places, and mountains were seen as deserted, set apart from society. It is this remoteness that makes the place heterotopic and appropriate as a place of retreat when there is a need to distance oneself from society’s established normative thought. In cities the forms of behaviour are required by convention and it is one’s mastery of the convention that demonstrates effective participation in society, whether that be as a productive machinelike worker, or as a participant in a Proustian salon. Anthony’s isolation is in many ways like that of a prisoner, except that he has chosen to be shut away with his thoughts: it is the place’s remoteness that is its crucial characteristic. The external world does not figure at all. The subject-matter is internal to Anthony – his states of mind, his reading of the Bible, his hallucinations – made apparent in the text on the page. Flaubert re-visited and re-wrote The Temptation of Saint Anthony over many years, eventually publishing it in 1874. It is less like a novel than a screenplay. It uses the format of a work for the theatre, but the ‘stage directions’ include elaborate special effects that cry out for computer-generated images: apparitions of literary characters, fabulous beasts, deadly sins and heresiarchs. It opens with Saint Anthony involved with his reading of the Bible and the visitations – apparitions or hallucinations – prompted by it. The desert is a


Martin Schongauer - The Torment of Saint Anthony

heterotopia, and in it the saint remakes himself. The process of transformation is effected by meeting and disputing with the apparitions, building up to an ecstatic culmination with a vision of the face of Christ in the disc of the sun at dawn, as Anthony deliriously declaims. O joy! O bliss! I have beheld the birth of life. I have seen the beginning of motion! My pulses throb even to the point of bursting. I long to fly, to swim, to bark, to bellow, to howl. Would that I had wings, a carapace, a shell, – that I could breathe out smoke, weird a trunk, – make my body writhe, – divide myself everywhere, – be in everything, – emanate with all the odours, – develop myself like the plants, – flow like water, – vibrate like sounds, – shine like light, – assume all forms – penetrate each atom – descend to the very bottom of matter, – be matter itself! Anthony is shedding his human conceptions and becoming part of nature – in Biblical terms, recapturing the state of affairs before the fall of Adam and Eve and their expulsion from the Garden of Eden. He is becoming instinctual and matter-like, responding to stimuli without the mediation of intellectual processes. Foucault articulates this as the ‘relationship between sainthood and stupidity’. Saint Anthony, he says, ‘wished to be a saint through a total deadening of his senses, intelligence, and emotions’. If Saint Anthony is becoming matter, the matter is not inert but formative – vibrant and pulsating. We are moving away from a position where ‘man’ gives form to matter that is seen as characterless substance, to one where the matter has an innate form-generating role, but the matter’s idea of form might be very different from man’s. This brings us into the realm of the posthuman, which developed after Foucault’s death but in his wake. It is a world in which matter and things have a role, and (all things being equal) sometimes have a say. This was taken up by Jane Bennett in her discussion of ‘thing-power’. Her ‘vibrant matter’ is clearly recognisable as a relative of Anthony’s. There is liveliness in matter before there is organic life, such as the interactions in chemical processes that are in effect highly localised decisions that bring about results that are statistically predictable but at the level of individual molecules they are events that can resolve one way or another, depending on the proximity of another molecule, the pressure, the temperature and so on. The sedimentations and turbulences of geological formation leave traces in the strata of a bed of limestone, or the whorls in a slab of marble. The characteristic shapes of mountain ranges or drifts of sand dunes are determined not by a designer working out the form from outside, but by the materials deciding the form from within, interacting with the circumstances. The hylomorphic model of design – a term taken up from Gilbert Simondon by Deleuze and Guattari – resolves form from outside, and has ways of measuring and determining the form that involve delineation of geometric shapes. There has been significant development of thinking about this issue in recent years, and the idea of form being generated from within – or seeing the human agents as part of a material formation – takes forward the thinking that Foucault set in play. Anthony’s mountain is a heterotopia not of social coercion – like the prisons, madhouses and schools – but a heterotopia of liberation, where the self can open up to experiment, rewilded, inhabited by the rocks and wind, miraculated by sunbeams. On such a plateau of immanence the self can lose its outline and be washed away by lapping waves, or dispersed like the morning vapours as the sun rises and shines on Saint Anthony.

Master of the Osservanza - The Meeting of Saint Anthony and Saint Paul


Daniel Mallo, Georgia Giannopoulou, Tim Townshend Contributors: Ali Madanipour, Tim Townshend, Colin Haylock, Suzanne Speak, Prue Chiles, Jules Brown, Michael Crilly, Daniel Mallo, Richard Smith, Aidan Oswell, Montse Ferres, Martin Bonner, Armelle Tardiveau, Dhruv Sookhoo, Georgia Giannopoulou, Roger Meier, Roger Higgins, Victoria Keen The MA in Urban Design is a well-established interdisciplinary programme at Newcastle University that draws on expertise from the disciplines represented in the School, namely Architecture, Planning and Landscape. 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 and are supported by theory courses and critical debate around the practice of Urban Design. The projects introduce students to contemporary and topical themes including Urban Agriculture which allows us to rethink urban regeneration through the lenses of grass-roots processes whilst engaging with the strategic thinking of a large territory. The European field trip to Nantes (France) aims to introduce alternative approaches to Urban Design including landscape and tactical urbanism. The project is sited in an abandoned quarry at the heart of the city and provides the opportunity to rethink design as a process over time. Finally, Housing Alternatives 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, centred around the increasingly popular in the UK cohousing model. The year concludes with the Urban Design Thesis, a major research-led design project. The course offers many opportunities for visiting places within the UK and in Europe in the context of the projects.


A Platform


(repurposing of abandoned buildings on site)


cycle path


main road


main road



Green Roof

divider + planters

Lunar Tree

cycle path


MA in Urban Design (MA_UD)

(maintaining the primary structure as framework for future intervention)






Group - Cities and Cultures - Su Ann Lim, Guan Wang, Bo Li

Laurence Farshid Bonner, Guan Wang, Bo Li, Yixi Lu, Qingyi Du, Daniel Viana Santos


MA in Architecture, Planning and Landscape – Design Nathaniel Coleman

Contributors: Nathaniel Coleman, Astrid Lund, Tony Watson The Master of Architecture, Planning and Landscape-Design (MAAPL-D) course encourages students to develop a deeper understanding of varieties of identity in cities. Students conduct detailed studies of particular urban communities, concentrating on determining strategies of appropriate development for specific urban sites. In each of the three semesters of the course, developing projects presuppose devising community based urban design frameworks for selected sites that broadly consider the surrounding context. In each semester, holistic design frameworks articulating the potential character and quality of the environment initiated by the proposed project support reasonably complex building designs. Semester one is divided proportionally between group explorations of the city and individual project work, augmented by developing research into the history, theory and design of cultural buildings in an urban context. The second semester project explores 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. Students produce three architectural/urban design schemes of increasing scale and complexity for a specific urban location. Architecture as a civic element is emphasised, including concentration on the relation between exterior and interior spaces. The problematic of public space within an increasingly privatised built environment; the degree to which theory can be verified by the design; and the support of both by close readings of set theoretical texts that consider architecture and the city from a range of perspectives are central to the course; as is a developing understanding of architecture within the expanded field of an urban context in relation to notions of identity, community, and culture more generally. No matter their scale, projects are construed as complex public buildings with key interior and exterior public spaces specific to their location and purpose. 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 that they largely produce independently. The MAAPL-D course challenges students’ preconceived notions of architecture, planning, urban design and the city, as well as their ingrained habits of architectural conceptualization and representation. In the course, individual buildings are considered as component parts of cities, rather than as isolated objects within it. As such, tendencies to overemphasise buildings as spectacular image, interesting form, or virtuosic technological novelty are counterbalanced by the urban, social, and tectonic qualities of projects. Within the expanded field of the city, urban buildings are emphasised as sociocultural elements rather than primarily as abstract objects of aesthetic (or visual) appreciation.


Ling Shuang Yue

Da Yu


MSc in Sustainable Buildings and Environments Neveen Hamza

Contributors: Andrew Arnold, Dr. Alan J Murphy, Barry Rankin, Clive Gerrar, Dan Jestico, Halla Huws, Dr. Hassan Hemida, Jess Tindal, Liam Haggarty, Richard Allenby, Dr. Samuel Austin, Stuart Franklin, Dr. Wael Nabih Students on the Sustainable Buildings and Environments MSc use building and urban performance simulation tools and a deeper understanding of building physics to underpin their architectural design approaches. This academic year we were joined by students from the MArch and MAPL-D route in projects. The students worked on three live projects with their estates departments and Newcastle City Council. They engaged with a number of well-established professionals in the field. Engineering Excellence Quarter (Newcastle University): we were asked by the University to start looking at massing ideas for projects to maximize capturing sustainability aspects of the site. Students looked into environmental impacts (such as wind speed and shadowing studies) on pedestrians and how different massing ideas could lead to a unified campus, where pedestrian movement is facilitated and the natural environment is moderated. Sunderland Royal Hospital: we worked closely with the estate department to improve the 1960s building. Occupants complain about drafts in winter and overheating and less effective natural ventilation in the wards all year round. The project addressed possibilities of aesthetic improvements, and insertions of social interaction spaces, while moderating the indoor climate using building performance simulations. Students also expanded their explorations to look at climate change scenarios and environmental architectural concepts which can prevent the need for cooling. Fisherman’s Lodge in Jesmond Dene: the students presented design proposals for the public consultation that was managed by English Heritage and Newcastle City Council. The Fisherman’s Lodge has been derelict for over ten years and ideas for its revival and extensions into various possible functions were introduced to the council to help them build ideas for potential usage. Building and urban performance simulation were used to maximize the sustainability potential of the projects and underpin design decisions in such a dark and historic valley.


Top - Zhengkai Lu

Bottom - Group Student Analysis

Top - Groupwork Engineering Excellence Quarter

Bottom - Rosy Rivera Lara Fishermans Lodge - Perspectives


PhD and PhD by Creative Practice Students Towards a Synthetic Morphogenesis for Architecture Paola Carolina Ramirez Figueroa

Synthetic Morphologies is a design exploration project that emerges from a growing design discourse on the possibilities afforded by Synthetic Biology. The 21st century is poised to be the era of biology, very much like the 20th has been the age of digital information. The notion comes from recent advances from Synthetic Biology in manipulating and creating new living organisms that exhibit unprecedented traits in nature. Design, as many other fields, has felt the influence of such a paradigmatic shift. In architecture, for instance, a growing body of speculative work imagines a future material reality enacted by hybrids of machine and living organisms, whereby building are grown rather than constructed. Yet, Synthetic Morphologies poses the possibility that, in fact, Synthetic Biology presents design with a more profound challenge – one that stirs the restating of the discipline of design itself. To think, for instance, of buildings which are grown out of pre-programmed living organisms is, in effect, to continue the classic paradigm of design wherein the designer is an almighty giver of form. I propose an alternative approach – an organicist-inspired material practice for synthetic biology. I believe the intersection of design and synthetic biology invites us to think of design as a negotiation between different actors, some of which include the chemical environment, mechanical conditions, designers and living organisms themselves. Throughout my doctoral research I’ve engaged in different projects which characterise and trace the evolution of the speculative discourse initiated by synthetic biology, and which eventually leads to the notion of a biologically-oriented material practice: a technique to engage with the processes of designing through and with living organisms.

Architecture By Default Kieran Connolly

Rem Koolhaas’s polemical essay ‘Junkspace’, written at the turn of the millennium, recalls a contemporary landscape of generic sameness, latent with subliminal and ideological messages. The text rejects traditional ideas of architectural space, dissolving ideas of order, type and hierarchy into a chaotic amalgam that is apparently ordered and bound together by its globalised ubiquity. Junkspace, as Koolhaas describes it, is the space of material human waste that has become a measure of modernity. Fourteen years after the publication of this seminal essay, this research began by examining a Junkspace par excellence – the suspended ceiling. Organised on a standard grid of 600mm x 600mm, set-out using aluminium sections, supporting lightweight tiles, it repeats, room after room in what can be seen as an almost limitless horizontal expansion. The suspended ceiling has become a seemingly ubiquitous feature in twenty-first century architecture, as recently demonstrated by Koolhaas himself at the 2014 Venice Biennale. Using Koolhaas’s observations as a starting point, the research has focused on the relationship between the repetitive organisational qualities of the aforementioned grid and the void spaces it conceals above – known as the Plenum. These spaces not only deal with ventilation, but also hold an ever-increasing network of services that give comfort and ‘power’ to the inhabited spaces below. Through a series of investigations, often recalling the evocative imagery and representation techniques of the radical Italian design collective Superstudio, this relationship has been explored in order to expose our growing reliance on ‘serviced’ space. As such, the thesis examines these forgotten, hidden but vitally important environments of Junkspace, in order to explore a much broader question – how reliant are we becoming on these concealed service spaces? And what impact does this have on the field of architecture?


Top, Middle - Paola Carolina Ramirez Figueroa

Bottom - Kieran Connolly

The Contemporary Role and Transformation of Civic Public Architecture: The Case of Tripoli’s Central Municipal Building, Libya Abdelatif El-Allous

Space Thickening and the Digital Ethereal: Production of Architecture in the Digital Age Jose-Luis Hernandez-Hernandez

Digital Ethereal came about as a design discourse on digital technologies, and the invisible infrastructure underpinning it. I believe our interaction with this landscape of electromagnetic signals, described by Antony Dunne as Hertzian Space, can be characterised in the same terms as that with ghosts and spectra. They both are paradoxical entities, whose untypical substance allows them to be an invisible presence. In the same way, they undergo a process of gradual substantiation to become temporarily available to perception. Finally, they both haunt us: ghosts, as Derrida would have it, with the secrets of past generations; Hertzian space, with the frustration of interference and slowness. But it is these same traits of Hertzian Space that affords the potential for a spatially rich interaction with information systems, one that more closely resembles the interaction with real architecture. The challenge however lies in how to design with systems that are fundamentally invisible. They can be ‘translated’ – changing their modality into one which is tangible. This modality change is however always laced with cultural charges, which changes the nature of Hertzian Space. In order to take advantage of hertzian space, I advocate for a creative practice aimed at creating new objects, indexed to hertzian space, but which also captures the cultural and social complexity imbued in the use of such technologies. I call this new series of objects the digital ethereal. The design work created throughout this project blends together disciplines and techniques such as performance, photography, design, programming and electronics. Shared Identity: Buildings, Memories, and Meanings Stephen Grinsell

News stories about either the decision to save or demolish many buildings of the 1960s and early 1970s regularly use the noun monstrosity, usually prefaced by the word concrete. However, not all concrete buildings create animosity. The recently demolished Birmingham Central Library, whilst derided by Prince Charles as looking like ‘a place where books are incinerated, not kept’ (Birmingham Mail, 2014) is also commonly and affectionately called the ‘Ziggurat’, a reference to the stepped terraces of ancient temples. David Parker and Paul Long in their article ‘“The Mistakes of the Past”? Visual Narratives of Urban Decline and Regeneration’ write ‘For all their faults, the buildings of the 1960s and 1970s currently being destroyed supplied Birmingham with an identity’ (Parker and Long, 2004 p.18). Buildings are given their identity and meaning, or more accurately, given a multiplicity of meanings, by those who gaze upon them and allow the building to impact upon them. This impact, or the experience as a result of that gaze, stirs emotions and evokes memories, memories that heighten a sense of identity. This identity then becomes a shared identity as people share their memories, and what the building means to them. Parker, D., & Long, P. (2004). ‘“The Mistakes of the Past”? Visual Narratives of Urban Decline and Regeneration’. Visual Culture in Britain, 5(1), 37-58. Natural Ventilation: An Evaluation of Strategies for Improving Indoor Air Quality in Hospitals of Semi-Arid Climates Mohamed Mahgoub Elnabawi

Learning from Vernacular Natural Ventilated Residential Houses in Mediterranean Climate Zone of Lebanon; and Developing its Application Methods in Designing Contemporary Housing in Beirut Najla Mansour

Top, Middle - Jose-Luis Hernandez-Hernandez

Bottom - Stephen Grinsell


A Coincidental Plot, For Architecture Ashley Mason

Practiceopolis: The City of Architectural Practice Yasser Megahed

This Research sets out to interrogate a dominant stance towards technology that prioritises a narrow approach to architectural production, which I have identified as Techno‐rational practice. The imaginary city of Practiceopolis is introduced as a site for the critical reading of diverse contemporary architectural practices. This reading draws from the philosopher Andrew Feenberg’s classification of varying stances towards technology. Practiceopolis is a city built on diagrammatic relations between nine theoretical modes of practice covering a wide spectrum of the contemporary architectural world. Its morphology is set out according to the influence of technology and technical knowledge in shaping different modes of architectural practice. It highlights tensions between what Feenberg might call Determinist/Instrumentalist approaches on the one hand, and Critical Theory/Substantivist approaches on the other. Practiceopolis has two dimensions; the first sets out a parallel world created as a tool for mapping the multiplicity of modes of architectural practice, of which Techno‐rational approach is only one. The second maps architectural practices critically from a dedicated map library in the city of Practiceopolis, located at an intermediate place between the Instrumentalist and Critical-Theory stances of technology. On Repetition: Photograhpy in/as Architectural Criticism - Working through the Archives of Mies van der Rohe and Lilly Reich’s German Pavilion and the North American Concrete Grain Elevators Catalina Mejia-Moreno

‘Many of us, maybe all of us, look at some images repeatedly, but it seems that we do not write about that repetition, or think it, once written, worth reading by others’. T.J.Clark. The Sight of Death. An experiment in Art Writing. (New Haven and London: Yale University Press, 2006) pp. 9. In the photo-archives of two of the most recognised British architectural historians of the late twentieth century - Robin Evans and Reyner Banham - two iconic buildings come across repeatedly, almost compulsively. In Evans’, the Barcelona Pavilion (1929reconstructed 1986) and in Banham’s, the Buffalo Grain Elevators (late nineteenth Century). While these slide sets can be understood as the result of the empiricist English tradition and the relevance of direct experience for the buildings’ histories and criticisms, they are also evidence of a wider phenomenon in architectural history: the drive to re-visit, the compulsion to re-photograph and the instinct to repeat. In this context, my PhD project questions photography as the inherent means of repetition in architectural history, while arguing that the photograph as material object and object of representation also performs as the criticism itself. By studying two important moments in time for the photographic dissemination of the two aforementioned buildings, and by understanding the material history of photographs as commodities and objects of transaction, I critically examine the relationship between architectural history, architectural criticism, and photographic and ideological techniques of (re)production. Natural Ventilation: An Evaluation of Strategies for Improving Indoor Air Quality in Hospitals of Semi-Arid Climates Mohammed Mohammed

Architecture for All in the megacity: Spatially Integrated Settlements in Istanbul Dominated by Desirable Affordable Housing that Values More than the Total Cost of Construction and Land Values Ulviye Nergis Kalli


Top - Yasser Megahed

Middle, Bottom - Catalina Mejia-Moreno

Impact of Community Participation on Peri-Urban Development Projects in Akure, Nigeria Oluwatoyin Akim

Cities, People, Nature: An Exploration Usue Ruiz Arana

With more than half of the world’s population now living in cities, it is the nature within the city that has the potential to enhance people’s lives on a daily basis. The city-people-nature trinomial raises a number of questions that form the basis of this research. My first installation coincided with the ‘Landscape, Wilderness and the Wild’ conference and explored two initial questions: Is there a boundary between the natural and cultural in the city? The relation between nature and culture is complex. The classical notion of nature is the world devoid of human interaction or activity; and urbanization, the antithesis of nature. At the other end of the spectrum there is the notion of nature as a social constructed phenomenon, and the idea that nature as the untouched doesn’t exist anymore, as human activity has affected the whole world. What is evident is that cities depend on nature to survive and vice versa, and it is therefore difficult to see where one ends and the other starts. Could the expectation of nature in the city be challenged and what could we tolerate within the urban? Within the city we tend to arrest the progression of nature in order to maintain landscapes and spaces looking a certain way, and avoid the chaos or fear that might result from a ‘wild’ nature. ‘Wilderness’ is found on abandoned sites, on former industrial sites, in the cracks of the pavements, in the joints of the walls, reclaimed by nature whilst waiting to be developed or cleared out. Are looks the reason why we arrest nature, and how is nature experienced through the other senses? Revealing Design: A Dialogic Approach Matthew Ozga-Lawn

My research project attempts to reveal hidden or overlooked agencies within the studio space and the representational modes therein, which is normally conceived of as a neutral zone through which designs are simply ‘transmitted’. In my study, the studio is conflated with a rifle range. The studio, in adopting the characteristics and agencies of the military space, opens architectural representation onto codes and phenomena normally considered to be outside its remit. These phenomena are drawn into the project through historical and theoretical links established by the rifle range space. My research blurs the agencies of the military and studio spaces, revealing coded agencies that we as designers often take for granted in how we relate and engage with representational artefacts in the studio. Usage of Thermally Comfortable Outdoor Space through the Lens of Adaptive Microclimate Khalid Setaih

Becoming Planners and Architects: the Formation of Perspectives on Residential Design Quality Dhruv Sookhoo

After the Blueprint: Questions around the Unfinished in New Belgrade Tijana Stevanović

Modelling the Effects of Household Practices on Heating Energy Consumption in Social Housing. A Case Study in Newcastle upon Tyne Macarena Beltan Rodriguez

Top - Usue Ruiz Arana Middle, Bottom - Matthew Ozga-Lawn


The Impacts of Owners’ Participation on ‘Sense of Place’, the Case of Tehran, Iran Goran Erfani

A key aspect for urban designers and managers concerns how urban transformation arising from regeneration of inner-city areas is associated with ‘sense of place’. Although much academic work tracks individual sense of place, little interrogates the community aspect and its link with urban renewal. This study investigated how the urban renewal schemes in Tehran, Iran have attempted to adopt the owners’ participation into their planning and implementation. It concentrated especially on diverse ways that different stakeholders perceived the methods of these schemes and the significance for community sense of place. The study examined the urban renewal projects conducted by the municipality of Tehran which concerns these areas as deprived neighbourhoods with various physical, social and environmental problems. Two cases were studied, namely the Oudlajan bazar and the Takhti neighbourhood, which both are located in the inner city (district 12). Despite similarities, they are distinctive cases. Oudlajan, which has outstanding heritage value to the city, is a commercial public space. The Takhti project was about the residential private space. In addition, each case had diverse socio-cultural and physical transformation. The selecting of the distinctive cases shaped a better picture of urban transformation in Tehran. The techniques applied seek to represent different types of participants, by means of local observation and semi-structured interviews with a range of stakeholders in these schemes. Additionally, to elicit what constitutes the interrelationships between people and place, Photo Elicitation Interview (PEI) was carried out. The photos captured by the residents were discussed with them to reveal the potential impact of urban renewal projects on place-based community attachment, identity and satisfaction in the eyes of individuals. Concurrently, planners, managers and developers were interviewed. To signify the intersubjectivity, the results and evidence from the previous phases were separately discussed with other participant and non-participant residents in the renewal schemes. Furthermore, the study considered the potential and limitations for sense of place associated with the urban regeneration schemes. Making Byker: The Situated Practices of the Citizen Architect James Longfield

My work draws from the site-based architectural approaches employed in Byker by Ralph Erskine and Vernon Gracie, to explore a mode of practice where the skills and expertise of the professional overlap with the personal commitment of the citizen to the social and political context of their location of residence. Through a series of projects, drawings, made pieces and activism, within the Byker area, where I now live, my thesis traces the nature of a situated approach to architectural practice, reflecting on convergences with conventional practice, as well as identifying key points of divergence where my work steps beyond professional boundaries to engage in a directly personal way. The trajectory of these actions are observed and recorded in order to describe an alternative approach to producing and appropriating the built environment, before finally questioning whether architectural practice, in its professionally bound form, is capable of delivering a social architecture. Quality Control and Quality Assurance in Construction – Case of Tower Buildings in Libya Salem Tarhuni The Conservation of Twentieth Century Architecture in China Yun Dai


Top - Goran Erfani

Middle, Bottom, Opposite - James Longfield

Comprehensive Intelligence in Sustainable Courtyard House Architecture Rand Agha

A Spatial Carbon Analysis Model for Retrofitting the Guayaquil’s Residential Sector – GURCC as a Case Study Javier Urquizo

Crisis of Traditional Identity in Built Environment of the Saudi Cities. A Case Study: The Old City of Tabuk Mabrouk Alsheliby

Looking Towards Retirement: Alternative Design Approaches to Third-Ager Housing Sam Clark

UK society was first categorised ‘aged’ during the 1970s, and is currently heading towards ‘super-aged’ status, whereby 20 per cent of the population will be aged sixty-five and over by the year 2025. Indeed scientific evidence indicates linear increases in life expectancy since 1840, such that UK population ‘pyramids’ are now looking more like ‘columns’, with fewer younger people at the base and increasing numbers and proportions of older people at the top. There are 10,000 centenarians living in the UK today, with demographers anticipating a five-fold increase by 2030. Half of all babies born this year can expect to live one hundred years. Housing plays a significant role in sustaining a good quality of life, and there is growing opinion that moving to specialist or more age-appropriate housing has a positive impact on the wellbeing of older people, as well as potential benefits to the property market as a whole. Recent design research includes a competition commissioned by McCarthy & Stone to ‘re-imagine ageing’, and an RIBA report illustrating future scenarios in which ‘Active Third-Agers’ have made a huge impact on UK towns and cities. Both initiatives were predicated on the idea that today’s older population (colloquially known as the ‘baby-boomers’) have alternative and more demanding lifestyle expectations that are likely to drive a step-change in housing choice for older people. Sam is working in collaboration with national house builder, Churchill Retirement Living, to further explore the needs and aspirations of those entering retirement. In this instance a PhD by Creative Practice is being used as a vehicle for applied design research that will contribute to contemporary visions for retirement living.


ARC – Architecture Research Collaborative With a threefold increase in research income this year since the Architectural Research Collaborative (ARC) launched in 2012, thanks to a number of successful funding bids by colleagues, new collaborative ventures and two postdoctoral fellows starting their research in architecture with us in 2015-16 and two more posts to come in September 2016 and 2017, ARC is firmly establishing itself as a major centre for research in architecture. Our remit is to promote and investigate high quality architectural research as a necessarily interdisciplinary activity, which produces knowledge through multiple methodologies and practices including creative practice, history and theory, and building, engineering and social sciences. ARC is therefore structured by key themes cutting across the various disciplines constituting architectural research, with a view to facilitating collaborative projects involving Newcastle researchers and partners at other institutions. Themes such as ‘Industries and Technologies of Architecture’ and ‘Experimental Architecture’ are responsive to topical issues and to change in ARC membership and are updated as new themes emerge. Through a programme of small-scale responsive funding we actively support collaborations between colleagues and early career and doctoral research. Our commitment to interdisciplinary research has an international presence through the Cambridge University Press journal arq – Architectural Review Quarterly – whose managing editor, Professor Adam Sharr, and the majority of the editorial team are based in ARC. This year saw the publication of a special issue of arq on the subject of design-led research put together by the speculative design practice STASUS – comprising ARC members James Craig and Matt Ozga-Lawn, and two publications from the conference Industries of Architecture held here in 2014; a book of the same name (Routledge, 2015) and special issue of the journal Architecture and Culture entitled ‘Into the Hidden Abode: Architecture and Production’, edited by Katie Lloyd Thomas and Adam Sharr (with Tilo Amhoff, University of Brighton, and Nick Beech, Queen Mary’s University, London). ARC members continue to publish widely and have presented their research across the UK, Europe, in Canada, the USA, and in the Middle East, and also engage in co-production projects. They are also active in engagement and design research with local communities, such as Fenham Pocket Park, a local project whose stakeholders include Sustrans, Newcastle City Council, Fenham Community Pool, Your Homes Newcastle, Fenham Library and Fenham Model Allotment. A successful bid by Armelle Tardiveau and Daniel Mallo to the Department of Communities and Local Government funding led to the creation of a new piece of public space, and enabled a co-production process amongst stakeholders equally meaningful as the space itself. This year’s ARC Special Theme event Mountains & Megastructures (16th – 17th March) was a great success, involving linked research students, colleagues and invited speakers, artist Stéphane Degoutin and Professor Jonathan Hill, UCL. The exhibition and symposium explored topics ranging from early endeavours to ‘conquer’ the Everest to Alphand’s picturesque artificial hills in Paris, and their literal and figurative constructions and reconstructions at different scales from miniature megastructures such as the Apollo Pavilion to the concrete megastructures of the north-east, from the vertical megastructures of science fiction to the complex of megadams on the Tigris and Euphrates. We are currently preparing a book proposal from the event to showcase ARC’s form of interdisciplinary architectural research, and have put forward a follow-up public event ‘Scaling the Heights’ to the AHRC Being Human Festival (November, 2016) to be housed in the north tower of the Tyne Bridge.

CURE: Creative Upcycled Resource Graham Farmer Research by Design This cross-disciplinary research project brings together architecture, engineering, social sciences, and business. It explores the technical, social, economic and design related barriers to material upcycling, and seeks to propose solutions to enable widespread, creative re-use of designed products and packaging. U-TEC Cafe Collaborators: CeG - Newcastle University, Newcastle Business School

Replicas Adam Sharr, Zeynep Kezer Futures, Values and Imaginaries Replica architectures employ selective ideas of the past to construct the image of states, cultures, organizations or powerful individuals in the present, often operating in service of radically conservative ideologies. Promoted through the rhetoric of reconstruction, replica projects are seldom ‘literal’ reconstructions. Rather, they involve the tendentious reclamation of historic architectural or urban forms to reinforce particular national or cultural identity narratives, however counterfactual their historical veracity. The idea of Replicas was the subject of a session at the SAH conference in Chicago in 2015 and this material will form an edited book. Collaborators: Society of Architectural Historians Conference, Chicago, 2015


Utopias and Architecture Nathaniel Coleman Futures, Values and Imaginaries Utopian thought, though commonly characterized as projecting a future without a past, depends on golden models for re-invention of what is. This general theme encompasses a range of projects examining the social and formal dimensions of architecture through the concept of utopia and integrating architectural thinking into Utopian Studies. The projects and outputs range from the interdisciplinary Utopography workshop to a special issue of Utopian Studies as well as Lefebvre for Architects, recently published by Routledge, and papers for journals including the ‘Journal of Architectural Education’, ‘Architectural Research Quarterly’, and the ‘Journal or Architecture’. Coleman N. ‘Architecture and Dissidence: Utopia as Method’, Architecture and Culture, 2014, 2(1), pp. 45-60. Energy, Society and Cities Carlos Calderon Mediated Environments These projects involve understanding, modelling and designing for new energy futures. Themes include the effects of household practices on heating energy consumption, smart energy technologies, decentralised energy, energy systems to reduce fuel poverty and developing new ways of planning for spatial energy infrastructure in cities. This work is supported by contributions from Your Homes Newcastle, Newcastle City Council and Newcastle Science City and involves collaborations across fields of architecture, engineering and planning. Collaborators: Newcastle City Council, Your Homes Newcastle, Newcastle Science City, Cambridge Architectural Research

Byker Hobby Rooms James Longfield, Adam Sharr Research by Design This project was investigated as part of Linked Research with Stage 5 and 6 students on the MArch degree program. The project investigated the unique phenomena of the hobby rooms in the Byker redevelopment which are currently under-occupied. By investigating their intentions and mapping the spaces of current hobby activity the project developed speculative proposals for alternative hobby spaces that offered greater flexibility and specificity. The project concluded with the construction of key items of furniture which imagined the hobby rooms as specific mobile spaces, able to support a process of redevelopment. Collaborators: The Byker Lives Project Bacilla Vitruvius Martyn Dade-Robertson, Carolina Figueroa Research by Design Vitruvius suggested in his texts On Architecture that ‘architecture is an imitation of nature’ (Vitruvius, 2009) but what happens when architecture becomes nature and we begin, through the design of biological systems, to become architects of nature? This project explores the relationship between architecture and the emerging field of Synthetic Biology. The project explores both the applications of Synthetic Biology for new types of building material and the implications of architectural design practice on the development of Synthetic Biology. Collaborators: Northumbria University, The Centre for Synthetic Biology and Bioexploitation


Architecture’s Unconscious Kati Blom, Nathaniel Coleman, Andrew Ballantyne, Katie Lloyd Thomas, Sam Austin Social Justice, Wellbeing and Renewal This project is built around a series of informal meetings including architects, artists, philosophers and scholars of cognitive science and psychoanalysis. The project aims to uncover the processes of environmental perception – with particular emphasis on stories of unexpected, non-verbal encounters which are born of a pre-linguistic sensation of space. These incidental sensuous encounters with place – whether labelled as unconscious or not - are vital when discovering the qualities of spaces. Collaborators: Isis Brook (Writtle University), Lorens Holm (University of Dundee), Wolfram Bergande (Bauhaus- University Weimar)

Re-interpreting Sustainable Architecture Graham Farmer Futures, Values and Imaginaries This research aims to bring together recent debates in philosophy and social / cultural theory to the study and practice of sustainable architecture and urbanism. In adopting a critical, comparative and interdisciplinary perspective and by theorising sustainability, my aim is to bring the discussion of a sustainable built environment centrally into the social sciences and humanities. G. Farmer (2013) ‘Re-contextualising Design: Three ways of Practicing Sustainable Architecture’, Architectural Research Quarterly, 17(2). G. Farmer & S. Guy (2010) ‘Making Morality: Sustainable Architecture and the Pragmatic Imagination’, Building Research and Information, 38(4), 368-378. S.Guy & G.Farmer (2001), ‘Re-interpreting Sustainable Architecture: The place of Technology’, Journal of Architectural Education, 54(3) Feb. pp140-148. Demolishing Whitehall Adam Sharr Futures, Values and Imaginaries In 1965, the architect Leslie Martin submitted to Harold Wilson’s Labour government a plan to rebuild London’s government district, Whitehall. Presented to an administration which had been elected on the promise of remaking Britain in the ‘white heat’ of technology, the plan’s architecture embodied the 1960s idea of an imminent jet age that seemed not just possible but imminent. Our co-written book, Demolishing Whitehall, tells the story of the Whitehall plan and investigates its inherent tensions between ideas of technology and history, science and art, socialism and elitism. Collaborators: Stephen Thornton, Politics, Cardiff University

Industries of Architecture Katie Lloyd Thomas, Adam Sharr Specifications, Prescriptions and Translations Developing out of research and an earlier symposium on architecture’s technical literatures ‘Further Reading Required’ (The Bartlett, 2011) this international conference took place at Newcastle in November 2014. IOA invited architectural theorists, historians, designers and others to explore the industrial, technical and socio-economic contexts in which building is constituted that are all too often sidelined within the architectural humanities. IOA also hosted a number of openstructured debate-oriented workshops with the aim of bringing into the discussion those working in building, technology, law, practice management, construction or in industry together with researchers in the architectural humanities. Collaborators: Tilo Amhoff (University of Brighton), Nicholas Beech (Oxford Brookes University), ProBE (University of Westminster), John Gelder (NBS), Sofie Pelsmakers (UCL Energy Institute), Rob Imrie (Sociology, Goldsmiths), Emma Street (Real Estate & Planning, University of Reading), Liam Ross (ESALA).


Visualising Energy Neveen Hamza Mediated Environments This project is based on the EPSRC funded Eviz (Energy Visualisation for Carbon Reduction) project. The project brings together an interdisciplinary team of engineers and designers to develop applications which close the gap between abstract, invisible energy flows and people’s desire to understand their energy use and become more energy efficient. The key idea is to increase understanding of energy dynamics as a function of occupant behaviour and building characteristics and to allow experts to make better predictions of energy efficiency and design buildings around human behaviour. Collaborators: Plymouth University, University of Birmingham, University of Bath

Landscape Visions Ian Thompson Futures, Values and Imaginaries This project, led by a landscape architect/photographer in collaboration with landscape archaeologists, an oral historian and a specialist in heritage interpretation, considers the legacy of land reclamation within the Great Northern Coalfield, following the closure of the last deep mines. We aim to understand the reclamation process, not just the social, political and economic drivers, but also the visions which shaped the reclaimed landscape. How did these arise? What was not valued and what has been lost? Collaborators: Dr Arieti Galani (heritage studies), Professor Sam Turner, Dr Oscar Aldred (archaeology), Sue Bradley (oral history), McCord Centre for Historic and Cultural Landscapes, Durham County Record Office, Woodhorn Museum Northumberland

Design Pedagogy as Material Practice Graham Farmer Research by Design This research explores the role of material practice as a means to connect design, pedagogy, research and social engagement. This work provides the opportunity for ‘live’ experimentation with materials, performance and varying modes of design practice. Stonehaugh Stargazing Pavilion G. Farmer (2013) ‘Re-contextualising Design: Three ways of Practicing Sustainable Architecture’, Architectural Research Quarterly, 17(2). G. Farmer & M. Stacey (2012) ‘In the Making: Pedagogies from MARS’, Architectural Research Quarterly, 16(4), 301-312.

Rethinking Heritage Josep-Maria Garcia-Fuentes Cultures and Transition This project examines the modern conceptualization of heritage and its associated preservation and conservation techniques and policies. The research takes an interdisciplinary approach and includes anthropologists, geographers, political scientists and scholars in tourism. It deals with both theory and particular case studies, and is currently funded through several competitive grants in Spain and Chile, with collaborators in the US, UK, Italy, Chile and Spain. The project relates research to professional practice and teaching – like the international workshop ‘Valuable-RESIDE’, funded by the EU. Collaborators: School of Architecture of Barcelona-Valles, UPC-BarcelonaTECH (Spain); Universidad de Concepción (Chile); Politecnico di Torino (Italy); West Chester University of Pennsylvania (US). FIC Barcelona Architects.


Architecture and the Machinic Unconscious Andrew Ballantyne Cultures and Transition Our responses to architecture have a cultural dimension, but our cultures are ways of dealing with our instincts – inherited from millions of years of evolution. Modern humans have been around for tens of thousands of years, identifiable buildings for only about 10,000 years, since the global warming that brought the Ice Age to an end. This project draws together some insights from the recent literature of evolutionary psychology and the schizoanalysis of Deleuze and Guattari in trying to understand how we unconsciously interact with one another in and through buildings. Most of what we do, we do unconsciously. What can we learn from our animal-becomings? -- from burrowing, nest-building, the construction work of ants and beavers, and the territorializing effects of music.

Beyond Representation Matt Ozga-Lawn, James Craig Research by Design This project seeks to better understand architectural representation through an interrogation of its limits; the vastness of landscape, and the internalised space of consciousness. The research stems from an investigation into landscapes of human endeavour – in which both limits are potentially at their most extreme – with a project examining the bodies of ‘failed’ attempts to conquer Mount Everest. The research is developing in conjunction with an MArch studio exploring these themes. Craig J, Ozga-Lawn M. ‘Everest Death Zone’. Paper for Emerging Architectural Research 2014, 1(5).

Curating APL Matthew Ozga-Lawn, James Craig Research by Design Curating Architecture, Planning and Landscape is ongoing research into the dissemination of the School’s outputs and identity, including the annual yearbook and exhibitions, online materials and publications and conference materials. The work includes wide-ranging research into these forms of communication, including analysing materials from Schools across the UK and further afield. The aim is to generate key understandings of how APL could present and curate its identity. Newcastle University School of Architecture Planning and Landscape Yearbook 2014 Collaborators: Thomas Kendall, Simon Bumstead, Richard Taylor, Ed Wainwright

The Edge of State Zeynep Kezer Cultures and Transition In my current project, I examine the Turkish government’s efforts to modernize Eastern Anatolia and consolidate its authority over the region’s ethnically and religiously mixed population over the last century. I am especially interested in the expansion of the state apparatus – through the build up of institutional structures, military installations, transport & communications infrastructure, and resource extraction – and the resistance it encountered, with a view toward understanding the limits of state capacity and official ideology. ‘Spatializing Difference: The Making of an Internal Border in Early Republican Elazıg, Turkey’, Journal of the Society of Architectural Historians.


A Participatory-Design Study for Cobalt Business Park Armelle Tardiveau, Daniel Mallow Social Justice, Wellbeing and Renewal Cobalt Office Park is the largest of its kind in the UK with 12000 workers. Located in North Tyneside, this edge city environment is neither urban in the traditional sense, nor a greenfield science or technology park yet constitutes a highly significant, and under-researched, type of place in people’s daily lives. Greater or lesser ecological sustainability can be enacted and take root in such spaces; for this the project seeks to engage Cobalt workers, particularly in optimising their work-life balance as well as engaging local residents in extending existing sustainable practices in such ‘nonplaces’ bordering their residential areas. Collaborators: Prof Geoff Vigar (PI) Dr Abigail Schoneboom (urban sociologist)

Building Lifecycle Integration John Kamara Specifications, Prescriptions and Translations This research explores the hypothesis that effective integration of the different interfaces (e.g. information/knowledge, organisations) over the lifecycle of a building will enhance its performance (with respect to how it supports the immediate and changing business needs of clients/users and other actors that interact with it, and how its impact on society and the environment is optimised). Current work is focused on the interface between clients and the design/construction industry at both the development and handover stages of a project. Kamara, J. M. (2013) ‘Exploring the Client-AEC Interface in Building Lifecycle Integration’, Buildings 3(3), 462-48.

Building the Nation State Zeynep Kezer Cultures and Transition In Building Modern Turkey: State, Space and Ideology, I examine how space and spatial practices mediated Turkey’s transition from empire to nation-state. By juxtaposing the making of new spaces, responding to the demands of a new politico-cultural order, with the obliteration of ethnic and religious enclaves characterizing the Ottoman way of life, I expose the interdependence between the creative and destructive forces in this process. My survey of broad ranging spatial transformations demonstrates how state formation operates at multiple and interdependent scales from that of the individual body to that of regional geopolitics. Building Modern Turkey: State, Space and Ideology (University of Pittsburgh Press for the Politics, Culture and the Built Environment Series, 2015).

Problems of Translation Martin Beattie Cultures and Transition This research aims to understand the processes by which different cultures meet in the context of avant-garde architecture, art and literature. In particular the project maps and compares the linkages and spread of modernism between European and Indian avant-gardes, through its art and architecture of the 1920s. Specific case studies include analysis of the Bengali artist Gaganendranath Tagore along with the Bauhaus painter Lyonel Feininger and the collaboration between Rabindranath Tagore, the Bengali poet, novelist, and winner of the Nobel Prize for literature and Sir Patrick Geddes, the Scottish town planner at Santiniketan. ‘Problems of Translation: Lyonel Feininger and Gaganendranath Tagore’ at the Fourteenth Annual Indian Society of Oriental Art Exhibition, Kolkata, India. Collaborators: Association of Art Historians



Newcastle University School of Architecture, Planning and Landscape Yearbook ‘16 Editorial Team Sam Austin Vili-Valtteri Welroos Matthew Wilcox Special Thanks Graham Farmer Matt Ozga-Lawn James Craig Anne Fry Rumen Dimov & Linked Research Group “Curating APL” 2014-15 Printing & Binding Statex Colour Print Typography Adobe Garamond Pro Paper GF Smith Colourplan, Turquoise, 350gsm First published in June 2016 by: The School of Architecture Planning and Landscape, Newcastle University Newcastle upon Tyne. NE1 7RU United Kingdom w: t: +44 (0) 191 222 5831 e: ISBN 978-0-7017-0256-4

ISBN 9780701702564

90000 >


9 780701 702564

Profile for School of APL, Newcastle University

Design Yearbook 2016  

Welcome to this Yearbook which is a wonderful record of the hard work and achievements of staff and students during the past 12 months.

Design Yearbook 2016  

Welcome to this Yearbook which is a wonderful record of the hard work and achievements of staff and students during the past 12 months.